Paas balam chori chori aa
Posted on: June 10, 2013
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
This is a song from LAJAWAB-1950. Anil Biswas was the Music Director. By 1950, he had been in the Hindi film industry for about 15 years. He was hailed as the original composer and also the senior most one to be called “Bhishma Pitamah” of the HFM. He had attained fame, name, money, love and position in the industry, but one thing always bothered him and that was that, he had not been able to compose any song for Saigal or Noorjehan.
When Anil da came to Bombay, Saigal was in full steam at Calcutta and finally when he did come to Bombay he was very busy and also did not keep good health. In case of Noorjehan, it was merely Anil da’s bad luck that there was no opportunity for him to compose a song for her.
In 1947, Saigal died and Noorjehan left for Pakistan and Anil Biswas lived to carry his one dream unfulfilled.
He had actually composed a duet for Saigal and Noorjehan also. Finally this song was used by him in film Lajawab-50,in the voice of his favourite singers- Lata and Mukesh. The song was- Zamaane ka dastoor hai ye puraanaa
Anil da helped many singers to establish themselves firmly in the film industry. He was the one to give a song to Zoharabai Amabalewali in Gramophone singer-1938, had given the most popular song, Dil jalta hai to jalne de (Pehli Nazar) to Mukesh in Pehli Nazar, and Talat was given a break in film Arzoo-48, in Bombay. Earlier he was famous in Bengal as Tapan Kumar. Lata was a common find of Ghulam Hyder, Khemchand Prakash and Anil da. She first sang for him in Anokha Pyar. This is what Lata says about Anil Biswas,in one interview- (Thanks to Cineplot)-
“I have learnt many things from Anil Biswas. In Maharashtra, it is generally found that singers neglect the words and concentrate on the taan. At one time, I too did this. But Anil taught me how to concentrate on a clear enunciation of the bol for clarity on the microphone. For many months, I studied voice modulation with Anil.
Another ability I acquired through Anil’s training is to inhale while singing without in the least interrupting the song. I worked at this until I reached the stage when it was not possible to tell when I took a breath. Yet another invaluable lesson I learnt from Anil was to avoid any change in voice, whether I was taking the highest note or the lowest. “Your voice must remain the voice of Lata Mangeshkar, no matter at which pitch you are singing,” Anil told me. This is very difficult to do.”
Anil Biswas tells about Talat that his speciality was his Velvety voice and the tremor in his songs. Once while recording a song Talat was trying to sing in a flat voice. Anil da was furious. He threw Talat out and said, come back only if you will sing in your original voice. This indicated his love for Talat.
There is a belief that Anil da never liked Rafisaab and that is why he rarely used him.Actually, Rafi’s period started from 47-48 and by that time Anil da had entered his second half of career. One may say that even Lata’s period also started at the same time, then how come she got 15 times more songs than Rafi from Anil da ?
True, but in 1947 Noorjehan had left and Zohrabai, Rajkumari and Amirbai were waning, hence there was not much choice in female singers except Lata, Asha, Geeta and to some extent Shamshad. Where as, in male singers there was a wide choice. About Rafisaab, Anil da says, ” In the film Do Raha-52 I had recorded two songs of Rafi. When I sat with the producer of the film, we felt that his voice was not suiting the situation in the film and so, despite a loss of 15000, we removed those songs and recorded the same in Talat’s voice. Similarly one song in film Paisa hi paisa was recorded for kishore in Rafi’s voice as per Kishore’s request, but afterwards Kishore wanted to sing that song and we had to cancel Rafi’s song. Rafi was a great singer. He never uttered a single word about these things. The real thing is my music was very soft and Rafi’s voice was solid, which did not suit my songs.That’s all.”
Coming to Lata, Anil da was quite impressed with her. He sang only 3 songs with her, all in this film only. One of these is presented here today. In this song Anil da has no solo lines, but his voice is clearly heard. This is a Bangla Folk song.
Lajawab-50 was a Variety pictures’ film. This was a firm belonging to Ashalata(Mehrunnisa) Biswas, the First wife of Anil da. The director was J P Advani and the Lyricists were, Prem Dhavan, Shekhar(actor Shekhar),and Dr,Safdar ‘Aah’ Sitapuri.
This Dr. Safdar was from Sitapur U.P. He was a Ph.D. from Benares University in Vedanta and had written several articles and books on it. In Hindi films, he wrote lyrics only/mostly for Anil Biswas. He was a very soft and gentlemanly person, who joined Yogi Baba Muktanand’s Ashram after retirement. He died there and was buried by Baba’s disciples.
The cast of the film was, Sohan, Rehana, Kuldip, David, Kavita, Pran, Iftikhar, Prem Dhavan, Randhir etc.
