atul's bollywood song a day- with full lyrics

Archive for the ‘Guest posts’ Category


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.This is the 100th Sahir Ludhianvi lyrics contribution by Avinash Scrapwala in the blog.

(Thanks to our beloved Shri.Raja ji for his kind support and guidance to me in completion and presentation of this article)

We know Sahir Ludhianvi as a poet of the highest quality, a romantic at heart, and a rebel.

But for me, he was much more than this.

For me he was a truly secular individual, a humanitarian, and a motivational philosopher.

There were many aspects to Sahir’s poetry and writing. But, today, for the purposes of this article, I would like to dwell upon just one of them. The ‘bhajans’ that he wrote.

Sahir has given us many memorable, or perhaps I should say ‘immortal’, bhajans which lead us to the world of the sublime, to introspect within ourselves, to be inspired and to be motivated in this journey of life. When one looks at these bhajans and the conviction in them, it becomes clear that they come straight from Sahir’s heart.

The Gramophone Co of India Ltd (HMV) had brought out in 1985 a beautiful compilation of ‘bhajans’ from this great poet.

Titled as ‘Bhajans from Films – Poet SAHIR LUDHIYANVI’, this audio cassette (which I purchased on 28.11.1988 – I had this habit of marking my signature and date on the cassettes which I used to purchase regularly for my collection) has, in all, a total of ‘twelve’ gems.

Out of these twelve, so far ten have been discussed on our blog. I am reproducing herewith a few lines from each write up/comments which talks about the song or about Sahir (by Atul ji and our regular contributors and few comments also) which accompany each respective post.

Here they are (with the links):

1) Allah tero naam ishwar tero naam
“There are many people who may think that this is a non-filmy prayer. That is how
Well-known this song is.”
‘Allah tero naam, ishwar tero naam’ this poignant song is written by Sahir
Ludhianvi and its music is composed by Jaidev.This song is easily a timeless classic.
(By Atul ji)

2) Prabhu tero naam

Sahir Ludhianvi is the lyricist and Jaidev is the music director, as mentioned earlier
this song is an outstanding song, and one can listen to this song several times,
without feeling bored. (By Atul ji)
Both the above i.e. (1) & (2) from the Navketan’s film ‘Hum Dono’.

3) Tora man darpan kehlaaye from the film ‘Kaajal’.

This song is one of the most well-known bhajans created by Bollywood. Considering that Ravi was the music director that was only to be expected.”
(By Atul ji)
“Our mind is like a mirror it shows us good and bad experiences that we have been through what is the meaning of Karma?
It means my karm whatever I do with my hands or mind or body is karma. So mind has a hard disk which stores everything without being biased for mind there is nothing good or nothing bad it will keep storing and it has the ability to bring back those memories at random access wgenevr it wants,
That’s why it is called darpan a mirror …..
If you like to understand further please respond I shall revert soon” (By Girish)

4) Aan milo aan milo shyaam saanwre from ‘Devdas’
The words by Sahir Ludhianvi are simply wonderful. To imagine that a shayar who has given us some great shaayaris and qawwalis could write such a beautiful song using colloquial words is such a pleasant surprise. What a gem of a song this is. (By Atul ji)

5) Aaj sajan mohe ang lagaalo from ‘Pyaasa’
“The lyrics of this song are just amazing. It is written in chaste Hindi, and sound very nice to the ears. It is difficult to imagine that this song is written not by some noted Hindi lyricist but by one who was renowned as a shayar. Yes, this song is written by Sahir Ludhianvi, and here he shows that he could write very nice sanskritised lyrics too, if the situation so demanded.
It was not a fluke either. Sahir Ludhianvi himself had written another great sanskritised song in “Devdas”, and that too was for the same music director. That song was “aan milo aan milo Shyam saanware”. This shows what great literary skills Sahir Ludhianvi possessed. This also shows the importance that lyrics were accorded by music directors. No wonder these songs have gone on to become timeless classics. (By Atul ji)

6) Kaam krodh aur lobh ka maara jagat na aaya raas from ‘Bahurani’
This poignant song is sung by Mahendra Kapoor. Sahir Ludhianvi has come up with simple and effective lyrics (by Atul ji)

7) Ganga tera paani amrit from Ganga Tera Paani Amrit’ (post by Khyati ji)

