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Archive for the ‘Feelings of heart’ Category


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.

GEMS FROM THE MIGRATORS….Song No. 6
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After Partition, the film industry in Pakistan was at its lowest ebb. Main reason was that most of the film activities were taking place only in one place-Lahore. During the riots, most studios were either burnt or damaged and there was a shortage of Financers, Distributors and technical staff. Composers who migrated from here to there had got accustomed to working in an organised sector and in Pakistan almost everything was in a mess. It is to the credit of few dedicated people in Lahore that by 1948 the first film, entirely made in Pakistan, with the entire crew from within the country, rolled out successfully. Despite lack of facilities, talented composers created inspired music and most composers succeeded there.

India, having a huge industry base spread over several locations throughout the country was not much disturbed in film making. Here are the statistics for films made in India during this period.

Year Number of films produced
1945 74
1946 153
1947 181
1948 149
1949 157
1950 113

One will observe that during the period 45 to 50, maximum films of films were made in 1947. This may be because all the ‘ would be’ migrators hurriedly completed their pending films, prior to their departure. This also indicates that the damage done to Indian film industry due to partition or the en bloc migration of artistes to Pakistan was on a limited scale.

Today we will talk about a Giant among the Pakistan film industry, post Partition- KHAWAJA KHURSHID ANWAR ji. He is probably the only composer on whom plenty of information is available here and in Pakistan. One of the major source of his information is Dr.Surjit Singh ji’s site and the other is Cineplot. Additionally, there are many Pakistani sites and Blogs where information is available on him.

Khwaja Khurshid Anwar (21 March 1912 – 30 October 1984) was a filmmaker, writer, director and music composer who gained extreme popularity both in India and Pakistan. He is widely credited as being one of the most original and inventive music directors of his generation.

Khwaja Khurshid Anwar was born into a Kashmiri family on 21 March 1912 in Mianwali (now in Pakistan) where his maternal grandfather Khan Bahadur Dr.Sheikh Atta Mohammad (who’s daughter married philosopher-poet Muhammad Iqbal, to whom he was thus a nephew) held the post of civil surgeon. His father Khawaja Ferozuddin Ahmad was a well-known Barrister settled in Lahore. The ace jurist had a love for music so much so that he had a huge collection of gramophone records of Indian classical and neo-classical music and his precocious son had an unhindered access to them all. Moreover, in the weekly soirees of music which were held in the lawyer’s house, renowned masters used to perform, and it was here that the young Khurshid Anwar developed a taste for classical music. Viewing Khrshid Anwar’s keen interest Khansahib Tawakkal Hussain took him under his tutleage in 1934.

Khurshid Anwar was also a brilliant student at Government College, Lahore, the renowned seat of learning. Having topped in the Masters in Philosophy (1935), he appeared in the examination for Indian Civil Service (ICS) but due to his political and anti-Raj activities, the colonial masters would not let him share power. Interestingly, he had also absented himself from the prize-distribution ceremony of the Punjab University held to honour the students with distinctions. When his name was called to receive the Gold Medal in Philosophy, nobody turned up. The British Chancellor of the University who was awarding medals remarked that the student having forgotten to receive the medal is a true philosopher. Actually,he was busy listening to music in his home.

In 1939 Khurshid Anwar joined All-India Radio, Delhi as Programme Producer/Music. It was from here that he acceded to the requests of A.R. Kardar, the renowned film producer, to join Bombay filmdom as Music director. He made his debut as a music director in Kardar’s Punjabi venture “Kudmai” (1941]. His first Hindi film was “Ishara”(1943]. The film gained much popularity from its songs which included “Panghat pe muraliya baje” by Suraiya, “Shabnam kyon neer bahaye” by Gauhar Sultana, and “Dil deke dagha nahin dena” by Vatsala Kumathekar. Some of his other Hindi films were Parakh (1944, with Saraswati Devi), Yateem (1945, with K. Dutta), Aaj Aur Kal (1947), Pagdandi(1947), and Parwaana(1947) which was the last movie in which K. L. Saigal acted and sang. For “Singaar” (1949) he got the Clare Award for Best Music Director. His later films “Nishaana” (1950) and “Neelam Pari” (1952) added new feathers to his cap. He remained an inspiration to many later day music directors in both India and Pakistan. For many years, Roshan was a disciple of his, as was Shankar of Shankar Jaikishan. He was regularly praised by his contemporary Naushad Ali, who considered him to be one of the finest composers in the subcontinent.In one of the interviews,however,he said that Naushad’s knowledge of Classical music was not good,but he manged to churn out melodious songs.

Khurshid Anwar migrated to Pakistan in 1952. It was in fact his arrival in a newly independent land where the nation was in search of its expressions in arts especially in music. And it was here in 1956 that Khurshid Anwar gave Pakistani film music its identity through his magnum opus “Intezar”. The film also gave a new lease of life to Noor Jehan, his lead singer for the years to come. After, “Intezar”, Khurshid Anwar continued with his stylistic creations in films such as, Mirza Sahiban (1956), Zehre Ishq (1958), Jhoomer (1959), Koel(1959), Ayyaz (1961), Ghunghat (1962), Haveli (1964) Chingari (1964), Sarhad (1966), Hamraz (1967), Guddo (1970),Heer Ranjha (1970), Salam E Mohabat (1971), Parai Aag(1971), Shireen Farhad (1975), Haider Ali (1979) and Mirza Jat (1982).
Khurshid Anwar died on 30 October 1984 in Lahore after a protracted illness. In recognition of his contribution in enrichment film music, the Bombay film industry awarded him the coveted Mortal-Men-Immortal-melodies Award (1982). Great Urdu poet of 20th century, Faiz Ahmad Faiz was a lifelong friend of Khurshid Anwar. During an interview, in reply to a query of Anwar Maqsood, Faiz acknowledged that he was inspired by Khurshid Anwar.
He has also been praised for his efforts to keep alive Classical music not only through his compositions but also through his unique collection of classical Music performances recorded by EMI Pakistan, known as Aahang-e-Khusrav in two parts(1978). Raag Mala has ten volumes includes 90 Raags in ten Thaths. Each Raag has a short introduction in the voice of Khurshid Anwar explaining the characteristics of the Raag followed by its audio performance by renowned Classical singers of Pakistan. The second part of Aahang-e-Khusravi is Gharaon Ki Gaiyki in 20 volumes which consists of audio recording of representatives of the main Gharanas of Classical singers in Pakistan. In recognition of his services for the cause of music, he was awarded the coveted ‘Sitara-e-Imtiaz’ by the Government of Pakistan in 1980.

He got Nigar awards 3 times. He also got President’s award for Best Music and Best story for film Intezar-56. Film Intezaar-56 was released on 12-5-1956 at Lahore.It was produced by Sultan Jilani and directed by Masood Parvaiz.The cast consisted of Noorjehan,Santosh kumar ( real name Syed Moosa Raza ),Asha Posley and others. Film Intezar was so famous and a Hit film that in India,Dilip kumar,K.Asif and financer seth Palan ji wanted to release the film in India. The south Giant producer S S Wasan of Gemini studios contacted him and asked for the rights of the film and enquired how much will be his fees. Khursheed Anwar replied that his works are open for all those who will join him in the crusade against vulgar music. he said there will be no fees and the film was remade in Tamil subsequently.

He had great respect for S.D.Burman, followed by Salil Chaudhari for their musical genius in India.

He made 1 Punjabi and 9 Hindi films in India and 18 films in Pakistan. As a producer and also writer he made 6 films and directed 3 films in Pakistan.

In India, he has composed 72 songs, but not even 1 song is there by Lata mangeshkar. He used Geeta, Asha etc, but not Lata. There was a story circulating that Lata was called for rehearsals for a song composed for film Neelampari-52. She came but did not wait for the composer to come after hearing that the composer can neither sing nor play a single instrument ! In an interview, on asking about this, his brother Khawaja Sultan Ahmed ji said that it was not true. She was tied up with HMV for consecutive 5 days for recording and so could not come for rehearsals. He also said that Khurshid Anwar ji could sing well and played instruments too.

Today’s song is from film Ishara-1943. The film was produced by D.R.D.Productions and was directed by J.K.Nanda. The Lyricist was D.N.Madhok and the cast was Prithviraj Kapoor, Swarnalata, Suraiya, Vatsala Kumthekar, K N Singh etc.

Swarnalata was already an established heroine in Hindi cinema before she opted to migrate to Pakistan with husband Nazir, a prominent actor-producer-director, following the partition of India. Swarnalata enjoyed a successful career in Pakistan as well proving to be a popular leading lady in both Urdu and Punjabi films across the border.

Swarnalata was born on 20-12-24 in a Siyal Jat Sikh family in Rawalpindi. She came to Delhi to complete her education and then joined The Academy of music and Arts,at Lucknow. She lost her parents early and lived with her elder brother. She was spotted at a hostel in Lucknow when she got an offer to act in films. Her initial reaction was to refuse outright but the director, who had spotted her, convinced her brother who in turn convinced her and soon Swarnalata found herself in Bombay.

Swarnalata made her film debut in 1942 with Awaaz (1942). Followed films like Tasveer (1943) and Raunaq (1944) opposite Motilal and Ishara (1943) with Prithviraj Kapoor before she hit the big time with Rattan (1944). Old timers still fondly recall the image of her running after Karan Dewan, who is seated on the tonga, ‘singing’ the most popular song of her career in India and imploring him – Ankhiyan Mika ke Jiya Bharma ke Chale Nahin Jana. Rattan was a huge success launching the career of music director Naushad. Ironically, this tale of two young lovers separated when the woman is married off elsewhere was thought to be a commercially risky venture and the original distributors re-sold the film rather cheaply fearing the worst. The rest as they (always) say is history as Rattan became the biggest hit of the year. Another extremely popular song of the film was Sawan ke Badalon.

