atul's bollywood song a day- with full lyrics

Archive for the ‘Guest posts’ Category


This article is written by Raja, 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.

Atul often says that inspite of the blog having already clocked five-digit number of songs, there are still plenty of very good songs out there that have still not found their way to the blog.

In my opinion, that is not a bad thing, because it keeps our journey of discovery interesting and exciting. Compiling songs on this blog is as much about the journey as about the destination – and we take as much pleasure in the journey as in getting closer to our destination. We have milestones, minor and major, that keep beckoning to us to approach them – and as we pass each milestone, we not only celebrate it but also set our sights on the next one.

In a sense, this is no different from a long train journey. Each kilometer has to be covered, there are no shortcuts – but each scheduled stop is a minor milestone, each major junction is a major milestone – and when we pass one, we look forward to the next. Atul, more than anybody else, would totally identify with this analogy, I am sure. :-)

Coming to myself, as somebody who thoroughly enjoys a journey of discovery, I spend a lot of my time on youtube, just clicking on links of songs that I feel I have never heard before. Admittedly, they are mostly songs that are at least 40 years old but it is always done with a hope that underlying the link is an undiscovered gem. In a sense, this is pearl-diving on youtube. :-)

I was on one such mission a couple of days ago when I came across a Kishore da song that I had never heard before. Now there are many of his songs that I have never heard before, but this one stunned me. Not only because it is from the early 70s (an era that I felt I knew fairly well) but it is such a fabulously rendered song that I am surprised it is not rated higher among his gems. That I had never heard it before was very humbling, to say the least.

It also further underlined to me the voice that was Kishore Kumar in that period. This was 1972 – I was a young boy then and Kishore absolutely ruled the airwaves in those days. In every radio programme, on songs played on streets, you would hear his voice. Maybe, in an era spoilt for Kishore Kumar riches, this song just didn’t get noticed enough.

Then, as I always do, I immediately checked the blog to see if this song was already posted. The song is from the film Tanhaai (1972) – and I found not a single song of this film has been posted yet. I then decided that this had to be corrected immediately. Bahut na-insaafi hai! :-)

In general, I prefer to have seen a film whose songs I am posting. It tends to give some context to the song and the post.

So I looked for the film on youtube, found it and watched it last night.

Tanhaai (1972) is directed by Jagdish Nirula and produced by S.I. Shivdasani. It stars Anil Dhawan, Rehana Sultan, Shatrughan Sinha, Laxmi Chhaya, Junior Mehmood, Jagdev, Iftikhar, Poornima, Lalita Kumari among others.

I must say I quite liked the film, especially considering I had zero expectations at the start. :-) It is a film, typical of that period – the floral prints of Anil Dhawan’s and Shatrughan Sinha’s shirts are evidence of this. :-) And while there is nothing spectacular about the story, what I really liked about it is that it is a pleasant film, and therefore watchable. I watched it all the way, without getting bored.

The film also made me wonder why Rehana Sultan didn’t do better in the industry – I have only seen a few movies of hers, and she has been impressive in them all.

Anil Dhawan of course had more success – he was part of the a whole bunch of turn-of-the-decade newcomers (late 60s/early 70s) like Navin Nischol, Ajay Sahni, Vijay Arora, Rakesh Roshan, Vinod Mehra, Amitabh Bachchan and many others. That was a period of Rajesh Khanna dominance but this bunch managed a few successes between themselves. One of them went on to somewhat greater heights. :-)

While watching the film, I noticed that the other songs are not too bad either. But this particular one by Kishore, this one which made me watch the film in the first place, is my favourite.

I will not narrate the whole story here – some of you might want to watch it. Also, a warning. I get a bit nostalgic when I see a film of my childhood era, especially when I see signs like a SELVEL board on the side of the road. :-) So if you watch the film and don’t like it, don’t blame your wasted time on me. :-)

In any case, whether you enjoy the film or not, I am fairly confident you will enjoy this song. It was “love at first hear” for me. The song and picturisation do seem to be influenced by the success of “roop tera mastana” of Aradhana but it is surprising that the song didn’t get known a fraction as well. Or maybe I just missed hearing it before. Glad I found it at least now.

Lyrics are by Asad Bhopali, music is by Usha Khanna.


Song-Saawan mein kahin aag na lag jaaye chaman ko (Tanhaai)(1972) Singer-Kishore Kumar, Lyrics-Aman, MD-Usha Khanna

Lyrics

Bheege huye aanchal mein
sameto na badan ko
Saawan mein kahin
aag na lag jaaye chaman ko
Saawan mein kahin
aag na lag jaaye chaman ko

Uljhi hui saansen hain
dhadakta hua seena
Hey
Uljhi hui saansen hain
dhadakta hua seena
Honthon pe dabee baat hai
maathe pe paseena
Hey hey
Khilti hai kali dekh ke
naazuk se behen(?) ko
Saawan mein kahin
aag na lag jaaye chaman ko
Saawan mein kahin
aag na lag jaaye chaman ko

Ye madbhari tanhaai
ye tanhaai ka jaadoo
Hey
Ye madbhari tanhaai
ye tanhaai ka jaadoo
Aise mein bhala kaise ho
jazbaat pe kaaboo
Hey hey
Rangeen banaa lo
isi pal bhar ke milan ko
Saawan mein kahin
aag na lag jaaye chaman ko
Saawan mein kahin
aag na lag jaaye chaman ko


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.

What do film stars do when they retire or stop working ?

