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

Archive for August 2018


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 : 3696 Post No. : 14613

Today’s song is from film Shakuntala-43. It was the first film made by V.Shantaram, in his newly established own studio Rajkamal Kalamandir Ltd. This name was made by combining the first few letters of his parents- RAJaram and KAMALabai Vankudre. The studio was set up in 1942 and the first film was made almost immediately with Shantaram’s second wife, Jayashree as the Heroine opposite Chandramohan- the (actually) Blue Eyed boy of Shantaram.

The year 1942 was an eventful and Milestone year for Hindi film industry.

It was in 1942 that a splinter group from Bombay Talkies, led by S Mukherjee, separated and established their own Filmistan Studio.
Abdul Rasheed Kardar started his own Kardar Studios, after working for many famous film makers of Bombay and Calcutta.
Leaving Prabhat Films, with select associates like brother V.Awadhoot (cinematographer), Vasant Desai and few others, Shantaram started his own studio-Rajkamal Kalamandir.

Mehboob Khan left National studios( earlier Sagar movietone) and established his own Mehboob Studios, with the famous Sicle and Hammer on its Logo.

Homi Wadia left Wadia Movietone ,along with fearless Nadia, and started his own Basant pictures.

Begum Akhtar made her rare appearance in film Roti-42.

Muqabala-42 was the ffirst film with many Trick scenes and double role of Fearless Nadia,speaking shudh Hindi in one character and donning Saree with bangles, kumkum etc.

Bharat Milap was the first film in which Prem Adib and Shobhana Samarth played the roles of Ram and Seeta. Later they created history with film Ramrajya-43 in the same roles.

Madhubala debuted as Baby Mumtaz in Basant-42.

This splurge of activities in 1942 and its roll over effect flooded the next year 1943 with ” ek se badhkar ek ” films from the new establishments, competing with the established ones. Films like Aabroo from Hind Pictures of Nazeer Ahmed, Adab Arz by Amar pictures of Virendra Desai (ex Sagar), Kanan Devi’s Hospital, Hamari Baat and Kismat from Bombay Talkies, Kanoon and Namaste by Kardar, Hunterwali ki beti and Mouj from Basant pictures, Andhera, Bansari, Gauri and Nurse from Ranjit, First film Najma by Mehboob studios, Panghat and Ramrajya by Prakash, Poonji from Pancholi of Lahore,Prithvi wallabh by Minerva and the biggest grosser Shakuntala from Rajkamal made the year 1943 a memorable year indeed. In addition other films from Circo, Mohan, Murali and many other production houses too joined in.
Out of all this, Shakuntala ran for 104 weeks and it was the First film shown in USA also. The success reassured Shantaram about his decision to go alone. He started with new vigour.

film Shakuntala had a cast of Jayashree ( Shantaram’s second wife), Chandramohan,Kumar Ganesh, Ratan Piya, Nana Palshikar, Shantarin etc etc. The songs were written by Dewan Sharar and Ratan Piya. The music was given by Vasant Desai. This was his first film with Shantaram. He went on to give music to several films from Rajkamal, like Parbat pe apna dera-44, Dr. Kotnis ki amar kahani-46, Matwala Shayar Ram Joshi-47 ( Amar Bhoopali-50, Marathi), Dahej-50, Surang-53, J.J.Payal Baje-55, Do ankhe bara haath-57 and Ladki Sahyadri ki-66.

Sharar had adapted the story from the original ” अभिज्ञान शाकुंतल by Mahakavi Kalidas ” written in the 3rd century. He wrote the story, dialogues and Lyrics also. This was Sharar’s first film with Shantaram . Their association continued for some more films like, Parbat pe apna dera-44, Dr. Kotnis ki amar kahani-46, Apna Desh-49, Teen batti char Raasta-53 and J.J. Payal baje-55.

Dewan Sharar also acted in 8 films and wrote 62 songs in 12 films.

Hindi film industry has seen uneducated, educated and talented artistes in various fields like acting, direction,production, cinematography, story and dialogue writing, Lyricists,composers etc etc. It has also seen successful artistes leaving films and shining somewhere else on their merits like, Shashi kapoor-sr, S D Batish, Lyricist Moti,B.A. etc etc. However , there is only one example where the artiste had an extraordinary success in totally unrelated fields, was a distinguished author and an acknowledged scholar BEFORE joining the film industry . He is Dewan Sharar. Not much has been written about him so far. Here is something about him.