Swarnalata played leading lady to Dilip Kumar in only his second film, Pratima (1945), made at Bombay Talkies. The same year saw the release of Preet and Laila Majnu where Swarnalata was cast opposite Nazir in both films. The two fell in love and Swarnalata got married to Nazir and converted to Islam taking on the name Sayeeda Bano. However, she continued to retain her screen name for her films as an actress though she did give her Islamic name as producer. Following her last film Ghar Baar (1948) in India, Nazir and Swarnalata migrated to Pakistan. Recalling the shift, Swarnalata said it was no big deal. Nazir decided they should go to Pakistan so they did! The first film they produced there, Heer Ranjha, ended in tragedy as whatever they shot was out of focus and so, the film had to be shelved. ( This Nazir was an actor,producer and director. He was the maternal uncle of K.Asif, maker of Mughal-e Azam. In his struggling days, Asif stayed with his mama. That time Nazir’s wife was Sitara Devi-who eloped with K.Asif to Delhi. Nazir gave her divorce and then married Swarnalata).

Swarnalata then officially made her debut in Pakistani cinema with Sachai in Urdu and Pherayin Punjabi, both the films releasing in 1949 with her cast opposite husband Nazir in both.Sachai, which unfortunately flopped, also saw Swarnalata become Pakistan’s first ever woman producer. However, Pheray, also directed by Nazir and based on Noor Jehan’s Village Girl (1945) that incidentally saw Nazir star opposite the legendary singing star, became Pakistan’s first ever silver jubilee hit film! Pheray’s music by the great GA Chisti proved extremely popular especially Mainu Rab di Sohn Tere Naal Pyaar and Ki Kitta Taqdeer. The team of Nazir-Swarnalata-GA Chisti followed Pheray with Laarey the following year but unfortunately the film did not have quite the same impact even though it was a musically strong film.

After a somewhat lean period with flops like Anokhi Dastan (1950) and Bheegi Palken (1952),Shehri Babu (1953), a Punjabi film, produced and directed by Nazir, proved to be a huge blockbuster with the reigning top star of Pakistani cinema, Santosh Kumar, cast opposite Swarnalata. The film boasted of a superb musical score by Rashid Attre bringing to the fore singer Inayat Hussain Bhatti as an actor besides also featuring Zubeida Khanum’s early hit songs and remains one of the most popular films ever to come out of Pakistan. Swarnalata was now at the peak of her career in Pakistan.

Though not a conventional good-looker, Swarnalata was a more then capable actress besides being a graceful enough dancer as well. In one of her last interviews given on television in Pakistan, she emphatically stressed,
“Swarnalata ka apna style tha. Koi Swarnalata ko koi copy nahin kar saka. (Swarnalata had her own style. No one could copy her).”

Heer (1955) was undoubtedly Swarnalata’s best known and most popular film in Pakistan. Returning to the Heer-Ranjha legend, this Punjabi film, was a huge success at the box office with Inayat Hussain Bhatti and Swarnalata playing the doomed lovers. But it was also to be the last high point of a glorious career.
Post Heer, saw the decline in Swarnalata’s career as films like Sauteli Maa (1956), Sabira (1956) and Noor-e-Islam (1957) flopped at the box office. Singing star Noor Jehan was still around and younger heroines like Sabiha Khanum, Shamim Ara and Mussarat Nazir had begun to rule the roost in Pakistani cinema. The Swarnalata – Nazir combine still came out with the odd film like Shama (1959) and Billo Jee (1962) but by now, their glory days were clearly behind them.

Swarnalata’s last roles saw her supporting Sabiha and Saloni in Sawaal (1966) and Zeba inDuniya Na Mane (1971) after which she retired gracefully from the silver screen.

Some other films of Swarnalata include Inkar (1943), Us Paar (1944), Shyam Savera (1946),Maa Baap ki Laaj (1946) and Abidah (1947) in India besidesBNauker (1955) – a remake of the Indian film Aulad (1954) and Khatoon (1955) in Pakistan.

Swarnalata passed away in Lahore in Pakistan on February 8, 2008.

When Swarnalata acted in film Ishara-43, she was cast opposite Prithviraj Kapoor-who was almost 45 years old at that time. Suraiya played the role of the ‘other’ woman. At this time she was just about 13-14 year old. Thus Suraiyya acted with Prithviraj Kapoor and later on was the heroine of his sons Raj Kapoor and Shammi Kapoor as well.

A singer from Lucknow was brought to Bombay to record songs for this film-Gauhar Sultana, who gave playback to Swarnalata in the film. Suraiya sang for herself. For 9 songs of the films, 6 singers were used The Lyricist was D N Madhok. Both Khurshid Anwar and his brother Sultan Ahmed did not have good opinion of Madhok. They thought that Madhok sold his tunes to other composers. Khurshid ji had good relations with the director J K Nanda.

Let us now enjoy this Gem from film Ishara-43,sung by Gauhar Sultana of Lucknow…

(Note: My thanks to Harish Raghuvanshi ji,Dr, Surjit singh ji,Cineplot,Mazhar site, upperstall and saadat hasan manto)


Song-Shabnam kyun neer bahaaye (Ishaara)(1943) Singer-Gauhar Sultana, Lyrics- D N Madhok, MD- Khursheed Anwar

Lyrics

Shabnam kyun neer bahaaye
shabnam kyun neer bahaaye
duniyaa soye ae ae
aur ye roye jaaye
shabnam kyun neer bahaaye

jaise nirdhan ke rone par
jaise nirdhan ke rone par
hansae hai dhanvaan
waise shabnam ke rone par
waise shabnam ke rone par
kaliyon ki muskaan
shabnam roye ae ae
kaliyon kaa munh dhoye

apni jaan ganvaa kar pagli
jag mein phool khilaaye ae
apni jaan ganvaa kar pagli
jag mein phool khilaaye
shabnam kyun neer bahaaye
shabnam kyun neer bahaaye

moorakh hain jo chaar ghadi ke
moorakh hain jo chaar ghadi ke
jeevan par itraate hain
hanste phoolon ko dekho jo
hanste phoolon ko dekho jo
khilte hi murjhaate hain
shabanam roye ae ae
moorakh gaafil soye

ro-ro ke shabnam is jhoothe
jag kaa bhed bataaye
ro-ro ke shabnam is jhoothe
jag kaa bhed bataaye
shabnam kyun neer bahaaye
shabnam kyun neer bahaaye

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This article is written by Sadanand Kamath, 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.

I had heard the name of the film ‘Rangeen Raaten’ (1956) for the first time in my friend’s house some time in 1971 where some of us used to assemble for listening to his collections of some rare Hindi film songs. My friend would stack a few 78 RPM gramophone records of rare songs on his Gerrad Record Changer and we would listen to those songs one by one with some discussion on the songs and the films. One of the songs through which I came to know about the film was bahut aasaan hai chilman se lagakar muskuraana.

Four decades later, I watched this movie on YT. The film was produced under the banner of Ambitious Pictures and was directed by Kidar Sharma. The cast included Shammi Kapoor, Geeta Bali, Mala Sinha, Chand Usmani, Rohit Tony, Pesi Patel, Nazira, Tuntun etc. The sloppy screen play marred the otherwise very interesting story revolving around human trafficking. The surprising element in this film was that for the first time in Hindi film, a full length male character was performed by a female actor and the honour went to Geeta Bali in the role of Gulu, brother of Mala (Mala Sinha). However, it was not a novelty for the Indian Cinema as M S Subbulakshmi had earlier performed the role of Narad in a Tamil film ‘Savithri’ (1941).

I watched the VCD of the film in 2-3 instalments as it was difficult to watch this slow moving film in one go. At some places there were breaks in the continuity of the story, probably due to the reckless editing of the film while converting it into a VCD. The film was extensively shot in and around Ranikhet, a hill station in Kumaon region of Uttarakhand. A couple of local folk songs find place in the film which have been used in place of background music. Ranikhet is one of my favourite hill stations and watching this film gave me an opportunity to see as to how it looked in the 50s.

Despite some excellent folk tune based songs composed by Roshan, the film failed at the box office and with that the songs were forgotten. Apart from the poor screen play and perhaps editing, I guess the other important factor for the film’s failure could be the inability of the audience to appreciate the male role performed by Geeta Bali. I have not understood as to why Kidar Sharma took Geeta Bali for a male role. In some places, it is mentioned that Geeta Bali was keen to work with Shammi Kapoor when Kidar Sharma had already signed a contract with Mala Sinha as lead actress. So in order to accommodate her in the film he offered her the role of Gulu, brother of Mala (Mala Sinha). If it is true, this is a ridiculous decision for accommodating an actress of the caliber of Geeta Bali. Anyway, though the film failed, there was a positive development. During the shooting of the film in Ranikhet, Shammi Kapoor fell in love with Geeta Bali and after about four months, they got married in a small temple in Banganga on August 24, 1955 in South Bombay (Mumbai).