Actually, the artistes can be divided into two parts. One, those who stop working voluntarily or retire by choice and Two, those who stop getting work and are compelled to retire. Of course the first category has definite plans post retirement, so they do what was planned. However those who stop getting work or are compelled to call it a day have either to fall back on their savings or do something else to survive.

In olden times, among the the first and the second generation of film artistes(whether from acting or music side), the major lot was of those who were not much educated or had no solid family background. For them, survival after retirement was worse than hell. Many of them spent their after-lives in penury, anonymity and neglect. We have read many stories of such film people, so there is no need to repeat them here.

However, later on artistes who actually did not or did not need to come on the road, looked for some alternative vocations to lead a respectable life. For example, Pt. Husnlal, after the pair of Husnlal-Bhagatram stopped getting films, shifted to Delhi and started Tuition classes for Music as a means for survival.

Seetarampant Kulkarni- a Partner cum financier of Prabhat film company was also an actor by hobby. After Prabhat Film company shut down, he returned to Kolhapur and restarted his Goldsmith shop in Sarafa Bazar.

Mukund Rai Trivedi of the ‘Frank-Roy’composer duo, after leaving films, rejoined the family mining business in M.P. and became a millionaire.

Madhusudan Bhat, an actor/singer, who became famous due to his role and songs in film Ram Rajya-1943, left films and started a Kirana shop in his native place-Sangli. Later when the shop failed, he became a Pujari in their ancestral Temple.

Vishnupant Pagnis, who became famous after playing the Title role in the film “Sant Tukaram” of Prabhat films, after film career was over, went back and restarted his Gold shop in Dadar in Bombay, where his customers used to do Pranam to him as Tukaram.

Anil Biswas, when he lost everything to get rid of wife Ashalata and had no films on hand resorted to a Motor Transport business for a while. After losing money in that, he tried running a Canteen in Mehboob studios. When even that failed, he took up an assignment in A.I.R. at Delhi and shifted from Bombay.

Karan Dewan, a one tie successful actor singer of Kismat 43,became a production manager with B R Chopra films when his kismat changed.

Sajjad Husain did Mendolin stage shows in his last days.

The singer of today’s song, G M Durrani ( Ghulam Mustafa Durrani ) opened a provision stores in Mahim, Bombay and ran it for three years after his singing assignments dried up. Finally, when the losses mounted in this business, he sold off the business at a loss.

Born in Peshawar in 1919, G M Durrani was a leading singer, like Surendra. The difference was Surendra sang only in his own films and thus had limitations, but Durrani was a playback singer, without much competition. In the 40s, there were hardly any male Playback singers,because most singers were actors themselves and sang their own songs, like Asit Baran, Karan Dewan, Ashok Kumar, Prem Adeeb, Arun Ahuja, Balwat Singh, C H Atma, Ishwarlala, Kantilal, K L Saigal, Pahadi Sanyal etc etc. There were of course a few Playback singers like Khan Mastana, S D Batish, A R Oza, Balbir etc, but they were no competition to Durrani at all.

Because of this, some singers were jealous of him and there was an attempt to poison him with Mercury Chloride ( sindur) given in a Paan by another well known singer. All relevant stories point out fingers to Hafeez Khan Mastana in this incident as the culprit. Before he could confess, which he wanted to, it seems, Mastana died in absolute poverty and in total neglect near Mahim Dargah. Later on his only son used to be seen begging there for quite some time. One of the RMIM members had met him there.

Durrani came to Bombay in 1935, sang a song in Sohrab Modi’s film ‘Said E Hawas’ and left film world to sing on Radio. He returned to films in 1941 with Naushad’s ‘Darshan’ and then there was no looking back. His reign continued upto 1947 unabated, till singers like Mukesh, Kishore Kumar, Mohd. Rafi and Talat started rising. By 1951, Durrani was almost gone, but survived till his last song in 1971.

In his last days, Durrani had Throat cancer. He was looked after well by his sons and daughters. In his last days, he was interviewed by the famous writer shri Rajnikumar Pandya ji. After I came to know shri Pandya ji, he kindly gifted me a CD containing the last interview ( given just one day prior Durrani’s death). So I have not only Durrani’s real voice, but also a song he sang from his deathbed for this interview ! MMany thanks to shri Pandya ji. G M Durani, in that last interview claimed that he had helped two rising singers-Mohd. Rafi and Lata Mangeshkar,both financially and professionally in their initial struggling period. He describes his first meetings with them in the interview.

G M Durrani sang many memorable songs like, ‘Haath seene pe jo rakh do to karar aa jaaye’, with Noorjehan in Mirza Sahiban-47, ‘Lara Lappa’ with Lata in Ek thi Ladki-49, ‘Nazar na phero humse’ with Shamshad Begum in Deedar-51, ‘Gaaye chala jaa’, with Lata in Hum Log-51, ‘Humko hanste dekh zamana jalta hai’with Rafi in Humsab chor hain-56. Durani sang about 500 songs. His last came in ‘Lal Pathar’-71.

Today’s song is from the film Bade bhaiya-51. The music is by composer Premnath. This Premnath is NOT the actor Premnath Malhotra of the 50s and later on. The song video shows Agha and Husn Banu. Singers are Durrani and Shamshad Begum. The story of this film was given in an earlier song, so it not repeated here. Lyrics are by Manoharlal Khanna.