Dewan was not his first name. It was a Title used as a prefix. He came from a family which had served as Dewans in many states traditionally in few generations. His name was Atmanand Sharar. He was born (1899-1969) in Multan in erstwhile Punjab. From 1929 to 1942, he travelled in many countries. He is credited with editing the Magazine, ” Shabistan “, the first Urdu cinema paper in India. He worked as a Publicist for the League of Nations in Geneva, Switzerland. He edited a leading weekly ” Great Britain and the East ” for 3 years He regularly contributed to British and American press. He was the first Indian whose 4 plays were broadcast over BBC. From 1937 to 1940, he was in charge of the cataloguing of Urdu books and Manuscripts in India House at London. He published many books like’ Indian Folklore’, ‘ In the garden of Peacocks’, ‘ East meets West’ and ‘ Gong of Shiva’. The last one was translated in many languages of Europe. Hindi film ‘ Ishara’-43 was based on this novel. He also wrote the story of Himanshu Roy’s film ” Karma”-33- first English film by an Indian. The film credits start with his name First.

This is what South Asian Cinema Faculty of U.K.said about him, “Film and stage actor, writer of English novels, short stories, stage and radio plays, “Eastern Adviser” to British-Gaumont films in London and Urdu poet. He also contributed prominently to Indian cinema as a producer, character actor and a story and dialogue writer. Born in Multan, Dewan Atmanand Sharar (1899-1969) came from a family that had served as Dewans or Ministers in Indian princely states. After graduating from Punjab’s prestigious Government College, Lahore, he established an impressive repertory company in 1919 and presented several Hindustani plays and mushairas in various urban centres. In 1929, he set up a film-producing and distribution company and began to edit Shabistan,reputedly the first Urdu cinema paper in India.
In 1933, Dewan Sharar moved to London for the completion and launch of Himansu Rai’s Indo-British film, Karma (1933) ofwhich he was the storywriter. It was completed in England by Indian & British Film Productions with J.L. Freer Hunt as the director and Thorold Dickinson as editor. Sharar also produced and acted in Nagin ki Rani, the Hindustani version of Karma. While in London, many of his English short stories on Indian life appeared in mainstream newspapers in the UK and overseas. A major London publishing firm, George G. Harrap & Co., published two of his English works: The Gong of Shiva(1935) and Hindu Fairy Tales(1936). His short stories were also published as part of an anthology which included contributions from other famous contemporary writers. He also contributed a number of English radio plays for the BBC.

After returning to India in 1939 just before World War II, he worked for All India Radio Bombay and Delhi. He then joined filmmaker, V. Shantaram and adapted Kalidasa’s Sanskrit classic, Shakuntala for the silver screen in Hindustani. The film was a runaway success and the Sharar-Shantaram combine lasted over a decade winning laurels for both Sharar and Shantaram’s banner, Rajkamal.

In 1943, Ishaara (1943), a film based on Sharar’s English novel The Gong of Shiva catapulted actor Prithviraj Kapoor to stardom. Besides becoming an important pillar of popular Indian cinema, he also started Dewan Sharar Publications in 1963. His descendants include famous Bombay-based Indian film actor Akash Khurana and Nagpur-based businessman turned playwright and theatre actor Vikash Khurana. ”

The other Lyricist of film Shankuntala-43 was a poet with a very romantic name-Ratan Piya. He was born on 5-3-1904 at Lucknow. His father Pt. Madan Mohan was secretary to Motilal Nehru. His father was a theatre lover and so started his own Theatre company at Allahabad. Ratan, after his matriculation started working in it. He was trained to write songs for its dramas. Their company was patronised by the Viceroy, who paid Rs. 20 p.m. as his Patronage !

Ratan debuted as a Lyricist in film Pakke Badmash-1939. For this film, he even wrote an English song. His films were Zaban-43, Mali-44, Umang-44 Nai Baat-47 and Batohi-48. For sustenance, he even acted in few films like, Shakuntala-43, Umang-44, Meena-44, Mahakavi Kalidas-44, Panna Dai-45, Khush Raho-49, Janam Patrika-49 and Begunah-49. After this ratan Piya returned to Allahabad to look after their Theatre when his father died.