So far, 5 songs (out of 8) from the film ‘Rangeen Raaten’ (1956) have been discussed in the Blog. Here is the 6th song ‘sakhi hamro atal suhaag Shyam sapne mein aaye’ sung by Lata Mangeshkar on the lyrics of Kidar Sharma. The highlight of this song is the imagery of Meerabai-Krishna devotion being used in the lyrics for a similar situation in the life of Mala’s (Mala Sinha). The song is picturised on Chand Usmani. Note a verse in the song ‘Meera ki ankhiyon mein do aansoo sharmaaye’. Generally, the downward glance of eyes is taken as the symbol of shyness. But here Kidar Sharma taking a poetic liberty makes two drops of tears from the eyes of Meera to signify the feeling of shyness.

The melodious rendition by Lata Mangeshkar on a harmonious music composition of Roshan adds lustre to the beautiful lyrics.


Song-Sakhi hamro atal suhaag (Rangeen Raaten)(1956) Singer-Lata, Lyrics-Kidar Sharma, MD-Roshan

Lyrics

sakhi hamro atal suhaag
Shyam sapne mein aaye
dekho hamre jaage bhaag
sakhi hum un sang byaahe

na to baaja dhol
na hi shehnaai baaji
na to baaja dhol
na hi shehnaai baaji
Mohan ki baansuriya pe main aap hi naachi
main naachi
wo dekh dekh ankhiyaan bhar laaye
main naachi
wo dekh dekh akhiyaan bhar laaye
bhakton ke bhagwaan ne uthh kar pair dabaaye ae
Shyaam sapne mein aaye
sakhi hamro atal suhaag
Shyam sapne mein aaye
dekho hamre jaage bhaag
sakhi hum un sang byaahe

mand mand muskaayin sakhi kaliyaan madhuban ki
mand mand muskaayin sakhi kaliyaan madhuban ki
laaj se jhuk gaye nain
umangen naachi man ki
Giridharlal ka byaah rachaa
taare muskaaye
Giridharlal ka byaah rachaa
taare muskaaye
Meera ki ankhiyon mein do aansoo sharmaaye ae
Shyam sapne mein aaye
sakhi hamro atal suhaag
Shyam sapne mein aaye
dekho hamre jaage bhaag
sakhi hum un sang byaahe


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.

It occurs to me today that. . we are today reaching that point in time when this world has been bereft of Rafi Sb’s physical presence now, for almost that duration of time that this world was blessed and more complete with his presence as a singer known to the listeners. For an active career that lasted about three and a half decades, it is now about the same amount of time that he has not been with us. And his legacy grows stronger.

Remembering Rafi Sb on the anniversary of his passing away today (31st July).

Starting with mid 1940s, the formlessness of his voice provided the substance and the life breath to many generations of artists and actors till the fateful day in 1980 when he passed from this world, quiet unexpectedly and very much in the prime of his art. Barely fifty five years of age, it was not be that he would spend more time on this earth with us. A duration of life in which he bequeathed approximately five thousand gems of his voice that are a treasure that is peerless in ways more than one.

Rafi Sb is so well known for his art. But in the industry, and in society, he is equally well known for his heart. And probably more so. A person for whom human values were paramount, a person whose kindness and empathy is now a legend. And not just in his line of work – there are so many people, especially music directors of the lower rungs in the industry, who narrate incidents wherein Rafi Sb recorded songs for their music, free or for very very nominal amounts. It is true for his life, across all spheres of interaction. This day, 34 years ago, it was about 9 am when he felt uneasiness and slight pain in his chest. It was decided to take him to the hospital. His children have stated – one of the last things he communicated to his wife was, please make sure that no one ever leaves empty handed from the door of the Rafi household. A short communication that summarizes the life and personality of this great artist and even a greater human being.

In our belief system, it is said that the sound is forever. It never dies; just dissipates into the wider space and exists. The voice of Rafi Sb is a beacon that will shine for generations to come. My intuition is, as the waves rise and they fall, as the seasons change and cycle back, the music from the golden era of Hindi films will regain its old glory and new popularity.

It has to. Gold never goes out of fashion.

In memory, I present today a very lovely and endearing non film song sung by Rafi Sb. As I tried to check for the details of this song, the only one place I found some details is the giant excel file that has been compiled by Muveen Bhai. As per this source, this song is both written and composed by Shyam Sharma, a name I am not too familiar with. I checked our blog and find his name mentioned as the music director for another NFS song by Suman Kalyanpur – “Nand Nandan Bilmaai, Badraa Ne Gheri Maai Maai Ri” (http://atulsongaday.me/2013/01/28/nand-nandan-bilmaai/).

Although it does not contain any direct references, this song is also in the Radha-Krsna tradition. It is the time after He has left for Mathura, and Radha ji is waiting and pining, for he has promised that he will be back in ‘two days’. The words are exquisite;

vyaakul jiyaraa, jaise diyaraa

my restless, impatient heart
is like the burning lamp

nainon ke panghat par palchhin
ansuwan haar piroti birhan

at the wellspring of these eyes
sitting and waiting in sadness
stringing garlands
from the pearls of my tears

As I listened again today, to this wonderful memory of radio days, for the first time the meaning of the phrase ‘ansuwan haar’ literally ‘a garland of tears’, struck me like lightning. As she waits, her eyes are flowing so much that the neck and chest are all moist with tears. And that is where a garland rests, in the neck and on the chest. I am so taken in by the analogy. I had heard this in many other songs also earlier, but never caught on to this significant connect.

A lovely song, that is so lovingly rendered by Rafi Sb. A song that continues to play softly in the mind even after it is over. We know that the travelers of hereafter do never return. But still, “. . .teri baat nihaaren”.


Song-Paagal naina sagri raina teri baat nihaare (Rafi NFS)(1960) Singer-Rafi, Lyrics-Shyam Sharma, MD-Shyam Sharma

Lyrics

aaaa aaaaa aaaaa
paagal nainaa. . .
paagal nainaa
sagri rainaa
teri baat nihaare
nihaare ae
paagal nainaa
sagri rainaa
aa ja re nirmohi ab to
soone mann ke dwaare. . ae ae ae
paagal nainaa
sagri rainaa

sharad suhaavan
agan lagaaye
pran papihaa
ratan lagaaye
vyaakul jiyaraa
jaise diyaraa
jal kar aap jalaa re
jal kar aap jalaa re ae ae
paagal nainaa
sagri rainaa

nainon ke panghat par palchhin
ansuwan haar piroti birhan
tujh bin tarse
manwaa tadpe
nis din saanjh sakhaare
nis din saanjh sakhaare . . ae ae
paagal nainaa
sagri rainaa
teri baat nihaare
nihaare ae
paagal nainaa
sagri rainaa

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

आss आsss आs आs
पागल नैना
पागल नैना
सगरी रैना
तेरी बाट निहारे
निहारे ए
पागल नैना
सगरी रैना
आ जा रे निर्मोही अब तो
सूने मन के द्वारे ॰ ॰ ए ए
पागल नैना
सगरी रैना

शरद सुहावन
अगन लगाए
प्राण पपीहा
रटन लगाए
व्याकुल जियरा
जैसे दियरा
जल कर आप जला रे
जल कर आप जला रे॰ ॰ ए ए
पागल नैना
सगरी रैना

नैनों के पनघट पर पल छि्न
अंसुवन हार पिरोती बिरहन
तुझ बिन तरसे
मनवा तड़पे
निस दिन साँझ सकारे
निस दिन साँझ सकारे ॰ ॰ ए ए
पागल नैना
सगरी रैना
तेरी बाट निहारे
निहारे ए
पागल नैना
सगरी रैना


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.

A voice that knew no boundaries, knows no boundaries. A voice that spans the entire spectrum of octave range that the music directors dream of. A voice that displays limitless possibilities of emotions and colors. A voice that is alive and true to the very essence of the on screen scenario every moment. A voice such as his can only be explained in terms of a Divine intervention. The voice that is the voice of every performer he sang for. The voice that is Mohammed Rafi – matchless and inimitable.

Remembering Rafi Sb on the anniversary of his passing away today -31st July.

When the young man from Punjab, whose voice was fascinating music directors, came to Bombay, he did have his initial foray into the world of on screen appearances. Brief cameos happened in films ‘Laila Majnu’ (1945) and then in ‘Jugnu’ and ‘Samaaj Ko Badal Daalo’, both in 1947. But when the songs of ‘Jugnu’ and ‘Shaheed’ (1948) and ‘Mela’ (1948) hit the screens, and gained popularity, it was a judicious choice that Rafi Sb made, to continue in the industry as a singer. Judicious I say, because the other examples we see in the industry; artists with singing as their core strength, continued to try their hand at being leading men on screen, did not quite fare so well in their careers as singing stars.

In 1946, Rafi, relatively a novice in the industry as yet, got the famous and fortunate opportunity to sing along with Saigal Sb in the song “Roohi Roohi Roohi Mere Sapnon Ki Rani” in the film ‘Shahjehan’. However, this was not the first time he had met the great singer. His first meeting with Saigal Sb was actually about a decade earlier. He was all of just 12 or 13 years of age then. Since childhood, he was known to be an excellent singer in his family. Sometimes when he used to accompany his elder brother Hamid, to their family shop, he would sit there and sing, much to the delight of the customers and passersby. Hamid was well aware of the talent his younger brother displayed. He would encourage him and made many efforts to get him trained under renowned masters – names like Bade Ghulam Ali Khan, Feroze Nizami (then associated with the All India Radio station at Delhi), and Jeevan Lal Matoo. Whenever there used to be any music program of renowned artists arranged in Lahore and nearby towns, Hamid Bhai would take his younger brother along to listen and learn.

