Husn Mein Bhi Hai Nasha
Posted on: June 19, 2018
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.
| Blog Day : | 3623 | Post No. : | 14441 |
After completing the recording, Mukesh had commented – people will remember you for this song. He was talking to the music director, and was expressing his emotions having just rendered a beautiful composition. The music director – Daan Singh. The song – “Wo Tere Pyaar Ka Gham” (from the film ‘My Love’ (1970)). Prophetic words, in some ways, yes, because this song is still on the list of favorites of the lovers of this music. But does everyone remember Daan Singh in connection with this song – I am not sure.
A composer with a huge talent, which was matched in his lifetime only by the immense neglect with which the industry has treated him. He had blessings from maestros like Khemchand Prakash and Anil Biswas, but the tinsel world in Bombay did not welcome him enough. The tracks from the unreleased film ‘Bhool Na Jaana’ (c 1965) should have been a sign for any discerning producer concerned with the quality of music in his films. But it was not to be so. Daan Singh spent a few frustrating years in Bombay, and then returned to Jaipur, and continued to work at the AIR Jaipur station.
A career that talks of just maybe five films. ‘Bhool Na Jaana’, mid sixties, unreleased; ‘Toofaan’, 1969, a Dara Singh action film; ‘My Love’, 1970, a romantic story with big name stars – Shashi Kapoor and Sharmila Tagore – did not succeed at box office; ‘Bawandar’, 2000, in the final edit, all songs went off screen, and the music remained just on the album; ‘Bhobar’, 2011, Rajasthani film, one song.
And then, on June 18, 2011 itself, he passed away after a brief illness – unsung, un-acknowledged. A sad conclusion, especially when one has heard his creations. Seven years have passed – we honor and remember him on this day.
Today’s song is from the 1969 film ‘Toofaan’. Although an action/adventure film for the B-grade circuit, the music of this film simply great. Here is a soft romantic number sung by Asha Bhosle. The lyrics are written by Akhtar Romani. On screen, the song is performed by actress Anita, who is attempting to entice and seduce Dara Singh, probably in preparation for the arrival of other members of the gang.
Listen and enjoy.
Song – Husn Mein Bhi Hai Nasha (Toofaan) (1969) Singer – Asha Bhosle, Lyrics – Akhtar Romani, MD – Daan Singh
Lyrics
husn mein bhi hai nasha
jaam mein bhi hai nasha
peene waale dekh pee ke
farq hai donon mein kya
husn mein bhi hai nasha
jaam mein bhi hai nasha
ye adaayen ye nazaare
ye lachak ye shokhiyaan
tujhko masti mein pukaare
koi tera meharbaan
aag ye tu ne lagaai
aag ye tu hi bujha
husn mein bhi hai nasha
jaam mein bhi hai nasha
aaj dil behke to behke
hosh ka mat naam le
aaj dil behke to behke
hosh ka mat naam le
do ghadi madhosh reh ke
bekhudi se kaam le
khud bhi pee aankhon se meri
aur mujhko bhi pila
husn mein bhi hai nasha
jaam mein bhi hai nasha
aaj har parda utha de
tujhko chaahat ki kasam
aaj har doori mita de
tujhko teri hi kasam
main bana doon husn tujhko
ishq tu mujhko bana
husn mein bhi hai nasha
jaam mein bhi hai nasha
peene waale dekh pee ke’
farq hai donon mein kya
husn mein bhi hai nasha
jaam mein bhi hai nasha
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हुस्न में भी है नशा
जाम में भी है नशा
पीने वाले देख पी के
फर्क है दोनों में क्या
हुस्न में भी है नशा
जाम में भी है नशा
ये अदाए एं ये नज़ारे
ये लचक ये शोखियाँ
तुझको मस्ती में पुकारे
कोई तेरा मेहरबाँ
आग ये तु ने लगाई
आग ये तू ही बुझा
हुस्न में भी है नशा
जाम में भी है नशा
आज दिल बहके तो बहके
होश का मत नाम ले
आज दिल बहके तो बहके
होश का मत नाम ले
दो घड़ी मदहोश रह के
बेखुदी से काम ले
खुद भी पी आँखों से मेरी
और मुझको भी पिला
हुस्न में भी है नशा
जाम में भी है नशा
आज हर पर्दा उठा दे
तुझको चाहत की कसम
आज हर दूरी मिटा दे
तुझको तेरी ही कसम
मैं बना दूँ हुस्न तुझको
इश्क़ तू मुझको बना
हुस्न में भी है नशा
जाम में भी है नशा
पीने वाले देख पी के
फर्क है दोनों में क्या
हुस्न में भी है नशा
जाम में भी है नशा
Mann Ka Mor Mera Kisey Bakhaane
Posted on: June 19, 2018
- In: "Mor" songs | Bird songs | Calling the beloved | Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Guest posts | Love song | Lover's Complaint | Lyrics by Sudhir | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Songs of 1940s (1941 to 1950) | Songs of 1942 | Waiting for love | Yearwise breakup of songs
- 1 Comment
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3623 | Post No. : | 14440 |
Today’s song is from the film ‘Maata’ aka ‘The Mother’ (1942). Not many people know about this film. Made by Kirti films, it was a social film, directed by Dada Gunjal. Music was composed by Vasant Kumar Naidu, for the lyrics by DN Madhok. The cast of the film was Shobhana Samarth, Chandrakant, Mubarak, A. Himalaywala, Urmila Devi, Bhudo Advani, Moti, Bibi Bai, Munshi Khanjar, Suraiya Begum etc.
Chandrakant is a name which appears for a very few films as an actor. In fact, he acted in only 2 films. The other film was ‘Maharathi Karna’ (1944) (he had a small role). Chandrakant Gaur was born in UP in 1929. He was an educated person and knew many languages like Marathi, Gujarati and Punjabi, in addition to Hindi and English. He was a quick learner and a good writer. He came to Bombay to become a director. Instead of that he started as an actor in ‘Maata’.
During the shooting of ‘Maharathi Karna’, Bhalji Pendharkar spotted this young man’s talents and took him to Kolhapur as his assistant. Chandrakant, being a fast learner, became adept at direction. He came back to Bombay and hurriedly directed his first film – ‘Riding Hero’ (1951), a stunt film made by Laxmi Productions of Chimanlal Trivedi. After this, he directed 29 Hindi films, mostly B grade, stunt/action films only.
He also directed a Hit Punjabi film ‘Bhagat Dhanna Jaat’ (1974). According to indiancine.ma, this film is said to have revived Punjabi film industry. He did some Gujarati mythologicals and Marathi films too. Together his tally goes to 45 films. In between he became famous for writing stories of films like ‘Patita’ (1953), ‘Seema’ (1955), ‘Dekh Kabira Roya’ (1957), ‘Kathputali’ (1957), ‘Anita’ (1967) and ‘Mahasati Savitri’ (1973).