(a very nice post and all comments there are full of emotions! who else other than Sahir Ludhiyanvi could do that, he has given words to our emotions for ‘Ganga’ – the soul of India !!!) by Avinash Scrapwala

8) Tora manwa kyon ghabraye from ‘Sadhna’ (by Atul ji)

9) Man re too kahe na dhir dhare from ‘Chitralekha’
(Post by Atul ji)
“Intensely Beautiful song! The meaning touches the soul each time!” – Indyana

10) Ishwar allah tere naam from ‘Naya Raasta’…
“Here is this awesome bhajan from “Naya Raasta” (1970). This song, which is sung
by Rafi and chorus, is bound to bring solace and comfort to listeners.” By Atul ji

(Apart from bringing solace and comfort this song also speaks of one to lift oneself above caste, creed, religion, and do good … it emphasizes ‘karm’ and seek peace for all!!!) – By Avinash Scrapwala.

Another beautiful song (which is not in the compilation) is teri hai zameen, teraa aasmaan from ‘The Burning Train-1980’

This is another lovely gem penned by Sahir. (And this was the song which started my interaction with Atul ji and eventually I started contributing lyrics posts on our blog).

The two songs from the album that remain to be posted are:
1) Raam rahim Krishna kareem… sab ki hain ik hi taalim -Mehmaan (1974)
2) O praani re … teri karam kahaani teri aatma bhi jaane – Chingaari (1971*).

*The film itself is said to have been released only in 1989.
I will discuss the first song at another time, but today I would like to discuss the song from “Chingaari”(1971). (Incidentally, there was a film in 1955 with the same title in which there is ONE song whose lyrics have been penned by Sahir).

This song from Chingaari(1971) is a beautiful, philosophical, gem about our ‘Karma’.

Sahir is talking to man, saying that however much he tries to cover up his deeds, his soul (aatma) knows. And He (the Lord, Parmatma) knows. So it is futile to commit sin and then try to cover it up.

Sahir emphasizes that you reap what you sow. The world is the result of karma. And your ‘karma’ cannot be hidden from your soul. And from Him (the Lord, Parmatma).

Such a clear philosophical statement coming from a man, known primarily for his Urdu shaayri!

I will leave all of you with this song now.

And, while on this subject, I would also like to take the opportunity to pray to the Almighty to shower his love and affection on all of us, irrespective of caste, creed or religion.

This special song happens to be my one hundredth Sahir Ludhianvi lyrics contribution in the blog.


Song-Teri karam kahaani teri aatmaa bhi jaane (Chingaari)(1971) Singer-Manna Dey, Lyrics-Sahir Ludhianvi, MD-Ravi

Lyrics

—————————–
Part I
—————————–
O o o
praani re ae ae
Praani re ae ae

Teri karam kahaani
Teri aatmaa bhi jaane
Parmatmaa bhi jaane
Teri karam kahaani
Teri aatmaa bhi jaane
Parmatmaa bhi jaane
Kahaan chhupegaa re praani
Teri aatmaa bhi jaane
Parmatmaa bhi jaane
Teri karam kahaani
Teri aatmaa bhi jaane
Parmatmaa bhi jaane

Kitney hi pardon mein
Paap kamaaye tu
Kitney hi jatnon se
Bhed chhupaaye tu
Kitney hi pardon mein
Paap kamaaye tu
Kitney hi jatnon se
Bhed chhupaaye tu
Bhaley burey ki kahaani ee
Praani re ae
Praani re ae
Bhaley burey ki kahaani
Teri aatmaa bhi jaane
Parmatmaa bhi jaane
Teri karam kahaani
Teri aatmaa bhi jaane
Parmatmaa bhi jaane

Jag jisey kehtey hain
Karmon ki kheti hai
Jaisaa koyee boye usse
Waisaa phal deti hai
Jag jisey kehtey hain
Karmon ki kheti hai
Jaisaa koyee boye usse
Waisaa phal deti hai
Toone boyaa kyaa thhaa praani ee ee
O o o
O o o
Toone boyaa kyaa thhaa praani
Teri aatmaa bhi jaane
Parmatmaa bhi jaane
Teri karam kahaani
Teri aatmaa bhi jaane
Parmatmaa bhi jaane

