Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

In my family and friend circles, there are some musically inclined persons who are fond of Hindi film songs. Among them, I can find fans of Lata Mangeshkar, Mohammed Rafi, Mukesh, Kishore Kumar, Talat Mehmood etc as playback singers. But I have yet to come across within my same circles anyone who claims to be a fan of Mahendra Kapoor.

Actually, I do not like to use the word ‘fan’ in this context as the word gives me an impression of a fanatic – a term that has a negative connotation. Hence, I generally like to use the word ‘admirer’ instead of ‘fan’.

Even among Atulites, I can notice that there are admirers of Mohammed Rafi, Mukesh, Kishore Kumar, Lata Mangeshkar, Asha Bhonsle, Suman Kalyanpur etc. I can covertly feel that there are admirers of Khursheed Bano, Ameerbai Karnataki, Shamshad Begum, Geeta Dutt and Talat Mehmood etc. But I am not sure whether there is any one who can be called an admirer of Mahendra Kapoor as a playback singer in the same sense as an admirer of say Mohammed Rafi.

Even our Blog seems to have side-lined Mahendra Kapoor vis-s-vis other playback singers. Please look at the table of comparative positions given below:

Male Singers Total Hindi film songs recorded in the career Songs covered in the Blog Percentage of coverage (%)
Mukesh 932 739 79.29
Talat Mehmood 450 348 77.33
Mohammed Rafi 4845 2599 53.64
Kishore Kumar 2709 974 35.95
Manna Dey 1344 423 31.47
Mahendra Kapoor 1263 259 20.51

It would be observed from the above table that Mahendra Kapoor ranks lowest both in terms of number of songs covered as well as in terms of the percentage coverage in the Blog.

Incidentally, I find myself in a piquant situation. I think I may have covered only a couple of songs of Mahendra Kapoor in my 400 and odd articles that were posted in the Blog. There is a reason for it. I cover the songs mostly of the films of 1930s to 1950s in my posts. Now, I have to make amends to rectify this situation.

The question still remains unanswered why Mahendra Kapoor generates less interest among music lovers as a playback singer as compared with other main playback singers of his time among the Hindi film music lovers. I have not come across any critical remarks on his quality of singing. The reasons may have to be something different. I have attempted to find the reasons:

1. Mahendra Kapoor started his playback singing career with the film ‘Madmast’ (1953). But it was only from the late 50s that his playback singing career really started looking up, mainly due to some fortuitous circumstances. For the reasons best known to him, B R Chopra preferred him over Mohammed Rafi as the main playback singer in the films he produced during 1959-1980 with some exceptions. In the 60s and 70s, Mahendra Kapoor was Manoj Kumar’s preferred playback singer.

2. Sometime in mid-60s, when Lata Mangeshkar refused to sing with Mohammed Rafi, Mahendra Kapoor was one of the alternative playback singers considered for duets with Lata Mangeshkar. During 1966-68, O P Nayyar stopped engaging Mohammed Rafi due to some misunderstanding and most such songs went to Mahendra Kapoor.

In short, the rise of Mahendra Kapoor as a playback singer came mostly by way of being considered as an alternative to Mohammed Rafi ( some time called ‘poor man’s Rafi) and not on his own identity as a different type of a singer. On the other hand, playback singers like Mohammed Rafi, Mukesh, Talat Mehmood, Kishore Kumar had created their own niche for themselves thanks to the uniqueness of their voices.

3. Mahendra Kapoor’ s playback singing career spanned nearly 5 decades during which he recorded more than 1200 Hindi film songs. His songs especially from the films of B R Chopra with Sahir Ludhianvi as lyricist and his patriotic songs in Manoj Kumar’s films were very popular. But those did not come near to the popular hit songs churned out by his main contemporaries. This fact can be confirmed from Bimnaca Geetamala’s annual listings. Mahendra Kapoor’s popular songs never came within the top 5 songs of Binaca Geetmala’s yearly lists.

The net effect of the factors mentioned above was that despite singing more than 1200 Hindi film songs, Mahendra Kapoor remained an under-rated playback singer. But this does not mean that Mahendra Kapoor had no admirers. What I talked about the absence of his admirers is within my own circle of family and friends as well as within Atulites.

Mahendra Kapoor has many popular songs to his credit which are still remembered today. But I have a different list of his songs which I relish the most. Sometime I feel that if some of these type of songs were to become popular or sustain the popularity, probably, he would have carved out his own identity in terms of a different style of playback singing. Let me give a sample of such songs:

rafta rafta wo hamaare dil ke armaan – Ham Kahaan Jaa Rahen Hain (1966,
jigar mein dard kaisa – Apna Ghar Apni Kahaani (1968)
nazar nawaaz nazaaron mein kho gaya hoon main – Susheela (1966),
dil lagaakar ham ye samjhe – Zindagi Aur Muat (1965)
ga rahi hai zindagi – Aanchal (1960)

And the 6th song of my list is, in my view, the best song Mahendra Kapoor ever sang for Hindi films which I am presenting today. The song is ‘tum naacho ras barse’ from the film Sati Naari (1965). The song is set to music in Raag Yaman Kalyan by Pt. Shivram Krishna. Gopaldas Saxena ‘Neeraj’ penned the song in pure Hindi which is more like a short poem than the lyrics.

The film starts with this dance song and at the end of the song, Gandharva (Manahar Desai) gets infatuated with the dancer Rambha (probably, Kumari Kala as per credit titles). The lyrics in the mukhdas are indicator of what is going on in the mind of Gandharva when Rambha dances. He misbehaves with her. As a punishment, Gods send him to earth to live like a human being.

Listen to this song and one may be left wondering how this song remained uncovered in the Blog for such a long time.

Audio

Video

Song-Tum naacho ras barse (Sati Naari)(1965) Singer-Mahendra Kapoor, Lyrics-Neeraj, MD-Pt Shivramkrishna

Lyrics

namaami Brahma
namaami Vishnu
namaami Maheshwara aa aa

tum naacho ras barse
barse ae
tum naacho ras barse
barse
tum naacho ras barse

bheege ghoonghat
bheege aanchal
bheege naina
bheege kaajal
praan praan tarse ae ae ae
tum naacho ras barse
barse ae
tum naacho ras barse
barse
tum naacho ras barse
ga re saa ni
ni re ma ga
pa ma ma re
ma pa
dha ma pa
ma re ga saa
ga re ni pa pa
ni re pa ma ma re
pa ma dha pa ni dha ma re saa

ude gandh swar disha disha mein
bhed rahe na usha nisha mein
bhuwan bhuwan sarse ae ae
tum naacho ras barse
barse
tum naacho ras barse
barse
tum naacho ras barse

ghunghroo thirke aangan aangan
runan runan nupur dhun gun gun gun
swar mridang garze
aa aa aa aa aa
aa aa aa aa aaa
aa aa
aa aa aa
swar mridang garze ae ae ae ae
tum naacho ras barse
barse ae
tum naacho ras barse
barse
tum naacho ras barse


This article is written by Arunkumar Deshmukh, 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.

India is a unique country. It has the second largest population among all the countries of the world. India has 9 officially recognized and over 100 unrecognized religions thriving in the country. It has, besides Hindi and English, 21 other officially recognized languages. Other than this India has 122 major and 1599 other languages.

The climate of India, being a vast country, varies from East to West and North to South. Therefore the harvesting seasons vary according to locations. Broadly, India has two types of regions, based on geographical and meteorological considerations. One having the Northern and Eastern states ( except West Bengal and Assam) and the other South and Western states. Because of this, even the Hindu Calendar for these two regions differ by about 15 days.

