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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.

Yeh Hai Bombay Meri Jaan – 5
– – – – – – – – – – – – – – – – –

         Bombay Gangout – Part 5
         The Day After.

The next day to the gangout meeting, we had plans for a visit to our dear Arun ji.  As the readers may be aware, Arun ji had not attended the gangout meeting.  The personal family circumstances in the recent past, had been exigent to the extreme.  His life partner had passed away just 10 days prior to the scheduled meeting.  We had decided to go ahead with the meeting, sans his participation.

Bharat Bhai, Khyati Ben, Sadanand ji and myself – we coordinated to arrive at the Versova Metro station at around 10.30 am.  Bharat Bhai traveled directly from his residence, which is connected with Versova, on the metro line.  Sadnand ji and Khyati Ben coordinated to meet at Borivali, then travel to Andheri via the local train, and then change over to Metro line.  I followed the same method, except that coming from Santa Cruz where I was staying, I took the local train in the opposite direction.  Getting on to the metro and then traveling to Versova – it was a very nostalgic experience for me.  A while back, in 1987-88, when I had started working with the Tatas (their erstwhile software engineering unit TUL – Tata Unisys Ltd.), I was posted in Bombay to start with.  The office was in Andheri (East) in an area that is called ‘SEEPZ’, which, if I recall correctly, stands for Sant Cruz Electronic Export Promotion Zone.  This was located just after the MIDC Complex (Maharashtra Industrial Development Corporation) in Marol area.  For a major part of my stay in Bombay, I was staying in Andheri (West), in the Versova area, in a flat that I had rented from an office colleague, who was then stationed abroad on a project.  Getting that flat was a providential blessing – that was my first real stay in Bombay.  Stay as in living for an extended period of time, as opposed to visiting, which I had done on numerous occasions in the past.  That experience was a culture shock, as well as a wonderful lesson of life.  I will be covering that experience in the next post in this series.

So coming back to the nostalgia part, the short trip from Andheri station to Versova going by JP Road, was a reminder of my daily back and forth trip from my place of stay to the TUL office.  A lot had changed.  Of course the trip itself was happening many meters up in the air, as compared to the daily trip earlier, in BEST buses and or three wheeler auto rickshaws, all driving very much on the terra firma at the ground level.  But the route was same.  As the metro wended its way to Versova, I could see that lot of the skyline had changed.  Lot of landmarks that I was familiar with – some were still there, and many were changed.  It was a short trip down the memory lane, that tickled the strings of my heart, as I recalled the months that I had spent in this area, with memories mostly sweet.  Anyway, I will come back to that later.

So the four gang members landed up and met at the Versova station.  Bharat Bhai, who had earlier visited Arun ji, guided us as to the direction to take.  Arun ji’s residence is just a walking distance from the metro station.  So we walked, and enquired on way, and reached Jyoti Apartments.  As we were entering, I just happened to look across the road, and lo, I could see the Avinash Apartments complex where I had stayed for almost a year, and I could see the very apartment on the 4th floor where I lived.

We went towards block B in Jyoti Apartments.  In response to our call to him, Arun ji was waiting for us at the window of his first floor apartment, and guided us to the correct gate to enter.  We went up and reached his apartment B-13.

It was a very emotional encounter, especially for Khyati Ben and myself.  It would be the first time that the two of us were meeting Arun ji, and the circumstances could not have been more solemn and subdued.  It was a traditional greeting, touching his feet, and then I held him in my hug for a long time.  Any other occasion, I am sure there would have been some lively exchange on his “jet black” moustache, but it was not to be so that day.

We entered and we settled down in the study area, where Arun ji works on his computer, generating the many hundreds of posts that he has added to the blog.  The bookshelf just next to his work table, is full of books and notebooks.  Notebooks in which he stores his memories in writing.  His daughters were also present, and we were briefly introduced.

We talked about his loss and the current family situation.  Arun ji was quite composed and assured us that he is doing ok.  Yes, the loss is surely extreme, but then life is such.  One pauses and grieves for the loss, but then also one takes the next breath, the next step and the life continues.  Altered in some ways, but the relentless clock continues to tick and the life has to go on.

Next, we talked about the gangout meeting from the previous day.  Arun ji was very keen to know the details, and between the four of us, we gave him a fairly good briefing, on the gangout proceedings.  That was a lively discussion, as the four of us were quite keen to review the previous days program, and Arun ji, on his part was equally keen to know about how the day went.

It was a good almost couple of hours that we had spent there, sharing, reminiscing, discussing and reviewing, the program and events of the previous day.  It was a very lively session, as we all sat and discussed.  I assure you that being in the presence of Arun ji, is completely a wonderful experience.  Ah yes, I did mention to him that I had been living across the road from him for almost a year.  And then Arun ji in turn informed us that he had already moved into Jyoti apartments around 1985 or so, very well in time.  And so, the two of us have been neighbors for many months in the years 1987-88.  Just that, at that time, we did not holler across the road, checking into lyrics and songs information.  :)

Time came, and we had to take leave.  With sentiments still fresh in the hearts, we bade good bye to Arun ji.

The subsequent plans were that Nalin ji Shah, invited us all to his flat, for a brief get together.  Bharat Bhai took leave, as he had other things to attend to.  So, Khyati Ben, Sadanand ji and myself, we took the three wheeler auto rickshaw and via th Juhu Road, we traveled to Santa Cruz, to Nalin ji’s apartment.  As a gracious host, he had prepared ‘bataka pao’ for a lunch savory.  As we reached his place, the phone call exchange confirmed that Ranjan Sain had already reached and was waiting for us.  Ranjan ji is the cousin of Manju Amarnat Das, and a nephew to the producer director K Amarnath.

