Aaj Holi Khelenge Saajan Ke Sang
Posted on: March 4, 2026
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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Blog Day : |
6438 | Post No. : | 19985 |
A Very Happy Holi celebration to all.
Well yes, coming at almost the end of the celebration day. But the greetings and good wishes are being delivered with a one year warranty, valid for a full year, till we come to the next instalment of this celebration.
Maybe many folks did not notice it, but this year’s occurrence of this festival of colours is likely the most rare and unique play out of the celebrations ever. At least I do not remember having encountered this version of the celebration ever in my life. And I would like to hear from the readers, if anyone else has. Like a few other things that happen once in life, this celebration of Holi is once in a lifetime experience.
So let me tell you what is rare and unique about this year’s Holi. In normal circumstances, the Holi is an eight days affair, which is called the holashtak in regular parlance. On the seventh day of this period, we celebrate the Holika Dahan, with the lighting of a bonfire at sunset time. And then on the 8th day, the folks will have a play of colours and water, lot of dancing and music, lot of funny songs – and the folks will do a lot of acts and pranks which one will never think of doing on any of the rest of the 364 days of the year. And the saying that goes along with all that is – Bura Naa Maano Holi Hai – please don’t mind, today is Holi.
A real prank that I remember in my family. Many years ago, when my elder sister had got married, and the first Holi celebration came around for the new couple, my mother invited them and the family members who could join, to come for tea and snacks to our home, during the Holi celebration hours. They came, we had arranged simple snacks and tea. And my mother, without even telling me or my dad, prepared some barfi at home. It was not barfi, it was kneaded maida flour, cut into barfi size pieces, with some elaichi daana stuck on it, giving a very real appearance of plain white barfi. And served it at the end. After the tea, everyone picked up a piece, with the expected outcome of expressions and reactions – which were only controlled by us repeating the adage – Bura Naa Maano Holi Hai.
Ah but I digress. We want to know about the rare peculiarity of this years Holi celebration. Well, for the first time in my memory, a Lunar eclipse has intervened, and that too on the very day of the full moon, which is the final day of the Holi – the one celebrated with water and colours. So in keeping with the ancient wisdom of this land, the astrology and the panchaang and the pundits in temples disallowed the playing of water and colour Holi on the day it was supposed to be. And said that the water and colour Holi be celebrated on the day next to the full moon day. To the children and regular followers of this festival, did that make any difference? Not at all. It just meant that everybody got one extra day of celebrating the Holi. So actually this year’s Holi was celebrated today, on the officially first day of the next lunar fortnight cycle.
Ah but then, you will ask, what is the big deal. Well the big deal is not really a big deal – it is a mid sized deal. 😀
Under regular circumstances, discounting the Holashtak effect, there are two days Holi is played – one is called chhoti Holi and the other is called badi Holi. That we are all familiar with.
And this year – well, a new concept got introduced – that of majhli Holi – the day of Holi in between. I was taken by surprise yesterday when memes started flowing in the morning congratulating me on the first-time-in-life celebration of majhli Holi. 😀
Today’s song is from the very first decade of Hindi films – a song from film ‘Aurat’ from 1940. ‘Aurat’ is a magnum opus by producer director Mehboob, a much celebrated film of its era, that was remade by Mehboob himself, as a significantly more celebrated and iconic film in 1957 –‘Mother India’. The latter creation also carries within its list of songs one of the most celebrated Holi songs of all times – “Holi Aayee Re Kanhaai Rang Barse Sunaa De Zaraa Baansuri”.
The song for today is created by Dr. Safdar Aah Sitapuri, and it is tied into the scintillating threads of music by Anil Biswas. One of the cases where the video of the film is available. The song is a chorus only song. Although the Geet Kosh lists Anil Biswas as one singer, the song itself does not exhibit any solo singing portion.
Once again, greetings to all on today’s celebration of this colourful festival, delivered with a warranty of one year, till we get to the Holi festival in 2027. Enjoy.