Prabhu ke dwaare teraa
Aanaa hi bahot hai
Bol ke naa bol
Pachhtaanaa hi bahot hai ae
Prabhu ke dwaare teraa
Aanaa hi bahot hai
Bol ke naa bol
Pachhtaanaa hi bahot hai
Jo hai vipadaa sunaani ee
Praani re ae
Praani re ae
Jo hain vipadaa sunaani
Teri aatmaa bhi jaane
Parmatmaa bhi jaane
Teri karam kahaani
Teri aatmaa bhi jaane
Parmatmaa bhi jaane

——————————-
PART – II
——————————–
Kaise kaise patit
Mahaan bane jag mein
Kaise kaise paapi
Gunwaan bane jag mein
Kaun wo manushya hai jo
Duniyaa mein aaya ho
Phir bhi kabhi naa koyee
Paap kamaaya ho
Jab bhi teri aankh khule
Tab hi saweraa hai
Kshamaa kare sabko wo
Bhagwaan teraa hai
Yugon yugon ki kahaani ee
Praani re ae
Praani re ae
Yugon yugon ki kahaani
Teri aatmaa bhi jaane
Parmatmaa bhi jaane
Teri karam kahaani
Teri aatmaa bhi jaane
Parmatmaa bhi jaane
Teri karam kahaani
Teri aatmaa bhi jaane
Parmatmaa bhi jaane


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.

MISSING GEMS FROM THE GOLDEN 50s…. Song No….8
————————————————————————————

Today’s song is from a milestone film of 1950 – ‘Sangram’. I call this a ‘milestone’ film for many reasons.

By 1950, it was just about 3 years after we got our Independence. Many talented and gifted artistes from Film industry – composers, actors, directors, lyricists and technical people, chose to leave India, which once was their Motherland, to start a new life in a new born country, their country! The vacuum created by their exit was soon filled up by the then current, and the upcoming and aspiring artistes in India. For that point in the history of India cinema, I would list the following as upcoming and aspiring artists,
– Composers: Shankar-Jaikishan, SD Burman, Madan Mohan, Roshan, Khayyam etc.
– Lyricists: Shailendra, Hasrat Jaipuri, Shakeel Badayuni, Majrooh, Rajendra Krishan, Raja Mehdi Ali Khan, Sahir Ludhianvi etc.
– Singers: Rafi, Mukesh, Kishore, Talat, Manna Dey etc.
Female singers like Lata, Asha, Geeta etc filled up the void created by the departure of Noorjehan, Khursheed etc. And of course, many new actors and actresses also came up shining.

Another important change that took place was in the change in the story lines of films. There was no more need to use subtle, suggestive, double meaning dialogues to talk of independence and national integration – we had attained independence. The new story lines started relating to the new changes in the country. Internationally, in the cinema industries worldwide, stories of intrigue, mystery and crime were also becoming popular and the industry was quick to bring it to the Indian audiences. Towards this end, ‘Sangram’ was the torchbearer. Earlier too, stories of crime and mystery, in milder form were handled by the industry, but ‘Sangram’ was the first film wherein ‘crime’ was the hero and the male lead was an anti-hero.

However, in our culture, we must show that evil never wins and in ‘Sangram’ too, this point was emphasized, underlining another virtue that duty is more important than anything else. So father shoots down the culprit son. ‘Sangram’ thus heralded a change in film concepts. Not that every subsequent film was a crime story, but it did make a bold statement of the New World.

1950 was also a confirmation year of the beginning of the Golden Era of film music, carrying forward the legacy of such musical blockbusters like ‘Kismet’ (1943), ‘Shehnai’ (1947), ‘Jugnu’ (1947) etc. In 1950, the everlasting music from films like ‘Jogan’, ‘Babul’, ‘Baawre Nain’, ‘Samadhi’, ‘Sargam’, ‘Muqaddar’, ‘Arzoo’, ‘Dastan’ etc. was a gift to the audiences. One more milestone film was ‘Har Har Mahadev’. This film was one of the most popular mythological films of all times, after ‘Ram Rajya’ (1943). This film ushered in the decade of devotional films in 1951 to 1960. There were 124 mythological films made in these 10 years. This works out to almost 1 film every 30 days for the next 10 years !