A musical evening was organized in Lahore. The main attraction of the program was Saigal Sb. The crowds had gathered in advance – it was not a program in a hall, but arranged in an open ground. Just a little while before Saigal Sb was to arrive, the sound system arranged for the program, broke down. The crowds got restive when they realized that the loudspeakers were not working. And the organizers, including Hamid Bhai, were at their wits ends on how to manage the ire of the audience. The loudspeaker system would take at least half hour to repair. In the midst of all the clamor of the audience and the confusion back stage, Hamid Bhai got Rafi on stage, and simply asked him to sing. The sight of this sprightly barely-teenager at first seemed to add fire to the irate crowd. But when his voice came down slicing through the din, it captured the attention of every set of ears on the ground that evening, and the din slowly subsided. People slowly fell silent as they were caught unaware by this engaging voice of a child barely in his teens, singing to a crowd in an open ground, sans any mike and loudspeakers. By the time the sound systems was repaired and it was time for the regular program to start, Saigal Sb had already arrived, and had listened to the singing of young Rafi. After the program, he specially called for the child, hugged him, and gave him his blessings – to be a great singer when he grows up. The magic of that evening and the blessings of the great one, himself gifted with Divine endowment was to ring in true in the life of this gifted child.

The song I present today is a gem of melancholia, one of the many genres that Rafi Sb has rendered with impeccable involvement. The film is ‘Namaste ji’ from 1965. The lyrics for this peerless creation are by Anand Bakshi, and the music composition is by GS Kohli. And the voice – that is a wonder unto itself, and an everlasting succor for the listeners.

Listen and enjoy.


Song-Hamen kya jo har su ujaale huye hain (Namaste Ji)(1965) singer-Rafi, Lyrics-Anand Bakshi, MD-G S Kohli

Lyrics

hamen kya jo har su
hamen kya jo har su
ujaale huye hain aen
hamen kya jo har su
ujaale huye hain aen
ke hum to andheron ke
paale huye hain aen
ke hum to andheron ke
hamen kya jo har su
ujaale huye hain aen
ke hum to andheron ke
paale huye hain aen
ke hum to andheron ke

bahaaron ne jaane
kahaan phool baante
hamaare chaman mein
khile sirf kaante
hamaare chaman mein
khile sirf kaante ae
ye insaaf bhi kya
niraale huye hain aen
ke hum to andheron ke
paale huye hain aen
ke hum to andheron ke

kisi aur ka dil
jo yoon toot jaata
to shaayad khuda se bhi
wo roothh jaata
to shaayad khuda se bhi
wo roothh jaata
hamin hain jo ye gham
sambhaale huye hain aen
ke hum to andheron ke
paale huye hain aen
ke hum to andheron ke

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

हमें क्या जो हर सु
हमें क्या जो हर सु
उजाले हुये हैं
हमें क्या जो हर सु
उजाले हुये हैं
के हम तो अँधेरों के
पाले हुये हैं
के हम तो अँधेरों के
हमें क्या जो हर सु
उजाले हुये हैं
के हम तो अँधेरों के
पाले हुये हैं
के हम तो अँधेरों के

बहारों ने जाने कहाँ फूल बांटे
हमारे चमन में
खिले सिर्फ कांटे
हमारे चमन में
खिले सिर्फ कांटे
ये इंसाफ भी क्या
निराले हुये हैं
के हम तो अँधेरों के
पाले हुये हैं
के हम तो अँधेरों के

किसी और का दिल
जो यूं टूट जाता
तो शायद खुदा से भी
वो रूठ जाता
तो शायद खुदा से भी
वो रूठ जाता
हमीं हैं जो ये ग़म
संभाले हुये हैं
के हम तो अँधेरों के
पाले हुये हैं
के हम तो अँधेरों के


This article is written by Avinash Scrapwala, 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.

Today we remember Mohd Rafi Saab – the ‘divine and soulful voice’, on his anniversary!!
My tributes to this great great great voice, a gentleman, and a humble human being, as he is known to all- Shri.Mohd Rafi Saab !

While I was working on finding the songs of ‘Pancham-Rafi Jodi’ since last nine/ten months so far and reading various posts/articles on our blog, I read some posts which mention about the so called ‘lean period’ (1971 to 1976 (or 1974?) of Rafi Saab where the quantity of Songs sung by him is said to be decreased.
For anyone of us it is hard to believe that something of this sort was possible!

Now this so called ‘weak period’ of Rafi Saab’s is cited from 1971 to 1976 so far. And it is said that he made a comeback in 1976 with Laila Majnu. (Whereas some people think he had already made a comeback with ‘teri galiyon mein na rakhenge kadam’ for Hawas in 1974)

What was going through my mind was when did it would have been actually started from? – The decline! Or the weak period for Rafi Saab!

Does the decline started with Rafi Saab singing one song for some movies and that too with the Music Directors whom he already had some great work done earlier and with whom he had a longer association so far?

Some songs easily come to my mind e.g. 1971 Haathi Mere Saathi – he got that ‘nafrat ki duniya ko chhodkar’ (which left everybody watching the movie with tears in their eyes) (HMS ranked at the TOP at the BO that year).
Music for Haathi Mere Saathi was by Laxmikant Pyarelal who has been so far given many hit numbers of Rafi Saab.
Then ‘Abhimaan’ in 1973 where Sachin Da composed the music and Rafi Saab had only one duet with Lata in that film.(Abhimaan ranked 18th at BO)

This is just my estimation and we cannot really judge what would be the circumstances then.
Similar thing must have been happened with other Singers also (and some of these types of songs must have been posted on our blog too).

Take this example of ‘Mehboob Ki Mehendi’ in 1971 where Rafi Saab had 03 solos and one duet, while Kishore Kumar the voice in demand had only one solo. (This movie wasranked 24th at the Box Office)
This was the peak time for Kishore Kumar in those years.

What I can conclude is that Rafi Saab was very much there and he also had sung a good number of songs then, only the films he sung with either performed badly or were in non-Rajesh Khanna movie.

May be, but Rafi Saab continued to give us memorable song till he was there. And I have come across some very good songs from this period up to 1980 which I have noted and which I will share in future.

While this was going through my mind, there was this song in the program ‘Rangoli’ on Doordarshan.

‘Zamaane ki aankhon ne dekha hain yaaron’ …

As I go through this meaningful song the lines repeatedly came back to me and symbolically I start to relate this song with Rafi Saab’s going through that phase at that time ….

This is from the 1972 film ‘Ek Baar Muskura Do’.
Songs sung by Kishore Kumar from this movie were very popular and we are aware of them. Now what about other songs from the movie?

The film had total 07 songs, out which Kishore Kumar had four songs – 03 solos and one duet with Asha Bhonsle. Mukesh had two songs – 01 solo and 01 duet with Asha Bhonsle.

Rafi Saab had one song!!

With O.P.Nayyar being the music director and Rafi Saab singing just one song!
How many such songs are there?
Many of them, I think, have already been posted and we shall be discussing the balance in the days to come;

Till then let us enjoy this composition of O.P.Nayyar Saab, where the beautiful verses are penned by S.H.Bihari and soulfully rendered by Rafi Saab.

Incidentally in the film this song transforms the hero Deb Mukerji to a rich and famous ‘kalaakar/sangeetkar (as he is referred to in the film) – Kumar Saab from a ‘mamooli’ aadmi and gaanewaala Dilip.


Song-Zamaane ki aankhon ne dekha hai yaaron (Ek Baar Muskura Do)(1972) Singer-Rafi, Lyrics-S H Bihari, MD-O P Nayyar
chorus

Lyrics

Nafrat se jinhe tum dekhte ho
tum maarte ho jinko thokar
kya un pe guzarti hai dekho
ek baar kabhi ghaayal ho kar

zamaane ki aankhon ne dekha hai yaaron
zamaane ki aankhon ne dekha hai yaaron
sadaa apni duniya mein aisa nazaaraa
kabhi unko phoolon se pooja hai sabne
kabhi unko phoolon se pooja hai sabne
kabhi jinko logon ne
patthar se maara
zamaane ki aankhon ne dekha hain yaaron

pise na jahaan tak patthar pe mehendi
kisi bhi tarah rang laati nahin hain
hazaaron jagah thokaren kha na le jab tak
koyee zindagi muskuraati nahin hai
bina khud mare kisko jannat mili hai
bina khud mare kisko jannat mili hai
bina dukh sahe kisne
jeewan sanwaaraa
zamaane ki aankhon ne dekha hai yaaron

bhanwar se jo ghabra ke peechhe hate hain
dubo di hai maujon ne unki hi naiyaa
dubo di hai maujon ne unki hi naiyaa
jo toofaan se takra ke aage badhe hain
jo toofaan se takra ke aage badhe hain
bina koyee maanjhi bina hi khivaiyya
kabhi na kabhi to kahin na kahin par
kabhi na kabhi to kahin na kahin par
hamesha hi unko
milaa hai kinaaraa
zamaane ki aankhon ne dekha hain yaaron

yahaan aadmi ko sabak dosti ka
sikhaate huye jo lahu me nahaaya
maseehaa banaa aur Gaandhi banaa wo
hazaaron dilon mein yahaan ghar banaaya
unhi ki bani hai yahaan yaadgaarein
unhi ki bani hai yahaan yaadgaarein
unhi ka jahaan mein
chamka sitaaraa
zamaane ki aankhon ne dekha hai yaaron

————————————————————
Devnagari Script Lyrics (Provided by Avinash Scrapwala)
———————————-
नफरत से जिन्हें तुम देखते हो
तुम मारते हो जिनको ठोकर
क्या उन पे गुज़रती हैं देखो
एक बार कभी घायल हो कर