Thus, while the holy month of Savan/Shravan has come to an end in the North and East, on the 18th August 2016 ( Purnima), it still continues in the South, West and Bengal and Assam states till the 1st of September 2016 ( Amavasya). The counting of months in the North / East starts with next day of Purnima, whereas in South /west it is counted from the next day of Amavasya.

Fortunately, since the counting of the 15 days’ period between the Purnima and Amavasya is counted uniformally in both regions-like Pratipada, dwitiya, tritiya etc till the 15th day, the major festivals fall on the same dates-albeit in different Hindu months in both regions. for example, Janmashtami falls on 25th August 2016-all over India. It is Shravan krishna paksha ashtami in South/west and Bhadrapad krishna paksh astami in North/east.

So, accordingly, Shravan month is still going on in South and West. In the month of Shravan every Monday is supposed to be very auspicious for Lord Shiva’s pooja. I am not aware of other regions, but at least in Maharashtra, many people keep fast on Monday and Non Veg is avoided in the month of Shravan.

Therefore in this holy month, like earlier years, I would like to present a Shiv Bhajan from the film “Ganga Maiyya”-55. This film makes its debut on this Blog with this song. The first song from this film is a Shiv- Stuti by his devotees trying to please Him. As the name indicates, this film depicts River Ganga’s story.

Shiv Maha Puran describes the story how River ganga-which flowed only in The Heaven, was brought to the Bhu-lok or our world. Like many other topics from our Puranas, even the story of Ganga’s descent on this Earth has been a subject of our films. The first film on the coming of Ganga or “Gangavataran” was made by Madon Theatrs in Calcutta in 1922. Miss Patience Cooper had done the role of Ganga in it.

With the same topic and same Title, came the first talkie by Dadasaheb Phalke in 1937. This film “Gangavataran”-37 was made by Kolhapur Cinetone- a company promoted and financed by King Shahu Maharaj of Kolhapur. This was the only Talkie film Dadasaheb Phalke ever made in his life. After this film he retired, settled in his hometown Nashik and died there on 16-2-1944.

Incidentally, this was the film in which the famous character artiste Leela Mishra made her Debut. However, since this film was delayed inordinately in making, her second film “Honhaar”-36 released first. After this film, 3 more films, besides ‘Ganga maiya’-55, came on this subject. Ganga-74, Ganga Saagar-78 and Gangotri Ganga-2007. In the Television serial “Mahabharat” by B.R.Chopra, story of Ganga was shown. Ganga’s role was done by Vivana SinghKiran Juneja in this serial.

I had seen the film “Ganga Maiyya”-55, in Prabhat Talkies, Hyderabad and as usual, I led a flock of about a dozen senior citizens and women from our joint family to the theatre and back. Most of the audience was seniors and women. Everytime Lord Shankar made an appearance on the screen, there would be an ear shattering chant of “Jai Mahadev” in the theatre. Luckily, Trilok Kapoor, the usual actor foe Bhagwan Shankar was only a ‘Guest artiste’ and had very few appearances on the screen limiting the enthusiastic chants !

The cast of the film was Prem Adeeb, Sumitra Devi, Asha Mathur, Jeevan, Sapru, S N Tripathi, Vithaldas Panchotiya etc etc.

Prem Adeeb is well known. Here is some information about Sumitra Devi….Sumitra Devi was born in 1923 as Nilima Chatterjee, in an orthodox bramhin family at Shiuri village, Birbhum in East Bengal (now in Bangladesh). She was educated and grew up in Bihar. In young age, lured by the emerging cinema, she sent an application to New Theatres in Calcutta, without informing the family. She was called for interview and against the wishes of her family,she went to Calcutta,was interviewed and got selected. She was given a new name of Sumitra Devi.

Her first films were Sandhi (Bangla) and My Sister (Hindi). her acting was so good that in her First film itself she won the prestigious Bengal Journalist Association award for Best Actress. She soon got married and also divorced quickly.

After doing many films in Bangla, she came to Bombay and acted in a Bi-lingual film Mashal-50 Hindi and Samar-Bangla. She acted in 24 Hindi films like Raja Harishchandra, Mayurpankh, Mamta, Deewana, Arabian Nights etc. She used to shuttle between Bombay and Calcutta, doing Hindi and Bangla films. After her work in ‘Jagte Raho’-56, she became a member in a Film Delegation to China. Her last film was Wafaadaar-1985.

She had married Devi Mukherjee, but he committed suicide in 1947. In her later age,she married Sharma,a Bombay Businessman.
Sumitra Devi died on 28-8-1990.

The film had music by Shankar rao Vyas ( 23-1-1898 to 17-12-1956 ), who was an expert classical singer himself.From film ‘His highness-37 to film ‘ Bal Ramayan ‘-56, he gave music to 34 films. Most of his songs used to have Raga base. He was the paid MD with Praakash pictures for most time and gave music to famous films like ‘Ramrajya’-43 and ‘Bharat Milap’-42 etc. He composed 304 songs in all.

Film Ganga Maiya-55 had 7 songs in all. Today’s debut duet is sung by Rafi and Geeta Dutt. HFGK is silent on singers’names, but the uploader Gajendra Khanna ji has confirmed the singers’names.

The story of film Ganga maiya-55 is

Once upon a time, long ago, demons and gods were at war. To defeat the gods, the demons made a plan. During the day, they hid in the ocean and at night they attacked the gods. Afraid of being defeated in this way, the gods went to Sage Agastya for help.Agastya solved their problem by drinking the whole ocean. Now as the demons had no place to hide, the gods easily defeated them. The gods then asked Agastya to bring the ocean back. Agastya said that he could not do that because he had already digested the ocean.
The people of the earth now had no water, as the ocean was empty, The gods were worried and went to Vishnu and requested him to bring water on earth, King Sagara, who had sixty thousand sons, was performing a yagna to conquer the whole world. According to custom, he had sent out a white horse, the ruler of that kingdom would either have to fight with Sagara or give him his crown. In this way, Sagara was conquering the whole earth and wanted to be the most powerful. Indra, took the horse and hid it in sage Kapila’s ashram. Sagara sent his sons to search the horse. They reached Kapila’s ashram. Sage Kapila was meditating and was disturbed. Greatly annoyed, with one look of his eyes. Kapila burnt all of them to ashes. Sagara was very sad at the death of his sons. He wanted to purify the souls of his sons but only river Ganga could do that by washing their ashes. Ganga had to be brought to earth. So Sagara performed tapasya to please Brahma. But he died before finishing the tapasya. His grandson then continued to perform the tapasya.

The seventh descendent of Sagara, Bhagiratha, was able to please Brahma. Brahma granted him his wish and asked Ganga to flow to earth. But Ganga didn’t want to leave heaven and go to earth. She threatened to destroy all life on earth by the pressure of her flow. Only Shiva’s powerful hair could control the force of Ganga. Bhagiratha requested Shiva to help him. Shiva spread his hair and covered the sky. As soon as Ganga flowed down, he collected her water in his hair in the form of many small streams. She then followed Bhagiratha to the place where the ashes of his ancestors were lying. Being young Ganga flowed carelessly. She flooded the ashram of Sage Jahnu. Jahnu was performing a yagna at that time the water put out all the fires. Angry Jahnu swallowed Ganga. But when he came to know about the long tapasya that had been performed to bring Ganga to earth, he agreed to let her go. He cut open his left thigh and Ganga flowed out of it. Ganga came to be known as Jahnvi, the daughter of Jhanu.

Ganga flowed on and purified the ashes of Bhagiratha’s ancestors. Therefore, Ganga is also called Bhagirathi. There after, Ganga flowed and filled the empty ocean.

