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


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.

“Patraani”(1956) was produced by Shankarbhai Bhatt and directed by his younger brother Vijay Bhatt for Prakash Pictures. The movie had Vyjayantimala, Pradeep Kumar, Omprakash, Shashikala, Durga Khote, David, Jeevan etc. in it. The movie was based on a novel by Kanhaiyalal Munshi.

Five songs from this movie have been discussed in the past. Here is the sixth song from “Patraani”(1956) to appear in the blog. This song is sung by Lata and chorus. Shailendra is the lyricist. Music is composed by Shankar Jaikishan.

Picturisation shows Shashikala sitting in a boat and singing this song about losing her heart, which leaves pain in her bosom. Singing such kind of song was par for the course for leading and sub leading ladies in Hindi movies those days.🙂 Though people like Pradeep Kumar, Jeewan etc are located quite a distance away from that boat which is sailing in calm waters, we find them being able to hear her voice loud and clear. Distance does not cause any loss of audio as far as Hindi movie characters are concerned.🙂

Vyjyanti Mala is the leading lady in this song, but Shashikala too gets to sing this song in Lata’s voice, so she too must have played an important role in the movie I guess.


Song-Dil gaya dard raha seene mein (Patraani)(1956) Singer-Lata, Lyrics-Shailendra, MD-Shankar Jaikishan

Lyrics

oonche mahal mein rahne waale
kabhi idhar bhi dekh le
aa aa
aa aa aa
haaye dekh le

dil gaya aa
dil gaya
dard raha seene mein
dil gaya
tum nahin
kuchh bhi nahin jeene mein
dil gaya

aankhon mein tum aaye jab se
kuchh aur nahin soojha tab se
aankhon mein tum aaye jab se
kuchh aur nahin soojha tab se
tarsa ke hamen barsaat gayi
har raat gayi tadpaa ke
har raat gayi tadpaa ke
dil gaya aa
dil gaya
dard raha seene mein
dil gaya
tum nahin
kuchh bhi nahin jeene mein
dil gaya

tum raat ke taaron se poochho
bechain bahaaron se poochho
tum raat ke taaron se poochho
bechain bahaaron se poochho
main kiske liye jaagi sajna
ye nain ke deep jala ke
ye nain ke deep jala ke
dil gaya aa
dil gaya
dard raha seene mein
dil gaya
tum nahin
kuchh bhi nahin jeene mein
dil gaya
dil gaya
dard raha seene mein
dil gaya aa aa


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.

“Naya Taraana”(1943) was directed by Najam Naqvi for Navyug Chitrapat Limited, Poona. The movie had Snehprabha Pradhan, P Jairaj, David, Mishra, Dar Kashmiri, Girdhari, Kulbhushan, Saukar, Raja Paranjpe, Pratima Devi, Sharda, Chandrika etc in it.

This forgotten “social” movie had nine songs in it.

Here is the first song from “Naya Taraana”(1943) to appear in the blog. This song is sung by Khan Mastana. Wali Sahab is the lyricist. Music is composed by Amir Ali.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song with a message.

With this song, “Naya Taraana'(1943) makes its debut in the blog.


Song-O insaan bade insaan (Naya Taraana)(1943) Singer-Khan Mastana, Lyrics-Wali Sahab, MD-Amir Ali

Lyrics

o insaan bade insaan
o inahan bade insaan
aa tujhe sheesha dikhlaaoon
apne ko pehchaan aan
apne ko pehchaan
bade insaan
o insaan bade insaan

saanjh sakhaare dharti ko tu
kahe hai maata maata
saanjh sakhaare dharti ko tu
kahe hai maata maata
samay pade par maata ko bhi
bech ke hai kha jaata
aa aa
dekh zara pedon ko gyaani
dekh zara pedon ko gyaani
janam jahaan wo paate hain
us dharti ko chhaanv de kar
dhoop mein khud jal jaate hain
dhoop mein khud jal jaate hain
ye hai ma kaa maa aan
ye hai maa ka maan
bade insaan
o insaan bade insaan
o insaan

tujhse to balwaan hai chidiya
tujhse to balwaan hai chidiya
jo chaahe keh jaati hai
jinki baat tere honthon par
aane se sharmaati hai ae ae
duniya bhar ke jaanwaron ki
duniya bhar ke jaanwaron ki
ek hi jaisi bhaasha hai
tu urdu aur hindi ke
jhagdon mein samay ganwaata hai
jhagdon mein samay ganwaata hai
waah mere vidwaan aan
waah mere vidwaan
bade insaan
o insaan bade insaan
o insaan

maan liya is dharti par aapas mein takraate hain
maan liya jungle ke panchchi
aapas mein lad jate hain
unke rain basere ka
unke rain basere ka
sar tinka hil nahin paata hai
aur tu raam rahim se ladkar
ghar ko aag lagaata hai
ghar ko aag lagaata hai
waah bharat ki shaan aan
waah bharat ki shaan
bade insaan
o insaan bade insaan
o insaan bade insaan


This article is written by Sadanand Kamath, 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.

Prabhat Film Company’s ‘Padosi’ (1941) can be regarded as the first Hindi film based on the theme of Hindu-Muslim unity. This theme was considered as a courageous and risky proposition as sword pf Damocles was bound to hang over the head any producer dealing with such an explosive subject. The fanaticism prevalent in both these communities could wreck the box office prospects of the film. Defyung such dire predictions, ‘Padosi’ (1941) went on to became a box office hit.

The success of ‘Padosi’ (1941) in tealing with this sensitive theme of Hindi Muslim unity seems to have encouraged the producer of the film ‘Bhakt Kabir’ (1942) to try and utilise the same theme in a historical setting. It is said that when the film was announced, the film fraternity in Bombay (Mumbai) described it as a foolhardy endeavour on the part of this new productionto take up such an emotionally charged up subject of Hindu-Muslim unity in their very first offering. The producers of the film – Rameshwar Sharma and Lahori Ram Parashar from Punjab were new to the film industry. However, when the film was released in 1942, it received a very good response from the audience. The then Governments of Punjab, Sind and Bombay waived off the entertainment tax in their states for this film.

BHAKT KABIR (1942) was produced under the banner of Unity Productions, Calcutta and it was directed by Rameshwar Sharma. The star cast included Mazhar Khan, Mehtab, Bharat Bhushan, Padma Devi, Jyotsana Gupta, Gyani, Ramesh Sinha etc.

