atul's bollywood song a day- with full lyrics

Archive for the ‘Guest posts’ Category


This article is written by Shekhar Gupta, 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.

There are only a handful of Bollywood numbers from movies made after mid-1960s that I really long to hear. Lest I may be misunderstood, this is a statement of personal preference by this music-illiterate, not necessarily an adverse commentary on the later years’ work.

One such post mid-1960s number is Anand Bakshi’s “Tum aaye to aaya mujhe yaad, gali mein aaj chhand chaand nikla” from the Mahesh Bhatt written-and-directed Zakhm (1998) which has Alka Yagnik crooning at her very best in the Lata idiom under the baton of M.M. Kreem.

“Zakhm” is about a Muslim girl (played ever so superbly by Pooja Bhatt – her screen name never becomes clear in the movie). She is in love with a Hindu film producer Raman Desai (played by Nagarjuna) and married to Raman secretly because of their different faith. Their marriage remains unaccepted by Raman’s domineering mother and he is pressurized by her to marry (again) with another girl of her choice – Sonia (Sonali Bendre). While Raman still financially supports his Muslim wife, he visits her only occasionally as she struggles to raise her young son Ajay (played by Kunal Khemu), and later another son Anand (played by Akshay Anand) born just prior to his father’s death in a car crash.

Prelude to this soulful song is young Ajay cajoling his father to visit their home – which Raman finally does. As Ajay notices his father arriving in his car downstairs, he runs to put on a gramophone record which plays this number: “Tum aaye to aaya mujhe yaad, gali men aaj chhand chaand nikla”. His mother, dishevelled doing household chores, is puzzled as Ajay gestures towards the door. She opens the door only to see the love of her life Raman walking in.

Her emotions – first surprise, then muted joy at his sight, and finally tears welling up in her eyes telling silently the tale of the pain of loneliness, social rejection and her struggles – all play on her face; each one of which Pooja Bhatt has wordlessly portrayed on her face as exquisitely as any leading lady of the cellulite before or since her. Then, she hastily withdraws to collect herself. In the meantime, Raman takes off his shoes to show to Ajay that this time it is not a fleeting visit. After gathering herself, his wife shortly reappears before her husband to welcome him coyly, again wordlessly, but her pent-up anguish vents in her tears. The couple retreats to privacy and Ajay gets out of their way as this poignantly romantic number continues to sonorously enunciate Pooja’s emotions in the background … all of which Alka Yagnik has vocalized as soulfully as Pooja Bhatt has portrayed it movingly. Alka’s emphasized enunciation of “chaand” when repeating the line “gali men aaj chaand nikala” is simply breath-taking … with that, the allegory leaves no doubt as to who is Pooja’s “chaand”!

To complete the story, her struggles only intensify after her husband’s death in the car accident, leaving her to raise her two sons – Ajay (played by Kunal Khemu as a young boy, and Ajay Devgan as his grown-up self) and Anand (played by Akshay Anand) on her own. The fact that she has children with a Hindu man forces her to hide her faith and live her life as a Hindu lady – even in front of her young son Ajay. But Ajay realises his mother is Muslim when, in the shock at her husband’s sudden death, she breaks out in Koranic verses. At that point she makes him promise to bury her according to her faith upon her death, for only through a proper burial would she be able to reunite with her lover and husband Raman in heaven.

When the grown-up Ajay’s mother dies of burns much later, he prepares to bury her in accordance with the Muslim rites as per her wishes. By this time Sonia too has learnt about her mother-in-law’s gross injustice towards Raman’s real love and first wife … and lends her support to a determined Ajay. But Ajay’s task is impeded by the fundamentalist leader Subodh Bhai (Ashutosh Rana) who is hell-bent to exploit their private tragedy as a Hindu-Muslim issue for his political end. He incites a Hindu youth mob, including Ajay’s brother Anand, a youth leader by then, to prevent Ajay from burying his mother. When Anand finally realizes Subodh Bhai’s real intentions, he stands-up for his brother to make Subodh Bahi back out. Anand then helps Ajay bury their mother as per the Muslim tradition as she had wished … and she is shown to finally reunite with Raman in heaven in the end.