Audio
Video
Song-Aaj Holi Khelenge Saajan Ke Sangi (Aurat)(1940) Singers – Chorus, Lyrics-Safdar Aah Sitapuri, MD-Anil Biswas
Lyrics
aaj holi khelenge saajan ke sang
saajan ke sang piya rajan ke sang
haan haan
aaj holi khelenge saajan ke sang
bhar bhar pichkaari maarat bihaari
bhar bhar pichkaari maarat bihaari
dhadkat hai jiyaara larjat hai rang
haan haan larjat hai rang
dhadkat hai jiyaara larjat hai rang
haan haan larjat hai rang
maarat hai sakhiyon pe holi ka rang
wo to maarat hai sakhiyon pe holi ka rang
haan haan
aaj holi khelenge saajan ke sang
saajan ke sang piya rajan ke sang
haan haan
aaj holi khelenge saajan ke sang
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Hindi script lyrics (Provided by Sudhir)
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आज होली खेलेंगे साजन के संग
साजन के संग पिया राजन के संग
हाँ हाँ
आज होली खेलेंगे साजन के संग
भर भर पिचकारी मारत बिहारी
भर भर पिचकारी मारत बिहारी
धड़कत है जियरा लरजत है रंग
हाँ हाँ लरजत है रंग
धड़कत है जियरा लरजत है रंग
हाँ हाँ लरजत है रंग
मारत है सखियों पे होली का रंग
वो तो मारत है सखियों पे होली का रंग
हाँ हाँ
आज होली खेलेंगे साजन के संग
साजन के संग पिया राजन के संग
हाँ हाँ
आज होली खेलेंगे साजन के संग
This article is written by Satyajit Rajurkar, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
6438 | Post No. : | 19984 |
Kamsune/Unsune songs of Asha Bhosle – 93
“Ek Kadvi Ek Meethi” by Asha Bhosle is from the movie “Kaanch Aur Heera” (1972). It was written and composed by Ravindra Jain. I think it was his first released film.
“Kaanch Aur Heera” (1972) was produced by Sudarshan Chitra and directed by Charandas Shokh. The lead actors were new to the industry, namely Pankaj and Shameem. Other in the cast were Rajan Haksar, Kamal Kapoor, Manmohan etc.
The film is so obscure that I couldn’t find the story of this movie, although I had seen it in one of its re-runs.
Video link
Audio Link:
Song-Ik kadvee ik meethhe tujhko kaun see pasand hai (Kaanch aur Heera)(1972) Singer-Asha Bhonsle,Lyricist-Ravindra Jain,MD-Ravindra Jain
Lyrics(Provided by Prakashchandra):
ik kadvee ik meethhee
tujhko kaun see pasand hai
ik kadvee ik meethhee
tujhko kaun see pasand hai
ik botal mein band hai
ik honthhon mein band
arre tujhko kaun see pasand
ik kadvee ik meethhee
tujhko kaun see pasand hai
ik botal mein band hai
ik honthhon mein band
tujhko kaun see pasand
aaj kee raat hamaaree hai
hamne baazee maaree hai
oye oye oye
aaj kee raat hamaaree hai ae
hamne baazee maaree hai
mit gaye faasle
jud gaye silsilay
arre mit gaye faasle
jud gaye silsilay
ik aslee ik naqlee
ik aslee ik naqlee
tujhko kaun see pasand hai
ik botal mein band hain
ik honthhon mein band
tujhko kaun see pasand
ab jo saveraa aayegaa
ek nayaa rang laayegaa
ab jo saveraa aayegaa aaa aaa
ek nayaa rang laayegaa
waqt ko o thhaam ley
zapt se kaam ley
waqt ko oo thhaam ley
zapt se kaam ley
ik sachchee ik jhoothhee
ik sachchee ik jhoothhee
tujhko kaun see pasand hai
ik botal mein band hai aey ae ae ae
k honthhon mein band
tujhko kaun see ee pasand
ik kadwi ik meethhee
tujhko kaun see pasand hai
ik botal mein band hai aey ae
ik honthhon mein band
arrey tujhko kaun see pasand ….dddd
jaam uthhaa
aur jashn manaa aaa
aaj khushee mein jhoom ke gaa
hoyye hoyye hoyye
jaam uthhaa aur jashan manaa aaa aa aaa
aaj khushee mein jhoom ke gaa
sohneyaa maaniyaa
makhhannaandey doneyaa
oyye sohneyaa maaniyaa
makhhanaandey donaeyaa
ik baadal ik bijlee
ik baadal ik bijlee
tujhko kaun see pasand hai
ik botal mein band hai
ik honthon mein band
tujhko kaun see pasand hai
Aayee hai aaj pehlee holee
Posted on: March 3, 2026
- In: "Holi" festival song | Celebration Song | Dance song | Duet | Festival song | Guest posts | Holi song | Mahendra Kapoor songs | Mahendra Kapoor Vani Jairam duet | Post by Avinash Scrapwala | Songs of 1970s (1971 to 1980) | Songs of 1972 | Vani Jairam songs | Yearwise breakup of songs
- Leave a Comment
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
6437 | Post No. : | 19982 |
#the Decade of Seventies – 1971 – 1980 #
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#Bhoole-Bisre Geet #
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(Lyricist Kavi Pradeep-60)
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Holee-2026 is being celebrated all over !!! On this occasion it is customary for us to have ‘Holee songs’ presented here on this blog.