From Rajkamal Kalamandir came ‘Dahej’ directed by V Shantaram. This film became one of the factors instrumental towards the Government passing a new Anti Dowry Law in 1950. New Theatres made a film ‘Pehla Aadmi’, based on the life of Subhash Chandra Bose, for the time period that was in Singapore. With ‘Aankhen’ the military man Madan Mohan changed his tracks and entered the music arena.

Film ‘Sangram’ also changed the career of Ashok Kumar. So far then, Bombay Talkies had projected his image as a lover-boy hero, singing duets and helping in social reforms. ‘Sangram’ became a precursor to his future films of the 50s and 60s, wherein he routinely played mature roles of a detective, a police officer or a parallel / second hero.

The star cast of ‘Sangram’ is Ashok Kumar, Nalini Jayawant (they worked together in 11 films in all), Nawab, Tiwari, Shashi Kapoor (jr.), Tabassum, Hemvati, Sajjan, Ram Singh, SN Banerjee etc. The music director was C Ramchandra, who at that time was competing with Naushad for the top rank amongst music directors in the industry. The film has three lyricists – Brajendra Gaud (who also wrote the screenplay and was also the assistant director), Raja Mehdi Ali Khan and PL Santoshi. In total there are 7 songs. Chitalkar sang 2 duets, one each with Lata and Shamshad.

If you take a re look at the cast, you will find an unfamiliar name – Hemavati. Hardly anyone knows who this actress was. She plays an important role of Mohini, the Club Dancer, and a time pass love of Ashok Kumar in the film. Normal sources will not give any information on Hemavati, but for our readers, here is some information on her.

Hemavati was a Marathi actress and an active worker of IPTA (Indian People’s Theatre Association) in Bombay. She was also a regular actress at Prithvi Theatres and had acted as the heroine of Raj Kapoor in the stage drama ‘Deewaar’. At IPTA, she met actor aspirant DK Sapru and they fell in love with each others. They got married in 1948. By that time she had acted in ‘Ghar Ghar Ki Kahani’ (1947) with Nayampally, ‘Jail Yatra’ (1947) with Raj Kapoor, ‘Mohan’ (1947) with Dev Anand, and a few other films. After her marriage, she completed ‘Sangram’ with Ashok Kumar and stopped working in films to raise a family. The couple had three children. Preeti Sapru became an actress in Punjabi film. Tej Sapru acted in Hindi films and TV. Reema married Rakeshnath and became a successful screenplay writer of popular films. Hemavati’s last film, however, was ‘Patit Paawan’-55, which she produced also for her husband.

Today’s song is also an exclusive song. It shows the famous roly-poly character actor SN Banerjee, singing a romantic song. Perhaps this may be the only song performed by him on screen. Seeing him singing and serenading his lady love is quite hilarious.

SN Banerjee came from a very rich family of Allahabad. A sizable number of Bengali families had settled in Allahabad. Due to the BNR Railway (Bengal Nagpur Railway), many Bengali families had settled down along the tracks of the railways from Bengal to Nagpur. (The Ganguli family (the family of Ashok, Anup, and Kishore) was also from Khandwa junction of this Railway). Banerjee studied up to MA in English Literature. He was a good actor. He started his film career with ‘Dhunwadhaar’ (1935), which was also the debut film for Leela Chitnis. He joined Kardar Productions in the story department. He was friendly with M Sadiq, another protégé of Kardar. Banerjee also tried his hand at film direction. Besides writing the story, screenplay and dialogues of ‘Daastan’ (1950), he was also the assistant director. He wrote stories for ‘Baap Re Baap’ (1955), ‘Naya Daur’ (1957), ‘Sahib Bibi Aur Ghulam’ (1962), ‘Khoobsoorat’ (1952) etc. He acted in 73 films. He directed ‘Dillagi’ (1966). I remember his roles in ‘Baap Re Baap’ (1955) and ‘Chalti Ka Naam Gaadi’ (1958). Banerjee acted in all films of Kardar, Sadiq, PN Arora, Satyen Bose and Hrishikesh Mukherjee.

The story of film Sangram is. . .