Song-Tum aaye to aaya mujhe yaad gali mein aaj chaand nikla (Zakhm)(1998) Singer-Alka Yagnik, Lyrics-Anand Bakshi, MD-M M Kreem

Lyrics

Tum aaye to aaya mujhe yaad
gali mein aaj chaand nikla
jaane kitne dinon ke baad
gali mein aaj chaand nikla
jaane kitne dinon ke baad
gali mein aaj chaand nikla
gali mein aaj chaand nikla
gali mein aaj chaand nikla
tum aaye to aaya mujhe yaad
gali mein aaj chaand nikla
jaane kitne dinon ke baad
gali mein aaj chaand nikla
jaane kitne dinon ke baad
gali mein aaj chaand nikla
gali mein aaj chaand nikla
gali mein aaj chaand nikla
tum aaye to aaya mujhe yaad
gali mein aaj chaand nikla

ye naina bin kaajal tarsen
baarah maheene baadal barsen
suni rab ne meri fariyaad
suni rab ne meri fariyaad
gali mein aaj chaand nikla
gali mein aaj chaand nikla
gali mein aaj chaand nikla
tum aaye to aaya mujhe yaad
gali mein aaj chhand chaand nikla

aaj ki raat jo main so jaati
khulti aankh subah ho jaati
main to ho jaati bas barbaad
main to ho jaati bas barbaad
gali mein aaj chaand nikla
gali mein aaj chaand nikla
gali mein aaj chaand nikla
jaane kitne dinon ke baad
gali mein aaj chaand nikla

maine tumko aate dekha
apni jaan ko jaate dekha
jaane phir kya hua nahin yaad
jaane phir kya hua nahin yaad
gali mein aaj chaand nikla
gali mein aaj chaand nikla
gali mein aaj chaand nikla
jaane kitne dinon ke baad
gali mein aaj chaand nikla


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.

Songs to Tickle Your Memory – 20
– – – – – – – – – – – – – – – – – –

Just in his early twenties, he was already managing a music school in Lahore.  And HMV had already released a few records of non-film songs composed by him.  In 1944, he was twenty eight, when he headed to Bombay, with aspirations to be a music director in the film industry.

Remembering Hansraj Behl on the anniversary of his passing away (20th May).

He is the creator of such iconic memories like “Mohabbat Zinda Rehti Hai, Mohabbat Mar Nahin Sakti” (‘Changez Khan’,1957); “Le Chala Jidhar Ye Dil Nikal Padey” and “Din Ho Ya Raat Hum Rahen Tere Saath” (both ‘Miss Bombay’, 1956); “Bheega Bheega Pyar Ka Samaa, Bataa De Tujhe Jaana Hain Kahaan” and “Nain Dwaar Se Mann Mein Wo Aa Ke” (both ‘Saawan’,1959); “Bhool Ja Sapne Suhaane” (‘Raajdhani’, 1956); “Kitna Haseen Mera Piya Haaye Allah” (‘Sunehra Jaal’,1966); “Aaye Bhi Akela, Jaaye Bhi Akela” (‘Dost’,1954); “Dil e Nadaan Zamaane Mein” (‘Mast Qalandar’, 1955); “Moti Chugne Gayi Re Hansi Maansarover Teer” (‘Chheen Le Azaadi’,1947); and many more.  He is the creator of the timeless aria of “Jahaan Daal Daal Par Sone Ki Chidiyaan Karti Hain Basera” from the 1965 film ‘Sikander e Azam’.  And he is also the composer of the first and only film song recorded by actress Madhubala in the 1946 film ‘Pujaari’ – “Bhagwaan Mere Gyan Ke Deepak Ko Jalaa De”.

For over three decades, he regaled the movie goers with wonderful music and songs. But for all his career, he remained confined to B grade category of films.  In his active years, he was also the leading music director for Punjabi films, with a handsome number of hits to his credit.

This song from the 1959 film ‘Saawan’ is another of the memory ticklers from days we heard music turning the tuning knobs on a radio.  A wonderful composition – the lyrics are written by Prem Dhawan and the lilting melody is by Hansraj Behl.  On screen, this song is performed by Ameeta, with Bharat Bhushan playing the flute, and from the continuous smiles on his face, appears to be very satisfied being pursued by a dainty damsel.

Aah, the wonderful memories of the years gone by.  Thanks to Prakash ji for his tickler, reminding of the anniversary – his message was timely; delay is from my side.  And yes, the lyrics have also been sent in by him.
See, listen and enjoy.

Song – Kaanha Chhedo Baansuri Kanhaiyya Chhedo Baansuri (Saawan) (1959) Singer – Lata Mangeshkar, Lyrics – Prem Dhawan, MD – Hansraj Behl

Lyrics (Provided by Prakash Chandra ji)

kaanhaa chhedo ba. . .ansuri

kaanhaa chhedo ba. . .ansuri

chhaliyaa 
ooo chhaliyaa
ooo chhaliyaa…aaa

kaanhaa chhedo baansuri
kanhaiyya chhedo baansuri
naache raadhaa baawri jhoom jhoom ke
kaanhaa chhedo baansuri
kanhaiyya chhedo baansuri
naache raadhaa baawri jhoom jhoom ke

sun sun murli ki dhun pyaari
daudi daudi aaun re
sun sun murli ki dhun pyaari
daudi daudi aaun re
tann bhi doley
mann bhi doley
besudh si ho jaaun re
kajraa bhoolaa
gajra bhoolaa
kuchch aissi kho jaaun re
kaanhaa chhedo baansuri
kanhaiyya chhedo baansuri
naache raadhaa baawri jhoom jhoom ke