There were 16 songs in the film written by Sant Kabirdas and Pandit Shivkumar. However, distribution of songs between them is not known. On the SAREGAMA website, there are 9 songs available, all sung by Himangshu Dutta who also composed the music for the film. Surprisingly, I could not find any of these 9 songs on YT. I have mp3 audio clip of one more song which I had downloaded from Dr Surjit Singh’s website. This makes a total of 10 songs.

I heard the name of Himangshu Dutta (1908-1944) as singer and music director for the first time. Wikipedia describes him as a singer and composer of Bengali songs who was a contemporary of Rabindranath Tagore and Kazi Nazrul Islam. I have condensed Himangshu Dutta’s profile based on Wikipedia as set out below:

Himangshu Dutta was born in Comilla (now in Bangladesh) in 1908, to Jogendrachandra Dutta and Nirada Devi. After receiving primary and secondary education at Comilla and passing the entrance examination from Comilla Zilla School in 1924, he came to Kolkata and joined Presidency College to get the ISC degree. He received his bachelor degree from Vidyasagar College under Calcutta University.

Jogendrachandra was very fond of music and many eminent musicians of Comilla used to visit his house in a regular manner. This not only helped child Himangshu to listen quality classical music at his very young age but also to get closer to various forms of music like Dhrupad, Khayal, Ghazal, folk songs, and other various local music forms of Comilla.

Himangshu Dutta’s mother was also a noted singer of that time and she used to sing Rabindra sangeet to her sons and daughters. Himangshu Dutta received the first lessons of music from his mother. He learnt Dhrupad from Acharya Shyamacharan Dutta and Bhajan from Ustad Khasru Miya, and Pandit Khitimohan Sen-Shashtri. He also received training on classical music from his elder brother Shachindra Dutta. Before reaching his teenage, Himangshu Dutta started singing Bramho sangeet and Bhajan in different local functions at Comilla.

In 1923, Rabindranath Tagore visited Comilla and the young Himangshu Dutta sang Rabindra sangeet in a public function in front of Rabindranath Tagore. Rabindranath appreciated it very much.

Besides having a deep interest in music composition, Himangshu Dutta was an avid notation writer from the very young age. He wrote notations for various musicians including Atul Prasad Sen and Rabindranath Tagore. Maestros like Pankaj Mullick also mentioned this in his writing.

In 1931, Gramophone Company of India released the first record based on the composition of Himangshu Dutta. The artist was Haripada Roy. In the same year, the company also published another record from its HMV division where Sati Devi was the singer, and Himangshu emerged as a star in the history of so-called modern Bengali songs.

Himangshu started using both Indian classical music and western harmony to bring a complete new type of music in the history of Bengali music composition. Beside composing music for basic Bengali songs, Ghazals, and Raga based songs, in 1934, he entered the world of film industry through the Bengali film ‘Taruni’ (1934). In the next ten years he worked as composers in about 20 Bengali films and 3 Hindi films – Bhakt Kabir (1942), ‘Pati Puja’ (1943) and ‘Bhai Chaara’ (1943).

Himangshu Dutta died in 1944 at the age of 36.

I am presenting a very rare song not from the 10 songs which I mentioned above but a different song. This song is ‘ilaahi tu to rabbul aalam hai’ which was uploaded on YT by Vidur Sury. This is a hamd ( a devotional song in praise of God). The singer has been identified as Ram Dulari by a learned commentator on the video clip and I tend to agree with him when I compared the voice in her songs from ‘Chitralekha’ (1941).

I guess the words ‘rabbul aalami’ in the first line are the same as ‘rabbul aalamee’ in which case it means ‘Lord of the Universe’.

What a beautiful hamd! I have listened to this devotional song many times and yet I feel like listening again and again.

With this song, ‘Bhakt Kabir’ (1942) makes its debut in the Blog.


Song-Ilaahi tu to rabb ul aalami hai (Bhakt Kabir)(1942) Singer-Raamdulaari, Lyricist- Pt Shivkumar, MD-Himanshu Dutt

Lyrics

ilaahi
tu to rabb ul aalami hai
ilaahi
tu to rabb ul aalami hai
teri rahmat kaa kuchh kehna nahin hai
teri rahmat kaa kuchh kehna nahin hai
ilaahi

haan aan aan aan
aan aan aan aan
teri khairaat le le kar r
palen aen aen aen aen hain
teri khairaat le le kar r
pale….n aen aen aen aen hain
baz?? kuchh khairaat kuchh apna nahin hai

mujhe kehna aa aa aa aa hai
tujhse ae kuchh ilaaheda
haan aan aan aan aaan
mujhe kehna aa aa aa aa hai
tujhse kuchh ilaaheda aa
sunaa kar sabko wo kahna nahin hai
sunaa kar sabko wo kahna nahin hai

haan aan aan aan aan
main kya maangoon oon
tujhe ae ae sab kuchh khabar hai
haan aan aan aan aaan
main kya maangoon
tujhe ae ae sab kuchh khabar hai ae
hamaare ghar mein ek gehna nahin hai
hamaare ghar mein ek gehna nahin hai
ilaahi tu to rabb ul aalami hai
ilaahi


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.

“Dharti”(1970) was produced and directed by C V Sridhar for Chitralaya Productions Pvt Limited. The movie had Rajendra Kumar, Waheeda Rehman, Ajit, Balraj Sahni, Kamini Kaushal, Rajendra Nath, Kumkum, Sudesh Kumar, Pahadi Sanyal etc with Shivaji Ganeshan in a Guest appearance. This movie was the remake of a Tamil movie ‘Sivantha Mann'(1969).

Six songs from “Dharti”(1970) have been posted in the past. Here is the seventh and final song from the movie. It is sung by Lata. Hasrat Jaipuri is the lyricist. Music is composed by Shankar Jaikishan.

The song is picturised as a villain’s den song cum “dancing under duress” stage dance song and it is lip synced by Waheeda Rehman. Ajit is the chief guest in this august gathering of baddies. I am unable to identify others visible in the picturisation. So I request our knowledgeable readers to help identify others visible in the picturisation.

Lyrics of this song were sent to me by Prakashchandra.

With this song, “Dharti”(1970) joins the list of movies that have all their songs covered in the blog.