And thus followed a very lively session for the rest of the afternoon, at Nalin ji’s residence.  To start with, he recounted and reminisced about the numerous get togethers that had happened at the very place where were now sitting – gatherings that were attended by the stalwart artists of the industry, all friends of Nalin ji.  People like Kavi Pradeep, Anil Biswas, Indeevar, Rajkumari, Jairaj, Qamar Jalaalabaadi, Meena Kapoor, Bulo C Rani, Nini Majumdar, Sudha Malhora, and more.  He shared anecdotes from such gatherings.  The group had a lot of eager queries and Nalin ji recounted the things he knew.  Somehow, being a person with whom others simply confide, he carries in his head a lot of things that are proverbially from the horse’s mouth.  And some of them, he is not able to share.

Nalin ji’s apartment is also an interesting curio’s place.  There are rare photographs, rare books and records, some of them signed by the artists themselves.  Being a journalist, his habit is to collect and catalog documents and artifacts.  In fact he has original documents from the past, that have historical importance for the interested folks.  He recounted how met the family members of Saigal Sb, of music director Husnlal, Anil Biswas himself, OP Nayyar himself, Naushad Sb himself, and many more.  And with each such encounter, his collection of documents, photographs and artifacts became richer.

We also turned to Ranjan ji, and requested him to recount his memories of being the nephew of the great producer director.  He recounted the gala days when K Amarnath was a name that spelt success in the industry, and the also told about the days when his popularity and status waned, the episodes and events not all that happy anymore.

As we were talking, Nalin ji wandered away into another room. He returned after a few minutes, carrying in his hand, what looked like a large register.  This is his scrapbook, one of the many volumes that has prepared, to store the documents and photographs – a partial record of the history of the film industry itself.  He had the register opened at a particular place and he showed it to us and to Ranjan ji in particular.  Ranjan ji almost jumped up with joy.  What Nalin ji was displaying was a document that is the original contract document by which K  Amarnath retained the services of music director Shyam Sunder for the film ‘Alif Laila’ (1953).  This is an important document for Manju ji, and her archival web page for her father, producer director K Amarnath.  He requested for a copy, and Nalin ji promptly promised to send a scanned copy via email.

The string of interesting episodes continue to flow.  However, we came to a time when sitting any later would have been difficult for most of those present.  So we decided to close the session.  Ranjan ji, Khyati Ben and Sadanand ji took leave and departed.  It had been a very lively session.

So with this post, we have now documented all the events related to the gangout and the other outings of the gang members on the 21st and 22nd of December, 2014.

For this post, I present this lively song from the 1966 film ‘Gogola’, starring Azad, Tabassum, Rani, Paulson, Niyampalli, Habeeb, Bhale Rao, Sharma, and Chander K.  The songs of this film are written by Baalkavi Bairaagi and the music is by Roy Frank.  The singing voice is that of Mahendra Kapoor. It seems as if  the creators of this song tried to recreate an aura of “Ae Dil Hai Mushkil Jeena Yahaan” (‘CID’, 1956).  Tried, but have been able to get just a shadow of that classic. However, the song does take you on a trip from Boribunder in the extreme south, to Borivali in the north.  Another suggestion of a new category – ‘searching for love’.

A fun song, reasonably good.  Listen and enjoy.

Song – Boribunder Se Borivali Dekh Li Maine Gali Gali (Gogola) (1966) Singer – Mahendra Kapoor, Lyrics – Balkavi Bairaagi, MD – Roy Frank

Lyrics

boribunder se borivali
dekh li maine gali gali
meri saanwri mujhe nahin mili
meri saanwri mujhe nahin mili
boribunder se borivali
dekh li maine gali gali
meri saanwri mujhe nahin mili
meri saanwri mujhe nahin mili
boribunder se borivali

railon mein dekha
melon mein dekha
chhail chhabeele chhailon mein dekha
caron mein dekha
thelon mein dekha
kaarkhaanon mein dekha
jailon mein dekha
nahin mili par nahin mili
boribunder se borivali
dekh li maine gali gali
meri saanwri mujhe nahin mili
meri saanwri mujhe nahin mili
boribunder se borivali

sau sau baar samandar dekha
chidiya ghar ke andar dekha
bhaalu dekha
bandar dekha
overbridge ke under dekha
nahin mili par nahin mili
boribunder se borivali
dekh li maine gali gali
meri saanwri mujhe nahin mili
meri saanwri mujhe nahin mili
boribunder se borivali

batua khoyea
jeb kataaya
terylene ka pant ganwaaya
isey pataaya usey pataaya
bhookhon reh kar weight ghaaaya
nahin mili par nahin mili
boribunder se borivali
dekh li maine gali gali
meri saanwri mujhe nahin mili
meri saanwri mujhe nahin mili
boribunder se borivali
dekh li maine gali gali
meri saanwri mujhe nahin mili
meri saanwri mujhe nahin mili
boribunder se borivali

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

बोरिबंदर से बोरीवली
देख ली मैंने गली गली
मेरी सांवरी मुझे नहीं मिली
मेरी सांवरी मुझे नहीं मिली
बोरिबंदर से बोरीवली
देख ली मैंने गली गली
मेरी सांवरी मुझे नहीं मिली
मेरी सांवरी मुझे नहीं मिली
बोरिबंदर से बोरीवली

रेलों में देखा
मेलों में देखा
छैल छबीले छैलों में देखा
कारों में देखा
ठेलों में देखा
करखानों में देखा
जेलों में देखा
नहीं मिली पर नहीं मिली
बोरिबंदर से बोरीवली
देख ली मैंने गली गली
मेरी सांवरी मुझे नहीं मिली
मेरी सांवरी मुझे नहीं मिली
बोरिबंदर से बोरीवली