Thakur Narendra Singh (Nawab) is a loyal police pfficer. He begets a son after many years, but loses his wife. He brings up his motherless son with lot of ‘laad-pyaar’. Young Raja (role played by the child Shashi Kapoor) is friendly with Kanta (Tabassum). He gets spoiled with excessive freedom, money, and love and pampering. Soon he goes the crooked way, plays cards, bunks school and once even threatens someone with his father’s revolver. When he grows up, he goes to Lucknow and opens a hotel cum casino where all illegal activities go on. He falls for the dancer Mohini (Hemavati) from his club.

Once his henchman Pyaarelal (Tiwari) betrays him and informs the police. In the police raid and firing, Raja is injured but escapes. He meets Kanta again and old love blooms. Meanwhile Pyaarelal tracks him down and starts to blackmail him. To pay him off, Raja steals his own mother’s jewellery and gives to him. During an encounter Pyaarelal falls down and is killed. The police arrest Raja and he is jailed.

Kanta gets married to another person. Raja escapes from the prison and kidnaps Kanta from her home. He wants to marry her. Mohini, who also loves Raja, is jealous and informs the police. When the police arrive, Raja shoots down Mohini and holds Kanta as hostage. The police chief opens fire. Raja kills many policemen. Then, his bullets finish. The police chief, who is his father, warns him to surrender and release Kanta, but he threatens to kill Kanta (with an empty revolver). Finally, the duty bound Thakur shoots and kills Raja, his own son. Before dying, Raja regrets his deeds and asks for pardon. (578)

Today’s song is a duet of Chitalkar and Shamshad Begum. The HFGK does not mention the singers’ names, but the famous record collector and music historian Shri Girdharilal Vishwakarma has confirmed the singer names.

Now let us enjoy this hilarious unique romantic song featuring SN Banerjee in film ‘Sangram’.


Song – Dekho Dekho Gadbad Ghotaala (Sangraam) (1950)  Singer – Shamshad Begum, Chitalkar, Lyrics – Brajendra Gaud,  MD – C Ramchandra
Both

Lyrics

dekho dekho gadbad ghotala
dekho dekho gadbad ghotala
ho oo
daal mein hai kuchh kaala
hoye daal mein hai kuchh kaala
kya kaala
ho kaala
ho kaala
ho kaala
dekho dekho gadbad ghotala
dekho dekho gadbad ghotala
ho oo
daal mein hai kuchh kaala
hoye daal mein hai kuchh kaala

wo pardesi
aur wo maaklin
chhup chhup kar kyon milte hain pal chhinn
wo pardesi
aur wo maaklin
chhup chhup kar kyon milte hain pal chhinn
najar najar se milti hai jab
dil ki kali yoon khilti hai tab
ek chaabi se khul jaata hai
nau kamron ka taala
ho oo
daal mein hai kuchh kaala
hoye daal mein hai kuchh kaala
dekho dekho gadbad ghotala
dekho dekho gadbad ghotala
ho oo
daal mein hai kuchh kaala
hoye daal mein hai kuchh kaala

wo boli
wo boli
kya
mat jaa bedardi
aa haa haa
wo bola
wo bola
bhai teri marzi
na pagdi diya na kiraaya
na pagdi diya na kiraaya
muft mein dil ka bangla paaya
muft mein dil ka bangla paaya
aankhon ki chauki se ghus kar
dil mein dera daala
ho oo
daal mein hai kuchh kaala
hoye daal mein hai kuchh kaala
dekho dekho gadbad ghotala
dekho dekho gadbad ghotala
ho oo
daal mein hai kuchh kaala
hoye daal mein hai kuchh kaala

sun sun maina
kehta hai totaa
hua ye wahi
jo hai hota
hua ye wahi
jo hai hota

unki baat un par hi chhodo
unki baat un par hi chhodo
ab tum humse naata jodo
ishq mein humko yoon na sataao
ishq mein humko yoon na sataao
jaao
jaao
jaao jaao jaao
haaye
re haaye
re haaye re haaye re haaye
tere nakhre mein garam masaala
ho tere nakhre mein garam masaala
ho tere
ho tere
ho tere nakhre mein garam masaala
ho oo
daal mein hai kuchh kaala
hoye daal mein hai kuchh kaala
dekho dekho gadbad ghotala
dekho dekho gadbad ghotala
ho oo
daal mein hai kuchh kaala
hoye daal mein hai kuchh kaala
oye