From the cast listing, another interesting name is that of A Himalaywala. His name was Mohd Afzaluddin. He was born in March 1916, at Dehradun. After school education he joined his brother, Mohd Misaluddin’s firm – The Himalaya Drug Company, a leading Pharma company of repute (even today). He worked there for 10 years and after a dispute with his brother, left the company. He came to Bombay to join films.
First he had thought of starting a company, but looking at the situation, he decided to do acting only. His first film was ‘Kiski Biwi’ (1942), directed by MA Mirza. His name was changed from Afzal to A Himalaywala (since he came from the Himalayan town of Dehradun, like Kashmiri from Kashmir), by Shaukat Hussain, husband of Noorjehan. However in many films he was credited as Afzal only. He worked in few films like, ‘Vishwaas’ (1943), ‘Ankh Ki Sharm’ (1943), ‘Dost’ (1944), ‘Kismatwaala’ (1944), ‘Zeenat’ (1945), ‘Humayun’ (1945), ‘Nal Damayanti’ (1945), ‘Jagbeeti’ (1946), ‘Samrat Ashok’ (1947) and ‘Elaan’ (1947).
He was an outspoken and straightforward person, fond of hunting, football and travelling by car. He toured all of India twice in his car. In 1943, he married actress singer Amirbai Karnataki. After marriage he banned her from acting in films. Within 2-3 years, on this and other issues, they could not get along. He used to hit her and take all her money. At last, it was rumoured that he gave her talaaq after taking 2 lakh rupees and her car. Even after this he was stalking her. She stayed with her elder sister Ahilya Bai. Then one day, she was kidnapped by Himalaywala, from the recording room. She was kept locked in a room and beaten daily. She somehow managed to inform this to her sister.
Ahilyabai then got in touch with her acquaintance Mr Rasiklal Vyas and his brother Chhailabhai Vyas – one of the best criminal lawyers of Bombay. With their political and social connections, they forced the police to register an FIR, which was refused due to Himalaywala’s bribe. Meanwhile Himalaywala was alerted by his cronies. Within few hours Amirbai was escorted back to her sister’s place, by Himalaywala. All this episode is described in full details in the book ‘Aap Ki Parchhaiyaan’, by Rajnikumar Pandya ji. Amirbai later married Gujarati Journalist Badri Kaanchwala.
After partition, Himalaywala migrated to Pakistan. There the lady luck smiled on him and he did very well. He became successful as an actor and was famous also. His role of Akbar in film ‘Anarkali’ (1957) was particularly appreciated very much. Mohd Afzuluddin Himalaywala died in 1984 in Lahore.
The director of this film was V.M. aka Dada Gunjal, who started his career by directing his first film, ‘Bhakt Ke Bhagwan’ (1934). He went on to direct 38 films in Hindi and Marathi. His last film was ‘Ek Armaan Mera’ (1959). Dada Gunjal was born in Bombay on 25-1-1904 and died also at Bombay on 6-11-1968.
The music director for this film was a less known composer, Vasant Kumar Naidu. He was born in 1915. His family had settled in Burma like thousands of other South Indian families. When Burma was struggling for independence, in the 1930s, most Indians left Burma and came to India. Many went to Calcutta and many went to South India. Many families walked for around 6 months from Burma to India. Vasant Kumar’s family was one among them. They walked from Rangoon to Madras. The family settled in Madras for some years.
Vasant Kumar Naidu had come alone to Bombay earlier in search of a career in music. He was an instrumentalist and could play any string instruments and also harmonium. He was also very much interested in reading different languages. There were many books that he read. He was also very keen in dressing up and had several suits in those days. He joined the film industry and started getting established as a music director. He then called his mother and other siblings to live with him in Bombay along with his eldest brother’s widow and her son. He had 4 brothers. His eldest brother expired in Madras itself. Vasant Kumar was the second eldest. He had two younger brothers as well. They all lived on Peddar Road. He left his Peddar Road flat and moved to Parel. He lived in Parel until his death on 16-10-1951.
Vasant Kumar got married in Madras. This marriage was a proposed marriage arranged by his mother. Eventually his other brothers also got married. All three brothers and their wives stayed under the same roof in Parel in a joint family which was headed and supported monetarily by Vasant Kumar. His younger brother Pandurang Naidu was also picking up in music career. He became a musician (he played banjo and mandolin). Vasant Kumar taught several string instruments to him. His youngest brother, Sreenivasan Naidu, in the later part of his life became music composer for Indian Railway Music Academy (Central Railway Cultural Academy).
Vasant Kumar is survived by his only daughter, Pramila Naidu, who is a widow now. She lives in Pune with her grown up children. Pramila Naidu was around 5 years old when her father expired. She has a vague memory of her father. It’s sad to see her struggling now financially. She still gives tuition at the age of 70 to make her living. She lawfully owns all these 3 flats in Parel, Mumbai but the 3rd generation of the family has occupied these flats and are not willing to vacate the property. This property is now worth in crores. The cousins of Pramila Naidu got together and filed a law suit against these 3rd generation greedy family members. The law suit is going on now for the past 3 years.
Vasant Kumar started his career in 1939 by giving music to film ‘Thunder’ (1939) and ‘Pakke Badmash’ (1939). Till 1947, he gave music to 22 films, as per the HFGK entries. He composed 160 songs in these 22 films. He is variously mentioned as Vasant, Vasant Kumar and VK Naidu, in addition to his name Vasant Kumar Naidu. He sang 1 song, a duet with Khan Mastana for film ‘Mere Sajan’ (1941).
His filmography is,
- Thunder (1939)
- Pukke Badmash (1939)
- Rangeela Jawan (1940)
- Jung-e-Azadi (1940)
- Desh Bhakta (1940)
- Suhana Geet (1941)
- Meri Khwaish (1941)
- Mere Saajan (1941)
- Lehri Jawan (1941)
- Lalaji (1942),
- Call of youth (1942)
- Mata (1942)
- Watan ki Pukar (1943)
- Nai zindgi (1943)
- Mohabbat ki jeet (1943)
- Daawat (1943)
- Circus Girl (1943)
- Bhagta Bhoot (1943)
- Beda Paar (1944)
- Shahi Khazana (1946)
- Chamkati Bijli (1946)
- Toote Di (1947)
Unfortunately, Vasant Kumar got mostly B and C stunt and action films for composing the music. Big banners like National Studios gave him an opportunity with film ‘Lalaji’ (1942), in which Naidu got many songs sung by Anil Biswas, Kusum Mantri, and Vatsala Kumthekar. However such films came to him only as an exception, therefore his exposure to audience was limited and his name did not gain any fame. Actually, many big, well known and popular singers sang for Naidu.