saat suron ne jaal bichhaayaa
phans gayee meri jaan re
saat suron ne jaal bichhaayaa
phans gayee meri jaan re
cheer kalejaa jaaye phir bhi
meethi laage taan re
ho gayee ghaayal mori paayal
phir bhi naache praan re
kaanhaa chhedo baansuri
kanhaiyya chhedo baansuri
naache raadhaa baawri jhoom jhoom ke

maan bhi jaao lo main haari
ab to na tarsaao jee
maan bhi jaao lo main haari
ab to na tarsaao jee
apne bas mein karke mere
mann ko na tadpaao jee
murli baaje
gori saaje
rasiyaa raas rachaao jee
kaanhaa chhedo baansuri
kanhaiyya chhedo baansuri
naache raadhaa baawri jhoom jhoom ke
kaanhaa chhedo baansuri
kanhaiyya chhedo baansuri
naache raadhaa baawri jhoom jhoom ke
jhoom jhoom ke
naache jhoom jhoom ke
jhoom jhoomke
naache jhoom jhoom ke
hmmm. . . mmmmm. . .
hmmm. . . mmmmmmmm. . .

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

कान्हा  छेड़ो बां॰॰॰सुरी
कान्हा  छेड़ो बां॰॰॰सुरी
छलिया
ओss छलिया
ओss छलिया॰ ॰ ॰ आ॰ ॰

कान्हा छेड़ो बांसुरी
कन्हैय्या छेड़ो बांसुरी
नाचे राधा बावरी झूम झूम के
कान्हा छेड़ो बांसुरी
कन्हैय्या छेड़ो बांसुरी
नाचे राधा बावरी झूम झूम के

सुन सुन मुरली की धुन प्यारी
दौड़ी दौड़ी आऊँ रे
सुन सुन मुरली की धुन प्यारी
दौड़ी दौड़ी आऊँ रे
तन भी डोले
मन भी डोले
बेसुध सी हो जाऊँ रे
कजरा भूला
गजरा भूला
कुछ ऐसी खो जाऊँ रे
कान्हा छेड़ो बांसुरी
कन्हैय्या छेड़ो बांसुरी
नाचे राधा बावरी झूम झूम के

सात सुरों ने जाल बिछाया
फंस गई मेरी जान रे
सात सुरों ने जाल बिछाया
फंस गई मेरी जान रे
चीर कलेजा जाये फिर भी
मीठी लागे तान रे
हो घायल मोरी पायल
फिर भी नाचे प्राण रे
कान्हा छेड़ो बांसुरी
कन्हैय्या छेड़ो बांसुरी
नाचे राधा बावरी झूम झूम के

मान भी जाओ लो मैं हारी
अब तो ना तरसाओ जी
मान भी जाओ लो मैं हारी
अब तो ना तरसाओ जी
अपने बस में करके मेरे
मन को ना तड़पाओ जी
मुरली बाजे
गोरी साजे
रसिया रास रचाओ जी
कान्हा छेड़ो बांसुरी
कन्हैय्या छेड़ो बांसुरी
नाचे राधा बावरी झूम झूम के
कान्हा छेड़ो बांसुरी
कन्हैय्या छेड़ो बांसुरी
नाचे राधा बावरी झूम झूम के
झूम झूम के
नाचे झूम झूम के
झूम झूम के
नाचे झूम झूम के
हम्ममम॰ ॰ ॰ मम्ममममम॰ ॰ ॰
हम्ममम॰ ॰ ॰ मम्ममममम॰ ॰ ॰


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular 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 Voice of Mukesh #65
– – – – – – – – – – – – – –

The film ‘Hanuman Janam’ is a 1954 film.  It is produced by MS Pathak and Durgadas for Rani Productions, Bombay and is directed by Raja Nene.  The cast of actors includes Prem Adeeb, Ranjana, Paro, Miky, Uma Dutt, Kanta Kumari, Raj Adeeb, MS Phatak, Jugnu, Lily Kelkar, Alka, Raj Sehgal, Mohini, Avtar Kishan, Lalit Kapoor, Meera, S Prakash, Meenu, and Chandabai.  The eight songs in this film are written by SP Kalla and the music direction is by Hansraj Behl.

Of the eight songs, we have two songs sung by Mukesh.  In the previous episode of this series, I had posted the first Mukesh song from this film – “Sukh Dukh Ke Donon Paaon Par”.  Today, I present the second song of Mukesh from this film.  This is ‘Bidaai’ song, the traditional song of farewell, that is an expression of a good bye to a new bride, as she prepares to leave her parents’ home to go and permanently settle in a new home, literally starting off a new life.  In the Indian tradition, this moment is an epitome of emotional flow.  And this moment has been captured in many songs in Hindi films.  On this blog itself, we now have 30 songs that belong to this category.