सौ सौ बार समुंदर देखा
चिड़िया घर के अंदर देखा’
भालू देखा
बंदर देखा
ओवर ब्रिज के अंडर देखा
नहीं मिली पर नहीं मिली
बोरिबंदर से बोरीवली
देख ली मैंने गली गली
मेरी सांवरी मुझे नहीं मिली
मेरी सांवरी मुझे नहीं मिली
बोरिबंदर से बोरीवली

बटुआ खोया
जेब कटाया
टैरीलीन का पैंट गंवाया
इसे पटाया उसे पटाया
भूखों रह कर वेट घटाया
नहीं मिली पर नहीं मिली
बोरिबंदर से बोरीवली
देख ली मैंने गली गली
मेरी सांवरी मुझे नहीं मिली
मेरी सांवरी मुझे नहीं मिली
बोरिबंदर से बोरीवली
देख ली मैंने गली गली
मेरी सांवरी मुझे नहीं मिली
मेरी सांवरी मुझे नहीं मिली
बोरिबंदर से बोरीवली


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.

Remembering Shamshad Begum on the second anniversary of her passing away (23rd April 2013). Born in Lahore on 14th April 1919, Shamshad Begum had an inclination towards singing right from her school days. Her school principal impressed with her singing, made her sing the classroom prayers, something which Naushad captilised elegantly in ‘Dard’ (1947) for a group song.

Coming from a conservative family, she was not very much encouraged to take up singing. However, one of her uncles took keen interest in her talent and secretly introduced her to composer Ghulam Haider who was the launching pad for Shamshad Begum in Hindi film music. Later on it was Mehmoob Khan himself who paid a visit to Lahore to convince her father to send her to Mumbai for singing in his new film ‘Taqdeer’ (1943) in which Motilal was paired opposite to Nargis as the lead actress and also as debutant. Soon her extraordinary talent was recognized by some of the biggest composers of that time such as Anil Biswas, Naushad, C Ramchandra, Govindram etc. After shuttling from Lahore to Bombay for some time, Shamshad soon moved to Bombay permanently with her husband Ganpat Lal Batto whom she got married to at the age of 15, much against the wishes of her family.

Shamshad Begum’s singing career was at its zenith from 1940 to 1955 and she was also the highest paid female playback singer during this period. Incidentally, the start of her singing career coincided with the initial starting phases of playback era in Indian cinema and as such she is also considered as one of the pioneers in this field. Having a distinct and unique voice made her to stand out against most of her contemporaries. She helped many composers such as SD Burman, OP Nayyar, Madan Mohan etc. by singing in their debut movies.

Writing a post on Shamshad Begum and not about her unique voice will be unfair by any means. Her voice has a perfect diction and a strong metallic timbre which was also very melodious. Fast numbers or slow pitches, her voice never fails to impress. Love songs, sad numbers, duets with various singers both male and female, teasing songs, you name it and you find various popular hits in her voice. Many of her songs have been remixed and have been forgotten. But the original songs sung by her will remain in the memories of music lovers forever.

Some of my personal favourites, not in chorological order are as follows. The famous piano song “Milte Hi Aankhen Dil Hua Deewaana Kisi Ka” from ‘Babul’ (1950) with Talat Mehmood is an absolute gem. Only a composer like Naushad could come up with such an offering with a duet sung by two very different singers as far as timbre in their respective voices are concerned. Some of her duets with Lata Mangeshkar are quite popular and famous. Though the one from the film ‘Deedar’ (1951) is great, her duet in ‘Babul’ – “Kisi Ke Dil Mein Rehna Tha” again is the one that lingers in one’s thoughts for a long time. The comparision of the two songs from the same film also validates the versatility of Shamshad Begum’s highly recognized talent, having pictured on the same actresses in two different situations.

An offering from the “King of Duets” Chitragupt from ‘Sindbad the Sailor’ (1952) with Rafi Sb – “Adaa Se Jhoomte Huye” is an evergreen rendering. Madan Mohan’s debut movie ‘Aankhen’ (1950) had a very interesting duet with Mukesh – “Humse Nain Milaana BA Pass Kar Ke“. The transition of Shamshad Begum’s voice from authoritative at the beginning of the song to the sort-of-submissive at the end is worth nothing.

Coming to ‘Mela’ (1948), Shamshad Begum under Naushad was again a lead singer with some excellent haunting voiced songs in the movie. Particular reference can be made of “Gham Ka Fasaana Kisko Sunaayen” and “Mohan Ki Muraliya Baaje” – songs that are deluged with pathos which only she could do justice. The interluding non-worded pleas in the song are sung so beautifully that they could have reached and heard even in the heavens too.

Several of her songs with OP Nayyar and SD Burman are so famous that they are remixed to this day. There are many movies which are remembered to this day only for the songs of the legend.

The famous song “Inhi Logon Ne Le Linha Dupatta Mera” was first sung by Shamshad Begum way back in 1941 for the film ‘Himmat’. “Jab Usne Gesu Bikhraye Baadal Aaya Jhoom Ke” from Shahjehan 1946, “Kaahe Koel Shor Machaaye Re” from ‘Aag’ (1948), “Aaj Kahaan Jaa Ke Nazar Takraayi” from ‘Anokhi Ada’ (1948), “Mere Piya Gaye Rangoon” from ‘Patanga’ (1949), “Ye Duniya Roop Ki Chor” from ‘Shabnam’ (1949), “Leke Pehla Pehla Pyar“, “Kahin Pe Nigahen Kahin Pe Nishaana“, and  “Boojh Mera Kya Naam Re” from ‘CID’ (1956), “Kabhi Aar Kabhi Paar Laga Teer-e-Nazar“, (Aar Paar), “Kajra Mohabbatwala Ankhiyon Mein Aisa Daala” from ‘Kismat’ (1968), “Ek Do Teen Aaja Mausam Hai Rangeen” from Awara (1951).