Today’s song is from the movie ‘Hari -Darshan-1972’. It was directed by Chandrakant for ‘Joy Films, Bombay’. This movie was passed by Censor Board on 24.08.1972. The star cast of this movie includes Randhawa, B. Saroja Devi, Abhi Bhattacharya, Shahu Modak, Asit Sen, Sujata, Kalpana Deewan, Padma Rani, Sanjana, Sadhna Khote, Sarla, Anwari, Rekha Chouhan, Babu Raje, Himmat Singh Chouhan, Ram Rasila, Satyajit, Jr. Mehmood, Baby Rupa, and others. And Dara Singh, Jayshree Gadkar, Arvind Trivedi in special appearance.
Read more on this topic…
Darshan deejo Hari darshan deejo re
Posted on: March 3, 2026
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
6437 | Post No. : | 19981 |
#the Decade of Sixties – 1961 – 1970 #
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Today’s song in this post is from the 1964 movie ‘Bhakt Dhruv Kumar’. Today I am presenting the third song from this movie. Though I had not got to listen to the songs from this movie earlier, but few months back I had shared a song from this movie which I liked very much. This song is another wonderful song and I wonder why it was not posted earlier on this blog.
Read more on this topic…
Jhoole mein laal jhulaave re
Posted on: March 3, 2026
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
6437 | Post No. : | 19980 |
Today’s song is from a re-made costume film from the South – Nishan-1949.
Besides being a Musical films’ year, 1949 was also an year when the South Indian filmmakers, especially S.S.Vasan, became active after the film Chandralekha-1948 became a successful one and brought in huge profits. It became an attraction for the filmmakers in the South. They understood that the Hindi film market was many times bigger than the Southern film market and that it was possible to capture a part of it with their south made Hindi films.
Initially, in the early era, Bombay was the biggest centre for film making. When the Talkie films started, other smaller centres in those times, like Lahore and the South, woke up. For Lahore, language was not a problem and so there was a traffic between Lahore and Bombay film people for work and technology. Thus few centres for film production prospered in Lahore-like Pancholi and Shorey etc.
Read more on this topic…
Dupatta Mora Aaj Hi Rang Dijo
Posted on: March 2, 2026
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
6436 | Post No. : | 19979 |
Mohd Rafi – A Journey Divine – 1
(1944-46)
किसी ने कभी पानी से पूछा — पानी रे पानी तेरा रंग कैसा
तो जवाब जो पानी ने दिया — जिसमें मिला दो लगे उस जैसा
Someone once asked water, “Water, water, what color is yours?” The answer water gave was, “My color will resemble whatever I am mixed with.” This isn’t a quality, a skill, an art, or anything significant. It’s the very nature of water, a gift from God, bestowed upon water. When God created water in the universe, He granted it an inexhaustible treasure: despite being colorless, it possesses the unique ability to manifest every other color. Perhaps with a similar thought in mind, God brought to this earth an individual whose voice was so gifted with the ability to become the voice of any and every personality, every character. He shaped that individual’s personality with such natural simplicity that it could provide a voice for everyone behind the scenes, yet its own existence remained completely inconspicuous. This individual’s voice might be in the background, but listeners might not even be aware of its presence. Over time, this voice would linger behind hundreds of characters. Only those who knew would know what it was.