Song-Ishq ki main beemaar (Dharti)(1970) Singer-Lata, Lyrics-Hasrat Jaipuri, MD-Shankar jaikishan

Lyrics(Provided by Prakashchandra)

ishq ki main beemaar
ki wallah teer e nazar hai paar
ki wallah tujhse hua hai pyaar
uyi allah
dil hai bekaraar
ki wallah aankhon mein khumaar
ki wallah tujhpe dil nisaar
uyi allah

basre ki hoor hoon
haiya haiya haiya aa aa
basre ki hoor hoon
haiya haiya haiya
dil ka suroor hoon
haiya haiya haiya
masti mein choor hoon
choor hoon
choor chooor
haiya aa aa

ishq ki main beemaar
ki walla teer e nazar hai paar
ki walla tujhse hua hai pyaar
uyi alla
dil hai bekarar
ki wallah aankhon mein khumaar
ki wallah tujhpe dil nisaar
uyi allah

main to hoon bekhabar
haiya haiya haiya aa
main to hoon bekhabar
haiya haiya haiya
sehra ho ishq par
haiya haiya haiya
chaahe tu zulm kar
zulm kar
zulm kar
haiya aa aa

ishq ki main beemar
ki walla hteer e nazar hai paar
ki walla tujhse hua hai pyaar
uyi allah aa
dil hai bekaraar
ki wallah aankhon mein khumaar
ki wallah tujhpe dil nisaar
uyi allah

dil ki aawaaz hoon
haiya haiya haiya aa aa aa
dil ki aawaaz hoon
haiya haiya haiya
bal ke dam saaj hoon
haiya haiya haiya
ulfat ka raaz hoon
raaz hoon
raaz hoon
haiya aa aa

ishq ki main beemaar
ki wallah teer e nazar hai paar
ki wallah tujhse hua hai pyaar
uyi allah
dil hai bekaraar
ki wallah aankhon mein khumaar
ki wallah tujhpe dil nisaar
uyi allah


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

#the Decade of Seventies – 1971 – 1980 #
———————————————————–
# Bhoole-Bisre Geet # 50 # Shatrughan Sinha’s Birth Anniversary #
———————————————————————————————————-

‘Chambal Ki Qasam-1979’ was an M.P.D.Productions presentation. It was produced by V L Murlidhar and directed by Ram Maheshwary. It had Raj Kumar, Shatrughan Sinha, Moushmi Chatterjee, Farida Jalal, Ranjeet, Nirupa Roy, Paintal, Gopal Sehgal, R.Tiwari, Usha Kiran, Peace Kanwal, Jagdish Raj, Nazir Hussain, Gufi, Paro Devi, Maruti, Uma Khosla, Raj Rani, Master Bhagwan, Gurucharan, Usha(Gwalior), Pandit Ganga Prasad(Gwalior), Mansaram, Master Rajesh, Master Rahul, Master Sonu, Master Rajiv, Baby Shaloo, and Manu Arora. Pradeep Kumar makes a guest appearance in this movie, whereas Amjad Khan makes a special appearance in this movie.

Story of this movie was written by M.K.Tamanna and Screenplay was written by Benoy Chatterjee. Dialogues of this movie were written by Sagar Sarhadi and Safdar Hussain. Additional Dialouges were by Ela Maheshwary. Editing for this movie was done by D.N.Pai and M.S.Shinde. This movie was passed by Censor Board on 29.12.1979.

This movie had eight songs, which were sung by Jagjit Kaur, Lata Mangeshkar, Manna Dey, Mahendra Kapoor and Mohd Rafi. Music of this movie was composed by Khayyam Saab and lyrics for all the eight songs were penned by Sahir Ludhianvi.

Three songs of this movie have been posted on the blog so far.

Today 9th December 2016 is the 71st birth anniversary of actor and our (the fans of Seventies🙂 ) beloved Shatru Bhai aka Shatrughan Sinha (DoB 09.12.1945) .

On this occasion here is this lovely song sung by Rafi Saab and composed by Khayyam Saab. Lyrics of this ‘poetic gem’ are written by Sahir Ludhianvi.

Video

Audio

Song-She’r ka husn ho (Chambal Ki Kasam)(1979) Singer-Rafi, Lyrics-Sahir Ludhianvi, MD-Khayyaam

Lyrics

She’r ka husn ho o
She’r ka husn ho
Naghme ki jawaani ho tum
Ek dhadakti huyi
Ek dhadakti huyi
Shaadaab kahaani ho tum
She’r ka husn ho

Aankh aisi
Aankh aisi ke kanval tumse nishaani maange ae
Zulf aisi ee
Zulf aisi ke ghataa sharm se paani maange ae
Jis taraf se bhi
Jis taraf se bhi
Nazar daalen
suhaani ho tum
She’r ka husn ho

Jism aisa aa
Jism aisa ke Ajanta ka amal yaad aaye ae
Sangemarmar mein dhalaa
Sangemarmar mein dhalaa
Tajmahal yaad aaye ae ae
Pighle pighle ae
Pighle pighle huye
Rangon ki rawaani ho tum
She’r ka husn ho

Dhadkanen bunti hai jisko
Wo taraana ho tum
Sach kaho kis ke muqaddar ka khazaana ho tum
Mujhpe maail ho
Mujhpe maail ho
Ke
Dushman ki deewaani ho tum
She’r ka husn ho
naghme ki jawaani ho tum
She’r ka husn ho
She’r ka husn ho

(Maail – inclined, bent, attracted)
——————————————-
Lyrics in Devnagri Script:
——————————————-
शे’र का हुस्न हो ओ
शे’र का हुस्न हो
नगमे की जवानी हो तुम
एक धड़कती हुयी
एक धड़कती हुयी
शादाब कहानी हो तुम
शे’र का हुस्न हो

आँख ऐसी
आँख ऐसी के कँवल तुमसे निशानी मांगे ए ए
ज़ुल्फ़ ऐसी ई
ज़ुल्फ़ ऐसी के घटा शर्म से पानी मांगे ए ए
जिस तरफ से भी
जिस तरफ से भी
नज़र डालें
सुहानी हो तुम
शे’र का हुस्न हो

जिस्म ऐसा आ
जिस्म ऐसा के अजंता का अमल याद आये ए ए
संगेमरमर में ढला
संगेमरमर में ढला
ताजमहल याद आये ए ए
पिघले पिघले ए
पिघले पिघले हुए
रंगों की रवानी हो तुम
शे’र का हुस्न हो

धड़कने बुनती है जिसको
वो तराना हो तुम
सच कहो किस के मुक़द्दर का खजाना हो तुम
मुझ पे माईल हो
मुझ पे माईल हो
के
दुश्मन की दिवानी हो तुम
शे’र का हुस्न हो नगमे की जवानी हो तुम
शे’र का हुस्न हो
शे’र का हुस्न हो


This article is written by Raja, 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.