A very interesting side note to this song.  As I checked online, I find couple of uploads of this song.  As I played the first of them, I found that it seems to end abruptly, just close to the end of the third ‘antaraa’ (stanza).  So I tried the other link.  On playing this second one, I found the same issue with the ending of the song.  Quite intrigued, I went back to my own collection and pulled out the version that I have.  Once again, I found the same situation.  As a last resort, I turned to the definitive source of Mukesh’s songs,the  Mukesh Geet Kosh.  But in that also, I find that the lyrics available are exactly as played out in the audio versions that I had already listened to.

One possible explanation is that the song on the original 78 rpm gramophone record suffers from this discrepancy.  The timing of the song is around 3 minutes and 16 seconds or so.  It means that the original recording of the song is somewhat longer, maybe three and a half minutes or more.  That means that the actual song is longer than the capacity of a 78 rpm record.  So the producers of the record would simply have cropped the audio length to fit on the standard length of a 78 rpm record.  Does not happen often but there are a few such instances in which the song is cropped to fit the standard length, and hence, appears to end abruptly, prior to the actual end of the song.  The only way to check for the complete song now is to locate the video of this film. No luck so far, but let us hope.

Meanwhile, let us listen to this little heard song of Mukesh from 1954, and savor the melancholia that is the hallmark of this voice.
Enjoy.


Song – Gori Peehar Chhod Mukh Hamse Mod (Hanuman Janam) (1954) Singer – Mukesh, Lyrics – SP Kalla, MD – Hansraj Behl

Lyrics

gori peehar chhod
mukh humse mod
chali piya ke des chali ho
piya ke des chali ho

maa ki pyaari
raajdulaari
chham chham paaon badhaaye
chham chham paaon badhaaye
tadap tadap kar maa ki mamta
thaam jiya reh jaaye. . .
thaam jiya reh jaaye
reh jaaye
gori peehar chhod
mukh humse mod
chali piya ke des chali ho
piya ke des chali ho

jhar jhar roye
sang saheli. . .
jhar jhar roye
sang saheli
tumko yaad dilaaye
tumko yaad dilaaye
bhool na jaana
o dulhaniya
jaa ke des paraaye
jaa ke des paraaye
chali ho ooo ooo
ooo ooo oooo
gori peehar chhod
mukh humse mod
chali piya ke des chali ho
piya ke des chali ho

nain lajeele
mad se geele
nain lajeele
mad se geele
dekhat roop lubhaaye
dekhat roop lubhaaye
nai naveli
pee kaa aangan
swarg banaane jaaye
swarg banaane jaaye

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

गोरी पीहर छोड़
मुख हमसे मोड़
चली पिया के देस चली हो
पिया के देस चली हो

माँ की प्यारी
राजदुलारी
छम छम पाँव बढ़ाए
छम छम पाँव बढ़ाए
तड़प तड़प कर माँ की ममता
थाम जिया रह जाये
थाम जिया रह जाये
रह जाये
गोरी पीहर छोड़
मुख हमसे मोड़
चली पिया के देस चली हो
पिया के देस चली हो

झर झर रोये
संग सहेली
झर झर रोये
संग सहेली
तुमको याद दिलाये
तुमको याद दिलाये
भूल ना जाना
ओ दुल्हनिया
जा के देस पराये
जा के देस पराये
चली हो ओ ओ
ओ ओ ओ
गोरी पीहर छोड़
मुख हमसे मोड़
चली पिया के देस चली हो
पिया के देस चली हो

नैन लजीले
मद से गीले
नैन लजीले
मद से गीले
देखत रूप लुभाए
देखत रूप लुभाए
नई नवेली
पी का आँगन
स्वर्ग बनाने जाये
स्वर्ग बनाने जाये


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 Wonderful Sounds of 1930s – 7
– – – – – – – – – – – – – – – – – – –

If this voice sounds familiar, that is because we have heard him before on this blog.  The earlier posted song is also a delightful rendition – “Bhar Bhar Ke Jaam Pilaa De Bahaar Aayi” from the film ‘Miss Frontier Mail’ (1936).  The singer is Basheer Ahmed Khan, also known as Basheer Qawwaal.  This song today is from a very obscure and almost unheard film from 1937 – ‘His Highness’.  As I am browsing the songs from 1930s in my collection, I am finding excellent gems that have been unheard of for decades.  Wonderful pieces of music that are excellent compositions of excellent verses.  The obscurity can be gauged from the fact that almost no information is available about the film, or the artists that have contributed to create this, and other such obscure and rare gems.
The verses are written by Sampat Lal Srivastav ‘Anuj’.  Regarding music composition, the Geet Kosh lists two music directors, viz. Lallubhai Nayak and Shankar Rao Vyas.  However, the information about which music director has composed which of the songs, is not available.  I tried to search, but I am unable to locate any information on these artists, from online or other sources.  I request other readers and friends to please add more information about the film and the artists.