Each of the above songs and hundreds more are phenomena in themselves. A huge void will be very much evident minus of the voice of Shamshad Begum in most of the films that she sang for.

There was some confusion and rumour of her death in 1998 due to mistaken identity. However, Shamshad Begum also went to be conferred the Padma Bhushan in 2009. Her photo of receiving the award was published in newspapers. I remember running straight for the scissors to cut this news clipping as her photo was such a rare sight. It was so very pleasant to see the legend in the photograph. It’s one of my prized possessions to this day.

After a prolonged illness, she passed away in Mumbai on 23rd April 2013 leaving behind a legacy and a voice that will continue to rule the sound space for ever.

Here is a nice philosophical song sung by Shamshad Begum for “Doosri Shadi” from 1947.


Song – Mann Bhooli Khataayen Yaad Na Kar (Doosri Shaadi) (1947) Singer – Shamshad Begum, Lyrics – IC Kapoor, MD – Pt Gobindram
Lyrics

mann bhooli khataayen yaad na kar
o mann bhooli khataayen yaad na kar
phir saawan ke din aayenge
haan.. phir saawan ke din aayenge
mann bhooli khataayen yaad na kar

phir koyal kook sunaayegi
phir koyal kook sunaayegi
phir pawan jhoomti aayegi
phir pawan jhoomti aayegi
pee aayenge
muskaayenge
pee aayenge
muskaayenge
tujhe roothaa hua manaayenge
tujhe roothaa hua manaayenge
man bhooli khatayen yaad na kar
o man bhooli khatayen yaad na kar

phir aasha rang dikhaayegi
phir aasha rang dikhaayegi
phir kali phool ban jaayegi
mann chaahegaa so paayegaa aa aa
mann chaahegaa so paayegaa
tere beete din phir aayenge
mann bhooli khataayen yaad na kar
o mann bhooli khataayen yaad na kar
phir saawan ke din aayenge
haan.. phir saawan ke din aayenge
mann bhooli khataayen yaad na kar

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

मन भूली खताएँ याद ना कर
ओ मन भूली खताएँ याद ना कर
फिर सावन के दिन आएंगे
हाँ फिर सावन के दिन आएंगे
मन भूली खताएँ याद ना कर

फिर कोयल कूक सुनाएगी
फिर कोयल कूक सुनाएगी
फिर पावन झूमती आएगी
फिर पावन झूमती आएगी
पी आएंगे
मुस्काएंगे
पी आएंगे
मुस्काएंगे
तुझे रूठा हुआ मनाएंगे
तुझे रूठा हुआ मनाएंगे
मन भूली खताएँ याद ना कर
ओ मन भूली खताएँ याद ना कर

फिर आशा रंग दिखाएगी
फिर आशा रंग दिखाएगी
फिर काली फूल बन जाएगी
मन चाहेगा सो पाएगा॰ ॰आ॰ ॰आ
मन चाहेगा सो पाएगा
तेरे बीते दिन फिर आएंगे
मन भूली खताएँ याद ना कर
ओ मन भूली खताएँ याद ना कर
फिर सावन के दिन आएंगे
हाँ फिर सावन के दिन आएंगे
मन भूली खताएँ याद ना कर



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 film ‘Jwala’ was started sometimes in the second half of 1950s.  It was finally released in 1970, a year after the passing away of Madhubala.  As with some of her last films, this film also has deficient and compromised editing, and possible use of a double in some scenes, just to try and complete the storyline.  But forever, this will be known as her last released film.

Produced and directed by MV Raman for his own banner, Raman Productions, the film has an impressive star cast that reads like Sohrab Modi, Madhubala, Sunil Dutt, Pran, Ulhas, David, Jagirdar, Raj Mehra, Asha Parikh, Kamla Lakshman, Vijaylakshmi, Lalita Pawar, Leena Nazar, Roshan, Poonam, Naaz, Shivraj, Chaman Puri, Mukri, Kammo Tripathi, Keshav Kapoor, Vijay, Shobha, Sabeena, Shashi, Bhardwaj, Kesari, Vishwas Kunte, and Daisy Irani.  Interesting to note that Asha Parekh plays a supporting role in this film, that indicates the period of this film to be prior to when Asha ji became a leading lady with the film ‘Dil Deke Dekho’ in 1959.

There are 8 songs in this film, two of which are written by Shailendra and the remaining are by Rajinder Krishan.  This song is from the pen of Rajinder Krishan.  Music is by Shankar Jaikishan.  The singing voice is that of Mukesh, and the online performance is by Sunil Dutt, in the company of a lot of elephants, leopards and lions.  The song is the typical ‘announcing the arrival’ of the leading man.  There are so many songs of this type in Hindi films – maybe we should be getting on with another special category for such songs.

It is the voice the makes everything special for the songs he has sung.  As is the sound of this song.  Recorded sometimes in the second half of 1950s, probably 1957 or thereabouts.  Listen and enjoy.


Song – Thaam Lo Kaleja Sab Apna Apna (Jwaala) (1971) Singer – Mukesh, Lyrics – Rajinder Krishan, MD – Shankar Jaikishan
Lyrics

thaam lo kaleja
thaam lo kaleja
sab apna apna
raahi aaya hai jhoomta jhaamta
thaam lo kaleja
sab apna apna
raahi aaya hai jhoomta jhaamta
laaya hai ulfat ka rangeen sapna
raahi aaya hai jhoomta jhaamta
thaam lo kaleja

azaad pacnhhi masti mein ghoomun
munh badliyon ka ud ud ke chhoomun
azaad pacnhhi masti mein ghoomun
munh badliyon ka ud ud ke chhoomun
paayal ki awaaz sun sun ke jhoomun
paayal ki awaaz sun sun ke jhoomun
thaam lo kaleja
o thaam lo kaleja
sab apna apna
raahi aaya hai jhoomta jhaamta
laaya hai ulfat ka rangeen sapna
raahi aaya hai jhoomta jhaamta
thaam lo kaleja

dil bijliyon ke maine uchhaale
aur aandhiyon ke armaan nikaale
dil bijliyon ke maine uchhaale
aur aandhiyon ke armaan nikaale
himmat hai jiski nazar to milaa le
himmat hai jiski nazar to milaa le
thaam lo kaleja
o thaam lo kaleja
sab apna apna
raahi aaya hai jhoomta jhaamta
laaya hai ulfat ka rangeen sapna
raahi aaya hai jhoomta jhaamta
thaam lo kaleja