A miracle was happening. A few fortunate people of an era know this creature of God as Mohammed Rafi. The writer put these words to paper for this very voice – “Water, water, what color are you?” “My color resembles whatever I am mixed with.” It sounds like that. We do not deny the talent of any other singer. Everyone has their own unique qualities. But yes, it can certainly be said that if the playback is of Kishore, Hemant, Mukesh, or Talat, the image of that singer immediately emerges in the listener’s mind. But if the playback is of Rafi Saab, the listener’s attention is not drawn to that. The audience naturally finds this voice indistinguishable from the voice of the actor on screen. And the mind does not even think that this voice belongs to anyone else. This extraordinary aptitude is present in Rafi Saab’s voice. I am talking about the present, because Rafi Saab’s voice is with us and will always be, as long as there are listeners of film music. Rafi Saab never imitated or mimicked the character’s voice. He naturally adapted his voice to the character’s personality. In his three and a half decades of singing, Rafi Saab never refused to provide playback for any actor, no matter how new or unfamiliar they were. Yes, he would interview every new actor he had to record for, for a minute or two, and then simply sing for them. The analogy of water is absolutely apt and apt for Rafi Saab. Humble, modest, graceful, unpretentious—these are all very apt adjectives for him. He had no ego at all. And perhaps that’s what led to his dexterity. Rafi Saab’s humility was a unique phenomenon in the film industry. And because of this, the respect and status he received is unparalleled.
There is an incident, I won’t mention the name of the person involved. When this person had just arrived in Bombay, Rafi Saab offered him a place to stay on the terrace of his house. Shortly after, the person and his wife started some baseless disputes, leveling accusations against Rafi Saab and his family, and even filed a police report against him. When others in the industry learned of this incident, no one believed the complainant. Instead, the person himself was boycotted to such an extent that he left Bombay shortly after.
As a child, young Rafi received Kundan Lal Saigal’s blessings on the stage of a musical extravaganza in Lahore. The year was 1937, and he was just 13 years old. Then, in 1941, he joined the Lahore All India Radio station. That same year, composer Shyam Sunder had him record a song, which was included in the Punjabi film ‘Gul Baloch’, released in 1944. Both the film and the song are no longer available. Later, in an interview, Rafi Saab described this song and also sang the opening lines.
In 1944, Rafi Saab moved to Bombay with his elder brother. He recorded three songs for the film ‘Pehle Aap’, released that year. The music director was Naushad Saab. Building on this beginning, he gradually received invitations from other composers and film producers. In 1945, his voice was used by Firoz Nizami, Pandit Govind Ram, Hari Prasanna Das, Shyam Sunder, Mir Saab, and AR Qureshi for 11 songs in seven films. Rafi Saab sang his first solo song in the film ‘Sharbati Aankhen’, released that year. Rafi Saab had a strong desire to sing with Saigal Saab. Naushad Saab gave him this opportunity in the 1946 film ‘Shahjahan’ in which he sang two lines at the end of Saigal Saab’s song “Roohi Roohi Roohi Mere Sapno Ki Rani” He himself appeared on screen in this song. In addition, Rafi saab appeared in two more films during the same period. One was 1945’s ‘Laila Majnu’ and the other was 1947’s ‘Jugnu’.
In the 1930s and 1940s, most artists recorded their own songs. The playback system was introduced in films in 1935. This made it possible for actors to perform songs in the voices of other singers. And under this new system, a new category of playback singers emerged. Actor-singers such as Surendra, Ashok Kumar, Bibbo, Devika Rani, Khursheed, Kanan Devi, Leela Chitnis, Suraiya, and Motilal emerged. And as playback singers, Zohra Bai, Rajkumari, Amir Bai, Shamshad Begum, GM Durrani, Khan Mastana, Firoz Dastur, SD Batish, and others became famous.