The wonderful lines of this song are a heartfelt gratitude for the benefaction of the Prophet Muhammad (PBUH).  The words are an exquisite ode to the support and guardianship that the poet says he has experienced.  The epithet used is that of a ship – the ship of life.  So strong is the conviction in His guardianship, that the expression that comes from the poet’s mind is

chale kyun mori naiyyaa kinaare kinaare

Why should my ship ply only near to the shores
(Let me take on the high seas and the storms
There is nothing to fear
For Muhammad (PBUH) is my protector)

ummeed e ahl e kashti naa-khuda ke hai ishaare par
meri kashti rawaan hai be-khatar tere sahaare par

The hopes of worthiness and sustenance of my ship
Are allied with the beckoning of my Oarsman, my Coxswain
My ship moves without fear and concern
On Your support and guardianship
[Notes:
Ummeed:  Hopes, expectations
Ahl:  Being, of, existence, worth, essence
Ahl e Kashti:  (Sea) worthiness of ship
Naa-khuda:  Boatman, oarsman
Be-khatar:  Without fear or concern of dangers

talaatum ho qiyaamat kaa ke toofaan hashr-saamaan ho
shakistah baadbaan shiraazah e kashti pareshaan ho

Let there be a storm of dashing waves
Akin to the tumult of the day of reckoning
Let the sails of my ship be torn and broken
Let the shape and form of my ship
Be damaged and in disarray
[Notes:
Talaatum:  Great storm (just like a tsunami)
Qiyaamat (Qayaamat):  The day of reckoning, the day this world will be destroyed
Hashr:  (same as Qayaamat above)
Hashr-saamaan: (just like) the day of reckoning
Shikastah (shakistah): Frail, broken
(pronunciation of ‘Shikasta’ as ‘Shakistah’ is probably just a poetic license)
Baadbaan:  Sails of a ship
Shiraazah:  Organization, shape and form, structure
Pareshaan:  In disarray, damaged

wo ghar barbaad ho kaise tu jiska meer saamaan ho
wo kashti garq ho kaise ke tu jiska nigehbaan ho

How will that home ever be devastated
Whose safety is led by You
How will that ship ever be drowned
Whose guardian and watchman is You
[Notes:
Meer:  One who is concerned about safety and security
Garq:  To sink, to drown
Nigahbaan:  Guardian, watchman

meri kashti badhegi aur cheerti seena samandar ka
rawaani zaaiqah ban kar karegi kaam khanjar ka

My ship will blissfully sail on
Cutting through the body of the waves of the sea
Its movement working like a cutting dagger

sitaara auj par hai in dinon mere muqaddar ka
ke qismat se mila hai saath mujhko tujh se rehbar ka

The stars of my destiny
Are at their zenith these days
For it is with great fortune
That my path is led by a guide like You
[Notes:
Auj:  Zenith, summit
Muqaddar:  Destiny
Raahbar:  Guide, one who leads

Listen to and enjoy this remarkable Naat.  And think of all the amazing gems from the early years that are still waiting to be discovered.

Song – Chale Kyun Mori Naiyyaa Kinaare Kinaare (His Highness) (1937) Singer – Basheer Ahmed Khan, Lyrics – Sampat Lal Srivastav ‘Anuj’, MD – Shankar Rao Vyas / Lallubhai Nayak

Lyrics

ummeed e ahl e kashti
naa-khuda ke hai ishaare par
meri kashti rawaan hai be-khatar
tere sahaare par
chale kyun mori naiyyaa kinaare kinaare
chale kyun mori naiyyaa
chale kyun mori naiyyaa
kinaare kinaare
chale kyun mori naiyyaa kinaare kinaare

talaatum ho qiyaamat kaa
ke toofaan hashr-saamaan ho
shakistah baadbaan shiraazah e kashti pareshaan ho
aa haan
wo ghar barbaad ho kaise
tu jiska meer saamaan ho
wo kashti garq ho kaise
ke tu jiska nigahbaan ho
chale kyun mori naiyyaa kinaare kinaare
chale kyun mori naiyyaa
chale kyun mori naiyyaa
kinaare kinaare
chale kyun mori naiyyaa kinaare kinaare

meri kashti badhegi aur
cheerti seena samandar ka
rawaani zaayeka ban kar karegi
kaam khanjar ka
haan haan
sitaara auj par hai in dinon
mere muqaddar ka
ke qismat se mila hai saath mujhko
tujh se raahbar ka
chale kyun mori naiyyaa
chale kyun mori naiyyaa
kinaare kinaare
chale kyun mori naiyyaa kinaare kinaare
haan chale kyun mori naiyyaa kinaare kinaare