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

देखो देखो गड़बड़ घोटाला
देखो देखो गड़बड़ घोटाला
हो ओ
दाल में है कुछ काला
होय दाल में है कुछ काला
क्या काला
हो काला
हो काला
हो काला
देखो देखो गड़बड़ घोटाला
देखो देखो गड़बड़ घोटाला
हो ओ
दाल में है कुछ काला
होय दाल में है कुछ काला

वो परदेसी
और वो मालकिन
छुप छुप कर क्यों मिलते हैं पल छिन्न
वो परदेसी
और वो मालकिन
छुप छुप कर क्यों मिलते हैं पल छिन्न
नजर नजर से मिलती है जब
दिल की काली यूं खिलती है तब
एक चाबी से खुल जाता है
नौ कमरों का ताला
हो ओ
दाल में है कुछ काला
होय दाल में है कुछ काला
देखो देखो गड़बड़ घोटाला
देखो देखो गड़बड़ घोटाला
हो ओ
दाल में है कुछ काला
होय दाल में है कुछ काला

वो बोली
वो बोली
क्या
मत जा बेदर्दी
आ हा हा
वो बोला
वो बोला
भई तेरी मर्ज़ी
ना पगड़ी दिया ना किराया
ना पगड़ी दिया ना किराया
मुफ्त में दिल का बंगला पाया
मुफ्त में दिल का बंगला पाया
आँखों की चौकी से घुस कर
दिल में डेरा डाला
हो ओ
दाल में है कुछ काला
होय दाल में है कुछ काला
देखो देखो गड़बड़ घोटाला
देखो देखो गड़बड़ घोटाला
हो ओ
दाल में है कुछ काला
होय दाल में है कुछ काला

सुन सुन मैना
कहता है तोता
हुआ ये वही
जो है होता
हुआ ये वही
जो है होता
उनकी बात उन पर ही छोड़ो
उनकी बात उन पर ही छोड़ो
अब तुम हमसे नाता जोड़ो
इश्क़ में हमको यूं ना सताओ
इश्क़ में हमको यूं ना सताओ
जाओ
जाओ
जाओ जाओ जाओ
हाय
रे हाय
रे हाय रे हाय रे हाय
तेरे नखरे में गरम मसाला
हो तेरे नखरे में गरम मसाला
हो तेरे
हो तेरे
हो तेरे नखरे में गरम मसाला
हो ओ
दाल में है कुछ काला
होय दाल में है कुछ काला
देखो देखो गड़बड़ घोटाला
देखो देखो गड़बड़ घोटाला
हो ओ
दाल में है कुछ काला
होय दाल में है कुछ काला
ओए


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 – 2
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Almost eighty years ago – ‘Miss Frontier Mail’ from way back in 1936. The caricatures in the video clip stand testimony to the pioneers of Hindi cinema. This is the famous original stunt film from the house of Wadia Movietone, featuring the famous fearless Nadia, the queen of stunt films in the 30s and 40s.

The film is produced and directed by Homi Wadia. The name of the lyricist is lost in antiquity, at least for now. The music direction is by Master Mohammed. The star cast includes Nadia, Gulshan, Sardar Mansoor, Sayaani ‘Aatish’, John Cowas, Jaal Khambatta, Meenu the Mystic, Master Jaidev, Bashir Qawwaal. A very interesting side note here. A footnote in the Geet Kosh confirms that the name Master Jaidev listed in here is none other than Jaidev, the music director, appearing as a child artist, way back in 1936. This film is one of the seminal productions and a trendsetter in the stunt genre. The following brief description of the film is adapted from the material available on the internet.

Savita, aka Miss 1936, is an amateur hunter while her brother Jayant is an amateur film-maker. Their father, Maganlal, is arrested for the murder of a station-master. He is defended by their uncle Shyamlal, who is in fact the mysterious Signal X. Shyamlal causes a major train smash-up so as to promote his new airline. He then implicates the hero Sunder, son of the railway president, in the crime. Savita overcomes the nasty Signal X, whose henchmen are caught on film by Jayant as they sabotage a bridge. Nadia indulges in extensive fist-fights, set to heavy sound effects, and a famous hand-to-hand battle alongside Sunder atop a moving train.