Song-Gori ki chatak matak mein mera dil (Bade Bhaiyya)(1951) Singers-G M Durrani, Shamshad Begam, Lyrics-Manohar Khanna, MD-Premnath

Lyrics

gori ki chatak matak mein
mera dil
mera dil bhatak gaya
gori ki chatak matak mein
mera dil
mera dil bhatak gaya
kisi ki zulfon mein jaake wo atak gaya
wahin per latak gaya
haay haay haay
latak gaya
gori ki chatak matak mein
mera dil
mera dil bhatak gaya

mera dil
mera dil
mera dil unko samajhta hai shaayad rasgulla
mera dil unko samajhta hai shaayad rasgulla
unhen dekha to
ye pehloo se hua ghaayab gullah
haaye ghaayab gullah
unhen dekha to
ye pehloo se hua ghaayab gullah
haaye ghaayab gullah
bada beimaan thha
bada beimaan thha dil
unke saath phatak gaya
wahin per latak gaya
haay haay haay
latak gaya
gori ki chatak matak mein
mera dil
mera dil bhatak gaya

mera dil chheen ke wo
saaf hazam kar gaye
mera dil chheen ke wo
saaf hazam kar gaye
mere armaanon ko
o o o
mere armaanon ko
nazron se bhasam kar gaye ae
bhasam kar gaye
mera ulfat ka taraana
mera ulfat ka taraana
gale mein atak gaya
wahin per latak gaya
haay haay haay
latak gaya
gori ki chatak matak mein
mera dil
mera dil bhatak gaya

?? e husn ke darbaar mein
bada dil phenk bane
?? e husn ke darbaar mein
bada dil phenk bane
muhabbat khel nahin
een een een een
muhabbat khel nahin
honge(?) lohe ke chane
ae ji lohe ke chane
tumhaare pehloo mein
tumhaare pehloo mein dil hai kahaan
jo satak gaya
jo kahin latak gaya
aay haay haay
latak gaya

gori ki chatak matak mein
mera dil
mera dil bhatak gaya
kisi ki zulfon mein
jaa ke wo atak gaya
wahin per latak gaya
haay haay haay
latak gaya
gori ki chatak matak mein
mera dil
mera dil bhatak gaya


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.

Fabulous Foot Tappers – 5
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Sometimes it so happens that some song is so well ingrained in memory that it appears as if, oh well, everyone must remember this song.  And further, it simply cannot be so that this song is not yet on the blog.  But then, surprises never cease, right?

This wonderful song is a keen memory from the childhood radio listening days.  As I am browsing through my collection of the 1960s, I come across the 1965 film ‘Sindbad, Alibaba, Alladin’.  The list of songs rang a few bells I just happened to check the list on the blog. Two songs from this film are absolute foot tappers.  One of them is already posted – “Mera Naam Jinny, Soney Ki Ginni”.  But this song, is still waiting to be showcased.  Well, here it is.

Most fast rhythm songs that I can recall generally use the drums of various types to create the fast paced tempo.  But in this song, a major part of the rhythm is based on the tabla.  In fact, all portions of the song excluding the music interludes, are based on a very prominent beat of the tabla.  As one listens to this song, one is taken in by the fantastic pace that is sustained throughout the song, primarily on the strength of the tabla beats. Absolutely enchanting.

I have the film in my VCD collection, but I have yet to see it.  As our dear Arun ji has remarked in one of his earlier articles, the producers of Hindi films have really a prolific imagination, and over the years they have been successful to bring together historical and fictional characters across time and across geographies.  And so the script writers are given a free hand to bring together, say Hercules who is persona from the Greek mythology from more than a couple of thousand years ago, and Tarzan, whose fictional existence is rooted in the twentieth century imagination of an American writer, writing about the jungles of Africa.  So if that can be accomplished, then bringing together three separate stories from the Arabian Nights, and tying them into a single thread is a ‘baayen haath ka khel’ (a left-hand-job aka a very easy task) for the idea generators and scriptwriters of Hindi films.  And thus come about films like ‘Tarzan And Hercules’ and ‘Sindbad, Alibaba, Alladin’.

The film is from an innocuous banner – All India Pictures, and is directed by PN Arora (regulars would recognize him as the one time ‘mentor’ to Helen).  Cast of actors includes Pradeep Kumar, Saeeda Khan, Agha, Bhagwan, Ulhas, Helen, Meenu Mumtaz, Zohra Jamal, Heeralal, Rajan Haksar, Ramavtar etc.  There are more players in the film, e.g. the three ladies performing this song on screen – I have not been able to identify them, and request help from keener ‘identifiers’ to please help name these dancers.  The three leading protagonists of course are Pradeep Kumar, Agha and Bhagwan, who are introduced in the beginning of this clip, as is Rajan Haksar.  Later in the song, one can also make out the rotund figure of Ramavtar, as the chief of royal guards, so to say.

The words are from the pen of SH Bihari.  The zippy music comes from the mind of Ravi.  And the singing voices are of Asha Bhosle, Usha Mangeshkar and Meenu Purushottam.  I have tried to identify the voices and color code them.  However, I would request keener ears to suggest any corrections to the color coding of this song.

As I was checking online, I located this video clip, which is not the best quality, plus the lip syncing is out of sync, between the sound of the words and the performers’ lip movements.  Just on interesting hunch, I picked out this song from my collection and listened to it.  And found it to be a longer song, with a bonus extra stanza.  So I uploaded the audio today, and have provided both the links. The lyrics are based on the longer audio version.