By 1945, a crop of singers with wonderful voices emerged, who sustained long careers in the industry. These include all the important names of the Golden Era of Hindi films – Lata, Geeta Dutt, Asha Bhosle, Manna Dey, Hemant Kumar, Talat Mehmood, Kishore Kumar, Mukesh, and many more. And in this list, among the male voices, the name at the top of the list is Mohammed Rafi.
When we analyze and collate the data for singers using Geet Kosh and other sources, a striking result emerges. Based on recorded songs, Rafi Saab’s name is at the forefront in every year and every decade from 1944 to 1970. And not only ahead, Rafi Saab leads other male singers by a wide margin. The number of songs sung by Rafi Saab is as follows:
1944-50 – 376
1951-55 – 535
1956-60 – 999
1961-65 – 935
1966-70 – 789
1971-75 – 499
1976-80 – 538
1981+ – 187
The trend of leading has been consistent from 1944 to 1970. Only Kishore Kumar surpassed Rafi Saab in the 1970s. Between 1971 and 1980, Kishore Kumar’s songs appear on the list, with 1,150 songs sung by him. Rafi Saab’s songs appear on the list, with 900 songs sung by him. I would like to clarify one thing. This calculation is not exact. But a key pattern emerges.
In this thirty-five-year journey, there is hardly a music director who has not recorded songs in Rafi Saab’s voice. In all these years, Rafi Saab never argued over how much he would be paid or which actor would be filmed on his songs. There are countless instances where the producer or composer did not have the budget to have Rafi Saab record, and yet Rafi Saab recorded for them, either without charge or for a token one rupee.
Amazing, yes, but true. Nothing in the world can take place of water.
Welcome to this series on Rafi Sb in which I am attempting to follow his musical journey from 1944 to 1980, with one post for every year of this saga. With today’s post, I cover the period from 1944 to 1946. A limitation for me, since all the known and available songs of 1944 and 1945 are already posted on the blog and I start this series with this wonderful duet from the 1946 film ‘Maansarovar’.
In 1944 – As mentioned earlier, Rafi Sb’s first recording of a film song is with music director Shyam Sunder. The song “Soniye Ni, Heeriye Ni” was recorded in 1941, and eventually used in the Punjabi film of 1944 – ‘Gul Baloch’. Also, in 1944, in Hindi films, he recorded three songs for the film ‘Pehle Aap’, with music director Naushad Sb. Two of these songs are male duets with Shaam Kumar, and the third is a group song that includes Rafi Sb’s voice.
In 1945 – As per the data that is available thus far, Rafi Sb recorded 11 songs for 7 films. Of these eleven songs, 5 are solo songs and the remaining are duets or group songs. He recorded his first solo song for the film ‘Sharbati Aankhen’.
Begum – with MD HP Das; 1 song, duet with Mohantara Talpade
Hamaara Sansaar – with MD Pt Gobindram; 2 songs, one solo and one duet with Zohrabai Ambalewali
Kul Kalank – with MD AR Qureshi; 1 song, duet with Amirbai Karnataki
Laila Majnu – with MD Pt Gobindram; 2 songs, one duet with Khan Mastana, and one with SD Batish
Sharbati Aankhen – with MD Feroze Nizami; 3 songs, which are all solo
Village Girl (Gaon Ki Gori) – with MD Shyam Sunder; 1 song, duet with GM Durrani
Zeenat – with MD Hafeez Khan; 1 song, solo
In 1946 – the list of known songs is given in the table below. A total of 35 songs, of which 16 are solo songs, and 19 are duets.