If one were to analyse Hindi film songs by content, most of them would fall in the love-romance category. This is understandable because a very high proportion of films revolve around love and romance.

Then there are those which are based on non-romantic relationships. Parent-child, siblings, friends and so on.

Then there are inspirational songs, philosophical songs, religious songs, party songs and many other categories of songs. In fact on this blog, thanks to its fairly granular tagging, we can zoom into any specific category of songs of interest.

One particular category of songs that is not all that common is the political song. By this, I mean a song that takes on the political establishment. There are of course films depicting politicians, often in a bad light, but most of them have a romantic side to them. So the songs are also usually of the romantic type.

The first song that comes to my mind in this connection is “ye jo public hai ye sab jaanti hai “ from Roti (1974). When I checked this song on the blog just now, I could not help a wry smile as I noticed that Atul has categorized it under “ground reality”. There doesn’t seem to be a “political song” tag yet.

The song for today could also come under this “ground reality” tag. It has been sent to me by Avinashji, who has also written down the lyrics for it (both in English and Devanagari). He requested me to do a write-up on it, possibly because it lends itself to philosophical musings on politics. And Avinashji is by now familiar with my tendency to philosophise.🙂

So here goes.

First of all, I must say that my views are not specific to a particular political party. Or even limited to the Indian political environment. They could apply anywhere, at any time because they are based on first principles of citizen-government engagement.

I will try to keep this brief here because this is a song blog and not the right platform for philosophy. I don’t want to bore the readers.🙂

This song is picturised on Mehmood and a bunch of donkeys. Its core message is citizen protest against the government of the day. The donkeys supposedly represent citizen leaders who want to lead a protest to Delhi on behalf of citizen donkeys.

So what are their demands? Among others, freedom from persecution and oppression (represented by dhobi raaj). Recognition of hard work of labourers (represented by the hard-working donkey, a term sadly used as an abuse). Demand for basic necessities of life, like a roof over one’s head (a “quarter”) and food (“tamatar”).

Thus, in a nutshell, this song captures some of the most basic complaints citizens have of government. That citizens are symbolized by donkeys is a deliberate attempt to highlight their plight and thankless lives.

Although this song is almost exactly 50 years old, much of it resonates even today in Indian society.

Of course India has progressed a lot since 1967. Many more Indians lead comfortable lives today compared to people of that time.

But there are still many millions who are suffering from the plight that this song highlights.

Important in this song is the “protest” element. Mehmood not only appeals to the government but also threatens to go to the UNO, he threatens to file a case against the government (there is a picture in the background which I believe is the Bombay High Court).

Of course this is all in jest – in reality, the power imbalance between the citizen and the government makes such a course of action laughable.

And this is what I often philosophise about. And feel sad about.

The power imbalance between citizen and government.

In theory, the government, represented by the Cabinet (and the PM), and the bureaucracy which works under the government, exists for the people. In theory.

A government without people is unthinkable. If people didn’t exist, there would be no reason for a government to exist.

A government exists ONLY because there are people who need a collective force to execute tasks on their behalf. Tasks that are in common interest – like protecting people from external and internal threats. For maintaining law and order. Or providing common infrastructure that might not be feasible or practical for each individual to separately attempt for himself.

In a democracy, this is achieved through people electing leaders from amongst themselves. These leaders are vested with the right to act and decide on behalf of the population. And naturally, with such right, comes the duty to deliver to this expectation.

So, in every sense, in theory, the elected representatives are only agents of the people. Those who they appoint to work for the people (i.e the bureaucracy) are also “public servants”. So in theory, the power lies with the people.

This is also how the Constitution envisaged the situation – and provided for appropriate checks and balances in the system. This was mainly through attempting to avoid situations of conflict of interest (Executive, Legislature and Judiciary clearly separated). And through the creation of institutions that would be independent of these.

Sadly, as we all know, this is only theory.

In reality, much of this has been compromised. As a result, today, the power equation is hugely skewed in favour of the government. Citizens, supposed to be the master, often feel powerless.
Yes, they can choose to voice their views once in five years, through the ballot box. But that’s once in five years! And as long as the systemic issues are not addressed, it means, even if there’s a change of government, things are not likely to improve for the citizen.

So much of my philosophizing has to do with this. It bothers me when I see citizens behaving like slaves. We need citizens to become more aware of their rights. Duties too, of course – we often forget that too.

But if we want to have a more evolved society, we definitely need citizens to step up. We need them to not just accept a situation as it is. We need them to demand more from those in power. Make them accountable at all levels – even to the lowest level of a local project in a village or ward.

Only when we have this level of citizen engagement and empowerment, will we have the government too on its toes. The media is supposed to be the public watchdog for this purpose – but the less said about today’s media, the better.

Anyway, these thoughts crossed my mind when I listened to this song, so I thought I’d share them here on the blog. Hope I didn’t bore you too much.🙂

Once again, this has nothing to do with a specific government. It’s more about “first principles” and therefore apply in any situation.

I will now leave you to enjoy this song, starring a bunch of donkeys. And Mehmood too, of course. The song is in Rafisaab’s voice, written by Rajinder Krishan and composed by Ravi.

Enjoy!