Today’s song is sung by Vasant Desai himself. He gave music to 46 films. He acted in 4 films. He sang 13 songs in 9 films. He was often called for giving Background music to films. He gave Background music to 99 films.

( credits- http://www.sacf.co.uk, stagecrafttheatre.com, film directory-48, HFGK, MuVyz, and my notes )


Song-Chali apne ghar ko Shakuntala (Shakuntala)(1943) Singer-Vasant Desai, Lyrics-Dewan Sharar, MD-Vasant Desai

Lyrics

is bargad ko abmain tumhaare palle daal chali
par bahan
hamen kiske palle daal chali ho

hamen kiske palle mein daalegi
sakhi laadli
tu chali
chali
hamen kyon thhi ye ghadi dekhni
chhuta chhutpane ka jo naata thha
chali
chali aashram se shakuntala
chali aashram se shakuntala

??priya
priyamvada
?? mat
chhodo
shakuntala ko dheeraj do

madan
mere nanhe
ab main tujhse juda ho rahi hoon
ghabra nahin
baba teri paalna karenge

gurubaba
apne pyaaron ko vida karne jal tak hi aana thheek hota hai
ab ye jheel ka kinaara aa gaya
hamen aagya de kar
aap aashram ko laut jaayiye

kya
aap sab yahin se laut jaayenge

main tum sabko phir kab dekhoongi

baba se kab miloongi
baba
tapasya seap waise hi duble ho rahe hain
mere jaane se aur dukhi na hona
baba
mere baba

jo hansaati thhi
usey do diye
jise paaya thha
usey kho diye
gale mil ke rona judaai ka
pita putri ki hai yahi vidha
chali

beti
samay ho gaya

chali apne ghar ko shakuntala
ye safar tera path yatra
tujhe chhaaon achchi ghani miley
miley tujh ko chaman khile khile
tujhe peene ko miley ganga jal
path yatra teri ho sufal
chali

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This article is written by Bharat Upadhyay, 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 : 3695 Post No. : 14612

Month of August is full of so many National memories. Whenever we celebrate 9th August or 15th August, there will be invariably references of martyrs who dedicate their lives for the nation. We fought one war with China and four with Pakistan, and our loss of ‘shaheeds‘ was substantial.

Jaidev ji composed these Pt Narendra Sharma’s expressive lyrics in the voice of Lata ji. He recorded the same song with the voice of Asha ji and even that is equally popular.

(After the China war Lata and Asha had practised with a song of Pradeep ji, composed by C Ramchandra. But when Lata ji sang it ALONE on 26th January function at New Delhi, it became a much discussed controversy, as everybody will recall.)

The lyrics are so impressive and expressive, that there is no need for longer explanation. I am sure that the listeners of the song will become totally emotional.


Song: Jo Samar Mein Ho Gaye Amar (Patriotic NFS)(1962) Singers: Lata Mangeshkar, Lyrics: Pt Narendra Sharma, Music: Jaidev

Lyrics

jo samar mein ho gaye amar
main un ki yaad mein
gaa rahii huun aaj shradhdhaa-geet
dhanyavaad mein
jo samar mein ho gaye amar
main un ki yaad mein
gaa rahii huun aaj shradhdhaa-geet
dhanyavaad mein
jo samar mein ho gaye amar
 
laut kar na aayenge
vijay dilaane waale veer
mere geet anjali mein
un ke liye nayan-neer
laut kar na aayenge
vijay dilaane waale veer
mere geet anjali mein
un ke liye nayan-neer
sang phool-paan ke
rang hai nishaan ke
shoorveer aan ke
jo samar mein ho gaye amar
main un ki yaad mein
gaa rahii huun aaj shradhdhaa-geet
dhanyavaad mein
jo samar mein ho gaye amar

vijay ke phool khil rahe hain
phool adh-khile jhare
unke khoon se hamaare
khet baag ban harey
vijay ke phool khil rahe hain
phool adh-khile jhare
unke khoon se hamaare
khet baag ban harey
dhruva hain kraanti-gaan ke
surya nava-vihaan ke
shoorveer aan ke
jo samar mein ho gaye amar
main un ki yaad mein
gaa rahii huun aaj shradhdhaa-geet
dhanyavaad mein
jo samar mein ho gaye amar
 
wo gaye ke reh sakey
swatantrata swadesh ki
vishwa bhar mein maanyataa ho
mukti ke sandesh ki
wo gaye ke reh sakey
swatantrata swadesh ki
vishwa bhar mein maanyataa ho
mukti ke sandesh ki
praan desh-praan ke
moorti swaabhimaan ke
shoorveer aan ke
jo samar mein ho gaye amar
main un ki yaad mein
gaa rahii huun aaj shradhdhaa-geet
dhanyavaad mein
jo samar mein ho gaye amar
main un ki yaad mein
gaa rahii huun aaj shradhdhaa-geet
dhanyavaad mein
jo samar mein ho gaye amar