| Amar Raaj | Mai Jab Chhedun Prem Tarana Naache Mere | Mohd Rafi, Mohantara | Firoz Nizami | Pandit Fani |
| Amar Raaj | Praan Tyaag Kar Tune Deewani | Mohd Rafi | Firoz Nizami | Pandit Fani |
| Amar Raaj | Todo Todo Dil Ke Taar | Mohd Rafi | Firoz Nizami | Ishwar Chandra |
| Anmol Ghadi | Tera Khilona Toota Balak | Mohd Rafi | Naushad Ali | Tanveer Naqvi |
| Arab Ka Sitara | Macha Di Dhoom Duniya Mein Islaam Ke Deewanon Ne | Mohd Rafi, Ameer Bai Karnataki | S Qureshi | Shevan Rizvi |
| Arab Ka Sitara | Milta Hai Kya Namaaz Mein Sajde Mein | Mohd Rafi | S Qureshi | Shevan Rizvi |
| Arab Ka Sitara | Roshan Sa Ek Sitaara Islaam Hai Hamara | Mohd Rafi, Ameer Bai Karnataki | S Qureshi | Shevan Rizvi |
| Bachchon Ka Khel | Tum Kalpana Karo Naveen Kalpana Karo | Mohd Rafi | C Ramachandra | Magan |
| Ghoonghat | Bahut Mayus Ho Kar Koocha E Qatil Se Hum | Mohd Rafi | Shankar Rao Vyas | Ramesh Gupta |
| Ghoonghat | Naino Se Mad Madira Pilaakar Tumne Humen Deewana | Mohd Rafi, Nirmala Arun | Shankar Rao Vyas | Ramesh Gupta |
| Hawaai Khatola | Meri Bigdi Huee Qismat.. Honton Ki Hansi Kya | Mohd Rafi | Basheer Dehalvi | Qaiser Sabaai |
| Insaaf | Roookhi Sookhi Main Khaa Lun Paas Bulaalo More Raja | Mohd Rafi, Hameeda Baanu | S P Daas | D N Madhok |
| Mansarovar | Badhe Chalo Badhe Chalo Bahaduron Badhe | Mohd Rafi | S N Tripathi | – |
| Mansarovar | Jai Hind-4 Ye Hind Ki Kahaniyan | Mohd Rafi, Geeta Dutt | S N Tripathi | S K Deepak |
| Mansarovar | Dupatta Mora Aaj Hi Rang Diji | Mohd Rafi, Mohantara | S N Tripathi | IC Kapoor |
| Mera Geet | Aapas Ke Jhagadon Ne Dekho Bharat Ko Barbad | Mohd Rafi | Shankar Rao Vyas | Ramesh Gupta |
| Mera Geet | Jaake Pardes Piya Bhoola Na Jaana | Mohd Rafi | Shankar Rao Vyas | Ramesh Gupta |
| Mera Geet | Mera Swapn Bada Suhaana | Mohd Rafi | Shankar Rao Vyas | Ramesh Gupta |
| Rang Bhoomi | Aag Lagi Tan Man Dhan Sab Mein Narak Bhayo Sansaar | Mohd Rafi, Shamshad Begum | Prem Nath | Aarzu Lakhnavi |
| Rang Bhoomi | Jo Aage Badhe Us Ko Peechhe Hata De | Mohd Rafi, Shamshad Begum | Prem Nath | Pt Faani |
| Rang Bhoomi | Khud Samajh Lo To Iletaja Kya Hai | Mohd Rafi, Shamshad Begum | Prem Nath | Aarzu Lakhnavi |
| Rang Bhoomi | Soo E Manzil Badhaae Chala Chal | Mohd Rafi | Prem Nath | Pandit Fani |
| Raseeli | Dil Mujhko Jalaata Hai Main Dil Ko Jalaati Hun | Mohd Rafi, Shamshad Begum | Hanuman Prasad | Hanumaan Prasad |
| Raseeli | Yun Nayan Kyun Sharma Gaye Kuchh To Kaho | Mohd Rafi, Shamshad Begum | Hanuman Prasad | Gaafil Harnaalvi |
| Room No 9 | Rahe To Kaise Rahe Dil Ke Ikhtyaar | Mohd Rafi | Rashid Atre | Nakshab Jarachavi |
| Roopa | Baala Jobanva Sambhaala Na Jaaye | Mohd Rafi, Shamshad Begum | Pt Govind Ram | Ram Murty |
| Roopa | Watan Ki Amanat Meri Zindgi Hai | Mohd Rafi, Shamshad Begum | Pt Govind Ram | I C Kapoor |
| Saal Girah | Jaao Jaao Na Blungi Main Accha Ji Hato Hato | Mohd Rafi, Kumudini Deekshit | Bulo C Rani | Vali Saahab |
| Safar | Ab Wo Hamaare Ho Gaye | Mohd Rafi | C Ramachandra | Gopal Singh Nepali |
| Safar | Kehke Bhi Na Aaye Tum | Mohd Rafi | C Ramachandra | Gopal Singh Nepali |
| Sassi Punnu | Aashiqon Ka Kafila Ye Aashiqon Ka Kafila | Mohd Rafi, G M Durrani | Pt Govind Ram | I C Kapoor |
| Shahjahan | Mere Sapno Ki Rani Roohi, Roohi, Roohi, Roohi | Mohd Rafi, K L Saigal | Naushad Ali | Majrooh Sultanpuri |
| Sona Chandi | Ab Ke Bhagwan Daya Karenge | Mohd Rafi, Shamshad Begum | Tufail Farookhi | Wali Saahab |
| Sona Chandi | Baithe Hain Tere Dar Par Kuchh Karke Uthenge | Mohd Rafi, Shamshad Begum | Tufail Farookhi | Wali Saahab |
| Sona Chandi | Daata Jee Tera Bhed Na Paaya | Mohd Rafi | Tufail Farookhi | Shamim Jaipuri |
In the subsequent episodes of this series, I shall be tracking Rafi Sb’s career on a year by year basis.