The time even in the 1960s was that the songs had to be recorded in single sessions.  As I listen to this song, I marvel at the artistry and the timing of all the artists involved, singers and instrumentalists, who synchronize this rapid fire combination of three singing voices and a combination of multiple music instruments.  Technology these days has climbed to such heights that such single session recording efforts are redundant.  And that is what makes me marvel the artists of yore all the more.  That they were able to create such fantastic rhythms and melodies, which simply are no longer available, with some rare exceptions.  What the artists of that golden era could create without the help of this technology, is a thousand times more hear-able and memorable from the ‘music-stuff’ that we get today.

Sorry for the digression.  Just thinking about the process of generating the music items, and their quality.  Let me not keep you any longer, from enjoying this fabulous foot tapper.  And that too, based on tabla beats.

Just listen and enjoy.  And marvel. :)

Video (2 stanzas)

Audio (3 stanzas)

Song – Lai Lai Maula Lai Lai, O Lai Lai Maula Lai (Sindbad Alibaba Alladin) (1965) Singer – Asha Bhosle, Usha Mangeshkar, Meenu Puroshottam, Lyrics – SH Bihari, MD – Ravi
Asha + Usha + Meenu

Lyrics

lai lai maula lai lai
o lai lai maula lai
sar pe topi laal pehen ke
turki main ban gayi
ho o
lai lai maula lai lai
o lai lai maula lai
sar pe topi laal pehen ke
turki main ban gayi
o wallaah wai wai wai
o wallaah wai wai wai
o wallaah wai wai wai
o wallaah wai wai wai

na main yunaani hoon
na main irani hoon
teri deewaani hoon
allaah kasam
dil le ke aayi hoon
mehfil pe chhaai hoon
wallaah duhaai hoon
mere sanam
main wo shamma hoon
jiski khoj mein
parwaane hain kai
o o
lai lai maula lai lai
o lai lai maula lai
sar pe topi laal pehen ke
turki main ban gayi
ho o
lai lai maula lai lai
o lai lai maula lai
sar pe topi laal pehen ke
turki main ban gayi
o wallaah wai wai wai
o wallaah wai wai wai
o wallaah wai wai wai
o wallaah wai wai wai

rangeen ishaare hain
dilkash nazaare hain
ye sab tumhaare hain
jaan e jahaan
nazren ladaate ho
dil bhi bachaate ho
chhup chhup ke jaate ho
bolo kahaan
ek baar to
mud ke dekh lo
ye duniya hai nai
ho o
lai lai maula lai lai
o lai lai maula lai
sar pe topi laal pehen ke
turki main ban gayi
ho o
lai lai maula lai lai
o lai lai maula lai
sar pe topi laal pehen ke
turki main ban gayi
o wallaah wai wai wai
o wallaah wai wai wai
o wallaah wai wai wai
o wallaah wai wai wai

ye duniya faani hai
do din jawaani hai
shola hai paani hai
phir kaisa darr
qaatil nigaahon se
lehraati baahon se
chaahat ki raahon se
hans ke guzar
beqaraar hain
intezaar mein
ye aankhen surmai
ho o
lai lai maula lai lai
o lai lai maula lai
sar pe topi laal pehen ke
turki main ban gayi
ho o
lai lai maula lai lai
o lai lai maula lai
sar pe topi laal pehen ke
turki main ban gayi
o wallaah wai wai wai
o wallaah wai wai wai
o wallaah wai wai wai
o wallaah wai wai wai


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

लई लई मौला लई लई
ओ लई लई मौला लई
सर पे टोपी लाल पहन के
तुर्की मैं बन गई
हो ओ
लई लई मौला लई लई
ओ लई लई मौला लई
सर पे टोपी लाल पहन के
तुर्की मैं बन गई
ओ वल्लाह वई वई वई
ओ वल्लाह वई वई वई
ओ वल्लाह वई वई वई
ओ वल्लाह वई वई वई

ना मैं यूनानी हूँ
ना मैं ईरानी हूँ
तेरी दीवानी हूँ
अल्लाह क़सम
दिल ले के आई हूँ
महफिल पे छाई हूँ
वल्लाह दुहाई हूँ
मेरे सनम
मैं वो शमा हूँ
जिसकी खोज में
परवाने हैं कई
ओ लई लई मौला लई लई
ओ लई लई मौला लई
सर पे टोपी लाल पहन के
तुर्की मैं बन गई
हो ओ
लई लई मौला लई लई
ओ लई लई मौला लई
सर पे टोपी लाल पहन के
तुर्की मैं बन गई
ओ वल्लाह वई वई वई
ओ वल्लाह वई वई वई
ओ वल्लाह वई वई वई
ओ वल्लाह वई वई वई

रंगीन इशारे हैं
दिलकश नज़ारे हैं
ये सब तुम्हारे हैं
जान ए जहां
नज़रें लड़ाते हो
दिल भी बचाते हो
छुप छुप के जाते हो
बोलो कहाँ
एक बार तो
मुड़ के देख लो
ये दुनिया है नई
हो लई लई मौला लई
सर पे टोपी लाल पहन के
तुर्की मैं बन गई
हो ओ
लई लई मौला लई लई
ओ लई लई मौला लई
सर पे टोपी लाल पहन के
तुर्की मैं बन गई
ओ वल्लाह वई वई वई
ओ वल्लाह वई वई वई
ओ वल्लाह वई वई वई
ओ वल्लाह वई वई वई

ये दुनिया फ़ानी है
दो दिन जवानी है
शोला है पानी है
फिर कैसा डर
क़ातिल निगाहों से
लहराती बाहों से
चाहत की राहों से
हंस के गुज़र
बेक़रार हैं
इंतज़ार में
ये आँखें सुरमई
हो ओ
लई लई मौला लई लई
ओ लई लई मौला लई
सर पे टोपी लाल पहन के
तुर्की मैं बन गई
हो ओ
लई लई मौला लई लई
ओ लई लई मौला लई
सर पे टोपी लाल पहन के
तुर्की मैं बन गई
हो ओ
वल्लाह वई वई वई
ओ वल्लाह वई वई वई
ओ वल्लाह वई वई वई
ओ वल्लाह वई वई वई


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.