The film has four songs in all, and the interesting thing is that all the four songs are filmed in the same setting, in what looks like the lounge room of a bar. The set of actors in all four songs are also more or less the same. The singer of this song is identified as Bashir Qawwaal, very apparently the central figure in the scene, seated on the only table in the room, very energetically playing the harmonium in front of him. And singing this piece. There is a motley crew of characters filling in the frame. The most prominent is the plump fellow with a thick moustache and hat to start with, sitting front and center in the frame. The hat comes off as the lady with the cigarette appears. The scene is of a club room or a bar, and the people in the frame are in various degrees of inebriation. Our mustached friend is clearly tipsy, as he tries to follow the pace and the rhythm of the song, with some zany action, which I am inclined to believe, are unrehearsed and impromptu. His actions, and the overall scenario, is nothing less than hilarious. The only person serious is probably the singer Bashir himself, concentrating on getting the song correct. Our mustached friend is Meenu, the Mystic. In the frame, there is also this bullying female person, incessantly smoking away. Clearly, it was the time when the health warnings about the dangers of smoking and drinking, were unheard of.

It is very apparent that this song is being performed live by the on screen performers – it is not in playback mode. Playback singing had already been pioneered in 1935, but it appears that it took some time for the concept and the techniques to catch on across all centers and all studios. This makes the rendition of the song all the more interesting, as one sees how the singing and the action in the frame is coordinated. Considering this aspect, one can begin to appreciate the scale of difficulty in capturing such performances live on celluloid. The pre recorded song in case of playback scenario, does makes shooting of the songs somewhat simpler. So, another interesting dimension to consider as you watch this video clip. This one of the rare films for which the video is available. It comes from Wadia Movietone, one of the companies that has taken good care to preserve their creations.

So here is one of the oldest available video clips of a Hindi film song. And what immense fun it is. View, listen and enjoy.

Song – Bhar Bhar Ke Jaam Pilaa De Bahaar Aayi (Miss Frontier Mail) (1936) Singer – Bashir Qawwaal, Lyrics – [Unattributed], MD – Master Mohammed

Lyrics

aaaa aaaaa aaaaa
aaaaa aaaaaaa aaaaaa
aaaaa aaaaaaaa. .e

raah e maikhaana bataa dena mujhe
aur koi raste se lagaa dena mujhe
tere maikhaane ka sadqa saaqia
ek do saaghar pila dena mujhe

bhar bhar ke jaam pila de bahaar aayi
bhar bhar ke jaam pila
pila de saaqia
pila de saaqia. .aa. .aa bahaar aayi

aisi pilaa de
mast banaa de
aisi pilaa de
aisi pilaa de
mast banaa de
aisi pilaa de
mast banaa de
bhar bhar ke jaam pila de bahaar aayi
bhar bhar ke jaam pila de bahaar aayi

mai ka piaala. .aa pilaa saaqi
aur naam tera ho jaaye
saaqi
naam tera ho jaaye
saaqi naam tera ho jaaye
saaqi naam tera ho jaaye
saaqi naam tera ho jaaye

roomat jhoomat lot jaaun yahaan
roomat jhoomat lot jaaun
maston ko behka dena zaraa
maston ko behka dena zaraa
de de hamen bhi nazraana
de de hamen bhi nazraana
bahaar aayi
bhar bhar ke jaam pila de bahaar aayi
bhar bhar ke jaam pila de bahaar aayi
aisi pilaa de
mast banaa de
aisi pilaa de
mastaana banaa de saaqi
mastaana banaa de
aisi pilaa de
aisi pilaa de
mast banaa de
aisi pilaa de
mast banaa de
bhar bhar ke jaam pila de bahaar aayi
bhar bhar ke jaam pila de bahaar aayi
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————

आ आ आ
आ आ आ
आ आ

राह ए मैखाना बता देना मुझे
और कोई रास्ते से लगा देना मुझे
तेरे मैखाने का सदका साकीया
एक दो साग़र पिला देना मुझे

भर भर के जाम पिला दे बहार आई
भर भर के जाम पिला
पिला दे साक़िया
पिला दे साक़िया॰ ॰आ॰ ॰आ बहार आई