Video

Audio

Song-Mera gadha gadhon ka leader (Meharbaan)(1967) Singer-Rafi, Lyrics-Rajinder Krishan, MD-Ravi

Lyrics(Provided by Avinash Scrapwala)

Aauon
aa aa aa aa aan

Mera Gadha Gadhon ka Leader
Kehta hai ke Dilli jaa kar
Sab Maangen apni kaum ki main
Manwaa kar aaungaa
Nahin to ghaas naa khaaungaa
Mera Gadha Gadhon ka Leader
Kehta hai ke Dilli jaa kar
Sab Maangen apni kaum ki main
Manwaa kar aaungaa
Nahin to ghaas Naa khaaungaa aa
O mera Gadha Gadhon ka Leader r r r r

Sabse pehli maang hamaari
Dhobi raaj hataa do
Aauon
aa aa aa aan

Sabse pehli maang hamaari
Dhobi raaj hataa do
Ab Na sahenge dandaa chaahe
Phaansi par latkaa do
Gar naa maani Sarkaar
Kiya inkaar
To U N O tak jaaungaa
Nahin to ghaas naa khaaungaa
O mera Gadha Gadhon ka Leader r r

Dooji maang ke zaat hamaari
Mehnat karnewaali
Aauon
aa aa aa aa

Dooji maang ke zaat hamaari
Mehnat karnewaali
Phir kyun ye insaan Gadhe ka naam
Samajhte gaali
Na badlaa ye dastoor
To ho majboor
Main in par case chalaaunga
Nahin to ghaas Naa khaaungaa
Mera Gadha Gadhon ka Leader

Teeji maang hamaari
Hamko de do ek ek quarter
Aauon
aa aa aa aa

Teeji maang hamaari
Hamko de do ek ek quarter
Hafte mein ek baar
Ghaas ke badle mile tamaatar
Gar kar do ye ehsaan
O meri jaan
Duaayein deta jaaunga
Kabhi Naa Dilli aaungaa

Mera Gadha Gadhon ka Leader
Kehta hai ke Dilli jaa kar
Sab Maangen apni kaum ki main
Manwaa kar aaungaa
Nahin to ghaas Naa khaaungaa
Mera Gadha Gadhon ka Leader r r r r r
Aauon
aa aa aa aa aan

—————————————–
Lyrics in Devnagri Script 9Provided by Avinash Scrapwala)
—————————————-
औओं आ आ आ आ आँ

मेरा गधा गधों का लीडर
कहता है के दिल्ली जा कर
सब मांगे अपनी कौम की मैं
मनवा कर आऊँगा
नहीं तो घास ना खाऊंगा
मेरा गधा गधों का लीडर
कहता है के दिल्ली जा कर
सब मांगे अपनी कौम की मैं
मनवा कर आऊँगा
नहीं तो घास ना खाऊंगा आ
ओ मेरा गधा गधों का लीडर र र र र

सबसे पहली मांग हमारी
धोबी राज हटा दो
औओं
आ आ आ आँ

सबसे पहली मांग हमारी
धोबी राज हटा दो
अब न सहेंगे डंडा चाहे
फांसी पर लटका दो
गर ना मानी सरकार
किया इनकार
तो यु एन ओ तक जाऊँगा
नहीं तो घास ना खाऊंगा आ
ओ मेरा गधा गधों का लीडर र र

दूजी मांग के जात हमारी
मेहनत करनेवाली
औओं
आ आ आ आ

दूजी मांग के जात हमारी
मेहनत करनेवाली
फिर क्यूँ ये इंसान गधे का नाम
समझते गाली
ना बदला ये दस्तूर
तो हो मजबूर
मैं इन पर केस चलाऊंगा
नहीं तो घास ना खाऊंगा आ
मेरा गधा गधों का लीडर

तीजी मांग हमारी
हम को दे दो एक एक क्वार्टर
औओं
आ आ आ आ

तीजी मांग हमारी
हम को दे दो एक एक क्वार्टर
हफ्ते में एक बार
घास के बदले मिले टमाटर
गर कर दो ये एहसान
ओ मेरी जान
दुआएं देता जाऊँगा
कभी ना दिल्ली आऊंगा

मेरा गधा गधों का लीडर
कहता है के दिल्ली जा कर
सब मांगे अपनी कौम की मैं
मनवा कर आऊँगा
नहीं तो घास ना खाऊंगा आ
मेरा गधा गधों का लीडर र र र र र
औओं
आ आ आ आ आँ


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.

Today’s song is from the film Dasshera-56. It is a melodious bhajan by Mohd. Rafi. In the decade of 50s, Mohd. Rafi’s name was synonymous with melodious and popular bhajans. He must have sung at least 100 to 200 such Bhajans during this period.

The decade of 1950s was a Golden Period for Mythological and Religious films. As many as 124 mythological films were released during these 10 years, averaging One Mythological film every month for 10 continuous years ! That was a period when Joint family structure was still prevalent in India and every family had at least 2 to 3 old people. These seniors and the women folk were the captive audience for such films. They came in groups to the theaters. Usually a young person or a boy accompanied them. When I was a school kid, I was the caretaker of the group of these oldies. Since I myself liked the Mythological films, I would happily take up this job.

In Hindi films, there is a branding process- means the story of the film usually decided the cast of the film. For example. if it is a tragedy, first choice was Dilip Kumar among males and Meena Kumari among females. If it was a naughty comedy, it was surely Kishore Kumar. For Police stories, Murder and Mystery stories, Ashok Kumar or Pradeep Kumar were standard names. For Historicals, only Sohrab Modi would do and for costume, stunt or action films, it was Mahipal or Ranjan. Similarly, in the 1940s, for Mythologicals it was either Prem Adeeb or Trilok Kapoor while Mahipal or Manhar Desai were the names to go to during 1950s.

Likewise for music to village background films, it was Naushad, for social films it was Ravi and for Mythologicals / Religious films it used to be S.N.Tripathi or Avinash Vyas. Sometimes a misfit used to give us a shock. For example, from the beginning, Ashok Kumar was associated with social films acting the shy lover. Later from Kismat and Sangram, he switched to crime thrillers. But when he acted in a Historical film like Humayun-45 or a Mythological film Satyawan-Savitri-38, he made a laughing stock of himself !

Same was the case with Music Directors. Usually the composers identified with Religious films were not called for crime films nor were the composers of lilting club dances invited to compose for Religious films ! S.D. Burman became famous for his melodious and popular songs in films like, Baazi,Taxi Driver,H.No.44, Munimji, Funtoosh, Paying Guest etc. Can you ever imagine S.D.Burman composing tunes for a Mythological film ? But yes, he did give music to one ( the only one in his life) Mythological film ” Radha Krishna”-54. Sahir Ludhiyanvi was usually his favourite lyricist, but for this film he settled for Narndra Sharma and S. Athaiah. Still, The only song penned by Sahir for a religious film was from this film Radha Krishna. For this film, N.Datta was Burman’s assistant.