Today’s song is a duet from the film ‘Maansarovar’. The lyrics are by Ishwar Chandra Kapoor and the music is by SN Tripathi. The accompanying voice is that of Mohantara Talpade. An interesting exchange between a young belle and a rangrez – to whom she has come to get her dupatta dyed. The rangrez is promising fantastic results, but is asking for munh maangi charge. Whereas the young lady is promising one anna, or two anna, but not more. Interesting conversation between the two. Listen and enjoy.
Song – Dupatta Mora Aaj Hi Rang Dijo (Maansarovar) (1946) Singer – Mohantara Talpade, Mohammed Rafi, Lyrics – Ishwar Chandra Kapoor, MD – SN Tripathi
Lyrics
dupatta mora aaj hi rang dijo
dupatta mora aaj hi rang dijo
suno ji is pe halka gulaabi rang dijo
suno ji is pe halka gulaabi rang dijo
ikanni doongi
haan duanni doongi
dupatta mora
haan
dupatta mora
haan haan
dupatta mora aaj hi rang dijo
rupaye gaj ki malmal hai ye
rupaye gaj ki malmal hai ye dhabba naa lag jaaye
rupaye gaj ki malmal hai ye dhabba naa lag jaaye
hans na dekhen sakhiyaan mora sundar roop lajaayen
hans na dekhen sakhiyaan mora sundar roop lajaayen
ikanni doongi
haan duanni doongi
chaandi ki hai malmal teri soney ka ye paani
chaandi ki hai mal mal teri soney ka ye paani
kapde par yun rang chadhega jaise chadhe jawaani
kapde par yun rang chadhega jaise chadhe jawaani
haan jaise chadhe jawaani
lekin is ke badle mujhko jo maangoon so dijo
lekin is ke badle mujhko jo maangoon so dijo
ikanni doongi
haan duanni doongi
jaise gaalon ki laali hai waisa karna rang
jaise gaalon ki laali hai waisa karna rang
beech bazaar mein odh ke niklun duniya hove dang
beech bazaar mein odh ke niklun duniya hove dang
aisa rang chadhe to mujhse jee chaahe wo lijo
aisa rang chadhe to mujhse jee chaahe wo lijo
duniya lalchaai nazron se dekhe or tihaari
duniya lalchaai nazron se dekhe or tihaari
dil waale dil thaam ke baithe chalti tez kataari
dil waale dil thaam ke baithe
dil waale dil thaam ke baithe chalti tez kataari
ek nazar mein duniya bhar ka dil chaahe le lijo
ek nazar mein duniya bhar ka dil chaahe le lijo
ikanni doongi
haan duanni doongi
dupatta mora
haan
dupatta mora
haan haan
dupatta mora aaj hi rang dijo
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
दुपट्टा मोरा आज ही रंग दीजो
दुपट्टा मोरा आज ही रंग दीजो
सुनो जी इस पे हल्का गुलाबी रंग दीजो
सुनो जी इस पे हल्का गुलाबी रंग दीजो
इकन्नी दूँगी
हाँ दुअन्नी दूँगी
दुपट्टा मोरा
हाँ
दुपट्टा मोरा
हाँ हाँ
दुपट्टा मोरा आज ही रंग दीजो
रुपये गज की मलमल है ये धब्बा ना लग जाए
रुपये गज की मलमल है ये धब्बा ना लग जाए
हंस न देखें सखियाँ मोरा सुन्दर रूप लजायें
हंस न देखें सखियाँ मोरा सुन्दर रूप लजायें
इकन्नी दूँगी
हाँ दुअन्नी दूँगी
चांदी की है मलमल तेरी सोने का ये पानी
चांदी की है मलमल तेरी सोने का ये पानी