The ocean came to be known as Sagara after the name of King Sagara. the people of earth now had water to drink.


Song-Har Har Shiv Bam Bam Bhole (Ganga Maiyya)(1955) Singers-Geeta Dutt, Rafi, Lyrics-Ramesh Chandra Pandey, MD-Shankar Rao Vyas
Chorus

Lyrics

har har shiv bam bam bhole ae
har har shiv bam bam bhole ae
jai mahaadev jai vishvnaath
jai mahadev jai vishvnaath
jai jai girijaapaati bhole ae
har har shiv bam bam bhole ae
har har shiv bam bam

jata joot sir mund maal ??
tan vibhuti aur kanth halaahal
ang ang lipte bhujang
kar mein trishul
damru dam dam dam bole

har har shiv bam bam bhole
har har shiv bam bam

tum ho kitne bhole bhaale
daan bhi utne hi niraale
hey shiv shankar daya tumhaari ee
hey shiv shankar daya tumhaari
vish mein amrit ghole ae

har har shiv bam bam bhole ae
har har shiv bam bam

sharan tumhaari jo bhi aaya
vardaanon se use sajaaya
badal di tumne karam ki rekha aa
badal di tumne karam ki rekha
dwaar swarg ke khole ae

har har shiv bam bam bhole ae
har har shiv bam bam bhole ae
har har shiv bam bam bhole ae
har har shiv bam bam bhole ae
har har shiv bam bam


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.

nand ghar anand bhayo
jai kanhaiyya lal ki

Greetings all friends on this auspicious celebration of Nandotsav today. Just a little while back, the prayers and aartis were being held in all temples celebrating the anniversary of the appearance of Krsna, in a jailhouse in Mathura. The main telecast was coming from the Janambhoomi temple in Mathura itself. All temples were crowded with devotees who had come for the darshan of infant Krsna, who appeared to Devaki and Vasudev during their confinement in the prison of Kans, the cruel and vengeful king of Mathura.  And worse, Kans was the cousin brother of the very lady, Devaki, whom he had imprisoned. The story of that confinement and of the reasons behind it has been told many times.

The interesting thing to contemplate is the circumstances that accompanied this event of the ‘birth’ of the Almighty, in form of an infant. As is documented in the historical record, the appearance of the Lord occurred at midnight. The sky was overcast and the entire surroundings were in deep darkness. Sleep had descended heavily on every inhabitant of Mathura, including the keepers of the prison. When the Lord appeared, all locks opened and all chains dropped away, by themselves. And the only two people awake in that dark night were Devaki and Vasudev.

As per a pre-plan, Vasudev carried the ‘new born’ infant in a straw basket, and walked all the way from Mathura to the home of Nand Baba, in the village of Gokul, across the Yamuna river. The entire household of Nand Baba was also in darkness and all the occupants of that home were also in deep sleep. Vasudev laid the ‘new born’ child to sleep besides the sleeping Yashoda, and carried away the newborn girl child with him, back to Mathura. The details of the encounter with Kans next morning are well known too, as to how he tried to end the life of the girl child also, as he had ended the life of six male infants before that.

The scenario at the Nand Baba’s household, next morning as the family awoke from sleep, was full of joy and happiness. Ladies of the house espied the beautiful child sleeping next to Yashoda. They rushed to inform Nand Baba. And after that, all celebrations broke loose. Thousands of visitors came to the home of Nand Baba, from Gokul and from other nearby villages and towns. There was an unending stream of people coming and going from that household. All forms of instruments were being played. There was singing and dancing and shouting. And yes, feasting also.

And so, in a manner of speaking, the real celebration of this appearance of the Lord, is the day of Nandotsav, the day when the child was first seen in the household of Nand Baba. On the night before, there was no one around to see this event of His appearance, and no one to congratulate and celebrate, no singing and dancing took place. This tradition is still carried by many temples and many households in the Brij region. The real celebrations of the appearance of the Lord start at the break of dawn, on the next day. For them, the event of appearance of the night before is not known.

This song of Nandotsav celebration in the home of Nand Baba, is from the 1957 film, ‘Neel Mani’. The words are penned by Bharat Vyas and the music is by Chitragupt. The singing voices are those of Rafi Sb and Suman Kalyanpur, accompanied by chorus. This film makes a debut on our blog today.

And yes, Atul ji, here is a song by Rafi Sb from the year 1957. So Rafi Sb’s count now goes to 2601 and the songs of the year 1957 make a century break at 400. And so the other target that you had in mind for yesterday, is also being met today.

Once again, a ton of good wishes and greetings to all, on this joyous occasion of the appearance of the Lord. May this celebration fill your life with happiness and peace, and that your household and family be blessed with good health and prosperity.

Jai Kanhaiyya Lal Ki

 

 

Song – Gokul Mein Chhaaya Ujiaala (Neel Mani) (1957) Singer – Mohammed Rafi, Suman Kalyanpur, Lyrics – Bharat Vyas, MD – Chitragupt
Chorus

Lyrics

gokul mein chaaya ujiaala
magan har gwaala
hua re matwaala
jasoda ki godi mein khele nandlala
jasoda ki godi mein khele nandlala
gokul mein chaaya ujiaala
magan har gwaala
hua re matwaala
jasoda ki godi mein khele nandlala
jasoda ki godi mein khele nandlala

ho jhoole re dekho
palna mein lalna
bhooli hain sudh gwaalania
ho..oye
jhoole mein dekho
palna mein lalna
bhooli hai sudh gwaalania
apne hi aap dekho
bajne lagi re
chham chham paaon ki paijaniya
chham chham
chham chham paaon ki paijaniya
arey sanwari surat
mohani moorat
roop ki saanche mein dhaala
jasoda ki godi mein khele nandlala
jasoda ki godi mein khele nandlala

akhiyon ka taara
maiyyaa jasoda ka pyaara
laadla nand dulaara re
jhoole jo jhoola
to jhoolne ke sang sang
jhoole ye phaag hamaara re
nanhe nanhe haathon ko nachaaye
muskaaye re
mukhda to dekho re lalan ka
jasoda ki godi mein
aaya re utar maano
pyaara pyaara chanda gagan ka
ho oo
pyaara pyaara chanda gagan ka
ho oo
mukhda to dekho re lalan ka

oo oo oo
oo oo ooo
darshan ka durlabh
mauka ye bhaiya
darshan ka durlabh
mauka ye bhaiya
haathon se jaane na paaye re
bhaiya haathon se jaane na paaye re
dekho swarag se ye devta
dharti pe utar kar aaye re
oye re neeche utar kar aaye re
saawan ye sukh ka
barsaa to saara
gokul hua re hariyaala
jasoda ki godi mein khele nandlala
jasoda ki godi mein khele nandlala

gokul mein chaaya ujiaala
magan har gwaala
hua re matwaala
jasoda ki godi mein khele nandlala
jasoda ki godi mein khele nandlala

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

गोकुल में छाया उजियाला
मगन हर ग्वाला
हुआ रे मतवाला
जसोदा की गोदी में खेले नन्दलाला
जसोदा की गोदी में खेले नन्दलाला
गोकुल में छाया  उजियाला
मगन हर ग्वाला
हुआ रे मतवाला
जसोदा की गोदी में खेले नन्दलाला
जसोदा की गोदी में खेले नन्दलाला