Later on N.Datta or Datta Naik became known for club songs and songs based on western instruments. He started with Milap-55 and Marine drive-55 and did Chandrakanta, Mohini, Mr. X etc In all these films, he was known to make use of western instruments like saxophone. Accordion etc. A composer like him was called upon to compose music for a Mythological film ” Dasshera-56″. Yes, he composed soft and melodious Bhajans and songs for this film. Later on in 1965 also he did another religious film “Gopal Krishna”, but he was passing through his bad phase at that time and so he had little choice . In his last days, he had no films and for survival,he used to work as an instrument player in other composers’ orchestra. When Laxmikant-Pyarelal came to know about his plight , they made him a part of their orchestra. He would be paid at his house even if he was unable to attend the orchestra.

Film Dasshera-56 had 11 songs. Rafi sang 3 very good Bhajans in it. Asha had 5 songs, and one song each was sung by Lata, Shamshad and Kavi Pradeep respectively. Usually N.Datta preferred Sahir for his songs, but in this film he used Pradeep for 10 songs and 1 song was written by Saraswati Kumar Deepak. As usual, the Bhajan sung by Pradeep ” doosron ka dukhda door karnewale” became a hit and it was the most popular song of this film. Kavi Pradeep had a habit of providing tunes also along with his lyrics and he was always keen to sing his own songs. Most composers were averse to this habit of Pradeep and so they kept away from him. Actually Pradeep was a learned person and he had a good command over Hindi language. Still, because of this habit of thrusting his tunes on the music director and insistence on singing his songs, he only had a limited number of music directors to work with. Later on, he mostly wrote for religious and costume films and for those composers who welcomed his ready made tunes.

Pradeep was not the only lyricist to insist on his tunes. There was another Lyricist of eminence once upon a time, in the 1940s with similar inclination. He was Deenanath Madhok aka D.N.Madhok. He too provided tunes along with his lyrics. During his initial phase of career, Naushad used him to his advantage and once he acquired fame and name, Naushad discarded D.N.Madhok. Madhok too was not liked by many major self respecting composers.

For the film Dasshera-56, N.Datta’s assistant was Ramakant Paingankar, who was a long time assistant of C.Ramchandra. He is the same person who tried his hand at being a composer himself in the late 1940s. He gave music with Shyamsunder and Ramchandra Pal in Urvashi-46, with Lal Mohammed in Mitti-47 and with Karnad in Shadi se Pehle-47. It was in this film “Shaadi Se Pehle”(1947) that Rafi sang his first duet with Lata-” chalo ho gayee taiyyar-” . Ramakant gave music to film Rupiah-50 independently. Then he turned to Marathi films. In his last days, he came back to Hindi films again as assistant to many composers.

Now let us enjoy this beautiful bhajan, which I am sure, many of the readers will have remembered listening to in distant past.


Song-Raam Ji jo chaahen to kya nahin hota (Dashehra)(1956) Singer-Rafi, Lyrics-Kavi Pradeep, MD-N Datta
Chorus
Rafi + Chorus

Lyrics

aao karen logon prabhu se samjhauta
hari se samjhauta
raam ji jo chaahen to kya nahin hota
prabhu ji jo chaahen to kya nahin hota

o bahti hai ganga
laga lo re gota
ho laga lo re gota
raam ji jo chaahen to kya nahin hota
prabhu ji jo chaahen to kya nahin hota

ajab hai wo daata
aa aa aa aa
ajab hai wo daata
re ghazab ka vidhaata
dukh ki ghadiyon mein
ek wahi kaam aata
arre ho o
o o o
ajab hai wo daata
re ghazab ka vidhaata
dukh ki ghadiyon mein
ek wahi kaam aata

jisko rakhe saain wo kabhi nahin rota
raam ji jo chaahen to kya nahin hota
prabhu ji jo chaahen to kya nahin hota

chaahe jale jwaala aa
chahe chale bhaala
chaahe jale jwaala
chaahe chale bhaala
kiska tumhen dar hai
jab wo bachaane wala
kiska tumhe dar hai
jab wo bachane waala

uski sharan lo re
wo kabhi na dubota
raam ji jo chaahen to kya nahin hota
prabhu ji jo chaahen to kya nahin hota

suno re duniya waalon o o o
suno re duniya waalo
hari ke gun gaa lo
aankhno pe jo parde pade
tum unhen hataa lo
arre
ho o o
o o o
suno re duniya waalon
hari ke gun gaa lo
aankhon pe jo parde pade
tum unhen hataa lo

udega re ek din ye pinjre ka tota
raam ji jo chaahen to kya nahin hota
prabhu ji jo chaahen to kya nahin hota

o
bahti hai ganga
laga lo re gota
o laga lo re gota

raam ji jo chaahen to kya nahin hota
prabhu ji jo chaahen to kya nahin hota


This article is written by Sadanand Kamath, 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.

PYAAS (1941) was produced under the banner of Ranjit Movietone for Murli Movietone and it was directed by Ram Daryani. The star cast included Ishwarlal, Snehprabha Pradhan, Shamim, E Billimoria, Nazir, Gulab, Gope, Sharifa etc.

The film was reviewed in March 1942 issue of ‘Filmindia’ magazine. For a change, the reviewer has praised its director Ram Daryani for an all-round delightful entertainment through well-balanced ingredients of comedy, pathos, romance and music.

The story of the film is as under:

Rai Saheb Bhagwandas (Nazir) is a rich man with a modern outlook. His wife has been ailing for some time and is under the treatment of Dr. Sunderlal (E Billimoria) who plots to get rid of Rai Saheb’s wife and her child to install his niece Menaka (Sharifa) as his wife. The ailing wife suspects the plot and one day she runs away from home with her child. She walks to a nearby village and handover the child to the Village Chief.

After some days, a dead body of a woman is fished out from a river which turns out to be that of Rai Saheb’s ailing wife. He is heart-broken. He searches for the child but fails to find the baby. In the meanwhile, Dr Sunderlal has managed to get married his niece Menaka to Rai Saheb. Now, Dr Sunderlal starts blackmailing his own niece and manage to extract money from her.

The adopted child of Village Chief has now grown up as Chiman and finds a playmate Radha (Snehprabha Pradhan), the daughter of a village doctor. One day, Rai Saheb and his party come to the village for a picnic. Coincidentally, Chiman and Radha meet Rai Saheb who introduces Roop (Shamim), the daughter of Rai Saheb’s close friend, to both of them.

Chiman goes to the city and meets Roop and her elite circle of people. Chiman is fascinated by the glamour of the city. However, Radha compels Chiman to return to the village. At this stage, Relu, a village eccentric who secretly loves Radha, picks up a quarrel with Chiman and spills the beans regarding the mystery of his parentage. Chiman is devastated by the revelation and goes to the city to find out his real parent unmindful of the fact that Rai Saheb whom he has met is his real father.