——————————————————
Hindi script lyrics (Provided by Bharat Upadhyay)
——————————————————

जो समर में हो गए अमर
मैं उनकी याद में
गा रही हूँ आज श्रद्धा गीत
धन्यवाद में
जो समर में हो गए अमर
मैं उनकी याद में
गा रही हूँ आज श्रद्धा गीत
धन्यवाद में
जो समर में हो गए अमर …

लौट कर न आएंगे
विजय दिलाने वाले वीर
मेरे गीत अंजली में
उनके लिए नयन-नीर
लौट कर न आएंगे
विजय दिलाने वाले वीर
मेरे गीत अंजली में
उनके लिए नयन-नीर
संग फूल-पान के
रँग हैं निशान के
शूर वीर आन के
जो समर में हो गए अमर
मैं उनकी याद में
गा रही हूँ आज श्रद्धा गीत
धन्यवाद में
जो समर में हो गए अमर …

विजय के फूल खिल रहे हैं
फूल अध-खिले झरे
उनके खून से हमारे
खेत बाग बन हरे
विजय के फूल खिल रहे हैं
फूल अध-खिले झरे
उनके खून से हमारे
खेत बाग बन हरे
ध्रुव हैं क्राँति-गान के
सूर्य नव-विहान के
शूर वीर आन के
जो समर में हो गए अमर
मैं उनकी याद में
गा रही हूँ आज श्रद्धा गीत
धन्यवाद में
जो समर में हो गए अमर …

वो गए कि रह सके
स्वतंत्रता स्वदेश की
विश्व भर में मान्यता हो
मुक्ति के संदेश की
वो गए कि रह सके
स्वतंत्रता स्वदेश की
विश्व भर में मान्यता हो
मुक्ति के संदेश की
प्राण देश-प्राण के
मूर्ति स्वाभिमान के
शूर वीर आन के
जो समर में हो गए अमर
मैं उनकी याद में
गा रही हूँ आज श्रद्धा गीत
धन्यवाद में
जो समर में हो गए अमर
मैं उनकी याद में
गा रही हूँ आज श्रद्धा गीत
धन्यवाद में
जो समर में हो गए अमर …


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.

Blog Day : 3695 Post No. : 14611

In the 1930s and in early 1940s, most of the music directors compose mainly raag-based and folk-based tunes to the lyrics.  The musicians would play the entire melody on their respective instruments in line with the tune. Since, in the absence of playback singing, songs would be recorded live, music directors were constrained to use minimum musical instruments, that too mostly within the options of Indian instruments consisting of harmonium, percussion, tabla/dholak, sitar, saarangi, flute etc.

Once the playback singing system stabilised in around late 1930s, music directors got flexibility in using more musicians and also started using western musical instruments such as piano, guitar, violin, mandolin, trumpet, clarinet etc. This gave them flexibility in composing preludes, interludes and orchestration. Anil Biswas who came to Bombay (Mumbai) sometime in 1935 with 12 of his Anglo-Indian musicians, changed the concept of orchestration of the songs. He was the first to use counter melody in orchestration. Probably, he was also the first music director of Hindi films who composed a song, Hum Aur Tum Aur Ye Khushi  based on waltz music (generally used for ball-room dance), for the film ‘Alibaba’ (1940). Anil Biswas could do it because he had in his orchestra, musicians well-versed in playing western music instruments.

There were perceptible changes in the style of song compositions in Hindi films of 1950s and 60s (also thereafter) as compared with those of 1940s. Songs of 1950s and 60s were not only melodic but their musical preludes, interludes and overall orchestrations appealed to the listeners. How did the Hindi film music witness musical metamorphosis in 1950s and 60s? The answer is that during this period, some of the Christian musicians and music arrangers from Goa played a pivotal role in taking the Hindi film music from the vintage era ( 1931-1947) to the golden era (1948-1980).