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

थाम लो कलेजा
थाम लो कलेजा
सब अपना अपना
राही आया है झूमता झामता
थाम लो कलेजा
सब अपना अपना
राही आया है झूमता झामता
लाया है उलफत का रंगीन सपना
राही आया है झूमता झामता
थाम लो कलेजा

आज़ाद पंछी मस्ती में घूमूँ
मुंह बदलियों का उड़ उड़ के चूमूँ
आज़ाद पंछी मस्ती में घूमूँ
मुंह बदलियों का उड़ उड़ के चूमूँ
पायल की आवाज़ सुन सुन के झूमूँ
पायल की आवाज़ सुन सुन के झूमूँ
थाम लो कलेजा
ओ थाम लो कलेजा
सब अपना अपना
राही आया है झूमता झामता
लाया है उलफत का रंगीन सपना
राही आया है झूमता झामता
थाम लो कलेजा

दिल बीजलियों के मैंने उछाले
और आंधीयों के अरमान निकाले
दिल बीजलियों के मैंने उछाले
और आंधीयों के अरमान निकाले
हिम्मत है जिसकी नज़र तो मिला ले
हिम्मत है जिसकी नज़र तो मिला ले
थाम लो कलेजा
ओ थाम लो कलेजा
सब अपना अपना
राही आया है झूमता झामता
लाया है उलफत का रंगीन सपना
राही आया है झूमता झामता
थाम लो कलेजा


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 twinkling eyes and the arresting smile get to your heart when she sings “Kabhi Aar Kabhi Paar Laaga Teer e Nazar”. An accomplished dancer, who has the capability to take a song, many levels higher.  Witness that in “Diya Na Bujhe Ri Aaj Hamaara” (‘Son of India’, 1962), “Dagaa Dagaa Wai Wai Wai” (‘Kaali Topi Laal Roomaal’, 1959), “Tera Jalwa Jisne Dekha Wo Tera Ho Gaya” (‘Ujaala’, 1959), “Tera Teer O Bepeer Dil Ke Aaram Paar Hai”, (‘Sharaarat’, 1959), “Madhuban Mein Radhika Naache Re” (‘Kohinoor’, 1960), “Rang Rangeela Saanwra Mohe Mil Gayo Jamna Paar” (‘Baarood’, 1960), “Ab Na Chhupo Re Chhalia” (‘King Kong’, 1962), “Kaanha Jaa Re Teri Murli Ki Dhun” (‘Tel Maalish Boot Polish’, 1962), “Zulmi Hamaare Saanwariya Ho Ram” (‘Mr X In Bombay’, 1964), “Tujhse Wo Neha Lagaaye” (‘Shreeman Funtoosh’, 1965), “Door Kahin Door Hamen Le Chalo Sanam” (‘Ek Sapera Ek Lutera’, 1966), “Main To Khadi Re Khadi Re, Aankh Ladi Re Ladi Re” (‘Sab Ka Ustad’, 1967), “Mera Naam Hai Chameli, Main Hoon Maalan Albeli” (‘Raja Aur Runk’, 1968), and many more.  Once again request Atul ji to create a new category – ‘Kum Kum Dances’.

Greetings to Kum Kum on her birth anniversary today (22nd April).

Yes, takes the entertainment value of a song many notches higher.  That is the ‘abhinaya kala’ that she has mastered as an accomplished Kathak dancer.  Her Guru – the legendary Shambhu Maharaj of Lucknow gharana.  Nothing more to be added for her art, other than to say, take a view of the sampler list of her dance songs given above.  And you will know.  All that she communicates with the minutest of twitching eyebrows, the slight curl of the lips, and the graceful steps across the dance floor.  The performance itself is the statement enough.

She was born Mehru-nisa, in Husainabad in Bihar.  She did her schooling in Benaras and Lucknow, and then trained in Kathak in Lucknow.  Much else is not known about her early life.  She started her career in Hindi films in the early 1950s.  After brief appearances in ‘Aansoo’ (1953) and ‘Mirza Ghalib’ (1954), Guru Dutt gave her an opportunity for a song in his film ‘Aar Paar’ (1954).  The performance caught the attention, and Kum Kum was a busy actress after that.  Her dancing prowess is well documented in the sampler list given above.  She would soon begin to appear in leading roles, well through the better part of 1960s, albeit she was never able to successfully break into the A grade cinema. ‘Bombay by Night’ of 1976, opposite to Sanjeev Kumar, is probably her last film. She got married and left for Saudi Arabia, taking a final bow out of the film industry.  There are references that say she is currently back in India and living a retired life in Bombay.

Today’s song is an off-the-mainstream Hindi cinema, from the Bhojpuri film ‘Ganga Maiya Tohe Piyari Chadhaibo’ (1963).  This is the first Bhojpuri film that was made in India.  An interesting anecdote behind its creation.  At an film awards ceremony in late 1950s, the then President of India, Babu Rajendra Prasad, who hails from Bihar, spoke with Nazir Hussain, the renowned character actor, also from Bihar.  The president queries why not make films in Bhojpuri language.  In fact Nazir Sb was already preparing a script for a Bhojpuri film, with this title.  He promised the president that it will happen soon.