However, without a mentor, Godfather or the support of a big banner, it became impossible for Vasant Kumar to grow further. During the transition period of 1947-48, when many composers migrated to Pakistan, the existing big composers made their positions solid. Thus smaller composers never got any opportunity to benefit from the void created by the exit of composers. This was the case of many small time composers like Vasant Kumar.
The film ‘Maata’ has 7 songs. I have heard 6 of them and feel, he could have done better than this. The selected song is a better one from the lot. The singer’s name is not available.The film makes its debut on the blog.
[Author’s Note: Credits- indiancine.ma, A.I. Film Directory (1946), Aap Ki Parchhaiyaan, Muvyz, HFGK, Shishir Krishna Sharma’s and my notes.]
Song – Mann Ka Mor Mera Kisey Bakhaane (Maata) (1942) Singer – [Unknown], Lyrics – DN Madhok, Music – Vasant Kumar Naidu
Lyrics (Provided by Sudhir)
mann ka mor mera
mann ka mor mera
kisey bakhaane
tum bin aur kaun jaane
mann ka mor mera
mann ka mor mera
kisey bakhaane
tum bin aur kaun jaane
chhod kari
ghar ko aa ja re
saawan ki ritu aayi
jhir jhir baadal
barsan laage
birhan de duhaai
aa tu kisi bahaane
aa tu kisi bahaane
tum bin aur kaun jaane
mann ka mor mera
mann ka mor mera
kisey bakhaane
tum bin aur kaun jaane
mann ka mor mera
mann ka mor mera
kisey bakhaane
tum bin aur kaun jaane
sab ke saajan
ab ghar aaye
baaki ek nigodi
un ka bhala kabhi na hove
preet laga jin todi
jiya laag la
jiya laag la
kisi thikaane
jiya laag la
kisi thikaane
tum bin aur kaun jaane
mann ka mor mera
mann ka mor mera
kisey bakhaane
tum bin aur kaun jaane
mann ka mor mera
mann ka mor mera
kisey bakhaane
tum bin aur kaun jaane
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
मन का मोरे मेरा
मन का मोरे मेरा
किसे बखाने
तुम बिन और कौन जाने
मन का मोरे मेरा
मन का मोरे मेरा
किसे बखाने
तुम बिन और कौन जाने
छोड़ करि
घर को आजा रे
सावन की ऋतु आई
झिर झिर बादल
बरसन लागे
बिरहन दे दुहाई
आ तू किसी बहाने
आ तू किसी बहाने
तुम बिन और कौन जाने
मन का मोरे मेरा
मन का मोरे मेरा
किसे बखाने
तुम बिन और कौन जाने
मन का मोरे मेरा
मन का मोरे मेरा
किसे बखाने
तुम बिन और कौन जाने
सब के साजन
अब घर आए
बाकी एक निगोड़ी
उन का भला कभी ना होवे
प्रीत लगा जिन तोड़ी
जिया लाग ला
जिया लाग ला
किसी ठिकाने
जिया लाग ला
किसी ठिकाने
तुम बिन और कौन जाने
मन का मोरे मेरा
मन का मोरे मेरा
किसे बखाने
तुम बिन और कौन जाने
मन का मोरे मेरा
मन का मोरे मेरा
किसे बखाने
तुम बिन और कौन जाने
Chaand pe baadal chhaa gayaa
Posted on: June 19, 2018
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.
| Blog Day : | 3623 | Post No. : | 14439 |
“Jalti Nishaani” (1957) was directed by Harish for Emsheth production, Bombay. The movie had Kamal Kapoor, Geeta Bali, Kuldeep Kaur, Sundar, Ulhaas, Chaman Puri etc in it.
Four songs from this movie have been discussed in the past.
Here is the fifth song from this movie. This song is sung by Lata and chorus. Qamar Jalalabadi is the lyricist. Music is composed by Anil Biswas.
I am unable to make out the lyrics of the chorus which is either gibberish or words in some other language. I request our knowledgeable readers to tell us what these worlds could be.
Song-Chaand pe baadal chha gaya (Jalti Nishaani)(1957) Singer-Lata, lyrics-Qamar Jalalabadi, MD-Anil Biswas
Chorus
Lyrics
?????
chaand pe baadal chha gaya
?????
chaand pe baadal chha gaya
?????
halka halka ujlaa ujlaa
chaand pe baadal chha gaya
?????
husn kisi ka thhandi aag
?????
aaine(?) mein jala charaag
?????
husn kisi ka thhandi aag
aaine(?) mein jala charaag
haay re nazren bahki bahki
bahki bahki
bahki bahki
hay re najre bahki bahki
maykhaana sharma gaya
chha gaya re chha gaya
chaand pe baadal chha gaya
?????
haay jawaani haay shabaab
?????
mil na saka nazron ko jawaab
?????
haay jawaani haay shabaab
mil na saka nazron ko jawaab
o o o
o o o
o o o
o o o
o o o
o o o
shamm e-mohabbat chhupke chhupke
chhupke chhupke
chhupke chhupke
shame-mohabbat chhupke chhupke
koi jalaakar chala gaya
chala gaya
chala gaya aa
- In: "Nok-Jhonk" song | "Raja" song | Devnagri script lyrics by Sudhir | Duet | Enticement Song | Enticement-Not-Working Song | Feelings of heart | Guest posts | Lover's tête-à-tête | Lyrics contributed by readers | Post by Sudhir | Rafi songs | Shamshad Begam Rafi duet | Shamshad Begam songs | Songs of 1950s (1951 to 1960) | Songs of 1957 | Yearwise breakup of songs
- Leave a Comment
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.
| Blog Day : | 3622 | Post No. : | 14438 |
Mohammed Rafi – Duets – ‘अ’ से ‘ह’ तक (From ‘अ’ to ‘ह’) – 17
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
‘थ’ – थोड़ी सी ज़िंदगानी राजा बीते ना जवानी ॰ ॰ ॰
– – – –
दिल तू भी गा, प्यार में मुस्कुरा ॰ ॰ ॰
Yes, we grew up with and learned all about the heart, and the smiles and love, listening to your songs. . . how we wish there were more. . .
– – – –
Scraped through with some difficulty for today’s episode – not many songs, and duet at that, beginning with this letter ‘थ’.
Today’s song is from a lesser known film from 1957 – ‘Laxmi Pooja’. The film is produced and directed by Jayant Desai for Hemlata Pictures, Bombay. The list of actors of this film reads like – Nirupa Roy, Shahu Modak, Jeevan, Niranjan Sharma, Anant Kumar, Babu Raje, Praveen Pal, Indira, Manju, Shri Bhagwan, Sukumar, Rajrani, and Meenu Mumtaz etc.
The nine songs of this film are all written by Bharat Vyas, and the music is composed by Chitragupt. Quite a melodious song, this offering is. The singing voices are those of Shamshad Begum and Rafi Sb.