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The Voice of Mukesh #68
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Such discoveries do not happen often. Finding unknown songs that one is not aware of.  Today is one such occasion, and this Mukesh song is one such song. And the credit for searching it out and sending it to me, goes to Mahesh ji Mamadapur.  A simple email from him yesterday – saying that he has found a song online that he cannot locate on the blog.  Since we have definitely covered and accounted for, all songs of Mukesh till the mid 1950s, how come this song from the 1948 film ‘Mera Munna’ does not appear on our blog?  I scrambled to check, and I found the following.

In the Geet Kosh volume 2, the information about this film is not completely listed.  The names of the singers are missing.  Most likely, by the time this volume got printed, this information was not available.  When Harish ji started to compile the songs list for the Mukesh Geet Kosh, he picked up the list of Mukesh songs, as in the print volumes of Geet Kosh, and tracked them down. However, many songs, such as this song today, were not even identified.

Earlier, whenever the lists of songs of specific artists have been discussed, I have always commented that there is a fair share of specific information that is still to be located, and these lists and compilations will verily get updated as more information becomes available. Over the years, more and more unpublished and newer information has been coming to light, which is adding to and updating the current body of knowledge.  Earlier in this series itself, we have identified and posted songs that were identified and tracked down, after the publication of the Mukesh Geet Kosh.  So when I saw this email yesterday from Mahesh ji, I realized this is an occasion to celebrate. I immediately sent a message to Harish ji Raghuvanshi, the compiler of the Mukesh Geet Kosh, and requested for his confirmation.  His reply came in very early morning today, confirming this information.

And so we have a reason to celebrate – a comparatively recent discovery of a song from 1948. An addition to this series, as we step back from the current status to post a song that is actually earlier in the sequence of his songs.

The film is ‘Mera Munna’.  It comes from Minerva Movietone,  the flagship banner of Sohrab Modi.  The film is directed by Vishram Bedekar. The cast of actors includes Motilal, Nayantara, E Tarapur, Leela Misra, Sita Bose, Wazir Mohammed Khan, Anita Sharma, Sadat Ali, Ramesh Sehgal and Hafeeza.  The Geet Kosh lists seven songs, all written by Qamar Jalaalabaadi. The music is composed by C Ramchandra.  Harish ji has shared the details of the singers of these songs.  Out of seven, there are four solos in the voice of Lalita Deolkar, and one duet of her and Mukesh.  Information for the remaining two songs is not yet available.  I request other friends and readers to please add more information about this film and its song.  My guess would be that this song is performed on screen by the lead pair of Motilal and Nayantara.  But I would like to get some confirmation for that.

Coming to this song. Goodness what an extraordinarily endearing song that is so simple in its words and musical constructs.  There are many songs in Hindi films that talk of the approaching arrival of a new addition to the family – a child is on way.  “Chanda Se Hoga Wo Pyaara, Phoolon Se Hoga Wo Nyaara”, “Koi Aane Waala Hai Chaand Ki Doliya Pe Ho Ke Sawaar”, “Jeevan Ki Bagiya Mehakegi, Chehakegi. . .”, “Hum Do Mil Ke Kaagaz Pe Dil Ke, Chitthi Likhenge Jawaab Aayega”, “Munna Badaa Pyaara Ammi Ka Dulaara” are some of the memorable songs that come to mind immediately.  And yes, there are more posted in this blog – just click on the categories link “expectant parents” songs’ in the column on the right hand side.This song sounds very different – it is a naughty conversation piece, minimum emotional and philosophical content.  It is a simple exchange of liners between the lady and the gentleman – a little bit of teasing, a spoonful of bashfulness, a spoonful of ‘meethi taqraar’, and loads of endearing fun. And then, yes, there is the voice of Mukesh, that has the ability to transform the ordinary into something extraordinary.

The conversation goes something like this. The lady says
        tum humpe hanso na piya
        humpe hanso na

and the gentleman responds
        tum humse lado na aji
humse lado na

Seems like the gentleman started by teasing the lady about the expected addition to the family.  So the lady tells him not to laugh at her.  And he responds by asking her not to quarrel with him.

Next, the gentleman poses the question
        bas itna kaho choodiyaan hum laaen ke topi

to which the lady responds
        sharma ke chale jaayenge
baat aisi kaho na

He is teasingly asking her whether he should prepare for a girl child i.e. get choodiyaan(bangles), or should he prepare for a boy child, i.e. get a cap for him.  And the lady sidesteps the question by saying not to ask questions like this, or else, feeling shy, she will go away.

Then, the gentleman contemplates
        tum humko bhula dogi
        jab aayega mehmaan

to which the lady requests that
        apnon se jalo na
        piya apnon se jalo na

The gentleman is musing that she will forget him once the child arrives.  And the lady requests him not to be jealous of someone who is their own.