ऐसी पिला दे
मस्त बना दे
ऐसी पिला दे
ऐसी पिला दे
मस्त बना दे
ऐसी पिला दे
मस्त बना दे
भर भर के जाम पिला दे बहार आई
भर भर के जाम पिला दे बहार आई

मय की पियाला॰ ॰आ पिला साक़ी
और नाम तेरा हो जाये
साकी
नाम तेरा हो जाये
साकी नाम तेरा हो जाये
साकी नाम तेरा हो जाये
साकी नाम तेरा हो जाये

रूमत झूमत लोट जाऊन यहाँ
रूमत झूमत लोट जाऊन
मस्तों को बहका देना ज़रा
मस्तों को बहका देना ज़रा
दे दे हमें भी नज़राना
दे दे हमें भी नज़राना
बहार आई
भर भर के जाम पिला दे बहार आई
भर भर के जाम पिला दे बहार आई

ऐसी पिला दे
मस्त बना दे
ऐसी पिला दे
मस्ताना बना दे साक़ी
मस्ताना बना दे
ऐसी पिला दे
ऐसी पिला दे
मस्त बना दे
ऐसी पिला दे
मस्त बना दे
भर भर के जाम पिला दे बहार आई
भर भर के जाम पिला दे बहार आई


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.

“Life is short but art and for that matter music is permanent. There is no death of a true art and so is it with music.”

These are the words of one who is known as the ‘Gentleman Musician’ amongst the community of music directors and musicians, both in Bombay and in Calcutta.  Vistas Ardeshir Balsara – a name that is part of a long list of very talented musicians, whose contributions to the making of the film music has been immense.  These musicians, instrumentalists and arrangers, most of whom were  experienced and capable of being music directors in their own right, rarely got to appear in the limelight and be recognized for their work.  V Balsara is one such gifted musicians who did get the opportunity to step out from behind the curtain, and be known for his art.  I am sure all will remember the iconic song “Ae Mere Dil Kahin Aur Chal” (‘Daag’, 1952) in all its flavors.  The piano accordion in this song is played by him.

Remembering V Balsara on the anniversary of his passing away (24th March).
Read more on this topic…


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.

#The Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 5 # Mohammed Rafi – 2
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I am sure that music lovers remember the song ‘Paani Mein Jaley Mera Gora Badan Paani Mein’ – it became quite popular in its time.  But I wonder if folks will remember the name of the film it is from.  It is sung by Suman Kalyanpur and is from a lesser known movie ‘Munim ji’ of 1972. I remember that it was frequently played on the radio in those years (my childhood years  :) ).  And I am wondering it is yet to be posted on this blog.
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.

MISSING GEMS FROM THE GOLDEN 50s…. Song No….7
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Today’s song is a lovely Meerabai bhajan, from the film ‘Toofan Aur Diya’ (1956), sung by Lata Mangeshkar. This song was very popular in those days and even today you will sway with its melody. The tune will linger with you for quite some time, I assure.
Read more on this topic…


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.

‘PANCHAM-RAFI’ Jodi’s Variety Songs – 2
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The second song to appear in this series is this wonderful lively ‘middle eastern’ type song (as mentioned in the article which is the basis of this series).
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.

MISSING GEMS FROM THE GOLDEN 50s…. Song No….6
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Bimal Roy, Satyajit Ray, Hrishikesh Mukherjee, V.Shantaram etc are some of the directors who enriched Hindi film industry with their offerings. They not only contributed significantly to the industry, but they also helped spread the fame of Indian movie industry beyond its shores.
Read more on this topic…


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.

#The Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 4 # Suresh Rajvanshi -1
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The journey through the HFGK is  getting more excited and thrilling day by day, though so far I have been able to glance through only the few preliminary years of this decade 1971-1980.  And I am realizing that apart from ‘Bhoole Bisre Geet’ we do also have some ‘Bhoole Bisre Artists’, like the singer of this song that is being presented today.
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 – 14
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There are many recipes to make memorable songs.  In my experience, one of them is – a B/C grade stunt film (the more obscure and forgotten, the better), an unfamiliar name of the lyricist, the voice of Rafi Sb, and the music of one of the lesser known music directors.  And voila, you have a fabulous and memorable song.  The song itself may be obscure, unfamiliar and possibly unheard for a long time.  But once you hear it – it is all a ‘wow’.
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 10900 song posts by now.

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