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

उम्मीद ए अहल ए कश्ती
नाखुदा के है इशारे पर
मेरी कश्ती रवां है बेखतर
तेरे सहारे पर
चले क्यों मोरी नैय्या किनारे किनारे
चले क्यों मोरी नैय्या
चले क्यों मोरी नैय्या
किनारे किनारे
चले क्यों मोरी नैय्या किनारे किनारे

तलातुम हो क़ियामत का
के तूफां हशर सामां हो
शकिस्ता बादबां शीराज़ा ए कश्ती परेशान हो
आ हाँ
वो घर बर्बाद हो कैसे
तू जिसका मीर सामां हो
वो कश्ती गर्क़ हो कैसे
के तू जिसका निगेहबां हो
चले क्यों मोरी नैय्या किनारे किनारे
चले क्यों मोरी नैय्या
चले क्यों मोरी नैय्या
किनारे किनारे
चले क्यों मोरी नैय्या किनारे किनारे

मेरी कश्ती बढ़ेगी और
चीरती सीना समंदर का
रवानी ज़ाएका बन कर करेगी
काम खंजर का
हाँ हाँ
सितारा औज पर है इन दिनों
मेरे मुक़द्दर का
के क़िस्मत से मिला है साथ मुझको
तुझसे रहबर का
चले क्यों मोरी नैय्या
चले क्यों मोरी नैय्या
किनारे किनारे
चले क्यों मोरी नैय्या किनारे किनारे
हाँ चले क्यों मोरी नैय्या किनारे किनारे


This article is written by Arunkumar Deshmukh, fellow enthusiast of Hindi movie music and 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.

VINTAGE SHAMSHAD BEGUM…Song No. 10…Last song of the series.
——————————————————————–

Today’s song is from the film Mangala-1950. It is a duet of Shamshad Begum and T.A.Moti. This is also the last song of this series.

In this series, we have heard,so far, 9 duets of Shamshad Begum, from her early films in the 40s. From the first film of hers in Bombay (Taqdeer) to her first film in Madras(Mangala), we have heard duets with 9 different singers, featuring Motilal, Surendra, K S Raagi, Ram Kamlani, Anil Biswas, G M Durani, Sulochana Kadam, Lata and Chitalkar and today is the 10th singer T.A.Moti. I wanted to include her duets with S D Batish, Geeta Dutt, Mohd.Rafi and Surinder Kaur, but it was not possible to accomodate them in this series.

Film Mangala-50 was a remake of the Hit Tamil film ‘Mangamma Sapatham-1943′. After the unprecedented foray of Gemini’s Vasan’s hit film Chandralekha-48. Subramaniam Srini Vasan or simply S S Vasan, became aware of the unlimited scope of the Hindi belt market for south-made Hindi films. Vasan was a writer, Editor, producer and Director, but above all, he was a Business Tycoon. He had established the popular Tamil magazine “Anand Vikatan”, and owned Gemini studios, Gemini Laboratories and Gemini distribution circuits. He soon decided to take advantage of the success of Chandralekha and made another Trilingual film . In Tamil it was called “Apoorva sahodarargal”, in Telugu, it was “Apoorva Sahodaralu”, and in Hindi it was called “Nishan”-49. This film too was a great success. Encouraged by this, S S Vasan mad his 1943 Tamil Hit film “Mangamma Sapatham”-43, into a remake in Hindi with the name “Mangala”-50.

Not by coincidence, but by design, the Hero for all these 3 remakes and the originals was Ranjan. (This film was remade in Simhalese as “Mathalan” in 1955 and in Telugu as “Mangamma shapatham”in 1965- featuring N T Ramarao, later the Chief Minister of erstwhile Andhra Pradesh, and Jamuna).

In the early times of Film Industry, very few educated people used to join here. That is why Graduates or Postgraduates used to flaunt their degrees with pride- like Moti, B.A.-the lyricist, or Kavi Pradeep’s pseudoname- Miss Kamal B.A. or even singer Surendra as B.A., LL.B.

A highly qualified person and that too in an unrelated subject joining films was a wonder then. Thus, a young man with an unlikely name for a Hero, like RAMNARAYAN VENKATRAMAN SARMA Alias actor RANJAN was a novelty. Ranjan was born in Madras on 2-3-1918 in an orthodox Brahmin family. He did his B.A. with Phisics and then completed M.Litt in Carnatak music and Dance and became a Research Fellow for Ph.D. He also became the Managing Editor of ‘ NATYAM ‘ a magazine for Dance,drama and Music. In total contrast to his expertise in fine arts, he learnt FENCING( Sword Fighting) after he saw it in the Olympic Games.