But the gentleman continues with his teasing mood and announces
        gar tumne usey pyaar kiya
        hum to jalenge

And the lady replies by reminding him that
        wo mera hai tum mere ho
        aapas mein lado na

The gentleman is not giving up his line of teasing argument, and says that if she loves the child, the of course he will feel jealous.  And the lady reminds him that both he and the child are equally dear to her, and so he better not quarrel with the child.

As I said, a simple exchange, but what an endearing song this has become.  Listen and enjoy.

 


Song – Tum Hum Pe Hanso Na Piya Hum Pe Hanso Na (Mera Munna) (1948) Singer – Lalita Deolkar, Mukesh, Lyrics – Qamar Jalaalabaadi, MD – C Ramchandra

Lyrics

naa naa naa
tum humpe hanso na piya
humpe hanso na
tum humpe hanso na piya
humpe hanso na
haan haan haan haan
tum humse lado na
humse lado na aji
humse lado na
tum humpe hanso na piya
humpe hanso na
tum humpe hanso na piya
humpe hanso na

bas itna kaho
bas itna kaho choodiyaan hum laaen ke topi
sharma ke chale jaayenge
sharma ke chale jaayenge
baat aisi kaho na
baat aisi kaho na
tum humpe hanso na piya
humpe hanso na
tum humse lado na aji
humse lado na
tum humpe hanso na piya
humpe hanso na

tum humko bhula dogi
jab aayega mehmaan
tum humko bhula dogi
jab aayega mehmaan
apnon se jalo na
piya apnon se jalo na
apnon se jalo na
piya apnon se jalo na
tum humse lado na aji
humse lado na
tum humpe hanso na piya
humpe hanso na
tum humpe hanso na piya
humpe hanso na

gar tumne usey pyaar kiya
gar tumne usey pyaar kiya
hum to jalenge
haan hum to jalenge
wo mera hai tum mere ho
wo mera hai tum mere ho
aapas mein lado na
tum humse lado na aji
humse lado na
tum humpe hanso na piya
humpe hanso na
tum humpe hanso na piya
humpe hanso na

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

ना ना ना
तुम हमपे हंसो ना पिया
हमपे हंसो ना
तुम हमपे हंसो ना पिया
हमपे हंसो ना
हाँ हाँ हाँ हाँ
तुम हमसे लड़ो ना
हमसे लड़ो ना अजी
हमसे लड़ो ना
तुम हमपे हंसो ना पिया
हमपे हंसो ना
तुम हमपे हंसो ना पिया
हमपे हंसो ना

बस इतना कहो
बस इतना कहो चूड़ियाँ हम लाएँ के टोपी
शर्मा के चले जाएँगे
शर्मा के चले जाएँगे
बात ऐसी कहो ना
बात ऐसी कहो ना
तुम हमपे हंसो ना पिया
हमपे हंसो ना
तुम हमसे लड़ो ना अजी
हमसे लड़ो ना
तुम हमपे हंसो ना पिया
हमपे हंसो ना

तुम हमको भुला दोगी
जब आएगा मेहमान
तुम हमको भुला दोगी
जब आएगा मेहमान
अपनों से जलो ना पिया
अपनों से जलो ना
अपनों से जलो ना पिया
अपनों से जलो ना
तुम हमपे हंसो ना पिया
हमपे हंसो ना
तुम हमसे लड़ो ना अजी
हमसे लड़ो ना
तुम हमपे हंसो ना पिया
हमपे हंसो ना

गर तुमने उसे प्यार किया
गर तुमने उसे प्यार किया
हम तो जलेंगे
हाँ हम तो जलेंगे
वो मेरा है तुम मेरे हो
वो मेरा है तुम मेरे हो
आपस में लड़ो ना
तुम हमसे लड़ो ना अजी
हमसे लड़ो ना
तुम हमपे हंसो ना पिया
हमपे हंसो ना
तुम हमपे हंसो ना पिया
हमपे हंसो ना


This article is written by Sadanand Kamath, 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.

Recently, I read ‘In the Company of a Poet – Gulzar in Conversation with Nasreen Munni Kabir’ (2012). The book gives a bird’s eye view on the life of Gulzar – from setting his foot in Bombay (Mumbai) in mid-1950 to his continuing association with Bollywood. Before reading this book, I was under the impression that, like many others who came to Bombay to fulfill their aspirations to work in Bollywood, Gulzar was one of them. It was not so as revealed from his conversations in the book. Gulzar came to Bombay not by his own choice but as a part of his father’s plan to divide the financial responsibility of his large family following his post-partition migration from Dina (in Pakistan) to Delhi.

After staying with his step brother for some time in South Bombay, Gulzar shifted to a guest house in Chaar Bungalow area in Andheri (west) where some of the members of Progressive Writers Association (PWA) like Krishan Chandra, Rajinder Singh Bedi, Sahir Ludhianvi, Sagar Sarhadi etc. were already staying. They were all associated with Hindi film industry. Some of other members of PWA like Balraj Sahani, Khawja Ahmed Abbas, Ali Sardar Jafri, Shailendra, Majrooh Sultanpuri used to visit the guest house for attending the meeting. So most of the time, Gulzar had the company of writers and poets associated with Hindi film industry.

But the young Gulzar had different aspirations. His aim was to become a poet and writer like Mirza Ghalib and Rabindranath Tagore who were his role models. So, despite his almost daily mingling with poets and writers associated with Hindi film industry, he was not interested in working for Hindi films. As events have unfolded now, he was destined to work in Hindi film industry – an association of over 5 decades which is still continuing. How did it happen?