During his search for his real father, Chiman meets Dr Sunderlal who tries to kill him by injecting some poison but is saved by Roop. Having completely exposed of his wrong doing, Dr Sunderlal commits suicide. Chiman is restored to his real father, Rai Saheb. Chiman, now a rich man, moves with Roop. Rai Bahadur is happy that Chiman is liking the company of Roop and holds an reception to announce the engagement of Chiman with Roop. During the reception, Chiman remembers Radha but under pressure, he has to reluctantly agree for the announcement of his engagement with Roop. Radha steps into the reception hall and Chiman runs towards Radha.

Now, there is a competition as to who would sacrifice the love for Chiman – Radha or Roop. Ultimately, it is Roop who sees Chiman’s emotional attachment to Radha and decides to give up her claim over Chiman. Radha gets married to Chiman.

The film had 9 songs, all written by D N Madhok which were set to music by Khemchand Prakash. Here is the first song from the film ‘jaake naina matwaale hain baal ghunghur waale hain’ to appear on the Blog. The song is sung by Ishwarlal, Shamim, Snehprabha Pradhan and Chorus. It is obvious that all the three have sung on themselves in the film. This is a typical song set in the background of love triangle in which Ishwarlal and Shamim sing Krishna song and Snehprabha Pradhan sings the song waiting for her ‘Sainyyan’ to return to her.

With this song, ‘Pyaas’ (1941) makes its debut in the Blog.

Audio Clip:

Song-Jaake naina matwaale hain (Pyaas)(1941) Singers-Ishwarlal, Shamim, Snehprabha Pradhan, Lyrics-D N Madhok, MD-Khemchand Prakash
Chorus

Lyrics

jaake naina matwaale hain
baal ghunghur waale hain
jaake naina matwaale hain
baal ghunghur waale hain
wohi morey shyaam
wohi morey shyaam
wohi morey shyaam
wohi morey shyaam
wohi morey shyaam

jaaki ter(??) pyaari pyaari hai
naam banwaari hai
jaaki ter(??) pyaari pyaari hai
naam banwaari hai
wohi morey shyaam
wohi morey shyaam
wohi morey shyaam
wohi morey shyaam
wohi morey shyaam

jamuna ke tat pe charaawe hai jo gaiyaa
jamuna ke tat pe charaawe hai jo gaiyaa
khud jaa(?) ke kaam karen raadha ji ke sainyaan
khud jaa(?) ke kaam karen raadha ji ke sainyaan

wohi morey shyaam
wohi morey shyaam
wohi morey shyaam
wohi morey shyaam
wohi morey shyaam

hans hans ke man har liye jaayen
hans hans ke man har liye jaayen
manmohan jag mein kahlaayen
manmohan jag mein kahlaayen

wohi morey shyaam
wohi morey shyaam
wohi morey shyaam
wohi morey shyaam
wohi morey shyaam

sooraj dhalta jaaye
sooraj dhalta jaaye
ajhun naa aaye
ajhun naa aaye
sooraj dhalta jaaye
sooraj dhalta jaaye
jhhoothi saans jhhoothon ki baaten
jhhoothi saans jhhoothon ki baaten
man pe chhaayi kaali raaten
man pe chhaayi kaali raaten
ghadi ghadi bhar aaye
ghadi ghadi bhar aaye
sooraj dhalta jaaye
sooraj dhalta jaaye
sooraj dhalta jaaye


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.

When it comes to Daaku Drama, our Hindi movie makers have cast their nets far and wide. They have made movies like “Daaku Bhupat”(1950), “Daaku Mansoor”(1934)/(1961), “Shera Daaku” (1966), “Daaku Mangal Singh”(1966), “Sultana Daku”1956/(1972), “Jagga Daaku”(1959), “Jwaala Daaku”(1981), “Daaku Maan Singh”(1971). Then there were titles like “Shareef Daaku”(1960), “Gentleman Daaku”(1961), “Jaadugar Daaku”(1962), “Beraham Daaku”(1959), “Bahaadur Daaku”(1966), “Diler Daaku”(1957), “Bhedi Daakoo”(1950) etc. There was a plain “Daaku”(1955)/(1975) as well. And for the sake of equal opportunity, we had “Daaku Haseena”(1987), “Daaku Bijli”(1987). Then “Daaku Ka Ladka”(1935),”Daaku Ki Ladki”(1954) were also there.

Then there were some movie makers who went global and looked for Vilaayati Daakoos as well. Their more favourite videshi daakoo is “Robinhood”. In fact “Lady Robinhood” is more popular with Hindi movie makers that even Robinhood. Movies called “Lady Robinhood” have been made in 1946, 1959 and 1995. Male Robinhood got two Hindi movies in comparison. One was “Sakhi Robin”(1962), where Sakhi means “kind” and not “saheli” as many people erroneously believe.

The other Robinhood movie was “Adventures of Robinhood”(1965). This movie was directed by B J Patel for People Pictures, Bombay. This movie had Prashant, Praveen Chaudhary, Neelofar, Bhagwan, Shyam Kumar, Vish Mehra, Vishwas Kunte, Gul Hamid, Hari Shukla, Shri Bhagwan, Saudagar singh, Dhanraj, Gopal, Jeewankala, Pal Sharma etc in it.

This movie had six songs in it. Like most B grade movies, it had A grade music and some of the songs of this movie became extremely popular. Cynical people like me could well be pardoned to believe that Robinhood spend more time singing romantic songs than robbing people.🙂

There were six songs in the movie. Five of these songs have been discussed in the past.

Here is the sixth and final song from “Adventures of Robinhood”(1965). This song is a rare song. In fact one visitor of this blog had given this song as his farmaish long time back.

This song is sung by Suman Kalyanpur. Anjaan is the lyricist. Music is composed by G S Kohli.

Here is this song, which is just as wonderfu to listen to as the other songs from the movie.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.

With this song, “Adventures of Robinhood”(1965) joins the list of movies that have all their songs covered in the blog.