ज़माने क़ी आँखों ने देखा हैं यारों
ज़माने क़ी आँखों ने देखा हैं यारों
सदा अपनी दुनिया में ऐसा नज़ारा
कभी उनको फूलों से पूजा है सबने
कभी उनको फूलों से पूजा है सबने
कभी जिनको लोगों ने
पत्थर से मारा
ज़माने क़ी आँखों ने देखा हैं यारों

पिसे न जहां तक पत्थर पे मेहँदी
किसी भी तरह रंग लाती नहीं हैं
हज़ारों जगह ठोकरें खा न ले जब
कोई जिंदगी मुस्कुराती नहीं हैं
बिना खुद मरे किसको जन्नत मिली हैं
बिना खुद मरे किसको जन्नत मिली हैं
बिना खुद सहे किसने
जीवन सँवारा
ज़माने क़ी आँखों ने देखा हैं यारों

भंवर से जो घबरा के पीछे हटे हैं
डुबो दी हैं मौजों ने उनकी ही नैय्या
डुबो दी हैं मौजों ने उनकी ही नैय्या
जो तूफ़ान से टकरा के आगे बढे हैं
जो तूफ़ान से टकरा के आगे बढे हैं
बिना कोई मांझी बिना ही खिवैय्या
कभी न कभी तो कहीं न कहीं पर
कभी न कभी तो कहीं न कहीं पर
हमेशा ही उनको
मिला है किनारा
ज़माने क़ी आँखों ने देखा हैं यारों

यहाँ आदमी कों सबक दोस्ती का
सिखाते हुए जो लहू में नहाया
मसीहा बना और गांधी बना वो
हज़ारों दिलों में यहाँ घर बनाया
उन्ही क़ी बनी हैं यहाँ यादगारें
उन्ही क़ी बनी हैं यहाँ यादगारें
उन्ही का जहाँ में
चमका सितारा
ज़माने क़ी आँखों ने देखा हैं यारों


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.

GEMS FROM THE MIGRATORS…song no. 5
—————————————

So far, I have done 16 series here. This is the 17th series. Writing for a series is not an easy job.It not only requires lot of spade work,but also requires a continuous flow,avoiding a long gap between 2 posts,lest the tempo is lost. When I start a series,I am always in lot of tension till it is completed successfully. Every series is a new beginning for me. In spite of all this (and the ensuing allegations of ” neglect ” from the family ) I enjoy doing this work. There are many Blogs on internet which do posts on theme like ” Cycle songs”, Motor songs” or Sawan songs etc. I have always felt that Atul ji’s Blog is not an ordinary one and it must have real specially made exclusive topics for series I could do these posts,because Atul ji has always helped me with the Lyrics and has encouraged me always. Thanks Atul ji.

Talking about Partition and Migration of composers, many MDs left some films half complete and later on other composers had to do the balance songs. Some of the films they did here remained unreleased and few were released much later,after they migrated. However most composers were diligent and completed their work before migrating..

Today we will talk about ” Babaji ” or GUHLAM AHMED CHISTI aka G.A.Chisti. he was known as babaji in the industry because of his simple and good nature.However,at the end of his life,he lived a life of a Fakir.

Born in 1905 in a village Gana Chor, near Jallundhar, Punjab, he was music oriented from childhood. He met Agha Hashr Kashmiri, who employed him as assistant at Rs.50 p.m. Chisti learnt music and writing from him ( he is believed to have written 12 film songs, later in his life). After Agha’s death, Chisti joined H.M.V. and recorded many NFS of Jaddan bai and Amirbai Karnataki. As a composer, his first 2 films were Punjabi-Deena duniya-36 and Sohni Mahiwal-38. His first hindi film was Raavi Talkies’,Punjab’s ” Paap ki duniya’-39. Then he went to Calcutta and worked as assistant to R.C.Boral for some time.

Famous producer/Director R C Talwar had good relations with Chisti and Chisti had composed music fro most of his films. After ‘Pardesi Dhola’-41(Punjabi), Talwar’s first hindi film was ” Khamoshi’-42. Then came Talwar’s Manchali-43,Shukriya-44 and Albeli-45. he also composed music for Kidar Sharma’s ‘Kaliyan’-44
One of the songs of film ‘Shukriya’-44,” Nainon ke teer” sung by Sunder was banned by Govt.,due to its vulgar lyrics.(This song is posted on this Blog). His other films were Zid,Yeh hai zindagi and jhoothi kasme. Chisti decided to migrate to Pakistan and left in 1949. films like ‘Do Baten’-49 (completed by K P Sen),Nai Bhabhi-50 and Jawani ki aag-51 (completed by Harbux singh) were released after his departure.

When Chishti went to Pakistan, he was welcomed there with open arms. He got many films. He became one of the topmost composers of independent Pakistan, becoming the First to cross the mark of 100 films-he composed music for 157 films, about 50 Urdu and the rest Punjabi among them. He was known as Babaji. After retirement,he lived a life of a Fakir. He died on 25-12-1995 at Lahore.

One of his films,” Sassi”- 40s ,remained incomplete in India, but he used the tune and song ” Na yeh chand hoga,na taare rahenge” in a film in Pakistan -named ‘Sassi’-in 1954. At the same time Hemant kumar too used this song/tune in his film Shart-54. We do not know who copied whom. Babaji was also credited with introducing a 9 year old Baby Noorjehan in a stage show in Lahore. he gave singing opportunities to many new singers of Pakistan and many of them became famous singers. When Pakistan won the Cricket World Cup in 1992, Babaji composed one song in honour of the team. ( Thanks to Shri Harish Raghuvanshi ji.)

Today’s song is from the film,” Khamoshi”-42 made by Talwar Production. R.C. or Raghbeer chand Talwar was born in Telgang in western Punjab(now in Pakistan),on 27-4-1910. He established Talwar productions in 1941 and made films like Khamoshi,Manchali,Albeli,Khiladi,Sangdil,Ilzam,Rukhsana.Mem sahib,Ek dil sau afsane and Naya kanoon-65.

The cast of film Khamoshi was Ramola, Gyani, Shyamsundar, Ramdulari, Sunder Singh, Amarnath etc.

Actress Ramola (real name- Rachel Cohen) was born in a Jew family in 1917. Her father Hayam Cohem was a school Teacher. later they shifted to Calcutta where she completed her matriculation and joined films. her first film was ‘ Graher fer’-38,a Bangla film. She did few small roles and then came ‘Khazanchi’-41 from Pancholi of Lahore. This changed her career and she became a popular actress. She did films like Masoom,Khamoshi manchali..almost 30 films.Initially,Ramola was a small actress.It was Jagdish Sethi who introduced her to director/lyricist/dialogue writer Kidar Sharma.

According to Kidar Sharma,
“She was smart and a charming young lady. Her only drawback was her height. She was not tall, but she had lofty ambitions. One day she came to see me and I promised I would personally take her to the director of her choice. She said, “I would like to be introduced to Mr. Nitin Bose, and no one else.” I took her to Mr. Bose, and was sure that her charm and talent would impress him.

Mr. Bose scanned her, from top to toe, while I praised her talent and her choice of a director, like Nitin Bose. After a long silence, Mr. Bose addressed me and said, “When you brought her to me, why did you forget to bring some bricks for her to stand on?” Poor Romola was hurt and heart-broken by this great director’s caustic remark. She quietly said, “Goodbye” and walked away from his office.

I followed her and found that she was in tears. ‘I was moved by the plight of a struggling youngster having high hopes, being ridiculed for something which nature was responsible for. I knew what it felt like to be ridiculed. I had experienced it often enough. I escorted her to the tram junction and there she bid me goodbye. To encourage her, I said, “Please, Romola, don’t be heart-broken. One day, when I become a director, you will be my first heroine, and we will prove to Mr. Bose and the world, what a great star you are.” Romola laughed and said,- “Poor Mr. Kidarnath, the dialogue-writer will never be a director and I will never be a heroine.” So saying, she jumped into the tram.”

However, Kidar Sharma kept his promise and cast her in his first film as director Aulad / Dil Hi Tou Hai (1939). Aulad/Dil Hi To hai was a down-to-earth story of a middle-class father, who had sacrificed all his life to educate his son and is darling daughter, hoping that they would be worthy children to the society and to the family. Little did the old man know that the generation gap would present a different, horrifying reality, which would destroy him completely. The modern college Miss, who destroys the dreams of her old father, the aged struggling middleclass man, was played by Ramola.

After the success of the film, Ramola got romantically involved with R.C. Talwar, Kidar Sharma’s assistant who later became a director in his own right. According to Kidar Sharma, “R.C. Talwar was a classmate and friend so I ignored his relationship with Ramola.”

Later Ramola appeared in many films including Qaidi, Khazanchi, Khamoshi, Swan Aya Re, Rim Jhim etc. After the arrival of new heroines including Madhubala, Nargis, Meena Kumari etc, Ramola’s career got eclipsed and she bid farewell to her film career. Her last 3 films Actor, Jawani Ki Aag and Stage were released in 1951.” (Thanks to Cineplot).

The lyricist of Khamoshi was Himmatrai Sharma who was Kidar Sharma’s youger brother. he was one of the 3 surviving siblings out of 10. They had a sister called Guro. Though Himmatrai wrote lyrics for few films,likeKhamoshi,Jogan,Shokhiyan,Chhora Chhori,Jaldeep etc,he was a famous Urdu Poet in his own right. His 2 books, “Mian Azad filmi duniya mein” and “Mian Azad Siyasat ke maidan mein” were very famous. These were written as a sequel to original book “Mian Azad” by Pt.Ratan nath Sarashar.