हो झूले में देखो
पलना में ललना
भूली हैं सुध ग्वालनिया
हो॰॰ओए
हो झूले में देखो
पलना में ललना
भूली हैं सुध ग्वालनिया
अपने ही आप देखो
बजने लगी रे
छम छम पाँओं की पैंजनिया
छम छम
छम छम पाँओं की पैंजनिया
अरे सांवरी सूरत
मोहनी मूरत
रूप के साँचे में ढाला
जसोदा की गोदी में खेले नन्दलाला
जसोदा की गोदी में खेले नन्दलाला

अँखियों का तारा
मैय्या जसोदा का प्यारा
लाडला नन्द दुलारा रे
झूले जो  झूला
तो झूलने के संग संग
झूले ये फाग हमारा रे
नन्हें नन्हें हाथों को नचाए
मुसकाए रे
मुखड़ा तो देखो रे ललन का
जसोदा की गोदी में
उतर आया मानो
प्यारा प्यारा चंदा गगन का
हो ओ
प्यारा प्यारा चंदा गगन का
हो ओ
मुखड़ा तो देखो रे ललन का

ओ ओ ओ
ओ ओ ओ
दर्शन का दुर्लभ
मौका ये भैया
दर्शन का दुर्लभ
मौका ये भैया
हाथों से जाने ना पाये रे
भैया हाथों से जाने ना पाये रे
देखो स्वरग से ये देवता
धरती पे उतर कर आए रे
ओए रे नीचे उतर कर आए रे
सावन ये सुख का
बरसा तो सारा
गोकुल हुआ रे हरियाला
जसोदा की गोदी में खेले नन्दलाला
जसोदा की गोदी में खेले नन्दलाला

गोकुल में छाया उजियाला
मगन हर ग्वाला
हुआ रे मतवाला
जसोदा की गोदी में खेले नन्दलाला
जसोदा की गोदी में खेले नन्दलाला


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.

All numbers are unique unto themselves – inasmuch as each number has its own claim to fame just by being what it is. And but for the imagination and fancies applied by our minds, which at times picks on certain characteristics and binds some special stature to some of them, all these numbers would be as interesting, or for that matter disinteresting, as any other number. Let me quote the instance of a number that has now become famous as the ‘Hardy – Ramanujan Number’. This anecdote is attributed to a conversation in or about 1919 (wow, ninety seven years ago), that happened in London. Indian mathematician Srinivas Ramanujan, who was based in London for some time, was ill and confined to his bed at his residence. His friend, Godfrey Hardy, another mathematician (who had invited and arranged for Ramanujan’s travel etc. to London), came visiting him. The initial conversation was about Hardy’s journey to see Ramanujan. He mentioned off hand that the number of the taxicab in which he had travelled, was 1729 – for all intents a most uninteresting and boring number. To this comment, Ramanujan replied that ‘1729’ was a very special number. In fact it is the smallest number that can be represented as the sum of two cubes, in two different ways. (I am avoiding the calculation details; interested readers can google this for more details).

So the point I am trying to make is that a number is a number is a number. We humans try to discover interesting aspects, and attach interesting characteristics, to make the discussion interesting. Now coming to our blog. We too have a fancy for numbers, as is evident by the amount of discussion and mental calisthenics applied to certain categories. Always, a century milestone has been a matter of big celebration. But I am sensing a drift now in the enthusiasm associated with it. Maybe, after celebrating one hundred and twenty three (123 for short) century milestones, the glitter of this theme is kind of wearing thin. Quoting Peevesie’s Mom ji, from one of her recent comments – she says she is no longer so enamored by the century breaks; she now looks forward more to the thousandth milestones. In fact, we all do remember how big an affair the ten thousandth milestone turned out to be.  After that, the century events look somewhat timid and also ran. In recent memory, the bigger affairs have been the eleven thousandth and the twelve thousandth campsites.

And yes, in between, do pop up, some special patterns which do warrant a special hullabaloo. The previous one in memory was the five aces number – ‘11111’, which was eventually adorned by the iconic song from the film ‘Amar Akbar Anthony’ (1977) – “Hum Ko Tum Se Ho Gaya Hai Pyaar Kya Karen”. I do remember emails popping in from some gang members before we arrived at that number, goading Atul ji and myself to plan something special. And once we ran past the twelve thousandth barrier, there were more than one comments and messages about the arrival of the next peculiar signboard – the number of today’s post – twelve thousand three hundred and forty five, or 12345 for short. In the past couple of weeks, yes, there have been a couple of reminders, requesting us not to miss this opportunity to celebrate this most interesting pattern in five digit numbers – all digits in a perfect ascending sequence. And I did assure Mahesh ji, whose reminders were consistent, that yes, we are seized of this eventuality and will be planning something special.

But to tell you people the real truth – this time around, me and Atul ji were quite at sea, grappling with various combinations and probabilities, and for a longest possible time, we were not able to come up with an interesting combination of milestones or targets or situations that would do justice to this sequential 5 digit number, and also be ensconced inside a song, such that a post may be created out of it. The communications that Atul ji and I have been having, tell of the zaniness of ideas we were bouncing around and the near despair that we were facing in coming up with a deserving tie up. The story goes something like this, in short.

The first and the obvious thing to do is to go for a song that goes with the line “Ek Do Teen Chaar. . .”. Now coming to think of it, this is not at all a difficult thing to do. There is any number of such songs in the realm of Hindi film music. Actually, Atul ji had even selected the one from the film ‘Tezaab’ (1988) – “Ek Do Teen, Chaar Paanch Chhe Saat Aath Nau, Das Gyaarah, Baarah Teraah”. Well, not a bad idea at all – this song was one of the greatest hits of 1988 and the starting bars – “Ding Dong Ding, Ding Dong Ding Dang Dong Dong. . .” was quite a rage with the kids. In the absence of any other good (great??) ideas, I was kind of leaning towards this option. But then I recanted and wrote back to Atul ji, and I would not want to do this song for this post for two reasons. The first being that looking at a number like  ‘12345’, the most simplistic thing we could think of is “Ek Do Teen. . .”, and so selecting this song for the milestone post does not sound too convincing. And the second reason that wrote to him that this song is seemingly so special that I would rather save it for the ‘12345678910111213th ’ post on our blog. Hmmm.. . that would translate to, well, ‘बारह पद्म, चौंतीस नील, छप्पन खरब, अट्ठत्तर अरब, इक्यानवे करोड़, एक लाख, ग्यारह हज़ार दो सौ तेरहवां’ song on our blog. Goodness, I don’t think there are going to be that many songs in Hindi films, even if we add all the NFS songs to the mix. But friends, what a thought – gives us all a wonderful reason to live for a very very very long time🙂🙂.

So, with this ‘ab initio’ option out of the way, then we started looking for the next best drum roll. Now we started to focus on getting to a combination of artists who are close to century marks in their respective counts. Meaning, we started looking for combinations where one artist would be at 100, another artist at 200, a third artist at 300 and so on. Goodness, I and Atul ji spent a few sleepless night, poring through the stat pages, as well as our personal compilations of blog songs, that would help to bring in the actor stats also. We got to some imperfect combinations, but frustratingly, for those combinations shortlisted, were not able to find the one song that would bring together the identified artists. After some sleepless nights, we decided this path would lead us nowhere.