He was spotted by a Tamil Producer and he made his Debut in the film ” Ashok Kumar “-1941. After a few films in Tamil and Telugu he got the role of SHASHANK in the Magnum Opus film Chandralekha in 1948. The Drum dance and his fencing were the two attractions in the film. The final sword fighting is considered the Longest ever Fencing fight in films till today ! The film was a Hit and Ranjan became typedcast in Action films. Ranjan was a very poor actor, but his Fencing skills were marvellous.

In 1949, came ” NISHAN “, based on the Hollywood film ” The Corsican brothers’-one good and one bad. Tt was a story of twins. The audience liked a scene from the film which showed that there were marks on one brother’s back if the other one was whipped !. The film, in Hindi, Tamil and Telugu was a hit everywhere mainly for its fencing scenes. In ‘Mangala’ opposite Bhanumati, he was the villain and the Hero too.

He was invited by New York University for a Fellowship, but Vasan did not leave him, so after Mangala-1950, as soon as the contract was over, Ranjan came to Bombay.

‘Shin shinaki Boobla Boo’-1952 saw him with Rehana but as a Romantic Hero he was worse than Bharat Bhushan or Pradeep Kumar !

He acted in Sindbad the sailor, Baghi, Shahenshah, Kafila, Baghdad, Baap Beti, Nishan Danka and a host of B and C grade films, many of them dubbed or remakes of southern films. He was known for only Fencing. But he never became famous like Stewart Granger in ” Scaramouche” for his fencing. In the 50s he acted in 23 films, in 60s he did 18 films and in 70s his tally was 17 films. A total of 58 films in Hindi.

After Sword fighting became obsolete he shifted to writing. The story of film MUNIMJI-55 was written by him. After few years in south he was seen again in ‘Chor chor’-74 and ‘Chaitali’-76. Ram Balram was his last film.

He married a Muslim girl and she converted to Hinduism taking the name of Laxmi. Ranjan wrote 12 books on Dancing and music.

He shifted to USA to live with his son, but died on 12-9-1983,in New Jersey-USA,due to Heart attack. He was so much forgotten that even the news of his death was not published in India.

Today’s song is from Magala-50. It is a duet of Shamshad with T.A.Moti. I knew about Moti,B.A. but not about Moti T.A.. There was also the singer actor Moti Sagar. I tried very hard to gather information about this singer. I contacted my Tamil and Telugu friends and checked all known south Indian film channels, but to no avail. This is a great problem which I usually encounter in case of Southern and Bangla artistes. Information about these artistes is very difficult to come by. At times Bangla artiste information may be available but inormation about obscure South artistes is conspicuous by its absence.

Actually, the southern film activity, though as old as Hindi Talkie films, is strictly limited to four southern states. It was only the adventurous S S Vasan who ventured into the bastion of Hindi film markets, by promoting his film Chandrlekha. In fact this had encouraged other producers like AVM, Prasad, Vijaya etc to tap the Hindi belt. While making a multilingual film, the south producers always called the Hindi artistes, be it actors, Directors ,composers or singers to come to Madras, but they never went to Bombay. It was only through Dubbed or remade films that south actors, composers or actors were exposed to the Hindi arena. Those days anyone from south was a “Madrasi” and likewise anyone from other than south was a North Indian or a Punjabi ! No one from the North bothered to distinguish between Tamil, Telugu, Kannada or Malayalam-films or people. Everything was “Madrasi “.

The divide between the North and the south went on widening, which finally resulted in the Ánti-Hindi Agitations” of the 60s and 70s in Madras and other southern places. Fortunately, in recent times and with the New Generation, thanks to the coalition politics at the centre and states as well as I.T. centres at Hyderabad and Bangalore, the North-South exchange is much better and each state is identified individually. Thanks also to writers like Chetan Bhagat’s novels. Thanks to Modernization.

Coming back to T.A.Moti, all that I was able to know about him was that he was from Madras. He was a rare person who learnt Hindustani Classical music under experts. His Hindi pronunciation was very clear, without the typical southern style. He flourished in the later part of the 40s. In almost all dubbed and remade films in Hindi, during the 40s to 60s he sang songs in such films. He was also a very popular singer in Tamil, Telugu, Kannada and Malayalam languages. In South Indian versions of Barsat, Aan, Udan khatola etc etc he sang all the Tamil and Telugu songs. It was a hilarious scene to watch Dilip kumar singing in Tamil !.

From film Chandralekha-48, he started singing in Hindi films too. There may be many,but i heard his songs in Chandralekha, Nishan, Mangala, Dil-46, Intezar ke baad-47, Meri behan-62 Ram and Rahim-68. I read somewhere that in addition to Hindi, Tamil, Telugu,Knnada and Malayalam, T A Moti also sang in Marathi.

The composers of Mangala was a team of D.Parthsarthi, Balkrishna Kalla and E. Shanker. This team also gave music to few other films like Mangala-50, Sansar-51, Mr.Sampat-52, Bahut din Huye-54. Balkrishna Kalla with mohd. Shafi gave music to Krishna Kanhaiya-52. Independently he gave music to only one film-Do Dulhe-54. The southern composers gave music only to dubbed films or remakes.