Nazir Husain discussed the script with Bimal Roy, but he did not express any great amount of interest in the project.  A later chance meeting with Bishwanath Prasad, a businessman and a film distributor and exhibitor in Bihar, led to a more interested commitment, and the film was launched with financing from the businessman.  The film was completed in 1962.  A special screening was arranged for the President, before the public release.  The film was released to public in 1963.

The title of the film refers to a tradition in Bihar that says, ‘Mother Ganga, I will offer you the auspicious yellow sari’. The word ‘piyari’ represent the yellow sari.  The tradition is that people will pray to Mother Ganges, and place their wish to her, in their prayers.  On the fulfillment of their wishes, they will make an offering the auspicious yellow sari, to Mother Ganges.

The song is a lovely melody that has remained in memory from the radio listening days.  The song is created by Shailendra and the music is by Chitragupt.  The singing voice is that of Lata Mangeshkar.

Ah yes, we have a century celebration today, attached to this song.  Music director Chitragupt completes 300 songs on the blog.  That is a superlative achievement, for an artist who never really got into the grade A cinema. And yet, this number here is a testimony to the quality of his music. The pleasing melodies that are his handiwork have a lasting characteristic that have kept alive his songs in the minds of music lovers.

A superb song that will tug at the heart strings.  The words are simple, and the song is very hummable.  View, listen and enjoy.


Song – Kaahe Bansuriya Bajaule Re Sudh Bisraule (Ganga Maiya Tohe Piyari Chadhaibo) (1962) Singer – Lata Mangehskar, Lyrics – Shailendra, MD – Chitragupt

Lyrics

kaahe bansuriya bajaule
re sudh bisraole
gayil sukh chain hamaar
kaahe bansuriya bajaule
re sudh bisraole
gayil sukh chain hamaar
kaahe bansuriya bajaule

kantvaa kankaria
kuchh naahin dekheli
ho kuchh naahin dekheli
kantvaa kankaria
kuchh naahin dekheli
ho kuchh naahin dekheli
khojat khojat tohe
ihaan chali aayli
kaahe ke matiya phiraule
re dagari bhulaole
gayil sukh chain hamaar
kaahe bansuriya bajaole

gaon giraamin
maarela boliya
ho maarela boliya
gaon giraamin
maarela boliya
ho maarela boliya
sang ke sahelia
karela thitholia
kaahe ke naam dharaule
re dagiya lagaule
gayil sukh chain hamaar
kaahe bansuriya bajaole

tori baansuriya mein
ginti ke chhedwaa
ho ginti ke chhedwaa
tori baansuriya mein
ginti ke chhedwaa
ho ginti ke chhedwaa
manwaa hamaar piya
chhalnee bhailwa
kaahe peereeti badhaule
re agiyaa lagaule
gayil sukh chain hamaar
kaahe bansuriya bajaole
re sudh bisraole
gayil sukh chain hamaar
kaahe bansuriya bajaole

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

काहे बंसुरिआ बजौले
रे सुध बिसरौले
गइल सुख चैन हमार
काहे बंसुरिआ बजौले
रे सुध बिसरौले
गइल सुख चैन हमार
काहे बंसुरिआ बजौले

कटवा ककरिया
कुछ नाहीं देखेली
हो कुछ नाहीं देखेली
कटवा ककरिया
कुछ नाहीं देखेली
हो कुछ नाहीं देखेली
खोजत खोजत तोहे
इहाँ चली आईली
काहे के मतियाँ फिरौले
रे डगरी भुलौल्रे
गइल सुख चैन हमार
काहे बंसुरिआ बजौले

गाँव गीरामिन
मारेला बोलिया
हो मारेला बोलिया
गाँव गीरामिन
मारेला बोलिया
हो मारेला बोलिया
संग के सहेलिया
करेला ठिठोलिया
काहे के नाम धरौले
रे दगीया लगौले
गइल सुख चैन हमार
काहे बंसुरिआ बजौले

तोरी बांसुरिया में
गिनती के छेदवा
हो गिनती के छेदवा
तोरी बांसुरिया में
गिनती के छेदवा
हो गिनती के छेदवा
मनवा हमार पिया
छलनी भइलवा
काहे पीरीति बढ़ौले
रे अगिया लगौले
गइल सुख चैन हमार
काहे बंसुरिआ बजौले
रे सुध बिसरौले
गइल सुख चैन हमार
काहे बंसुरिआ बजौले


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.

‘. . . given a chance, I’d choose to be an actress all over again.’ Closing words in an interview that she gave ten years before she passed away in 2000.  She is the recipient of the very first Filmfare award for best female supporting role – she won it for her portrayal of a young fisherwoman, Mohnia, in the film ‘Baadban’ (1954).

Remembering Usha Kiran, on the anniversary of her birth today (22nd April).

Her debut in films is best described by herself, in the interview.  I briefly quote the following passages.

Coming from a very simple middle-class Maharashtrian Brahmin family, I was the second of five children. My father was an extremely ambitious man. He wanted us children to do great things for the family. That was the reason he pushed my elder sister and me towards the theatre. In the beginning, I hated it and was reluctant to even do simple stage shows. All I wanted was to marry, have a few kids and settle into oblivion. But destiny had other things in store for me. During a stage performance at the now Excelsior Theatre, the great Udayshankar spotted me. He hauled me off to Madras with my father, where I was to play a big part in his feature film Kalpana. My father was thrilled, even though it was such a small role.