Shailendra and SD Burman had some creative differences over a song situation in the film ‘Bandini’ (1963). So Shailendra decided to withdraw from the film and suggested to Gulzar to meet Bimal Roy, the producer-director of the film. At first, Gulzar flatly refused to write songs for the film. It was after much persuasion (Gulzar terms it as ‘scolding’) by Shailendra that he agreed and wrote ‘Mora Gora Rang Lai Le Mujhe Shyaam Rang Dai De’ on a pre-set tune of SD Burman. Bimal Roy liked the lyrics very much. At that time, Gulzar was working as a mechanic in a garage at Byculla. Bimal Roy advised him to leave his job and become his assistant. Gulzar remained his assistant until his death in 1965.

But a superstitious SD Burman was not prepared to work with a new comer as he felt that when he worked with a new lyricist, the films failed at the box office. So he patched up with Shailendra and rest of the songs for ‘Bandini’ (1963) was written by him. This is the only song (his first, but third song in terms of the film’s year of release) he wrote for SD Burman. On the positive side, Gulzar’s first song brought together Lata Mangeshkar and SD Burman after a gap of over 3 years.

For ‘Kabuliwala’ (1961), Prem Dhawan was the lyricist. However, Bimal Roy was not happy with the lyrics of a song of a philosophical nature. So Bimal Roy entrusted the writing of lyrics for this song situation to Gulzar who had by then become his Chief Assistant Director. Thus, ‘Ganga Aaye Kahaan Se Ganga Jaaye Kahaan Re’ came from the pen of Gulzar. Later on, Gulzar came to know that it was at the instance of Prem Dhawan that Bimal Roy entrusted the song to Gulzar.
In ‘Prem Patra’ (1962), Gulzar wrote only one song ‘Saawan Ki Raaton Mein Aisa Bhi Hota Hai’. Rest of the songs were written by Rajinder Krishan. In terms of releases, however, ‘Kabuliwala’ (1961) was released first, followed by ‘Prem Patra’ (1962) and ‘Bandini’ (1963).

It is interesting to note that in the conversation, Gulzar has not even hinted that he had written songs for ‘Choron Ki Baarat’ (1960), ‘Diler Haseena’ (1960) and ‘Shriman Satyawadi’ (1960) under his then pen name ‘Gulzar Dinvi’. According to the year of release, these 3 films preceded the films mentioned in the earlier paragraph. However, he maintains that ‘Mora Gora Ang Lai Le’ for ‘Bandini’ (1963) is his first song. There must be some reason as to why he has kept silent on the songs of the earlier three films mentioned above.

Very recently, I came across a discussion on Yahoo Group’s ‘Sangeet ‘Ke Sitaare’ about Gulzar’s songs. Pavan Jha, a close friend of Gulzar who runs http://www.gulzaronline has clarified therein that Gulzar had only improvised the original lyrics written by Gulshan Bawra for three films of 1960s and much against Gulzar’s wishes, his friends had put his name in the respective films’ credit. So he would not like to take credit for those songs. Incidentally, those days, Gulzar’s short stories and poems used to get published in Urdu magazines like ‘Shama’ under his pen name of ‘Gulzar Dinvi’.

After the death of Bimal Roy, Gulzar was supported mainly by Hemant Kumar, though Hrishikesh Mukherjee and Salil Choudhury also lent their hands of support. Hemant Kumar took him as lyricist for films like ’Sannaata’ (1966), ‘Biwi Aur Makaan’ (1966), ‘Do Dooni Chaar’ (1968) ‘Khamoshi’ (1969), and ‘Raahgir’ (1969). With ‘Mere Apne’ (1971) Gulzar turned director. Thereafter he directed many films like ‘Parichay’ (1972), ‘Khushboo’ (1975), ‘Mausam’ (1975), ‘Aandhi’ (1975), ‘Kinaara’ (1977), ‘Kitaab’ (1977), ‘Angoor’ (1982), ‘Ijaazat’ (1988), ‘Machhis’ (1996) etc. The last film he directed was ‘Hu Tu Tu’ (1999) after which he announced that he was now done with the film production and direction. However, he continues to write lyrics for Hindi film even now.

I am presenting a song which Gulzar wrote for an unreleased film ‘Mitti Ke Dev’ (1968) from his early phase of carreer as a film lyricist. The song is ‘Shaam Se Aankh Mein Nami Nami Si Hai’ and is sung by Mukesh, set to music by Salil Chaudhary.

As per http://www.salilda.com, the film was produced by Padma Trivedi and was directed by Samir Chaudhary, Salil Chaudhary’s younger brother. Sanjeev Kumar and Anjana were in lead roles. It is said that Lata Mangeshkar and Mukesh were so impressed with the film that they wanted to distribute it in Maharashtra and Rajsathan. However, before the film was released, a studio fire completely destroyed the film. There were three songs, one each written by Gulzar, Yogesh and Prem Dhawan.  Of the three, only the song under discussion survived.

While this song of Mukesh is not well known, Gulzar wrote a ghazal retaining the mukhda of the song with the the same theme which Asha Bhosle had recorded in her NFS album ‘Dil Padosi Hai’ (1987) under the music direction RD Burman. Jagjit Singh made this ghazal popular through his NFS album ‘Marasim’ (1999).