कपड़े पर यूं रंग चढ़ेगा जैसे चढ़े जवानी
कपड़े पर यूं रंग चढ़ेगा जैसे चढ़े जवानी
हाँ जैसे चढ़े जवानी
लेकिन इसके बदले मुझको जो माँगूँ सो दीजो
लेकिन इसके बदले मुझको जो माँगूँ सो दीजो
इकन्नी दूँगी
हाँ दुअन्नी दूँगी
जैसे गालों की लाली है वैसा करना रंग
जैसे गालों की लाली है वैसा करना रंग
बीच बाज़ार में ओढ़ के निकलूँ दुनिया होवे दंग
बीच बाज़ार में ओढ़ के निकलूँ दुनिया होवे दंग
ऐसा रंग चढ़े तो मुझसे जी चाहे वो लीजो
ऐसा रंग चढ़े तो मुझसे जी चाहे वो लीजो
दुनिया ललचाई नज़रों से देखे ओर तिहारी
दुनिया ललचाई नज़रों से देखे ओर तिहारी
दिलवाले दिल थाम के बैठे चलती तेज़ कटारी
दिलवाले दिल थाम के बैठे
दिलवाले दिल थाम के बैठे चलती तेज़ कटारी
एक नज़र में दुनिया भर का दिल चाहे ले लीजो
एक नज़र में दुनिया भर का दिल चाहे ले लीजो
इकन्नी दूँगी
हाँ दुअन्नी दूँगी
दुपट्टा मोरा
हाँ
दुपट्टा मोरा
हाँ हाँ
दुपट्टा मोरा आज ही रंग दीजो
Goree ankhiyon se ankhiyaan milaao
Posted on: March 2, 2026
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
6436 | Post No. : | 19978 |
Today’s song is from a Mythological film Hanuman Pataal Vijay-1951.
The film was made by Basant Pictures of Homi Wadia, who was the Producer and the Director of this film. It is very strange that a person who separated from his own brother on the issue of making stunt/action films- which he advocated- resorted to making social and Mythological films and his brother, who advocated making films other than stunt/action films, continued to make stunt films ! One wonders why at all they separated then !
The film had music by the Wadia favourite – S.N.Tripathi, who also expertly acted as Hanuman in such films. The cast of the film included Meena Kumari, Mahipal, Niranjan Sharma (a fixed actor as Ravan in every Wadia film), S.N.Tripathi, Dalpat, H. Prakash, Amarnath, Rajni (daughter of Bhudo Advani’s brother) and many others. The 4 Lyricists of the film wrote 8 songs.
Read more on this topic…
Rehne ko ek ghar hoga
Posted on: March 1, 2026
This article is written by Peevesie’s mom, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
6435 | Post No. : | 19977 |
Hullo Atuldom
“Manpasand” (1980) was a Basu Chatterji directed, Amit Khanna produced (sweet) movie which was directly inspired by George Bernard Shaw’s ‘Pygmalion’.
We had Dev Anand playing the music teacher, Tina Munim playing his student & Girish Karnad playing Dev Anand’s friend who helps in grooming Kamli (the datoonwaali a.k.a Tina) into a High society girl. Leela Mishra, Mehmood, were in the main supporting cast. Jalal Agha, Simple Kapadia, Pilu Wadia etc were in guest appearances. Then we had Tarun Ghosh, Raj Kishore, Birbal, Sundar etc playing minor characters.
Read more on this topic…
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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