Apparently the lady’s beau has a stronger attachment to religious pursuits, much to the dismay of the lady. And she is trying to win him over with her winsome expressions about youth being wasted. And the gentleman replies – it is not just youth, but the entire life that is getting wasted, so let us sing the praises of the Good Lord. The lady is not giving up her rightful claim and she too presses on with her efforts to snare him with the promises of love. Our man, appears to be made of sterner stuff – and absolutely does not give up by the time 3rd antaraa starts to play (somewhat breaking the rule we have always found useful in such song situations).
There is another song of a similar theme – from the 1975 film ‘Sanyaasi’ – “Chal Sanyasi Mandir Mein“. It would be interesting to compare notes and lyrics. . . 🙂
Listen and enjoy.
Song – Thodi Si Zindgani Raja Beete Na Jawaani (Lakshmi Pooja) (1957) Singer – Shamshad Begum, Mohammed Rafi, Lyrics – Bharat Vyas, MD – Chitragupt
Chorus
Lyrics
thodi si zindgani
raja beete na jawaani
kaahe masti bhare din gawaaye re
kyon na nainon se nainan milaaye re
teri thodi si zindgaani
pal pal beeti jaaye jawaani
kaahe heere se janam gawaaye re
kyon na govind ke gun gaaye re
kyon na govind ke gun gaaye re
rang rangeele raja aaja
o raja
rang rangeele raja aaja
kar le dil ki baat re
rang rangeele raja aaja
kar le dil ki baat re
baat baat mein jeevan beete..ey..ey..ey
baat baat mein jeevan beete
kyon na tu sharmaat re
kyon na tu sharmaat re
oo oo hoye
aai hai rut mastaani
rim jhim barse roop ka paani
dekho saawan ke badra chhaye re
kyon na nainon se nainan milaaye re
kaahe heere se janam gawaaye re
kyon na govind ke gun gaaye re
kyon na govind ke gun gaaye re
nain baan hain
palken dori
nain baan hain palken dori
chitwan chhode baan re
chitwan chhode baan re
roop jawaani behta paani..ee..ee
roop jawaani behta paani
kyon karta abhiman re
kyon karta abhiman re
teri preet badi deewaani
preet laga prabhu se agyaani
jahaan dhokha na koi khaaye re
kyon na govind ke gun gaaye re
kaahe masti bhare din gawaaye re
kyon na govind ke gun gaaye re
kaahe masti bhare din gawaaye re
kyon na govind ke gun gaaye re
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
थोड़ी सी ज़िंदगानी
राजा बीते ना जवानी
काहे मस्ती बहरे दिन गवाए रे
क्यों न नैनों से नैनां मिलाये रे
तेरी थोड़ी सी ज़िंदगानी
पल पल बीती जाये जवानी
काहे हीरे सा जनम गवाए रे
क्यों ना गोविंद के गुण गाये रे
क्यों ना गोविंद के गुण गाये रे
रंग रँगीले राजा आजा
ओ राजा
रंग रँगीले राजा आजा
कर ले दिल की बात रे
रंग रँगीले राजा आजा
कर ले दिल की बात रे
बात बात में जीवन बीते॰॰ए॰॰ए॰॰ए
बात बात में जीवन बीते
क्यों ना तू शरमात रे
क्यों ना तू शरमात रे
ओ ओ होए
आई है रुत मस्तानी
रिम झिम बरसे रूप का पानी
देखो सावन के बदरा छाए रे
क्यों न नैनों से नैनां मिलाये रे
काहे हीरे सा जनम गवाए रे
क्यों ना गोविंद के गुण गाये रे
क्यों ना गोविंद के गुण गाये रे
नैन बान हैं
पलकें डोरी
नैन बान हैं पलकें डोरी
चितवन छोड़े बान रे
चितवन छोड़े बान रे
रूप जवानी बहता पानी॰॰ई॰॰ई॰॰ई
रूप जवानी बहता पानी
क्यों करता अभिमान रे
क्यों करता अभिमान रे
तेरी प्रीत बड़ी दीवानी
प्रीत लगा प्रभु से अज्ञानी
जहां धोखा ना कोई खाये रे
क्यों ना गोविंद के गुण गाये रे
काहे मस्ती भरे दिल गवाए रे
क्यों ना गोविंद के गुण गाये रे
काहे मस्ती भरे दिल गवाए रे
क्यों ना गोविंद के गुण गाये रे
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.
| Blog Day : | 3622 | Post No. : | 14437 |
“Saltanat”(1954) was directed by Dwarka Khosla for Vikas Productions, Bombay. The movie had Shyama, Manhar Desai, Anwar, Sulochana, Neeru, Tripathi, BM Vyas, Babu Raje, Shanta Patel, Muhammad Ismail etc in it.
The movie had six songs in it.
One song from the movie has been covered in the blog.
Here is the second song from “Saltanat”(1954) to appear in the blog. The song is sung by Shamshad Begam and chorus. G S Nepali is the lyricist. Music is composed by Chitragupt.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Teer na talwaar se duniya maane pyaar se(Saltanat)(1954) Singer-Shamshad Begam, Lyrics-Gopal Singh Nepali, MD-Chitragupta
chorus
Lyrics
ho o o o o
teer na talwaar se duniya maane pyaar se
teer na talwar se duniya maane pyaar se
pyaar se na maane maane nain ki kataar se
nain ki kataar se
pyaar se na maane maane nain ki kataar se
nain ki kataar se
teer na talwaar se
duniya maane pyaar se
teer na talwaar se
duniya maane pyaar se
maara hua nain ka
tarsa kare chain ko
saara din udaas rahe
tadpa kare rain ko
tarsa kare chain ko
tadpa rahe rain ko
maara hua nain ka
tarsa kare chain ko
saara din udaas rahe
tadpa kare rain ko
tarsa kare chain ko
tadpa kare rain ko
o o o
nain se na ghaayal ho
na ghaayal ho to
nain se na ghaayal ho to paayal ki jhankaar se
paayal ki jhankaar se
teer na talwaar se
duniya maane pyaar se
kaanon mein jab ghunghru chham chhammachham bolta
dil ki duniya jhoomti patthar dil bhi dolta
patthar dil bhi dolta
patthar dil bhi dolta
kaanon mein jab ghunghru chham chhammachham bolta
dil ki duniya jhoomti patthar dil bhi dolta
patthar dil bhi dolta
patthar dil bhi dolta
ho o o
paayal se na paagal ho
na paagal ho to
paayal se na paagal ho to chaandi ke kaldaar se
chaandi ke kaldaar se
teer na talwaar se
duniya maane pyaar se
pyaar se na maane
maane nain ki kataar se
nain ki kataar se
teer na talwaar se
duniya maane pyaar se
teer na talwaar se
duniya maane pyaar se
teer na talwaar se
duniya maane pyaar se
teer na talwaar se
duniya maane pyaar se
Chal Chal Re Pathik Chal Re
Posted on: June 18, 2018
- In: Bhajan | Devnagri script lyrics by Sudhir | Guest posts | Lyrics contributed by readers | Mahendra Kapoor solo | Mahendra Kapoor songs | Multiple version song | philosophical song | pilgrimage song | Poignant Song | Praising The Almighty | Songs of 1960s (1961 to 1970) | Songs of 1967 | Yearwise breakup of songs
- 1 Comment
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.
| Blog Day : | 3622 | Post No. : | 14436 |
Missing Films of 1960s – 76
– – – – – – – – – – – – – – –
Hindi cinema encompasses quite a few genres and categories. It is a sad statement that the industry has almost always been controlled and driven more by the financial expectations. The earliest model of large studios as centers of film production activities, was somewhat immune to the craziness of financial pressures. The studio system had its own cons, but it provided a larger stability and sustainability to the production effort and to the team belonging to the studio.