The story of the film was-
Roma is a spoiled, pampered daughter of a rich businessman. She thinks that money can buy everything. Once, while driving through a nearby village, she kills a goat under her car. Saloni, the owner comes there. Roma offers her money as a compensation. There is a hot discussion between the two. Finding Roma a heartless person, Saloni curses her that she will never get true love in life till she knows what it is.
Roma is engaged to rich Sohan. But unfortunately, Sohan incurs loss in business and becomes a pauper. Roma breaks her engagement and gets engaged to his cousin Ramesh, who is very wealthy. Kailash,a true lover of Roma is spurned by her and goes away to Africa. Sohan, dejected, leaves the town and goes to nearby village where he meets Saloni and love develops between the two. On the day of marriage or Roma, her groom Ramesh dies in accident. All his wealth goes to Sohan and he becomes rich again.
Meanwhile Kailash comes back. Now he has become a millionaire. He once again proposes to Roma. Roma realises her mistake and also remembers Saloni’s curse. She and Kailash go to Saloni, who advises her to understand the value of life, money and love. Roma repents.
Finally Sohan and Saloni and Kailash and Roma reunite.
Song-Paas balam chori chori aa (Laajawaab)(1950) Singers-Anil Biswas + Chorus, Lata, Lyrics-Shekhar, MD-Anil Biswas
Chorus
Female chorus
Lyrics
??
naache re gori dhingo
naache re gori dhingo
naache re gori dhingo
hey dhol baaje khuddung
paayal baaje chhum chhum
dhol baaje khuddung
paayal baaje chhum chhum
?? jiya bole sainyya
naache re gori dhingo
naache re gori dhingo
naache re gori dhingo
hai naache re gori dhingo
paas balam chori chori aa
aa aa
haaye tujhe dekha na le koi
tujhe dekha na le koi
le ke jiya de ke jiya
kehle zara sun le zara
pyaar bhare nain mila jaa
naache re gori dhingo
naache re gori
paas balam chori chori aa
aa aa
haaye tujhe dekha na le koi
tujhe dekha na le koi
le ke jiya de ke jiya
kehle zara sun le zara
pyaar bhare nain mila jaa
naache re gori dhingo
naache re gori dhingo
naache re gori dhingo
naache re gori
tore bina chain nahin
aaye re balam
chain nahin aaye
kaun sune dil jo mera
gaaye re balam
dil jo mera gaaye
tore bina chain nahin
aaye re balam
chain nahin aaye
kaun sune dil jo mera
gaaye re balam
dil jo mera gaaye
umad ghumad aayi ghata
tohe balam mori kasam
nainon se aa dil mein sama jaa
naache re gori ??
naache re gori dhingo
naache re gori dhingo
hey dhol baaje khuddung
paayal baaje chhum chhum
dhol baaje khuddung
paayal baaje chhum chhum
jiya bole sainyya
naache re gori dhingo
naache re gori dhingo
naache re gori dhingo
naache re gori dhingo
chhoti si main chhui mui re
sajan chhui mui re ae
tu mera main teri huyi re
sajan teri huyi re ae
chhoti si main chhui mui re
sajan chhui mui re ae
tu mera main teri huyi re
sajan teri huyi re ae
naajon pali main hoon kali
?? bas tu kar le kadar
pyaar ki bagiya ko basa ja
naache re gori dhingo
naache re gori dhingo
naache re gori dhingo
hey dhol baaje khuddung
paayal baaje chhum chhum
dhol baaje khuddung
paayal baaje chhum chhum
jiya bole sainyya
naache re gori ??
naache re gori dhingo
hai naache re gori dhingo
hai naache re gori dhingo
hai naache re gori dhingo
7 Responses to "Paas balam chori chori aa"
June 10, 2013 at 8:27 am
Arunji,
Is Prem Dhawan, the lyricist acted in this film?
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June 10, 2013 at 10:17 am
Nitin ji,
PREM DHAWAN( 13-6-1923 to 7-5-2001) was a multi-faceted man. he was a Lyricist,Writer,Choreographer,Music Directr and actor in Hindi and Punjabi films. In lajawab also he had acted.
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June 10, 2013 at 7:18 pm
To me Laajawaab=this song!! That much strong is the attachment of this song for me! The moment the Radio Ceylon announced this song, I’d automatically pump up the volume!!
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June 10, 2013 at 8:10 pm
Seshadri ji,
I am also ditto on this song. This was my favourite for a long time till some other song replaced it.It is simply wonderful.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
June 10, 2013 at 7:46 am
In my view, this is one of the best folk songs composed by Anil Biswas.
As per 78 RPM record of the song with me, the title of the song is ‘naache re gori “dhingo”,
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