In the original version of Mangala, which was ‘Mangamma Shapatham’- 43, the Heroine was Vasundhara Devi-mother of Vaijayanti mala. In hindi film mangala, the Heroine was P.Bhanumathi, but the hero was same – Ranjan. There were some Hindi actors like Agha, David and Badriprasad. The composer of today’s song, Balkrishna Kalla also did a small role in this film. When Shamshad begum sang songs for Chandralekha, her songs were recorded in Bombay, but for Mangala, Shamshad went to Madras first time and sang 9 songs out of its 15 songs. In this film the songs and dances of Carmen Miranda were freely copied in the Tamil, Telugu and Hindi versions.

Let us now enjoy this video of the comedy song which is filmed on Agha and Suryaprabha ( I guess). With this song, we end this series here only.


Song-Bhole bhaale sanam matwaale sanam (Mangala)(1950) Singers-T A Moti, Shamshad Begam, Lyrics-Pt Indra Chandra, MD-Balkrishna Kalla
Both

Lyrics

o jee o jee o jee o
o jee o jee o jee o o

haan jee o haan jee o haan jee o
bhole bhaale sanam matwaale sanam
raat jaave hai jaave hai raat jaawe hai

more pyaare balam matwaale balam
neend aave hai aave hai
neend aave hai

jaao jaao ji balam
O balam besharam
teri jaan ki kasam
neend aave hai
tera kaisa ye sitam
zara soch to sanam
o sanam
beraham
raat jaave hai

neend aave hai aave hai
neend aave hai
raat jaave hai jaave hai
raat jaave hai

Raani aaj meri gaadi pehuchi
dil ke gaanv tak
pahunchi dil ke gaanv tak

Raaja main bhi teri ho gayi
ab sar se paanv tak
dekho Sar se paanv tak
main takiya tu rajaai
tu ghaas ??
main seena tu angdaai
tu tabla main shehnaai
tumhen jaan gaye ham
karo pyaar zara kam
kaise karoongi hajam
jee ghabraawe hai
more pyaare balam
matwaale balam
neend aave hai aave hai
neend aave hai
bhole bhaale sanam
matwaale sanam
raat jaawe hai jaawe hai
raat jaawe hai

kya baat karta
nimbu bhi rasgulla ban gaya
Ye sher tere
jaadu se ab billa ban gaya

mehmaan mere manmaane
maine dhang tere pehchaane
baalam banke lage sataane
Main aaya pyaas bhujane
Aao gaayen milke ham
huye door saare gham
o sanam
naachen ham
tu sataave hai

neend aave hai aave hai
neend aave hai
raat jaave hai jaave hai raat jaave hai


This article is written by Pamir Harvey, fellow enthusiast of Hindi movie music and 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.

With this song the film Dhongee (1976) makes its debut on this blog. I know only this song from this film and remember it from my childhood days, when it used to be played on the radio, on Vividh Bharati to be precise. The YT uploader has erroneously mentioned this movie as a release of 1979.
Read more on this topic…


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.

VINTAGE SHAMSHAD BEGUM…..Song No. – 9
——————————————–
Today’s song is from the film Girls school-49. It is a duet sung by Shamshad Begum and Chitalkar.
Read more on this topic…


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 have been doing some research on the works of Gopaldas Saxena ‘Neeraj’ – both as a poet and a lyricist for Hindi films. Being an admirer of this great poet and lyricist, I have been reading his poems that are available on the websites and also going through the available songs that he wrote for Hindi films. Suffice it to say here that he wrote over 100 songs for about 40 films during his stint in Hindi film industry. After 1975, The rate of his song writing for films had dwindled considerably since 1975, when he began to work from his home in Aligarh. The last time that he wrote a song for a film was for his close friend Dev Anand’s ‘Charge Sheet’ (2011).
Read more on this topic…


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.

VINTAGE SHAMSHAD BEGUM…..Song No.-8
————————————————

Today’s song is a Quartet of Shamshad begum with Lata, Chitalkar and Rafi, from the film-Roshni-1949.
Read more on this topic…


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.

VINTAGE SHAMSHAD BEGUM …..Song No. 7
——————————————-
Today’s song is sung by Shamshad Begum, Sulochana Kadaam and Mohd. Rafi for the film Lal Dupatta-48.

In our last episode, we briefly looked at the industry scene in 1948. This was the beginning of the peak of the “Golden Era” of HFM which for the next 10 to 15 years gave immense everlasting musical happiness to people in India. The music of this era was so enchanting that even today, music lovers all over the world demand old songs of this era in any Musical stage show conducted anywhere.
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 11100 song posts by now.

Total number of songs discussed

11151

Number of movies (All songs covered)

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