Once in Madras however, catastrophe took place. I was thrown out of the film and sent packing back to Bombay. It was just a misunderstanding, coupled with Udayji’s mercurial temperament and my militant naiveté. For a dance sequence, I had to wear a transparent Manipuri costume. Since I was conscious of it, I wore a white slip underneath. Mrs. Uday Shankar asked me to remove it for the shot, since it would have looked very awkward. I didn’t pay heed to it. So later, Udayji noticed it and bellowed at his wife for not taking care of the costumes. She in turn screamed at me. After that incident, I used to hang around the set with a permanent sulky expression. This used to get on Udayji’s nerves and one day he bellowed once again. ‘Don’t you know how to smile?’ I in turn, replied hotly, ‘No! You teach me how to smile! ‘ And that was the end. In retrospect, I would still credit him with shaping my inherent talent, more than any one else. He is an education in acting and dancing for any actress.

(You can read the complete interview on Cineplot here .)

But after this ‘Kalpana’ debacle, she came into her own with a string of memorable performances in significant films like ‘Daagh’ (1952), ‘Patita’ (1953), ‘Dost’ and ‘Baadban’ in 1954, ‘Adhikar’ (also 1954), ‘Musafir’ (1957), ‘Kabuliwala’ (1961), and more.

I have selected this song from the film ‘Adhikar’.  This is one of the earliest films that I recall seeing as a child on Doordarshan. Of course the thing that stuck to my mind is the ‘Tikdambaazi’ song that is sung and performed on screen by Kishore Kumar. The storyline of this film revolves around the rights and empowerment of women.  Shekhar (Kishore Kumar) is a young widower with a baby daughter.  Shekhar stays in Bombay on account of his work, and the child stays with her maternal grandparents. He meets Usha (Usha Kiran), the two fall in love, and get married.  All this while, Shekhar has not told the truth about his past to her.  When it is revealed, she is broken hearted and angry, and leaves Shekhar. Twists of events brings together the baby daughter and Usha, who accepts her and takes her into her home as her daughter. Usha and Shekhar meet again, Usha agrees to return to her matrimonial home, and makes Shekhar accept that ‘her’ daughter will stay with them. Shekhar grudgingly accepts, not recognizing his own daughter, whom he has not seen for some years.

As the daily life progresses, Shekhar becomes more and more intolerant of Usha’s ‘daughter’. One day the two fight again, and Usha insists that she be accorded the same right and recognition as Shekhar had expected – i.e. his insistence that Usha should accept his daughter as their child.  Shekhar refuses, Usha storms out of the house, leaving the child behind.  There is a keepsake necklace with photos of Shekar’s earlier family, which she leaves with the child.  Shekhar expends his anger on the child, hits her and throws her out of the house.  Then he discovers the necklace that has fallen on the floor in all this exchange.  Realization dawns, and he rushes out to retrieve both his new wife and the child. And uppity tale of idealism, that is somewhat feeble in the ending moments – that Shekhar accepts the child only after coming to know that it is his own child.  Not too convincing.

The film has a total of eight songs. Of these, two songs are the same, in that it is the same song “Ek Dharti Hai Ek Hai Gagan”, that appears twice in the film.  The Geet Kosh lists the two versions being sung by Meena Kapoor and Asha Bhosle.  However, checking the film itself, it seems to be clear that on both occasions in the film, the song is in the voice of Meena Kapoor.  Whatever that decision may be, it brings this song to this blog, as the final song of this film.  ‘Adhikar’ now joins the list of films with all songs posted.

The music for the film is by Avinash Vyas.  The lyrics of the seven (eight) songs are shared between Raja Mehandi Ali Khan, Saraswati Kumar (Deepak), Neelkanth Tiwari, Prem Dhawan.  This song is from the pen of Raja Mehdi Ali Khan.  The singing voice is that of Asha Bhosle.  On screen, the song is performed by Usha Kiran.

A lovely mellifluous song, with words that have a hidden meaning that Usha is trying to communicate to Shekhar, but the gentleman is in a huff, and refuses to listen between the lines.  A delightful performance by Usha Kiran.
View, listen and enjoy.


Song – Zindagi Haseen Hai Zindagi Se Pyaar Kar (Adhikar) (1954) Singer – Asha Bhosle, Lyrics – Raja Mehdi Ali Khan, MD – Avinash Vyas

Lyrics

zindagi haseen hai
ye zindagi haseen hai
zindagi se pyaar kar
main hoon teri zindagi
mujh pe aitbaar kar
mujh pe aitbaar kar
zindagi haseen hai
ye zindagi haseen hai
zindagi se pyaar kar
main hoon teri zindagi
mujh pe aitbaar kar
mujh pe aitbaar kar

kitni haseen hai dekh le
ujde chamn ki ye kali
kitni haseen hai dekh le
ujde chamn ki ye kali
mere chaman mein aa khili
tere chaman ki ye kali
chaahti hoon main isey
tu bhi isko pyaar kar
mujh pe aitbaar kar
mujh pe aitbaar kar
zindagi haseen hai
ye zindagi haseen hai
zindagi se pyaar kar
main hoon teri zindagi
mujh pe aitbaar kar
mujh pe aitbaar kar

tu to mere saajan ki
chhoti si tasveer hai
tu aankhon ki roshni
tu meri taqdeer hai
preet meri baar baar
kehti hai pukar kar
mujh pe aitbaar kar
mujh pe aitbaar kar
zindagi haseen hai
ye zindagi haseen hai
zindagi se pyaar kar
main hoon teri zindagi
mujh pe aitbaar kar
mujh pe aitbaar kar

main ne tumhaare pyaar ko
aaj aazmaa liya
hans ke ik raaz ko
seene mein chhipa liya
tum na galey lagaa sakey
maine galey lagaa liya
tum na galey lagaa sakey
maine galey lagaa liya
meri jeet ho gayi
aaj tumse haar kar
mujh pe aitbaar kar
mujh pe aitbaar kar
zindagi haseen hai
ye zindagi haseen hai
zindagi se pyaar kar
main hoon teri zindagi
mujh pe aitbaar kar
mujh pe aitbaar kar
zindagi haseen hai
ye zindagi haseen hai
zindagi se pyaar kar
main hoon teri zindagi
mujh pe aitbaar kar
mujh pe aitbaar kar