All the three singers have sung in their own style. Of course, one can see the difference between filmy and non-filmy versions in regard to the singing style and orchestrations, apart from rendering in different verses. Note how , Gulzar has used imagery in the context of ‘saans’ differently in the song and in NFS ghazal versions:

In the song :
        ajnabi si hone lagi hai aati jaati saanse
        aansoun mein khadi huyi hai roothi huyi si yaaden

In the NFS ghazal – Asha Bhosle version:
        dafn kar do hamen to saans aaye
        der se saans kuchh thami si hai

In the NFS ghazal – Jagjit Singh version:
        dafn kar do hamen ke saans miley
        nabz kuchh der se thami si hai

Enjoy a rare Mukesh song with Salil Chaudhary’s typical orchestration. And do not forget to listen to its ghazal versions of Asha Bhosle and Jagjit Singh.


Song – Shaam Se Aankh Mein Nami Si Hai (Mitti Ke Dev)(1968 UR) Singer – Mukesh, Lyrics-Gulzar, MD – Salil Chaudhry

Lyrics

shaam se
aankh mein
nami nami si hai
shaam se
aankh mein
nami nami si hai
aaj phir
aap ki
kami kami si hai
shaam se
aankh mein
nami nami si hai

ajnabi si hone lagi hain
aati jaati saanse
aansuon mein khadi huyi hain
roothi huyi si yaadein
ajnabi si hone lagi hain
aati jaati saanse
aansuon mein khadi huyi hain
roothi huyi si yaadein
aaj kyun
raat yun
thami thami si hai
shaam se
aankh mein
nami nami si hai

patharon ke hothon pe hamne
naam taraasha apna
jaagi jaagi aankhon mein bhar ke
soya hua sa sapna
patharon ke hothon pe hamne
naam taraasha apna
jaagi jaagi aankhon mein bhar ke
soya hua sa sapna
aankh mein
neend bhi
thami thami si hai
shaam se
aankh mein
nami nami si hai

 

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

शाम से
आँख में
नमी नमी सी है
शाम से
आँख में
नमी नमी सी है
आज फिर
आप की
कमी कमी सी है
शाम से
आँख में
नमी नमी सी है

अजनबी सी होने लगी हैं
आती जाती सांसें
आंसुओं में खड़ी हुईं हैं
रूठी हुई सी यादें
अजनबी सी होने लगी हैं
आती जाती सांसें
आंसुओं में खड़ी हुईं हैं
रूठी हुई सी यादें
आज क्यों
रात यूं
थमी थमी सी है
शाम से
आँख में
नमी नमी सी है

पत्थरों की होठों पे हमने नाम
तराशा अपना
जागी जागी आँखों में भर के
सोया हुआ सा सपना
पत्थरों की होठों पे हमने
नाम तराशा अपना
जागी जागी आँखों में भर के
सोया हुआ सा सपना
आँख में
नींद भी
थमी थमी से है
शाम से
आँख में
नमी नमी सी है


This article is written by Bharat Upahyay, 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.

Nightingale Noorjehaan – 1
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After a long long time I am trying to plunge again in Atul’s wonderful Blog. This presentation, is my sixtieth contribution.

I am going to track Noorjehan songs from the latest to the earliest and will try to complete, as far as possible, her wonderful contributions to Hindi Film Music. Her films of 1947 in our motherland, before she left for Pakistan were ‘Jugnu’ and ‘Mirza Sahiba’. All songs with her voice in these films are covered in this Blog. So I come to the year 1946. There were three films viz, ‘Hamjoli’, ‘Dil’ and ‘Anmol Ghadi’. Today I will start with ‘Hamjoli’.
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.

Today’s song under discussion is “Bol bol bol bol My little dove” from the film Baap Bete-59. The music Director for this film is Madan Mohan.

MADAN MOHAN. An Unique composer. A thorough Gentleman. Lata Mangeshkar had called him “The King of Ghazal”. He created masterpieces in her voice, which set high standards in films. Madan Mohan, however,could never combine Class with Mass appeal unlike other composers like Naushad, S D Burman or Roshan or Shanker – Jaikishen.
Read more on this topic…


This article is written by Mahesh Mamadapur, 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.

Mukesh and his Composers – 2
——————————————
Mukesh started his singing and acting career in 1940. Madan Mohan started his composing and singing career a decade later in 1950. His first film Aankhen had some interesting trivia.
• Meena Kapoor sung her only song for Madan Mohan, the beautiful “Moree Atariyaa Pe Kaagaa Bole Moraa”.
• Madan Mohan himself sang a duet with Shamshad Begum.
• Raj Khosla, the famous director and producer has sung a rail song in this movie.
• Lata Mangeshkar was not part of this debut movie of Madan Mohan’s.
Read more on this topic…


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 – 22
– – – – – – – – – – – – – – – – – –

Six films in all, from 1958 to 1960.  That is how long his career lasted.  As a solo music director I mean.  After this six films, the brothers opted to work as a duo, a combination that lasted his lifetime, creating phenomenal music for more than 250 films.

Remembering Kalyanji on the anniversary of his birth today (30 June).
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.

Here is a song from the film ABHIMAN-57. The name Abhiman ( Pride ) will remind people of another film of the same name , made in 1973-featuring Amitabh and Jaya. It was on the life of two singers who get married because of music and later get separated also because of music and Pride of one partner. This 1957 film was also about Pride but not about Music. It was a family drama depicting false pride of a girl-destroying her family.
Read more on this topic…


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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 11200 song posts by now.

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