Today’s song is sung by Ramola and Sunder Singh. he is the same comedian Sunder, who was a leading man in many early films. Born in Sialkot in Punjab (now in Pakistan), his first film was Veer kesari-1938. After the film Shukriya-44 he shifted to comedy roles and was popular in several films in the 50s. He stopped singing after 1947.

Let us now enjoy this light hearted comedy song from “Khaamoshi” which is composed by Babaji G.A.Chisti.


Song-Chaandni hai mausam e barsaat hai (Khaamoshi)(1942) Singers-Ramola, Sundar, Lyrics-Himmatrai Sharma, MD-G A Chishti

Lyrics

chaandni hai
chaandni hai
mausam e barsaat hai
chaandni hai
mausam e barsaat hai
aao dear
aao dear
kyaa suhaani raat hai
aao dear
kyaa suhaani raat hai

tujhse milne ke liye
tujhse milne ke liye
hoon
beqaraar
aao seene se laga lo ek baar
aao seene se laga lo ek baar

mujhko seene se lagaate kyun nahin
mujhko seene se lagaate kyun nahin
haal e dil apna sunaate kyun nahin
haal e dil apna sunaate kyun nahin

kal to kehte thhe milenge raat ko
kal to kehte thhe milenge raat ko
ab hua kya hai tere jazbaat ko
ab hua kya hai tere jazbaat ko

haal e dil mujhse kaha jaata nahin
haal e dil mujhse kaha jaata nahin
bin kahe
mujhse raha jaata nahin
jaaneman ab lut chuki hai dil ki ship
jaaneman ab lut chuki hai dil ki ship
bhasm kar baithha hoon main
college ki fees
is museebat se chhuda sakti ho tum
is museebat se chhuda sakti ho tum
mujhko aafat se bacha sakti ho tum
mujhko aafat se bacha sakti ho tum

bhool jaao
chhod do is baat ko
bhool jaao
chhod do is baat ko
cheerio
phir kal milenge raat ko o


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.

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Atul Song-A-Day 10K Song Milestone Celebrations –50
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Recently, we were introducing the contributors of the blog in the run up to the 10,000th song. These introductions turned out to be a big hit with the readers of the blog. Some regulars (who have joined in late) specifically requested for the introduction of some of the contributors who were not introduced till then.

The 10,000th song has been posted and most introductions have been done and dusted, with some of the introductions getting posted after the 10,000th post.

One introduction is still not yet done, though. The regulars will know whose introduction it is. Sudhir Kapur ji is not yet formally introduced as part of the 10k celebrations. He has contributed so much to the blog and I have so much to say about him that I had to keep defering this introduction as I kept remembering more and more things to say about him.

So, here it is finally – an introduction to Sudhir Kapur, one of the major pillars of the blog.

Sudhir Kapur made his first comment in the writeup of the song Duniya mein logon ko dhokha kabhi ho jaata hai (Apna Desh)(1972). His comments, made on 18 october 2010 made my day. He wrote:

Atul ji,
When I reached this web site some days back, in one of my searches for a song, I was thrilled at finding the treasure trove contained herein. The amount of effort to research, pull together the lyrics, and add the interesting commentary on each song verily reflects your deep love and devotion to this wonderful art form (that sadly has vanished from the Hindi movies in recent decades). Your effort is worth my respect and love, for I am also a devout fan of the music of the early decades when the classical, semi-classical and the melodious was the actual music that formed the life of Hindi movies, (and was not yet called Bollywood).

Your comments in this post, regarding the age and the frame of mind on seeing Hindi movies, jell so well with my own emotions on having seen movies as a child and a teenager, and even now as I see some of these classics again. This post brought back to life all those emotions of my childhood and teenage, and I thank you for that.

I am an avid collector my self, and I have a huge collection (audio in mp3 format) approximating to 15,000 plus songs, compiled from various sources on the net, including conversions from my own huge collection of music cassettes that I have been hoarding since a teenager. I am currently working to compile this collection into a data base complete with all info about each song, and I am about 30% complete with this task.

Web sites like yours are an encouragement, a hope, and a vision that this wonderful legacy will not be lost to oblivion.

With heartfelt thanks for your efforts, and the love for this music that shines through it, and a warm emotional handshake in thought. Please let me know if I can be of any help with your research, I would be delighted to contribute.

Sincere and appreciative regards
Sudhir
(New Delhi, India)

My reply was

Thanks a lot for your words of encouragements, Mr Sudhir. As you are an avid collector of songs, of course you can be of great use to us while we look for rare songs here.

In the beginning, he offered comments on the songs being posted in the blog. It was after six months that he began to send lyrics in the blog. The first lyrics sent by him was for the song parwaanon se preet seekh len (Bilwamangal)(1954) which appeared on the blog on 1 february 2011.

In a couple of months time, he turned a guest poster as well from April 2011.

From may 2011, a major exercise was undertaken in the blog, when it was decided to post all the K L Saigal songs that were available. We began to discuss one K L Saigal song daily like how SLBC discusses one K L Saigal song daily in their “puraani filmon ke geet” programme. This led to an unofficial series of articles on K L Saigal, beginning from end of may 2014 and it ended on 18 september 2011 when the last available K L Saigal song was discussed. The songs in this series were discussed by me as well as by him.

It was during this series that we got the first glimpse of Sudhir ji’s prowess in translating complex Urdu words and phrases into easily understandable terms for the benefit of non Urdu speakers (and that included most of Hindi speakers as well) :) His articles, full with translations, interpretations of the lyrics, research on the genesis of the songs etc were the stuff that can earn people PhD in many Universities. Many complex and rare K L Saigal songs became accessible and understandable to lay music lovers for the first time thanks to Sudhir ji’s efforts.

Those four months of 2011 were heady days for the blog when I would wait for a K L Saigal writeup in my inbox in the morning which would be prepared by Sudhir ji by literarily burning midnight oil, which would then get published first thing in the morning. In a matter of four months, all the K L Saigal songs got covered and then Sudhir ji as well as I began to suffer from withdrawal symptoms for some time because we began to miss those days of working with a missionary zeal, attempting to meet our daily targets. :) Here is an account of what it took to produce the series of K L Saigal songs, in the words of Sudhir ji.

Greta (Memsaab), in her comments to one of these articles mentioned that she was preserving the articles of Sudhir ji as they were a big help for her in her bid to learn Hindi/ Urdu. With her inimitable sense of humour she mentioned that she particularly enjoyed learning the colourful Urdu words meant to describe the act of drinking wine. :)

It was in March 2012 that I found myself visiting Delhi for a two days meeting there on 15 and 16 march. I saw a golden opportunity to meet Sudhir ji and I e mailed him just before I was to embark on my journey. I immediately received the reply in which Sudhir ji welcomed me to Delhi and asked about my travel plans.

I attended my meeting throughout the day on 15 march and it was decided in consultation with Sudhir ji that I would meet up with him in the evening. The meeting was over and all the participants were invited to dinner at a Delhi hotel, but I was obviously not interested in that. I have much better things to do during that time, I told everyone who was interested in listening.

I informed my address to Sudhir ji and he said that he knew the place and he would be there in 15 minutes time.

I was waiting in a hired taxi which was driven by a young driver interested in music. I had told him about my music site and I informed him that I was waiting for a likeminded music lover who was arriving to meet me. After 15 minutes I looked out but could not find any vehicle that may have arrived. I asked the driver to go and find out. He came and reported that he could only see one vehicle located some 30 metres away and could that be the vehicle of my visitor ?

I went towards the vehicle and found a gentleman coming out of the vehicle. I tend to introduce myself using my initials rather than the first name and that is what I instinctly did, but then realised that I am not known to bloggers by my initials but by my first name and then I told him that I was Atul.

Sudhir ji, in his article on our first meeting has mentioned that

I simply walked over to him and hugged him. I am sure he must have been taken by surprise, because for a moment I could feel he did not know how to respond. :) :)

I will not say that I was caught unawares. Come to think of it, it is the most natural and satisfying action to perform when you meet someone for the first time whom you have known for quite some time. I was subjected to similar hugs at the hands of Asterix and Raja when they had come to meet me on october 2010. How else do you react on such occasions. :)

We read so many horror stories of people who pose as something different online and they turn out to be something entirely different in flesh. But like in case of Raja and asterix, I found Sudhir ji to be exactly what I had visualised him to be based on my earlier online interactions with him. So that way, all the music lovers we have in this blog are WYTIWYG (what you think is what you get) compliant. :)

All the music lovers that I have met so far are kind , generous, knowledgeable, unassuming- in short persons you immediately feel comfortable with, and Sudhir ji fitted this bill perfectly.

Without losing any time. we got talking as if catching up on lost time making use of every minute while he drove towards his residence.

He lives in a residential colony and I was vaguely aware of having read about this colony sometime in the distant past. When I later checked up, I realised that I had read about this colony in Harivansh Rai Bachchan’s autobiography. Harivanshrai Bachchan had mentioned that he was allotted a plot in this New Delhi colony meant for journalists but he was unable to build a home on this land. Much later, when his son Amitabh Bachchan became a movie star, his financial woes were over for all times and a house was finally constructed on this plot. This house is known as Amitabh Bachchan’s house among the residents of the colony now, though neither he nor his family members have ever stayed in this residence.