Then I had a brainwave. I wrote to Atul ji that let us celebrate this milestone as a set of 5 songs. These would be the posts 12341 to 12345. Each one of the songs in these posts would progressively have something special relating to the numbers 1, 2, 3 and so on. Each song would celebrate something about an artist or a movie, related it to the numbers 1 thru 5. We could do 5 artists who are not yet on the blog; and present one each of their really rare performances. Alternatively, we could do  5 artists who are on the blog; but to post extremely unheard, unknown songs of these artists. One more thought that we considered was artists with post no. 1, 12, 123, 1234 and so on. This seemed promising, but we could not locate enough collateral for this. ‘1’ and ’12’ was easy, but the nearest to 123 was still eight posts behind. And no one even reasonably close to 1234. And then in desperation, I suggested that we shall do five songs with artists for whom it would be the 1st post, the 2nd post, the 3rd post, and so on. Of course, after putting it on paper, even this idea appeared very flimsy and simplistic. And so after a couple of back and forth iterations, Atul ji responded half heartedly, in a manner that jammed this brainwave in its infancy, saying that milestone is a milestone; can’t have it spread over five posts.

We continued to bandy more ideas back and forth. I did some analysis of the posts at numbers 1, 12, 123, 1234, hoping to find some interesting pattern that could be extrapolated to the 12345th post. I was driven by my experience with the 11111th post. Regulars would remember the discovery that I had made. The four singers that are featured in our 11111th post, all individually figure solo in the post nos. 1 (Rafi Sb), 11 (Kishore Kumar), 111 (Mukesh) and the 1111 (Lata Mageshkar). No such luck this time around. I dug in and went on to explore other such combinations. I tried all kind of zany combinations – post nos. 12, 23, 34, 45, post nos. 123, 234, 345, post nos. 1234 and 2345. It was not leading anywhere. I was panicking now.

Then Atul ji suggested a variation. He said let us check for song categories instead of artists, and try to build combinations of occurrences of songs in a category. Once again, we made a dive into our stat sheets and excel files. And yet once again, the prize combination eluded us. And here I was thinking, that I had responded to Mahesh ji that Atul ji and I are seized of this eventuality, but we are not likely going to have something to show for it. The proverbial ‘pudding’ will just not be there for ‘eating’, so what to prove about it.

Atul ji seemingly gave up. He sent me a message saying that Rafi Sb is close to his 26th century mark, and the number of songs in the year 1957 is standing at 399. So let us just select a good song by Rafi Sb from the year 1957 and be done with the milestone. He then followed it up with a short list of possible candidates, as his suggestion for this idea. I was quite bankrupt myself, in my ideas account by this time, and was getting inclined to go with his suggestion. However, I continued to have this nagging feeling in the back of my mind that we are letting pass a significant event, and do not have anything to show for it. Going by the song of Rafi Sb from 1957, would in no way link the song to the peculiarity of the post number. That would be quite a memorable post – we would celebrate a milestone without really celebrating the milestone.

Then, in the depths of such despairing thoughts, there came another flash of an idea. Atul ji had set 21st as the target to publish this post, and we were already behind the schedule. And in the midst of this came this flash. I shared this with Atul ji, and he too became excited about it. I asked for some more time (sic) to do the research, but I had this feeling that the idea would work. What finally transpired, i.e. this song, actually goes beyond even my own expectations with this idea as it first came to me.

So the idea came as I was poring over pages of Geet Kosh trying to strike something for this post. It suddenly dawned on me – well there are songs which are solo, duets or trios. There are music directors that are duo, and even trio. So how about pulling together a combination that would bring together a solo, a duo and a trio. I sent this idea to Atul ji, and then started another long search, through the Geet Kosh listings this time, to search for movies of duo music directors and trio music directors. After some time of searching through the S-Js and L-Ps and Suresh-Talwars, I finally was able to locate songs compliant to this idea, for music directors Sonik-Omi and Lala-Asar-Sattaar. Atul ji reminded me again to look for Rafi Sb song, so that we can bring up his 2600th song on our blog. I was able to locate one song each with both these music director teams, that has Rafi Sb singing, and also complying with the 1..2..3..4 structure of the post no. We were close, but at this point, I did not realize how close we really were.

The two songs I selected – one is a duet in the voice of Rafi Sb and Kamal Barot from the 1965 film ‘Sangraam’. Music is by Lala-Asar-Sattaar and lyrics by Madhukar Rajasthani. So I am able to get 3 of the 5 conditions met – One Lyricist, Two Singers, and Three Music Directors. The second song is from the 1976 film ‘Yaari Zindabad’, with music by Sonik Omi. This song, which makes it to the podium today, is sung by 3 singers – Rafi Sb, Manna Dey and Minu Purushottam. So once again, 3 conditions met – One Lyricist (MG Hashmat), Two Music Directors and Three Singers. So I now had a choice to make. I went in and listened to these songs carefully, and something about the ‘Yaari Zindabad’ song struck a chord within (I will come to it little later in write up), and I decided to go with this one. And friends, this was the providence helping me make the choice, for till that time, I was not aware what more good luck was in store for me.

As I checked the YouTube, I could not locate this full song as a standalone video clip. Either just the audio was available, which does not carry the voice of Minu Purushottam. The LP/EP version of this song does not contain the antaraa with her voice. Or the video was either not complete, or was available only inside a complete selection of the songs of this film. So I decided to make a new video clip for this song, from the film on the disc. And in making and editing this clip, I made two wonderful discoveries, that completed the run for all the numbers. That surely is providence working for us.🙂🙂

I discovered that on screen, 4 actors are lip syncing the voices of playback singers. AND. This song appears in 5 parts in the film. And voila – I had the complete set of 12345 done and packaged for publishing. So here is the rundown of numbers.

One – Lyricist

 

MG Hashmat

 

Two – Music Directors

 

Sonik – Omi

 

Three – Singers

 

Rafi Sb, Manna Dey, Minu Purushottam

 

Four – Actors Lip Syncing on Screen

 

Kiran Kumar – Rafi Sb
Mahendra Sandhu – Manna Dey
Joginder – Rafi Sb
Actress (green sari) – Minu Purushottam
(either Lata Sinha or Sadhna Khote)

 

Five No. of times this multi part song appears in the film

 

I simply could not believe myself, how these numbers finally rolled together. And ‘sonay pe suhaaga’ – the 2600th song of Rafi Sb on the blog. I could not have done any better, and in fact, I could not have done even this without the providence stepping in.

And that, my friends, is the story of ‘12345’.🙂

Now, coming to the emotional connect with this song. I have written about this before, in some of my earlier writings also. The songs about friendship, move me. There is a premise of synthesis, when two minds, two beings come together in understanding and camaraderie. It is this synthesis, this convergence of emotions that means the world to me. Such emotions have the power to move me to tears. This song, it brings in this feeling so strongly, that I had no second thoughts about picking this as the song for today.

In this song, this emotional thread of amity and alliance works through at two levels. One is a very personal level, wherein one being connects with and interacts with another being. Most times, there is no specific reason that can be attributed to this attraction. It simply is. We call it by many names – resonance, frequency matching, meeting of minds, etc. But what it specifically is, is hard to put into words. In friendship, we learn that we share the joys, as well as we share the sorrows. We learn that we like to care, we learn that we like to help, we learn to support, and we learn to share the burdens when travelling together. We learn of companionship, and we learn about togetherness. And I always like to share my feelings about this personal liking, sharing and togetherness, especially with reference to our musical bandwagon. As I was listening to this song and seeing the visuals, some of the words and some of the deeds struck that chord within that connects with the love of music, and the togetherness that is shared within our circle. And I am moved. And when that happens, I want to share this emotion with all.

kabhi tootegi na yaari
yaari zindabad

And then, there is one more level of this sharing and togetherness that moves my heart with an equal compulsion. This is the level of the community, and the social fabric that we all are a part of. Many events of the recent past, and even of longer memories, bring an anguish to the heart, as to how the vested political interests exploit the naturally occurring variations in the society, to sow seeds of differentiation, and pit a brother against his own brother. Be it the unrest in the Kashmir valley, or the maltreatment of one human being by another, simply based on the social standings within the society; be it the exploitation and depravement of the people in their natural habitation or be it simply the manipulative abuse and physical violation of personal propriety on account of religion or caste or gender. This widespread malaise, is a frightening agony for the mind, as one continues to hear about such events and incidents, day in and day out. None of this happens spontaneously. All of it is motivated and orchestrated, by vested interests who desire to have limitless power over other human beings. It is a mindless obsession that eventually results only in suffering, even for the perpetrators. But who would want to put their minds to this thought.