It was all too soon that people with all kinds of mental inclinations realized both the power of this medium, and the possibility of landing a jackpot with a hit film. This awareness brought in all kinds of unscrupulous elements, as well as businessmen with an urge to invest unaccounted money in a gamble to make more money. If I recall correctly, the 1949 film ‘Kalpana’ touched upon this aspect, displaying a cruel brazen-ness with which the financiers and the touts dealt with the artists. The grossly dismal record the industry has in terms of its own record keeping and archiving, is an outcome of this ‘jackpot’ mentality – the actual owners of film actually cared a zilch for the film itself. With every venture, the financier would launch a new production banner. One can well imagine the ill effects of this lack of continuity and ownership for the artistic product itself.
But I digress – this discussion on film financing models, another time. I started with the genres and categories, with the purpose to highlight how some genres and categories have fallen by the wayside, over the decades. One of the casualties of the projected “lack of public interest” and the “lack of return on investment” has been the genre of religious pictures. Till the end of 1970s, or maybe even 1980s, there used to be quite a number of offerings of religious films produced every year. In one of his articles, our dear Arun ji has presented an analysis of this aspect – the number of religious films produced on average per year, and the progressive decline of this number over the decades. These days, one rarely hears about a religious offering coming from the mainline cinema. TV, yes, we do hear more about serials on religious themes. Or maybe the investment by the end user, in terms of time and money, is getting channelized much more towards TV productions and the live kathas (discourses) – there literally has been an explosion in the number of kathas being organized and being attended by the people.
The reason for this preamble, of course, is that today’s debut film from 1960s is a religious film of certain importance, from 1967. The film is ‘Badrinath Yatra’. Produced under the banner of Mewar Films, Bombay and is directed by Dhirubhai Desai. The star cast of this film is listed as Nirupa Roy, Abhi Bhattacharya, Sulochana, Indira, Jeevan, Sundar, Niranjan Sharma, Indira Bansal, Fazlu, Nandini Desai, and Kukku Desai amongst others.
There is a huge importance attached to pilgrimage, in our religion. Our land has been blessed from the very beginning of time itself, with famous and important temples which are the abodes of the Gods in our pantheon of worship. The origins and foundation histories of many of these temples and places is lost in the antiquity of time. For many of these temples and places of pilgrimage, there are references in our historical records – and by historical I mean our books of scriptures, which contain details of many such places of pilgrimage being established by protagonists of these histories like Sri Ram, Sri Krishna, the Pandvas, and our Rishis etc. Our histories abound with such tales in detail.
In the 8th century AD, there appeared a champion who measured the breadth and length of this sub-continent – Adi Shankaracharya. He travelled across the land with the mission to reestablish the importance of the Vedantic Dharma, and to re-ignite the lamp of worship in the temples. He established four matha (मठ) in the four regions, which became the four primary centers of learning and research into the Vedic knowledge. These four centers were placed in proximity to the four main destinations of pilgrimage of primary importance for the followers of the Dharma. These pilgrimage places are Badrinath in the north, Puri in the east, Rameshwaram in the south and Dwarka in the west. Each of these four pilgrimage places are historically important with a detailed history about their establishment and their antiquity being described in our scriptures.
Over the ages, these four have been collectively referred to as ‘Chaar Dhaam’ – literally ‘Four Destinations’. It is ordained in our teachings that a person must pay their homage and worship at each one of these pilgrimages, at least once in their life time. A significant importance is attached to completing this journey. Further, the same teachings also exhort the children to comfortably facilitate such a journey for their parents, and enable them to pay homage and complete their worship at these four centers of pilgrimage.
Since the early decades of Hindi cinema, a number of films have been produced as travelogues or “यात्रा” (yatra), covering one or more holy centers of pilgrimage. This film also covers the journey to the ‘chaar dhaam’ or the four holy destinations. This particular song appears more than once in the film, and I am including three different video clips from three different points in the storyline sequence. In the clips, we can see Abhi Bhattacharya, as the obedient son, who is taking his parents (roles played by Sulochana and Niranjan Sharma) for their journey to the ‘chaar dhaam’. The storyline belongs to a certain unspecified era in history, as we can see that Abhi Bhattacharya is even carrying his parents in a yoke shoulder carrier – a long pole with large baskets hanging at two ends, large enough for a human person to sit in. In north India, this shoulder carrier is called “वेहंगी” (wehngi). Folks familiar with the stories from the scriptures will recall the story of Shravan Kumar, the young boy who carried his old and blind parents in a wehngi for pilgrimage.
The song is written by Madan, and is composed by Pt Shivram. The singing voice is that of Mahendra Kapoor. Listening to this song evokes strong emotions in my heart. Not that I have not heard this song before, but now, as I listened to it again repeatedly for lyrics etc., the words and the tune is simply at home with me in my heart. Listen to this beautiful evocation that covers so many philosophies of life. And think.