Sudhir ji’s late father was a journalist in the Hindustan Times group and that is how he came to live in this colony, which was originally meant to be a colony for journalists.

Sudhir ji lives on the first floor of his two storey residence which is full of music and movie related items, viz CD, DVD, records, cassettes, tapes, books, equipments to convert music and video from one format to other etc etc. All the stuff is neatly arranged and he can quickly get you any item that you are looking for. Such vast and systematically organised collection is something that is to be seen to be believed. Personally I can only dream to be this organised.

He keeps adding to his collection and he continously receives new stock from various sources.

Almost every music related publication is available with him. I saw books on Kishore Kumar, Hemant Kumar etc that had full details, including the list of all songs sung by these artists in all the languages. The venerable HFGK (all the volumes) are also available, of course. Moreover, he had hosted Harmandir Singh Hamraj and Nalin Shah just a few months back and he had a treasure of invaluable information about the experiences of Hamraj ji during his arduous attempts to collect information from various sources.

We briefly got down to the ground floor at dinner time. Sudhir ji’s mother stays at the ground floor. She was quite amused with the tales of my pets. “A cat peacefully co existing with two dogs ! It must be Ram Rajya at your home !” She exclaimed.

Back on the first floor, we continued discussing matters concerning music. It was approaching midnight when we finally reluctantly called it a day after some six hours and he dropped me back to the place from where he had picked me.

Next day I wrote about my meeting with Sudhir ji in this article. Sudhir ji wrote about this meeting in this article. Both these articles incidentally went rather unnoticed. :)

I have met him several times since then, at approximately three months interval, and the routine would remain same. So one can say that I met him in all seasons, viz. Spring, summer, rain and winter. When I went to meet him in the winter season in january 2013, he made considerable fuss about getting me protected against Delhi’s chilly winter, declaring that I was not protected enough. So he did not rest till I began to resemble an eskimo. ;)

On one occasion, I found him going elsewhere first and not towards his residence with me. We are going to meet AK ji, he explained. We went to the building of a Central Government Ministry, entered the chamber of the top man in the ministry and held a two hours long discussion on music. Just like that ! And it was during this meeting that it was revealed that AK and I were from the same alma mater as far as our engineering studies were concerned. So it was sort of like family members reuniting after years- a staple diet of Manmohan Desai and Nasir Hussain movies. :)

I also got to meet Bakshish Singh, after we were proceeding towards Sudhir ji’s residence after our meeting with Ak ji. Bakshish Singh is a great music lover who has a vast collection of music and movies of all sorts which he carries with him in the form of a 1 TB portable hard disk. He readily shares his collection with interested persons. In fact he leaves his hard disk to interested persons, to be collected later after the interested person has copied whatever he wanted to copy from the disk.

I got to meet AK and Bakshish Singh once more during my subsequent visits to Delhi.

Sudhir ji has developed a vast network of acquintances and that enables him to keep in touch with developments in the HFM field so to say. He is always on the lookout for rare songs as yet unavailable. He keeps telling that a large number of songs are yet to become available online.

As for his interactions with bloggers, he has met/ talked/ interacted with a lot of them. He has met Harmandir Singh Hamraj, Nalin Shah, Surjit Singh, AK, Bakshish Singh etc. Among the contributors of this blog, he has met me, Peevesie and Peevesie’s mom etc. He has talked to Memsaab, Khyati Bhatt, Lalitha etc and has been in online communication with many others, including several contributors of this blog.

Once I received a call from Sudhir Ji. He had a visitor from US and he wanted me to talk to her. Listening to her voice, I could instinctively tell that I was talking to Vijaylaxmi, the legendary SLBC announcer of 1970s and 1980s. To talk to a legendary radio announcer and getting praised by her for the blog was memorable experience for me.

Sudhir ji is a regular participant and organiser of music related programmes, mostly in Delhi. For instance, he actively figured in the organisation of a seminar on the occasion of Hindi Cinema’s 100 year during 2013 where movie historian Mr Nalin Shah gave his presentation.

He, alongwith Shikha Vohra (daughter of Anil Biswas) appeared in a Doordharshan programme dedicated to the memory of Mukesh. Details of this programme is available in this writeup.

Sudhir Ji, alongwith AK ji once met Mubarak Begam and the two were mightily relieved to find out that she was not as bad off as was being made out in the news articles at that time.

Sudhir ji is an active participant in the meetings of Delhi based music lovers. The previous month’s meeting was held at the residence of a neighbour of Sudhir ji and this month’s meeting (that may have taken place by now) was scheduled to be held in Sudhir Ji’s residence. We await a report on this meeting.

Amazingly, for a man of such contacts and networking, Sudhir ji is averse to Facebook and he does not have a facebook account as of now to the best of my knowledge. :)

Two long running series of posts of Sudhir ji in the blog are “Voice of Mukesh” and “Colours of love”. “Voice of Mukesh” series is plugging the gaps for Mukesh songs by discovering as yet unavailable Mukesh songs and also posting as yet undiscussed Mukesh songs. With close to 680 Mukesh songs already discussed, the day is not far off when Mukesh, like his idol K L Saigal will have all his songs covered in the blog.

Sudhir ji recently took my postal address and later enquired whether I had received any parcel. I replied in affirmative. Then he gave me the phone number of the courier company who had arrived at my address on 19th july 2014 only to find me away (I was away at Nagpur on that day). I called up the courier company, took their address and reached there to claim the parcel. I found a huge packet weighing a few tons. I brought it home and unwrapped it. I found that the packet contained five huge volumes of HFGK. It was the idea of Mr Arunkumar Deshmukh to present me all the volumes of HFGK on the occasion of the blog reaching 10k mark and Sudhir ji was entrusted with the task of sending the gift to me to coincide with the day the blog was supposed to reach the magic five figure mark. Now I have been mentioning HFGK quite often, but owning HFGK is an altogether different feeling and now I feel far more empowered when it comes to discussing HFM, especially from obscure movies. I am extremely thankful to the duo for presenting this invaluable gift to me. I felt like a kid who received a toy that he always wanted, and that feeling has not yet worn out even now. I recall that Khyati Bhatt had felt the same way when she was delived HFGK a few months back by Sudhir Ji. So she would know exactly how I must have felt on receiving the set of HFGK. :)

On this occasion, here is a lovely song from “Shaukeen”(1982). The song is sung by Kishore Kumar. Yogesh is the lyricist. Music is composed by R D Burman. Lyrics of this song were sent to me by Avinash Scrapwala.

With this article, the 50th article in the series, we finally come to a close of our 10k celebration articles. This series was very well received by the readers of this blog. I , as well as other introducers enjoyed introducing the contributors of this blog. Hopefully, this has enabled the readers to get to know the contributors that much more.


Song-Jab bhi koi kangna boley (Shaukeen)(1982) Singer-Kishore Kumar, Lyrics-Yogesh, MD-R D Burman

Lyrics(Provided by Avinash Scrapwala)

Hmm hmm
Hmm hmm hmm

jab bhi koi kangnaa boley
paayal chhanak jaaye ae
soyee soyee dil ki dhadkan
sulag sulag jaaye
karoon jatan laakh magar man
machal machal jaaye
machal machal jaaye
jab bhi koi kangnaa boley
paayal chhanak jaaye ae ae
soyee soyee dil ki dhadkan
sulag sulag jaaye
karoon jatan laakh magar man
machal machal jaaye
machal machal jaaye
jab bhi koi kanganaa boley

chhalak gaye rang jahaan par
ulajh gaye nainaa re nainaa
ulajh gaye nainaa
chhalak gaye rang jahaan par
ulajh gaye nainaa re nainaa
ulajh gaye nainaa
paaye nahin man banjaaraa
kahin bhi ye chainaa re chainaa
kahin bhi ye chainaa
mere man ki pyaas adhoori
mujhe bhatkaaye
jab bhi koi kangnaa boley
paayal chhanak jaaye ae ae
jab bhi koi kangnaa boley

kali kali jhoome re bhanwraaa
agan pe jal jaaye patangaa
agan pe jal jaaye
kali kali jhoome re bhanwraaa
agan pe jal jaaye patangaa
agan pe jal jaaye
chandaa ko chakor nihaare
isi mein sukh paaye re paaye ae
isi mein sukh paaye
jeevan se ye ras ka bandhan
toda nahin jaaye ae
jab bhi koi kangnaa boley
paayal chhanak jaaye ae ae
soyee soyee dil ki dhadkan
sulag sulag jaaye
karoon jatan laakh magar man
machal machal jaaye
machal machal jaaye
jab bhi koi kangnaa boley


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.

GEMS FROM THE MIGRATORS…Song No. 4
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When I decided to start this series and my first post appeared here, I had anticipated that there will be several comments from learned readers, who were more knowledgeable than me about the details of Partition and the artistes involved. True to my guess there were many comments on my Fb page immediately. Comments were from people like Ummer Siddique ji, Khawaja Irfan Anwar ji and Dr.Surjit Singh ji. Ummer Siddique ji runs the famous Blog CINEPLOT.

Besides appreciating the post, they have also pointed out certain additions and alterations in the facts mentioned therein.They hav,thankfully, added so much of new information in the comments, that I must thank them heartily.

Oxford Dictionary gives the meaning of the word ” Migrate ” as ‘to move from one place to another’. The Collins Dictionary also gives similar meaning, adding that the migration could be for a job or to live. I have used the word Migration in its simple meaning when people moved from Bombay to Lahore or vice versa. It is well known that many film artistes of those times were initially working in Lahore or belonged to that part of old India, and came to Bombay in search of greener pastures. For example Master Ghulam Haider worked in Lahore from 1934 to 1944 and then came to Bombay. When he left for Pakistan in 1947, it is termed as his Migration. Nissar Bazmi, who was born in Jalgaon area of Khandesh in Bombay Presidency shifted to Pakistan in 1947. This too is Migration.