 

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

ज़िंदगी हसीन है
ये ज़िंदगी हसीन है
ज़िंदगी से प्यार कर
मैं हूँ तेरी ज़िंदगी
मुझ पे एतबार कर
मुझ पे एतबार कर
ज़िंदगी हसीन है
ये ज़िंदगी हसीन है
ज़िंदगी से प्यार कर
मैं हूँ तेरी ज़िंदगी
मुझ पे एतबार कर
मुझ पे एतबार कर

कितनी हसीं है देख ले
उजड़े चमन की ये काली
कितनी हसीं है देख ले
उजड़े चमन की ये काली
मेरे चमन में आ खिली
तेरे चमन की ये कली
चाहती हूँ मैं इसे
तू भी इसको प्यार कर
मुझ पे एतबार कर
मुझ पे एतबार कर
ज़िंदगी हसीन है
ये ज़िंदगी हसीन है
ज़िंदगी से प्यार कर
मैं हूँ तेरी ज़िंदगी
मुझ पे एतबार कर
मुझ पे एतबार कर

तू तो मेरे साजन की
छोटी सी तस्वीर है
तू आँखों की रोशनी
तू मेरी तक़दीर है
प्रीत मेरी बार बार
कहती है पुकार कर
मुझ पे एतबार कर
मुझ पे एतबार कर
ज़िंदगी हसीन है
ये ज़िंदगी हसीन है
ज़िंदगी से प्यार कर
मैं हूँ तेरी ज़िंदगी
मुझ पे एतबार कर
मुझ पे एतबार कर

मैंने तुम्हारे प्यार को
आज आज़मा लिया
हस के इक राज़ को
सीने में छिपा लिया
तुम ना गले लगा सके
मैंने गले लगा लिया
तुम ना गले लगा सके
मैंने गले लगा लिया
मेरी जीत हो गई
आज तुमसे हार कर
मुझ पे एतबार कर
मुझ पे एतबार कर
ज़िंदगी हसीन है
ये ज़िंदगी हसीन है
ज़िंदगी से प्यार कर
मैं हूँ तेरी ज़िंदगी
मुझ पे एतबार कर
मुझ पे एतबार कर
मुझ पे एतबार कर
मुझ पे एतबार कर
ज़िंदगी हसीन है
ये ज़िंदगी हसीन है
ज़िंदगी से प्यार कर
मैं हूँ तेरी ज़िंदगी
मुझ पे एतबार कर
मुझ पे एतबार कर


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 first lady of Bangla cinema. And the first lady singing superstar of Indian cinema. It is said that at the height of her popularity, she required protection when she was traveling.

Remembering Kanan Devi on the anniversary of her birth today (22nd April). (It is her 99th anniversary)
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 – 18
– – – – – – – – – – – – – – – – – –

Bring up and test this, works every time.  Looking for a good melodious song that will strum the strings of the heart – just pick an obscure film from 1950s or 60s.  If the lyricist and music director and the singer(s) are from the proverbial ‘lesser known’ category, all the better.  Just run through the song list of such a film.  I promise you will find a memory tickler hidden in there, which will make you exclaim – “achhaa, ye gaana is film ka hai”  (“Aha, so this song comes from this film”).  I have tried this many times; always been a success.

Take this film, and this song.  I have wonderful humming memories of this song from the radio listening days.  For all this time, I was unaware of the details.  Searching for songs by Chitragupt, I ran into this a few days ago, and had that ‘Aa Haa’ reaction.  Wow, so this is it.
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.

Not many debuts can be better than starting with the song “Afsaana Likh Rahi Hoon. . .” (‘Dard’, 1947).  His innings lasted for 23 years.  A long time in which he could not even complete a century of films.  He has written about 750 songs in 89 films across his career.  Typecasting, or more correctly to state, pairing groupism was responsible for this state of affairs.  All along his career, his partnership with music directors remained primarily confined to just three – Naushad Sb, Ghulam Mohammed Sb and Ravi.  His films with other music directors are really few and far between.

Remembering Shakeel Badayuni on the anniversary of his passing away today (20th April).
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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 – 5
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What to write about the voice for which no information is apparently traceable.  Many artists of the 1930s have become obscure.  The Indian cinema industry is notorious for ignoring its own history and roots.  There have been no industry supported or sponsored programs or efforts aimed as compiling and collating the history of its own.

Akbar Khan Durrani Peshawari – a voice that appears to be a trained classical singer, has no traceable information available, other than of course the listings in the Geet Kosh, that identify maybe about 5 songs sung by him. Searching on the YouTube, one can locate maybe about four or five of his songs, all of which are not identified in the Geet Kosh.  There are two songs from the film ‘Sultaana’ (1934), which are available in his voice.  Both are wonderful gems – “Kitaab e Dard mein Likha Mere Gham Ka Fasaana Hai” and “Mushkil Kushaa Hai Naam Tera”.  On the blog, we have one more song in his voice already posted; the film is ‘Postman’ (1938) and the song “Hauslaa Aashiq Ko Chaahiye Dil Ko Lagaane Ke Liye“.
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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.

Before today, I had only heard the name. Poring through the lists of artists, one comes across so many names, and so many times, one just skips over and goes ahead.

Today, I heard his voice for the first time. And simply fell in love with it. It started with this song, and then in search of this voice, I went over the online resources, and got a chance to hear more of his songs, most of them in chaste Punjabi.  And I am thinking, what misfortune that I never got introduced to this voice earlier.
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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 11000 song posts by now.

Total number of songs discussed

11091

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