The problem of the social divide in our society, based on religion and caste, is the worst legacy from the days of oppression by the British rule, that we have refused to give up, even at the cost of substantially destroying the social fabric and the normal tolerant existence, that is the bulwark of this land. Maybe it is a utopian expectation, but my heart continues to want to believe in the innate goodness of a human being – the goodness that would deter any person to inflict any grief or injury upon another human being, simply based on the reasons of variation and differences between human beings. It is the law of nature that no two beings, no two minds are created alike. And in addition, every mind is also instilled with the intelligence to appreciate and respect these differences. It is a long and futile debate to deliberate why and how this intelligence gets suppressed and the wilder instincts of greed and power take over and prevail. The end result of this conflict is only misery, and more misery.

On such an unsightful canvas, when one encounters a streak of even just the words, as are contained within this song, there is a moment of relief that descends upon the troubled mind. It is just a poet’s vision, just a hopeful aspiration, saying how this world should be, as opposed to how this world is, as we actually see and perceive it. And the heart is elated, just to know that there is / are other such minds that crave for this amiable tolerance and understanding, to overcome the mindless divisive rage that is cutting through the fabric of our society. That is the relief that moves my heart to tears, when one encounters expressions such as the one in this song

ek hindu ek musalmaan hai
gaadi ke hain do pahiye

And the heart cries for hope, hope for amity, and hope for a friendly brotherly love that I want to share with all.

Yes, glory be to friendship, glory be to peace and love.

Yaari Zindabad.

 

Song – Jaan Se Bhi Pyaari Hai Dosti Hamaari (Yaari Zindabad) (1976) Singer – Mohammed Rafi, Manna Dey, Minu Puroshottam, Lyrics – MG Hasmat, MD – Sonik Omi
Rafi + Manna Dey

Lyrics

Part 1
——–
jaan se bhi pyaari hai
dosti hamaari
jaan se bhi pyaari hai
dosti hamaari
kabhi tootegi na yaari
yaari zindabaad ho.. oo..
yaari zindabaad ho.. oo..
yaari zindabaad
jaan se bhi pyaari hai
dosti hamaari
jaan se bhi pyaari hai
dosti hamaari
kabhi tootegi na yaari
yaari zindabaad ho.. oo..

Part 2
——–
hum raahi hain raahon mein

dhoom machaate jaayenge
toofaan ban ke har mushkil se
hum dono takraa’enge
kabhi chhotega na saath tera
o jiye pyaar tera
tu hai yaar mera
haan yaar mera
rooh mein teri rooh basi hai
jaan mein jaan tumhaari
rooh mein teri rooh basi hai
jaan mein jaan tumhaari
kabhi tootegi na yaari
yaari zindabaad ho.. oo..
yaari zindabaad ho.. oo..
yaari zindabaad

Part 3
——–
ek hindu ek musalmaann hai

gaadi ke hain do pahiye
jaldi manzil par pahunchenge
gar mil kar chalte rahiye
hum geeta quraan mila denge
aur pyaar ko deen banaa lenge
haan banaa lenge
sab ki aankhon mein basey ye
roshni hamaari
sab ki aankhon mein basey ye
roshni hamaari
kabhi tootegi na yaari
yaari zindabaad ho.. oo..
yaari zindabaad ho.. oo..
yaari zindabaad

Part 4
——–
rasta roka sar kuchlenge

khoon ki holi khelenge
oye haste haste desh ki aafat
apne sar par jhelenge
hathiyaar banaa kar baahon ko
o angaar banaa kar aahon ko
haan aahon ko
kaam aayegi watan ke
zindagi hamaari
kaam aayegi watan ke
zindagi hamaari
kabhi tootegi na yaari
yaari zindabaad ho.. oo..
yaari zindabaad ho.. oo..
yaari zindabaad

jaan se bhi pyaari hai
dosti hamaari
jaan se bhi pyaari hai
dosti hamaari
kabhi tootegi na yaari
yaari zindabaad ho.. oo..
yaari zindabaad ho.. oo..
yaari zindabaad ho.. oo..
yaari zindabaad

Part 5 (sad)
——–
jaan se bhi pyaari hai

dosti hamaari
jaan se bhi pyaari hai
dosti hamaari
kabhi tootegi na yaari
yaari zindabaad
ho.. oo..
yaari zindabaad
ho.. oo..
yaari zindabaad

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

भाग १
——–
जान से भी प्यारी है
दोस्ती हमारी
जान से भी प्यारी है
दोस्ती हमारी
कभी टूटेगी ना यारी
यारी ज़िंदाबाद हो॰॰ ओ॰॰
यारी ज़िंदाबाद हो॰॰ ओ॰॰
यारी ज़िंदाबाद
जान से भी प्यारी है
दोस्ती हमारी
जान से भी प्यारी है
दोस्ती हमारी
कभी टूटेगी ना यारी
यारी ज़िंदाबाद हो॰॰ ओ॰॰

भाग २
——–
हम राही हैं राहों में
धूम मचाते जाएँगे
तूफां बन के हर मुश्किल से
हम दोनों टकराएँगे
कभी छूटेगा ना साथ तेरा
ओ जिये प्यार तेरा
तू है यार मेरा
हाँ यार मेरा
रूह में तेरी रूह बसी है
जान में जान तुम्हारी
रूह में तेरी रूह बसी है
जान में जान तुम्हारी
कभी टूटेगी ना यारी
यारी ज़िंदाबाद हो॰॰ ओ॰॰
यारी ज़िंदाबाद हो॰॰ ओ॰॰
यारी ज़िंदाबाद

भाग ३
——–
एक हिन्दू एक मुसलमान
गाड़ी के हैं दो पहिये
जल्दी मंज़िल पर पहुंचेंगे
गर मिल कर चलते रहिए
हम गीता कुरान मिला देंगे’
और प्यार को दीन बना देंगे
हाँ बना देंगे
सबकी आँखों में बसे ये
रोशनी हमारी
सबकी आँखों में बसे ये
रोशनी हमारी
कभी टूटेगी ना यारी
यारी ज़िंदाबाद हो॰॰ ओ॰॰
यारी ज़िंदाबाद हो॰॰ ओ॰॰
यारी ज़िंदाबाद

भाग ४
——–
रस्ता रोका सर कुचलेंगे
खून की होली खेलेंगे
ओए हसते हसते देश की आफत
अपने सर पे झेलेंगे
हथियार बना कर बाहों को
ओ अंगार बना कर आहों को
हाँ आहों को
काम आएगी वतन के
ज़िंदगी हमारी
काम आएगी वतन के
ज़िंदगी हमारी
कभी टूटेगी ना यारी
यारी ज़िंदाबाद हो॰॰ ओ॰॰
यारी ज़िंदाबाद हो॰॰ ओ॰॰
यारी ज़िंदाबाद

जान से भी प्यारी है
दोस्ती हमारी
जान से भी प्यारी है
दोस्ती हमारी
कभी टूटेगी ना यारी
यारी ज़िंदाबाद हो॰॰ ओ॰॰
यारी ज़िंदाबाद हो॰॰ ओ॰॰
यारी ज़िंदाबाद

भाग ५ (शोक)
——–
जान से भी प्यारी है
दोस्ती हमारी
जान से भी प्यारी है
दोस्ती हमारी
कभी टूटेगी ना यारी
यारी ज़िंदाबाद
हो॰॰ ओ॰॰
यारी ज़िंदाबाद
हो॰॰ ओ॰॰
यारी ज़िंदाबाद


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

OONCHI HAVELI (1955) was produced under the banner of Sharad Productions and it was directed by Dhirubhai Desai. The star cast included Karan Diwan, Nirupa Roy, Lalita Pawar, B M Vyas, Yashodara Katju, Bhagwan, Janakidas, Indira Bansal, Heera Sawant, Niranjan Sharma etc. The film appears to be an obscure one as no other details are available. From the title of the film as well as a few still photographs of the scenes from the film, the story looks to be about the conflict between a royal family and a commoner.