Partition was truly an injury to both the nations and during that period million lives were lost, property worth billions were looted and destroyed and thousands of families were divided. Post Partition period also saw its impact on contents of films and film making in both countries. All this is described in details in the book ‘Mourning the Nation-Indian cinema in the wake of Partition’ by Bhaskar Sarkar (published by Duke University press-2009). Fortunately,there were few noble souls on both sides to help stabilise matters early.

Today we will talk about Composer RASHEED ABDUL ATRE. he was born in Amritsar in 1919. His father Khushi Mohammed was a well known musician and singer. Rasheed learnt music from Ustad Khan saheb Ashfaq Hussain. Then he went to Calcutta and worked under R.C.Boral. During his stay in Calcutta he is presumed to have composed songs for films “Pardanasheen”-1942 and “Mamta”-1942, under the name R.A.Atra. After coming back to Bombay he joined Jhande Khan and Gobindram in composing songs for “Pagli”-43. He was assistant to composer Amir ali in “Panna”-44. With Pt.Amarnath,he composed songs for “Shirin Farhad”-45. Then came Room No.9-46,Nateeja-47,Paro-47 and Shikayat-48. From 43 to 48 he gave music to 6(confirmed) films. Not much, but then he did not get much time too.

Nateeja was a Muslim social made by Bombay Talkies and he was specially called for it. Nateeja music was his best in India and all its songs became very popular. for Room No 9-46,he worked in Navyug Chitrapat co. where one of the owners was P K Atre, a noted Marathi writer and Dramatist. P K Atre was ,of course a Hindu,but it was a coincidence.

After Partition Atre went to Pakistan. He first served Radio Pakistan, Rawalpindi and then at Lahore. He prospered in Pakistan and gave music in 54 Urdu and Punjabi films. He was awrded the coveted Nigar Award 3 times in a row. He died on 18-12-1967,at the age of only 48 years. The famous Marching song of Pakistan ” Allah o Akbar ” was composed by Rasheed Atre. (Thanks to shri Harish Raghuvanshi ji for information).

Film Nateeja was made by Bombay Talkies and it was directed by Najam Naqvi. The Lyricist was Nakshab Jarachavi and the cast consisted of Yaqub, Shameem, Rehana, Majeed, Maya Devi, Khaleel Aftab etc. All these named persons left for Pakistan later at different times.

Director Najam Naqvi’s full name was Najmul Hasan Naqvi. He was born on 11-4-1913 at Moradabad-UP. When he was working in Bombay Talkies as a continuity man and as a general assistant and an actor (Achhut kanya-36),the Hero of the film ‘Jawani ki Hawa’-35-Najmul Hasan (an extremely handsome man) eloped with Devika Rani, Heroine of the film and wife of the owner Himanshu Rai. Due to similar names, this Naqvi was embarrassed and to avoid Same name Confusion, he changed his name to a shorter verios as Najam Naqvi.

He worked in the Direction department and his first film as an independent Director was PUNARMILAN-1940.

He went on directing films like Raja Rani-42, Tasveer-43, Naya Tarana-43, Panna-44, Prithwiraj Sanyogita-46, Nateeja-47, Parayee Aag-48, Actress-48, Nirdosh-50, Rangili-52 and last film-Samrat-54.

In 1955, Najam Naqvi migrated to Pakistan and directed 7 films there from Kunwari Bewa-56 to Payal Ki Jhankaar-66. Najam Naqvi died on 26-1-82 at Lahore. Due to same name, many sites including IMDB mix up the filmography of these two artistes.

Here is the story of film ‘ Nateeja ‘-1947-

This film was built upon the principle that, the impressions and the environments of childhood mould the life and character of the man. The life and happiness of many an individual have been wrecked on account of the follies of their parents. The so-called pleasant pastimes of the rich father have so often gone to make his son even a criminal. Born in a once rich and high society family of a Nawabs. Aslam (Yaqub) the little kid often witnessed the orgies of gambling, cockfights and dancing girl parties organised by his father. Aslam, the man revelled in such gambling, visited singing girls and had to resort to crooked ways and cheating to make his both ends meet.

He was enamoured by Zohra,a professional singing girl, the latter caring for nothing but the money and jewels the former could bring for her. Aslam succeeded in impressing upon an erstwhile rich Nawab that he was conducting a big business, and the Nawab gave his daughter Suraiyya in marriage to Aslam. The wife was soon disillusioned, because Aslam robbed her of all her ornaments to bestow them on Zohra. Suraiyya’s life was all misery, as Aslam neither cared for her nor for their first born, Salim, and so her father took her and her son to his house.

One day Aslam came across a little boy playing on the road. He lifted him up and went to a jewellers shop. leaving the child there, under the excuse of showing the ornaments to his womenfolk in purdah, waiting in a tonga outside the shop. He decamped with the ornaments. The jeweller took home the child and as he had no issue, he brought him up as his own son and called him Mehmud.

Some years later, on the death of her father, Suraiyya, with her little niece Shabana shifted to a new place, which happened to be adjacent to the jeweller’s residence. By that time Mehmud had grown up into a handsome youth, so much so that he could not be recognised even by his mother. Mehmud and Shabana loved each other, and Suraiyya was about to propose Shabhana’s marriage to Mehmud, when his adopted mother gave out that he was an orphan of unknown parentage.

Mehmud abruptly left the jewellers place and joined a film company in Bombay, where the heroine, was so much infatuated with this handsome youth, that she even spurred and insulted her paramour. The heroine was none else than Zohra and her paramour was Aslam. Neither Aslam knew that the other youth was his son, nor did Mehmud know that the other man was his father. Aslam had satrted practice as a hypnotist, and Suraiyya, seeing an advertisement with his photograph in a paper learnt that he was in Bombay, and so she persuaded her neighbour, the jeweller, to accompany her to Bombay to reclaim her husband. The jeweller did the trick. He once accosted Aslam on the road, and under the pretext of taking him to a new singing girl, he took him to the place where Suraiyya had put up. On seeing Suraiyya, Aslam was astonished. On the other front, the rivalry between Aslam and Mehmud about Zohra had grown into a desperate situation, and very sensational development takes place.

Aslam asks Suraiya about their son Salim and she tells him that he was lost. Listening to this talk,the jeweller realises that Mehmood is no one but Saleem. Suraiyya,Aslam and the jeweller go to the company where Mehmud’s shooting is going on. Zohra is also there. Aslam and the jeweller tell Mehmud that he is son of Aslam. Aslam is now ashamed of what he did in the past and stays with Suraiya. Mehmud is married to Shabana. Zohra goes away and thus the end is happy.

Let us now enjoy a song by Zohrabai Ambalawali, from this film. This had become very popular in those day.


Song-Ho mori baali umariya saanwariya (Nateeja)(1947) Singer-Zohrabai Ambalewaali, Lyrics-Nakshab Jarachavi, MD-Rasheed Atre

Lyrics

Ho o o
moree baalee umariya
ho o o
moree baalee umariya
saanwariya
saanwariya
dekho maaro naa
o dekho maaro naa tirchhee najariya
dekho maaro naa tirchhee najariya
najariya
saanwariya
saanwariya
haay baalee umariya
ho o o
moree baalee umariya

tore nainan mein jaadu hai o bekhabar
ho tore nainan mein jaadu hai o bekhabar
yahee darr hai ke dil mein naa kar jaaye ghar
haan yahee darr hai ke dil mein
naa kar jaaye ghar
rahe apnee naa mohe khabariya
rahe apnee naa mohe khabariya
O sanwariya
dekho maaro naa
O dekho maro naa tirchhi najariya
najariya
sanwariya
sanwariya
haay baalee umariya
ho o moree baalee umariya

miley naina se naina
jiya kho gaya
haay jiya kho gaya
miley naina se naina
jiya kho gaya
haay jiya kho gaya
yeh aankhon hee aankhon mein
kya
ho gaya
ho gaya
jaane aankhon hee aankhon mein
kya ho gaya
more baanke sajeele sanwariya
more baanke sajeele sanwariya
O sanwariya,
dekho maaro naa
O dekho maaro naa tirchhi najariya
najariya
saanwariya
saanwariya,
haay baalee umariya
ho o moree baalee umariya


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.

“Ek Teri Nishaani” (1949) was directed by B K Sagar for Kwatra Arts Productions. The movie had Meena, Trilok Kapoor, Azmal, Zahoor Shah, Johar, Maruti, Urvashi, Tara Sinha, Shyama, Usha Rani, cuckoo, Om Prakash etc in it.
Read more on this topic…


This article is written by Aparna H M, 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.

My first post was about a girl singing about how she is feeling after falling in love. The next post was about the feelings of a girl about to be married. This one is about a girl who is being teased for her strange behavior after falling in love with the eternal one, “Krishna”. Hindi films are mostly about love in different settings, situations. Some probably think that this limits the scope of our films. But I say, why not? We should celebrate the strongest of emotions which is love, isn’t it? If all people start loving each other and there is no hatred …… This belongs to an utopian world, like my favorite song “aa chal ke tujhe”. If only this is possible….
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 10000 songs post by now.

Total number of songs discussed

10040

Number of movies (All songs covered)

483

Total visits so far

  • 5,732,128 hits

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