Part 1
Part 2
Part 3
Song – Chal Chal Re Pathik Chal Re (Badrinath Yatra) (1967) Singer – Mahendra Kapoor, Lyrics – Madan, MD – Pt Shivram
Lyrics
Part 1
chal chal re pathik chal re
tujhe bhagwan milenge
tu chaaron dhaam chal re
wahin tere paap mitenge
chal chal re pathik chal re
tujhe bhagwan milenge
aaj nahin to kal jag se hai jaana
duniya musaafirkhaana re bhai
duniya musaafirkhaana hai
dhan ke liye dharam kyon beche
ik din to mar jaana hai
tyaag kapat chhal prabhu ke dhaam chal
wahin tere daag mitenge
tujhe bhagwan milenge
chal chal re pathik chal re
tujhe bhagwan milenge
bachpan khoya khel mein tu ne
khoyi jawaani bhog mein
bhool ke tu bhagwan ko praani
phas gaya jagat ke moh mein
aaya budhaapa ab to ram bhaj
tere dukh wahi harenge
tujhe bhagwan milenge
chal chal re pathik chal re
tujhe bhagwan milenge
tu chaaron dhaam chal re
wahin tere paap mitenge
chal chal re pathik chal re
tujhe bhagwan milenge
amrit taj ke vish kyon peeta
ram naam ras pee le
kaam krodh mad moh lobh taj
hari charnon mein jee le
hari charnon mein janam maran ke
bandhan tere katenge
tujhe bhagwan milenge
chal chal re pathik chal re
tujhe bhagwan milenge
Part 2
prabhu darshan ko badhe ja rahe
baalak vriddh jawaan
oonch neech sadhu sanyasi
nirdhan kya dhanwaan
ganga yamuna ki dhaara mein
jin ki mahim hai avichal
pralay ke toofaanon mein bhi jo
hain sadiyon se achal atal
yug yug se bharat bhoomi
gaaye jin ka gun gaan
woh hain naath anaathon ke
shri badrinath bahgwan
shri badrinath bahgwan
ab jeevan ki har mushkil ko
wahi aasaan karenge
tujhe bhagwan milenge
chal chal re pathik chal re
tujhe bhagwan milenge
tu chaaron dhaam chal re
wahin tere paap mitenge
chal chal re pathik chal re
tujhe bhagwan milenge
Part 3
chhaale pade chaahe paaon mein tere
suraj tapey aasmaan mein
haar na himmat badhta hi chal re
tapte registaan mein
tapte registaan mein
prabal hai bhakti ki shakti
tujhe koi kya rok sakenge
tujhe bhagwan milenge
chal chal re pathik chal re
tujhe bhagwan milenge
tu chaaron dhaam chal re
wahin tere paap mitenge
chal chal re pathik chal re
tujhe bhagwan milenge
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
भाग १
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे
तू चारों धाम चल रे
वहीं तेरे पाप मिटेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे
आज नहीं तो कल जग से है जाना
दुनिया मुसाफिरखाना रे भाई
दुनिया मुसाफिरखाना है
धन के लिए धरम क्यों बेचे
इक दिन तो मर जाना है
त्याग कपट छल प्रभु के धाम चल
वहीं तेरे दाग मिटेंगे
तुझे भगवान मिलेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे
बचपन खोया खेल में तू ने
खोई जवानी भोग में
भूल के तू भगवान को प्राणी
फंस गया जगत के मोह में
आया बुढ़ापा अब तो राम भज
तेरे दुख वही हरेंगे
तुझे भगवान मिलेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे
तू चारों धाम चल रे
वहीं तेरे पाप मिटेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे
अमृत तज के विष क्यों पीता
राम नाम रस पी ले
काम क्रोध मद मोह लोभ तज
हरी चरणों में जी ले
हरी चरणों में जनम मरण के
बंधन तेरे काटेंगे
तुझे भगवान मिलेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे
भाग २
प्रभु दर्शन को बढ़े जा रहे
बालक वृद्ध जवान
ऊंच नीच साधू सन्यासी
निर्धन क्या धनवान
गंगा यमुना की धारा में
जिन की महिमा है अविचल
प्रलय के तूफानों में भी जो
हैं सदियों से अचल अटल
युग युग से भारत भूमि
गाये जिन का गुण गाँ
वो हैं नाथ अनाथों के
श्री बद्रीनाथ भगवान
श्री बद्रीनाथ भगवान
अब जीवन की हर मुश्किल को
वही आसान करेंगे
तुझे भगवान मिलेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे
तू चारों धाम चल रे
वहीं तेरे पाप मिटेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे
भाग ३
छाले पड़ें चाहे पाँव में तेरे
सूरज तपे आसमान में
हार ना हिम्मत बढ़ता ही चल रे
तपते रेगिस्तान में
तपते रेगिस्तान में
प्रबल है भक्ति की शक्ति
तुझे कोई क्या रोक सकेंगे
तुझे भगवान मिलेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे
तू चारों धाम चल रे
वहीं तेरे पाप मिटेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे
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.
| Blog Day : | 3622 | Post No. : | 14435 |
“Toofaan”(1954) was directed by Ram Prakash for Starlight Pictures, Bombay. The movie had Pratima Devi, Munawwar Sultana, Sajjan, Vijayalaxmi, Amarnath, Pran, Tiwari etc in it.
There were nine songs in the movie. Four songs have been covered in the past.
Here is the fifth song from “Toofaan”(1954) to appear in the blog. This song is sung by Geeta Dutt. Wahid Qureshi is the lyricist. Music is composed by S D Batish.
Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Mohabbat ka naghma hai dilkash taraana (Toofaan)(1954) Singer-Geeta Dutt, Lyrics-Wahid Qureshi, MD-S D Batish
Lyrics
mohabbat ka naghma hai
mohabbat ka naghma hai
dilkash taraana
dilkash taraana
dilkash taraana
mohabbat ka naghma hai
jise gaaye lekin na samjhe zamaana
na samjhe zamaana
mohabbat ka naghma hai
mohabbat ka khat dil lagaana nahin hai
mohabbat ka khat dil lagaana nahin hai
mohabbat do aansu bahaana nahin hai
mohabbat hai geeton bhara wo fasaana
jise gaaye lekin na samjhe zamaana
na samjhe zamaana
mohabbat ka naghma hai
gulon se mohabbat to bulbul jataaye
gulon se mohabbat to bulbul jataaye
maza jab hai kaanton ko dil se lagaaye
bada hi kathin hai mohabbat ka gaana
jise gaaye lekin na samjhe zamaana
na samjhe zamaana
mohabbat ka naghma hai
mohabbat ko samjha to parwaana samjha
mohabbat ko samjha to parwaana samjha
ke jalne ko ye zindagi paana samjha
ye nanhi si jaan ga gayi wo taraana
jise gaaye lekin na samjhe zamaana
na samjhe zamaana
mohabbat ka naghma hai
Main matwaali naagan hoon
Posted on: June 18, 2018
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.
| Blog Day : | 3622 | Post No. : | 14434 |
“Malika Salomi”(1953) was directed by Mohammad Hussain for Comedy Pictures, Bombay. This movie was a costume drama. It had Roopa Varman, Krish Kumari, Kamran, Amrit, Dara, Sheikh, Rani, Arvind Kumar, Bilali, Nazeer Kashmiri, Rafiq, Shafi, Nanda, Sattar, Shetty, Ranjana Shukla, Kamal Mohan, Helen etc in it.
The movie had six songs in it. Krishn Dayal and Iqbal were the two music directors and the six songs were equally divided between the two.
One song has been covered in the past.
Here is the second song from “Malika Salomi”(1953) to appear in the blog. The song is sung by Meena Kapoor. Farooque Kaiser is the lyricist. Music is composed by Iqbal.
Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Main matwaali naagan hoon (Malika Salomi)(1953) Singer-Meena Kapoor, Lyrics-Farooque Kaiser, MD-Iqbal
Lyrics
aa
aa aa aa
aa aa aa
aa aa aa
aa aa
aa
main matwaali naagan hoon
main matwaali naagan
main matwaali
main matwaali naagan hoon
main matwaali naagan
zehar ke badle amrit tapke ae ae ae ae
zehar ke badle amrit tapke
mere raseele honthon se ae ae ae
mere raseele honthon se
chhal chhal chhal chhal jeevan chhalke ae
chhal chhal chhal chhal jeevan chhalke
mere mad bhare nainon se
mere mad bhare nainon se
kaali zulfen aen
kaali zulfen jab lehraayen
naache jahaan ka tan man
naache jahaan ka tan man
main matwaali
main matwali naagan hoon
main matwaali naagan
sun ke kisi ke man ki veena aa aa aa aa
sun ke kisi ke man ki veena
preet meri lehraaye ae ae ae
preet meri lehraaye
darti hoon ke aashaaon ki ee ee
darti hoon ke aashaaon ki
laaj chali na jaaye
haaye laaj chali na jaaye
koi bataaye ae ae
koi bataaye
kaise chhupaaun
apne jiya ki dhadkan
apne jiya ki dhadkan
main matwaali
main matwaali naagan hoon
main matwaali naagan
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
Ho chehra hai ya chaand khila hai
Posted on: June 17, 2018
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.
| Blog Day : | 3621 | Post No. : | 14433 |
The Golden era of HFM was well and truly over after 1980s, with Disco “music” sounding the death knell of HFM as we knew till then. In these “music”, lyrics were all but dispensed with.
HFM continued to have a few nice songs even during the “disco” era. There were still some artists who refused to compromise with quality and refused to stoop to the new low that was set as the new standards of HFM post 1980.
“Saagar”(1985) was one such movie whose music felt like a breath of fresh air during that era. This movie had come from the stables of a well known and well respected production house, one that had given us “Sholay”(1975).
“Saagar”(1985) was Produced by G P Sippy and directed by Ramesh Sippy. The movie had Rishi Kapoor, Kamal Haasan, Dimple Kapadia, Saeed Jaffrey, Shafi Inamdaar, Nadira, A K Hangal, Madhur Jaffrey, Satish Kaushik, Goga Kapoor, Kiran Vairale, Lilliput, Shobha Khote, Sudhir Pandey, Sharat Saxena, Mushtaq Merchant, Jairaj etc in it.
The movie had seven songs in it. Three of these songs have been covered in the past.
Here is the fourth song from “Saagar”(1985) to appear in the blog. This song is sung by Kishore Kumar. Jawed Akhtar, who wrote the script of “Sholay”(1975) alongwith Salim Khan as Salim Jawed, had turned a lyricist by then. “Saagar”(1975) was one of the first (if not the first) movies where he penned lyrics.
R D Burman composed the music.
The song is picturised as a club song where Rishi Kapoor, holding a guitar, is seen lip syncing this song. The song is addressed to his long separated flame (played by Dimple Kapadia). Rishi Kapoor and Dimple Kapadia had last actded together in “Bobby”(1973) which was the launch vehcle for Rishi Kapoor as well as Dimple Kapadia. while Rishi Kapoor successfully got launched and established, Dimple Kapadia, in a surprise movie married Rajesh Khanna and vanished from films. It was more than one decade later that she was persuaded to make comeback to movies. She made quite a stunning comback in movie like “Aitbaar”(1985) and “Saagar”(1985).
Music of these movies were quie stunning and played stellar roles in the box office success of these movies.
The song under discussion is one such song. It remains a timeless classic to this day.
Song-Ho chehra hai ya chaand khila hai (Saagar)(1985) Singer-Kishore Kumar, Lyrics-Jawed Akhtar, MD-R D Burman
Chorus
Lyrics
ho chehra hai yaa chaand khila hai
zulf ghaneri shaam hai kya
saagar jaisi aankhon waali
ye to bata tera naam hai kya
chehra hai yaa chaand khila hai
zulf ghaneri shaam hai kya
saagar jaisi aankhon waali
ye to bata tera naam hai kya
arre tu kya jaane teri khaatir
kitna hai betaab ye dil
tu kya jaane dekh rahaa hai
kaise kaise khwaab ye dil
dil kehtaa hai tu hai yahaan
to jaataa lamhaa thham jaaye
waqt ka dariyaa behte behte
is manzar mein jam jaaye
toone deewaanaa dil ko banaayaa
is dil par ilzaam hai kya
saagar jaisi aankhon waali
ye to bata tera naam hai kya
ho aaj mai tujhase door sahi
aur tu mujhse anjaan sahi
tera saath nahin paaun to
khair tera aramaan sahi
lalalalala
lalalalala
lalalalala
lalalalala
lalalalalala
lalalalalaa
laalaalaa
ho ye armaan ho
shor nahin ho
khaamoshi ke mele hon
is duniya mein koi nahin ho
ham donon hi akele hon
tere sapne dekh rahaa hoon
aur meraa ab kaam hai kya
saagar jaisi aankhon waali
ye to bataa tera naam hai kya
chehra hai yaa chaand khila hai
zulf ghaneri shaam hai kya
saagar jaisi aankhon waali
ye to bata tera naam hai kya
Tumhen Kaise Kahoon O ji O O O
Posted on: June 17, 2018
- In: "teasing" song | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | Happy song | Lata song | Love song | Lover's tête-à-tête | Lyrics contributed by readers | Post by Sudhir | Rafi songs | Rafi-Lata duet | Songs of 1950s (1951 to 1960) | Songs of 1959 | Yearwise breakup of songs
- 1 Comment
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.
| Blog Day : | 3621 | Post No. : | 14432 |
Mohammed Rafi – Duets – ‘अ’ से ‘ह’ तक (From ‘अ’ to ‘ह’) – 16
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‘त’ – तुम्हें कैसे कहूँ, ओ जी ओ ओ ओ ॰ ॰ ॰
– – – –
फिर तेरी याद नए गीत सुनाने आई ॰ ॰ ॰
Never a day passes when your memories don’t pay a visit. . . bringing with them wonderful songs, heard and unheard. . . a treasure that keeps on playing in the alleys of the mind. . .
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Today’s episode features a wonderful breezy duet from the 1959 film ‘Naach Ghar’. This film is a social drama produced and directed by TS Tara, for the banner of Quality Pictures, Bombay. As the name suggests, the film has a theme that is built around a stage dance group, i.e. a nautanki group. It involves characters for whom dance and music is the drive in life; it also has others who would like to usurp and manipulate these passions for their own advantage; and then there are good hearted people who want to bring happiness to all. The cast of actors is very impressive – Ashok Kumar, Shobha Khote, Gopikrishan, Helen, Kamla Lakshman, Anoop Kumar, Dhumal, Iftikhar, Maya Das, Mirza Musharraf, Jamaal, Sujata, Bismillah, and Vivek.