The film had 9 songs in it. One of these songs has been covered in the Blog as far back as in November 2011. All the songs were written by Bharat Vyas which were set to music by Pt. Shivram (I guess, the music director is the same person as Pt.Shivram Krishna).

Pandit Shivram Krishana (1927-1980) was one of those music directors from Rajasthan who was talented but had no luck to prosper as a music director in Bollywood. Despite being music director for 24 Hindi films between 1953 and 1980, composing some melodious songs, he could not rise to the category of even the second rung of music directors in Hindi movies.

Pt Shivram Krishna started his career as an assistant to Khemchand Prakash during the second half of 1940s. Before becoming a full-fledged music director in Hindi film industry, he worked as a music director with HMV. In 1951, he returned to Bombay and got his first break as a music director in V Shantaram’s ‘Teen Batti Chaar Rasta’ (1953) and ‘Surang’ (1953). In the latter period of his musical career, Pt Shivram Krishna was mostly associated with mythological films.

I am presenting one of Pt. Shivram Krishna’s songs ‘ roop kaisa diya hai tujhe Raam ne’ from the film OONCHI HAVELI (1955). This song is sung by Pt. Shivram Krishna, Asha Bhonsle and chorus. The song is written by Bharat Vyas. This song was not new to me as I had heard this song in my teens on Vividh Bharati.

The song is a rare one in the sense that despite my best efforts, I could not locate the song on YT. So I have made a video from mp3 clip of the song I had and have uploaded the same on YT.


Song-Roop kaisa diya hai tujhe Raam ne (Oonchi Haweli)(1955) Singers-Pt. Shivram, Asha Bhonsle, Unidentified Male Voice, Lyrics-Bharat Vyas, MD-Pt Shivramkrishna
Male Chorus, Female Chorus,
All Chorus

Lyrics

ho o o o
o o o o o
o o o o
o o o o
aa aa aa
aa aa aa aa
aa aa aa
o o o o
o o o o

roop kaisa
roop kaisa diya hai tujhe Raam ne
ho o
chaand sharmaaye gori tere saamne
roop kaisa diya hai tujhe Raam ne
ho o
chaand sharmaaye gori tere saamne

kaari kaari ye pyaari do ankhiyaan
o jaise neele kamal ki pankhiyaan
ho o jaise neele kamal ki pankhiyaan
naache tan man magan
baaje jhan jhan (??)
kaisi Raadha
kaisi Raadha banaayi Ghanshyaam ne
roop kaisa diya hai tujhe Raam ne
ho o
chaand sharmaaye gori tere saamne

o o o o
o o o
o o o o

aa aa aa aa
aa aa aa
aa aa aa
aa aa aa

rangeele chhabeelon ke dar se
huwa mushqil nikalna ghar se
huwa mushqil nikalna ghar se
main jaaun jidhar
nain laage udhar
mujhe paagal
mujhe paagal banaaya kare Raam ne
roop kaisa diya hai mujhe Raam ne

ho o o
chaand sharmaaye gori tere saamne

mere man ki o meethi mithhaayi
o teri sooratiya iss mein bithhaayi
ho o bholi sooratiya iss mein bithaayi
ek teri chamak
haluwe mein namak
jaao jaao
jaao jaao na aao ji saamne
roop kaisa diya hai tujhe Raam ne
ho o
chaand sharmaaye gori tere saamne

o o o o
o o o
o o o o

aa aa aa aa
aa aa aa
aa aa aa
aa aa aa

nahin aisa nazar koi aaye
jo nakhre dulhan ke uthhaaye
haay jo nakhre dulhan ke uthhaaye
pehlu pe phisal
jab girtaa hai dil
nahin aata
nahin aata hai koi saamne

roop kaisa diya hai tujhe Raam ne
ho o
chaand sharmaaye gori tere saamne


This article is written by Bharat Upadhyay, 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.

Lata’s Songs NOT YET covered on our Blog – 10
———————————————–
DIDI, a social film of 1948 was Produced by Navbharat Films, Bombay and Directed by Mukund Masurekar. The unique thing that struck me was that Mukund Masurekar was not only the Director but also gave music for the film. Arunbhai in the comments of a solo song from the film by Geeta Roy on this Blog, gave this information about Mukund Masurekar:

Mukund Masurekar was from Goa and he knew many instruments and was an excellent harmonium and Violin player. Just like his childhood friend-Shridhar Parsekar, another very very talented composer from Goa and arranger (he was a popular composer for marathi bhavgeets), Masurekar too got spoiled due to alcohol. Vijay Anand met him once and offered him a job in Navketan, but never dared to offer him composing. Masurekar started as a Business Manager from film Funtoosh-1956 and continued with the Anands till his unfortunate end.

The star-cast according to HFGK, consisted of Ranjana, Ghanshyam, Shobharani, Charubala, Kumkum, Pandey, Aanand, Amrut, Narsinh, etc. The film had 11 songs, nine out of that were written by Shyamal Babu Rai, with the pen-name of ‘Indeewar’ and two by Saraswati Kumar Deepak. Lata has sung this single song and the other playback singers for the film were Nalini Mulgaunkar, Shankar Dasgupta, Geeta Roy and Ameerbai.

The present song by Lataji (in her teens then), is in a lilting tune, describing the emotions of a young maiden totally drenched in her first love. I could not decipher a complete line repeated twice, in the last stanza. Will some Atulite, with keener ears help me complete the lyrics?


Song–Tere Nainon Mein Nindiya (Didi)(1948) Singer – Lata Mangeshkar, Lyrics – Indeewar,MD – Mukund Masurekar

Lyrics

tere nainon mein nindiya aa aa
tere nainon mein nindiya
nindiya mein sapne
sapne mein saajan dole rahe re ae
dole rahe re
tere nainon mein nindiya aa aa
dole rahe re ae
dole rahe re ae
dole rahe re ae
dole rahe re ae
sapne mein saajan dole rahe re
tere nainon mein nindiya aa aa

jaadu ke teer chale
kalejaa cheer chale
jaadu ke teer chale
kalejaa cheer chale ae
jaadu ke teer chale
kalejaa cheer chale
donon hi dilon ko ab tatol rahe re
donon hi dilon ko ab tatol rahe re
tere nainon mein nindiya aa aa

woh gore gaal muskuraa ke laal ho rahe
woh gore gaal
woh gore gaal muskuraa ke laal ho rahe
meethhe meethhe man mein khayaal ho rahe
meethhe meethhe man mein khayaal ho rahe
bejubaan honth bhi kuchh bol rahe re
bejubaan honth bhi kuchh bol rahe re
tere nainon mein nindiya aa aa

chhedo nahin aashaa ko padi sone do o o
chhedo nahin aashaa ko
chhedo nahin aashaa ko
chhedo nahin ashaa ko padi sone do o o
judne do gaanth haath peele hone do o o
judne do gaanth haath peele hone do
kyun abhi se man mein ras ghol rahe re
kyun abhi se man mein ras ghol rahe re
tere nainon mein nindiya aa aa
tere nainon mein nindiya aa


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Recently, Tommydan55 has uploaded the film PREM KAHAANI (1937) with some cleaning and restoration works relating to both the video and the audio. The full film is here. The result was that I got motivated to watch the movie without much of the strain on my eyes. What a film! As against my expectation of a slow moving story of the film which was my experience in most of the films of the 30s, this film was different. The slick editing of the film ensured that the story moved in a pace comfortable for viewing. This may be the reason as to why I could watch the movie in one sitting which I seldom do especially in respect of old classic Hindi films of 30s and 40s. The DVD/VCD of the movie is of 1 hour 30 minutes which means that the film has been heavily edited for DD/VCD including a couple of songs. But I did not find much issue with the continuity of the story.