Song-Nasha rangeen aankhon ka (Adventures of Robinhood)(1965) Singer-Suman Kalyanpur, Lyrics-Anjaan, MD-G S Kohli

Lyrics

nasha rangeen aankhon ka
kise saugaat mein de doon
bahakti zindagi ke haath
kiske haath mein de doon
main kiske haath mein de doon
nasha rangeen aankhon ka
kise saugaat mein de doon
bahakti zindagi ke haath
kiske haath mein de doon
main kiske haath mein de doon
nasha rangeen aankhon ka
kise saugaat mein de doon

mere rukhsaar par bikhri
mahakti zulf hai aise
sharaabi chaand ke gaalon se
lipti ho ghata jaise
ke lipti ho ghata jaise
ghata resham ki
kisko pyaar ki barsaat mein de doon
bahakti zindagi ke haath
kiske haath mein de doon
main kiske haath mein de doon
nasha rangeen aankhon ka
kise saugaat mein de doon

sulagte hain jawaan saanses
adaa leti hai angdaayi
tamannaaon ne to jaise
machalne ki kasam khaayin
machalne ki kasam khaayin
machalti dhadkanen
kisko gulaabi raat mein de doon
bahakti zindagi ke haath
kiske haath mein de doon
main kiske haath mein de doon
nasha rangeen aankhon ka
kise saugaat mein de doon


This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

So today is the 81st birthday of our favourite “he-man” (a tag like the angry-young-man tag that was given to Amitabh Bachchan a long time ago.)

Born in Punjab and loved the world over he is an actor first who went on to become a producer to launch his sons in filmdom. He was possibly the only actor to have sailed successfully through the Rajesh Khanna and then the Amitabh Bachchan wave. He had a hold on comedy too -“Chupke Chupke” is a case in point. So today we are celebrating Dharamendra.

He is the recipient of the civilian award Padma Bhushan in 2012. His debut was in the 1961 Arjun Hingorani produced and directed “Dil Bhi Tera Hum Bhi Tere”. Their association went on for about thirty years.

His first action movie was O.P.Ralhan’s “Phool Aur Pathar”; the 1971 “Mera Gaon Mera Desh” only confirmed his action hero status. He has worked with directors of various styles from Bimal Roy (Bandhini) to Hrishikesh Mukherjee (Guddi etc) to Pramod Chakravarty etc.

His pairing with Hema Malini was the most loved (any doubts here) but he was also comfortable with Asha Parekh, Tanuja, Nutan, Waheeda, Sharmila, Mumtaz, Rakhee, or the later heroines like Rekha, Zeenat, Parveen, Anita Raaj, Sridevi or Jaya Prada. He was a male costar who had equal standing in movies which were multi starrers i.e. where there were two or more male leads. He has sung in the voices of all the leading sigers of the Hindi film world be it Mohd. Rafi, Mukesh, Kishore Kumar, Mahendra Kapoor, Manna Dey or even some of the playback singers who followed these legendary singers. All the voices seemed to suit him.

So where does all these talks lead us? To a problem. What problem? Problem of a wide range to choose from.

So how does one solve the problem? Think up a song and check (and hope) that it is not yet posted. What foloows is that many of the songs in my list are already posted ad movies of the Garam- Dharam that are yet to be yyiippeed only have one or two songs left but those are not filmed on our dear Dharam paaji.

But I have not given up, I have zeroed in on a very entertaining song which does justice to Dharamendra’s comic timing. And as an icing to the cake it is in the voice of the redoubtable Kishore Kumar. The song was written by Anjaan and Bappi (disco) Lahiri was the music director. Here is Anita Raaj is the Biwi to whom Dharamendra plays a “Naukar”. (I am sure many girls of that time would have died to have a “Naukar” like this *😉 Omprakash is Dharam’s grandfather-in-law here. Nishi Kohli gave playback in this song to Anita Raaj.

So wishing our Dharamendra a very Happy Birthday let us have the song.

Video

Audio

Song-Zamaana to hai naukar biwi ka (Naukar Biwi Ka)(1983) Singers-Kishore Kumar, Nishi Kohli, Lyrics-Anjaan, MD-Bappi Lahiri

Lyrics

brru
he ae ae sambhal
arey log mujhe kyun dete hain taana
haan main hoon biwi ka deewaana
arrey to kya hua
zamaana to hai naukar biwi ka
tak dhina dhin
tak dhina dhin
tak dhina dhin
zamaana to hai naukar biwi ka
log mujhe kyun dete hain taana
haan main hun biwi ka deewaana
zamaana to hai naukar biwi ka
haan
zamaana to hai naukar biwi ka

haan
saare shehar ko aankh dikhaaye
sabki udaaye khilli
shauhar baahar sher bane par
ghar mein bheegi billi
saare shehar ko aankh dikhaaye
sabki udaaye khilli
shauhar baahar sher bane par
ghar mein bheegi billi
ghar ghar ka dastoor yahi hai
bambai ho ya dilli
kya
haan
zamaana to hai naukar biwi ka
haan
zamaana to hai naukar biwi ka
haan
zamaana to hai naukar biwi ka

jai ho patni raani
har pooja se badh kar dekhi
maine patni pooja aa aa aa
pyaar mein dooba biwi ke toh
aur nahin kuchh soojha
har pooja se badh kar dekhi
maine patni pooja
pyaar mein dooba biwi ke toh
aur nahin kuchh soojha
duniya mein khush rahne ka
koi aur na rasta dooja
kyun
kyon ki
zamaana to hai naukar biwi ka
haan

biwi aisi kahaan doosri
mahun mahun mahun mahun mahun
karoonga saari umar naukari
mahun mahun mahun mahun mahun
doonga main din raat salaami
karoonga main har waqt gulaami
pyaar mujhe tu sacha de de ae
de de
de de
de de
kya
de de bas ek bachcha de de
de de bas ek bachcha de de
o dont be silly
shut up

main to boloonga
main to boloonga
koi kunwaara
maane na maane
shaadi jo kar le
ye wohi jaane
zamaana to hai naukar biwi ka
arey chhodo na
haan
zamaana to hai naukar biwi ka
off ho
ye kya kar rahe ho

haan
zamaana to hai naukar biwi ka
arre re
dada ji dekh rahe hain

haan haan
zamaana to hai naukar biwi ka
off ho chhodo na
aah aah

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(© 2008 - 2016) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

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 12600 song posts by now.

This blog is active and online for over 3000 days since its beginning on 19 july 2008..

Total number of songs posts discussed

12675

Number of movies covered in the blog

Movies with all their songs covered =846 Total Number of movies covered =3551

Total visits so far

  • 8,714,268 hits

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Blog Start date: 19 july 2008 Active for 3000 days.