As I check for details online, I come across a poster that shows Helen dancing in accompaniment with Gopi Krishan. Now this should be a veritable treat to watch – Helen dancing with an acknowledged master of classical dance. One of the websites https://bombaymann2.blogspot.com/ has reproduced a brief introduction of the film from the information booklet of the film, as below,
The whole worlds a stage – a Naachgar. Its impossible to tell its whole story in a small space like this. But we are glad here to introduce a few interesting characters whose strange doings give this story its fasicnation. . Radha: A simple village maiden who is in love with Mohan and eventually effaces herself in order that Mohan should be happy. . Mohan: A simple village youth, struck first by paralysis and then by a Raja’s bullet. He is dazzled by city life and, forsaking Radha, develops a strong infatuation for Renu, a city dancer. . Mohini: A young girl, orphaned by a storm. She finds her way into a Nautanki troupe and daydreams of happiness with Gopi, its organiser. But fate having decreed otherwise, she is ultimately forced into a Naachghar – away from her sweetheart. . Gopi: A Nautanki dancer, whose art show brilliantly in partnership with Mohini. They get lost to each other in the maze of city life – and take any knocks from fate in the process. . Shekhar: An opportunist, money-crazy couttier of the Raja of a state, who was the main barrier between Radha and Mohan and Gopi and Mohini. The only man he feared was Bihari. . Bihari: Orginally a guide in shikar-forest, he became the principal aide to the Raja Saheb and his chief confidant. . Raja Saheb: A large-hearted chief of a large state, who wanted to see everyone happy and prosperous. [Source: Booklet]
Geet Kosh lists 10 songs for this musical – all songs are created by the team of Sahir Ludhianvi and N Datta. The count of songs is like – one Rafi Sb solo, three Lata solos, four Rafi-Lata duets, and then one duet of Rafi Sb each with Asha and Geeta. Way back in September 2012, two songs of this film were posted in quick succession. Three more songs have followed in the interim. Today we get to the sixth song of this film. All songs are quite a treasure, and I hope the remaining songs will find their place on this blog shortly.
This song is one of the Rafi-Lata duets – kind of a teasing song, where in the lady requests not to be teased in public, and the gentleman wraps it up by stating that one should be open with one’s feelings – “दुनिया का डर क्या”.
A remarkable configuration of singing lines; the first two antaraas are all by Lata, with Rafi Sb making an appearance in the third. As the song progressed, I was almost thinking whether some error had been made and this was another solo. But then Rafi Sb’s voice appeared in the third antaraa. . . 🙂
Enjoy this quick paced and breeze tête-à-tête between lovers.
Song – Tumhen Kaise Kahoon O ji O O O (Naach Ghar) (1959) Singer – Lata Mangeshkar, Mohammed Rafi, Lyrics – Sahir Ludhianvi, MD – N Datta
Mohammed Rafi + Lata Mangeshkar
Lyrics
tumhen kaise kahoon
o ji o o o
tumhen kaise kahoon
o ji o o o
aate jaate na yun
hamen chheda karo
aate jaate na yun
hamen chheda karo
tumhen kaise kahoon
o ji o o o
tumhen kaise kahoon
o ji o o o
aate jaate na yun
hamen chheda karo
aate jaate na yun
hamen chheda karo
tumhen kaise kahoon
o ji o o o
log baaten banaayenge kya kya
be par ki udaayenge kya kya
log baaten banaayenge kya kya
be par ki udaayenge kya kya
hamen tak ke na yun
thandi aahen bharo
hamen tak ke na yun
thandi aahen bharo
tumhen kaise kahoon
o ji o o o
tumhen kaise kahoon
o ji o o o
ham ne maana ke hum hain tumhaare
phir bhi achhe nahin ye ishaare
ham ne maana ke hum hain tumhaare
phir bhi achhe nahin ye ishaare
bairi duniya ki nazron se kuchh to daro
bairi duniya ki nazron se kuchh to daro
tumhen kaise kahoon
o ji o o o
tumhen kaise kahoon
o ji o o o
pyaar karna to kya jag se darna
baat kehna to phir kya mukarna
pyaar karna to kya jag se darna
baat kehna to phir kya mukarna
jo bhi karna hai duniya mein khul ke karo
jo bhi karna hai duniya mein khul ke karo
tumhen kaise kahoon
tumhen kaise kahoon
tumhen kaise kahoon
o ji o o o
aate jaate na yun
hamen chheda karo
aate jaate na yun
hamen chheda karo
tumhen kaise kahoon
o ji o o o
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Hindi script lyrics (Provided by Sudhir)
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तुम्हें कैसे कहूँ
ओ जी ओ ओ ओ
तुम्हें कैसे कहूँ
ओ जी ओ ओ ओ
आते जाते ना यूं
हमें छेड़ा करो
आते जाते ना यूं
हमें छेड़ा करो
तुम्हें कैसे कहूँ
ओ जी ओ ओ ओ
तुम्हें कैसे कहूँ
ओ जी ओ ओ ओ
आते जाते ना यूं
हमें छेड़ा करो
आते जाते ना यूं
हमें छेड़ा करो
तुम्हें कैसे कहूँ
ओ जी ओ ओ ओ
लोग बातें बनाएँगे क्या क्या
बे पर की उड़ायेंगे क्या क्या
लोग बातें बनाएँगे क्या क्या
बे पर की उड़ायेंगे क्या क्या
हमें तक के ना यूं
ठंडी आहें भरो
हमें तक के ना यूं
ठंडी आहें भरो
तुम्हें कैसे कहूँ
ओ जी ओ ओ ओ
तुम्हें कैसे कहूँ
ओ जी ओ ओ ओ
हमने माना के हम हैं तुम्हारे
फिर भी अच्छे नहीं ये इशारे
हमने माना के हम हैं तुम्हारे
फिर भी अच्छे नहीं ये इशारे
बैरी दुनिया की नज़रों से कुछ तो डरो
बैरी दुनिया की नज़रों से कुछ तो डरो
तुम्हें कैसे कहूँ
ओ जी ओ ओ ओ
तुम्हें कैसे कहूँ
ओ जी ओ ओ ओ
प्यार करना तो क्या जग से डरना
बात कहना तो फिर क्या मुकरना
प्यार करना तो क्या जग से डरना
बात कहना तो फिर क्या मुकरना
जो भी करना है दुनिया में खुल के करो
जो भी करना है दुनिया में खुल के करो
तुम्हें कैसे कहूँ
तुम्हें कैसे कहूँ
तुम्हें कैसे कहूँ
ओ जी ओ ओ ओ
आते जाते ना यूं
हमें छेड़ा करो
आते जाते ना यूं
हमें छेड़ा करो
तुम्हें कैसे कहूँ
ओ जी ओ ओ ओ
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