PREM KAHAANI (1937) was Bombay Talkies 8th film, based on Niranjan Pal’s original story in English ‘ Touchstone’ or ‘Marriage Market’. The film was directed by Franze Osten. The main star cast included Ashok Kumar, Maya Devi, Vimla Devi, Madhurika Devi, M Nazir, Mumtaz Ali, Sunita Devi, Saroj Borkar, Chandraprabha, Tarabai Solanki, Kamta Prasad etc.

The film has a story with in a story. The film opens with a scene in which the father tells his daughter ‘I have told you once. I have told you a million times. You will marry the boy I have chosen’. But daughter is adamant. She would marry the man she loves. This dialogue is heard by the priest (M Nazir) who has come to fix the marriage. When the mother requests the priest to prevail upon the daughter to marry the boy of their choice, he refuses to intervene. Why? Herein lays the story of priest’s life within the story of the film which is the tragic story of Jagat (Ashok Kumar), Maya (Maya Devi), Ramla (Vimla Devi), Usha (Madhurika Devi) and Chandrakant (M Nazir). With a tragic background, Chandrakant renounced the world and became an ascetic and then a priest.

There were two widows – Shanti Devi (Saroj Borkar) and Heera Devi (Tarabai Solanki) who stayed together in a house. Heera had a son, Jagat (Ashok Kumar) and Shanti had a daughter, Maya (Maya Devi). As they grew up, they started liking each other. However, Shanti Devi has fixed Jagat’s marriage with Usha, Chandrakant’s sister. The idea is to get a hefty dowry which will enable Heera to send Jagat to Bombay for higher studies. Chandrakant is also looking to get married to a beautiful girl which he finds in Shanti’s daughter, Maya. Jagat is forced to marry Usha as a faite accompli while Maya agrees to marry Chandrakant for the betterment of Jagat’s dream.

Before their impending marriages against the wishes of Jagat and Maya, a third dimension is introduced by way of Ramla (Vimla Devi) who is the sister of Bhagwandas ( P F Pithawala). Jagat stays with the family while studying in Bombay. Jagat becomes close to Ramla on account of their charities shows in which Sharma (Mumtaz Ali), Indira (Sunita Devi) and Prabha (Chandraprabha) are connected. Realising that he is becoming too close to Ramla who is already engaged to Motilal (Manohar Ghatwani), Jagat returns to his town. Ramla follows him which infuriates Motilal. He also follows them with a vengeance. How his vengeance turns into a tragedy is the lesson the priest wants the parents of the daughter to learn.

After hearing the story of priest’s own life, the film has an unusual ending with the last dialogue in which father tells his daughter ‘dear, you will marry the man you love’.

The film had 8 songs, all written by J S Kashyap which were set to music by Saraswati Devi. I am presenting the first song ‘ankhiyaan jhapi mori …nadiya kinaare khadi sochti’ from the film to appear in the Blog.

This is an unique song as there is another song within this song as a flashback. While Saraswati Devi sings ‘ankhiyaan jhapi mori’ for Chandraprabha in raag yaman as a rehearsal, Ashok Kumar in another room hears the song which reminds him of his romantic sojourn with Maya Devi on the banks of a river in rural area where they sing ‘nadi kinaare khadi sochti’. The song ends with Saraswati Devi singing the refrain.

HFGK has listed this song as two separate songs as this ‘double song’ could not have been accommodated within the maximum duration of about 3 minutes and 40 seconds on one side of a 78 RPM record. This is evident from the existence of two audio clips whose links are also given below.

With this song (listed as two separate songs in HFGK), ‘Prem Kahaani’ (1937) makes its debut in the Blog.

Audio(Part-1) :

Audio (Part-2) :

Video

Song-Ankhiyaan jhapi mori…nadi kinaare khadi (Prem Kahaani)(1937) Singers-Saraswati Devi, Maya Devi, Ashok Kumar, Lyrics-J S Cashyap, MD-Saraswati Devi

Lyrics ( from the video version)

ankhinyaan jhapi mori ee ee
ankhiyaan jhapi mori ee
bisaraa gayi sudh aa
bisara gayi sudh aa
bhoola gayi dukh
sapne mein daras dikhaaye
yada o ri mori ee
ankhiyaan jhapi mori ee
ankhiyaan jhapi ee

nadiya kinaare thadi ee ee
nadiya kinaare thadi ee
chhabi nirakhat rahi ee
chhabi nirakhat rahi
nadiya kinaare thadi ee ee
nadiya kinaare thadi

nadi kinaare khadi sochti
nadi kinaare khadi sochti

kyaa aa
main nadiya hoti
kal kal karti jaati

nadiya ke dhig (?) khada sochta
nadiya ke dhig (?) khada sochta

kyaa aa
main saagar hota
mujh mein aa mil jaati

main parvat mein chhup jaati
maidaanon mein reh jaati ee
main jungle mein kho jaati ee
nahin aati ee

ahaa
baadal ko doot banaa kar
main nanhe nanhe boondaniyon hi mein
sandeswaa bhijwaata
tab

lahraati
madmaati
bal khaati
ithlaati
main daudi daudi aati
aur saagar mein mil jaati
mila na kiya aa
yada ho ri mori
ankhiyaan jhapi mori ee
ankhiyaan jhapi
ankhiyaan jhapi
ankhiyaan jhapi


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.

“Miss Bombay”(1957) was produced by Gulshan Bahl and directed by Kedar Kapoor for N C Films, Bombay. The movie, described as a social movie, had Nalini Jaiwant and Ajit in lead roles with Rehman, Tiwari, Ramesh Thakur, Bhagwan, Vijay laxmi, Rajendra, Praveen Paul, Bhudo Advani, Vijay Pandit, Kathana, Urvashi, Kanchanmala etc in it.
Read more on this topic…


This article is written by Bharat Upadhyay, 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.

Sureeli Suman – 17
————————
Suman Kalyanpur requires no introduction. In short: She is admired by music lovers all over the world. To recap our journey, let me repeat some facts, briefly.
Read more on this topic…


This article is written by Arunkumar Deshmukh, 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.

Today’s song is from the film Nadaan-1951. It is a duet sung by Lata Mangeshkar and Chitalkar. It is a fun song video, filmed on Dev Anand and Madhubala.
Read more on this topic…

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What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where "new" songs are added every day, and that has been the case for more than eight years. This blog has over 12300 song posts by now.

Total number of songs posts discussed

12346

Number of movies covered in the blog

Movies with all their songs covered =812 Total Number of movies covered =3451

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