To understand as to how the Christian musicians from Goa got connected with Hindi film industry, one needs to go back to the history of Goa. After the annexation of Goa by Portuguese in the 16th century, they established churches, chapels and convents in their captured territories. As part of church services, there was a need to establish choirs – a group of singers accompanied by musicians. The locals who were converted in to Christianity were trained to sing and play western instruments such as organ and violin. The services of these trained singers and musicians were also utilised for the occasions such as weddings, community feasts and funerals. Over a period of time, with the regular exchange of people from other Portuguese territories such as Angola and Mozambique, these musicians learnt some more western instruments such as piano, trumpet, saxophone, guitar, clarinet etc.

The Portuguese did not do much to the education system. Nor did they provide employment opportunity to the locals. As against this, Goans found employment opportunity in British India especially at Mumbai, the nearest city for Goans. For those who had learnt music, Mumbai provided them opportunity to become musicians in the night clubs which were patronised by the higher strata of the societies.

During the World War II (1939-45), there were shortages of musicians in the night clubs as many foreign musicians especially from Germany and its allied countries either left India or they were arrested. The Goan musicians with their affinity to jazz music filled the vacancies. Also, the British and its allied troops which were stationed in major cities like Bombay, required night clubs as a source of entertainment.

During the late 30s and early 40s, many Goan musicians migrated mainly to Mumbai. Some of the well-known Goan musicians like Antony Gonsalves, Chic Chocolate, Sebastian D’Souza (came to Mumbai via Lahore), Frank Fernand, Chris Perry, Sonny Castelino, Lucilla Pacheco migrated to Mumbai. I guess that none of these musicians would have remotely thought of joining the Hindi film industry at the time of their migration. Generally, for musicians trained in western classical music, their intention will be to join a music band, earn a name and have their own music band.

Except Antony Gonsalves, all others mentioned above, had joined the dance bands as musicians. Those days, there was a craze for jazz music  and all these dance bands would mostly play jazz music in Taj Mahal Hotel, Green Hotel (run by Taj Mahal), Astoria Hotel, Ambassador Hotel, Ritz Hotel, Bristol Grill, Mocambo etc. During my way to college in Churchgate in early 1960s, I used to see displays outside some of these hotels and restaurants showing the names of the dance bands with prominent musicians schedule for the performance in the night. Perhaps, I may have read the names like Chic Chocolate, Frank Fernand and Chris Perry but without knowing at that time that they were associated with Hindi film music.

How some of these Goan musicians did get connected with Hindi film industry in the latter half of the 1940s is not clear. Probably, some of the music directors like Anil Biswas, C Ramchandra, Khemchand Prakash, Naushad either individually or collectively may have visited the night clubs to witness the performance of the dance bands. They would have been impressed by the harmonic presentation by musicians with foot tapping music. They saw the opportunity to use in Hindi film songs  by way of prelude and interlude orchestra which would appeal to the listeners.

But how to achieve the synergy of harmonic orchestra to the tune in melodic form in Hindi film songs? The uses of a large number of western musical instruments for orchestra which need to be played in harmony require a music composer (in Hindi film parlance, a music arranger) who can write music for each musician and for each instrument in the orchestra who may play the instruments in different notes. Goans with their training in Western classical music from their days in church choirs to dance bands were well versed to do the job of writing the music.

During the late 1940s, Goan musicians and music arrangers worked in Bombay film industry during the day time to supplement their income while the main source of their income continued to be from the dance bands. Sometime in early 1950s, the then Bombay State introduced prohibition and raised entertainment tax which affected the business of night clubs. Some of the Goan musicians had to become full time musicians and music arrangers in Bombay film industry while working with dance bands became a part time job.

Among the many Goan musicians, Antony Gonsalves, Frank Fernand, Sebastian D’Souza and Chic Chocolate have been the major music arrangers for the Hindi film music during 1950 to 1975. I guess, these four music arrangers may have been associated with about 90 per cent of the Hindi film songs during 1950-75.

All these four music arrangers have contributed so much to the Hindi film music that each one merits a full article. This will have to wait for some other time. In the meanwhile, I present below a brief sketch of the musical career of each one of them.

Antony Gonsalves (12/06/1927 – 18/01/2012) mostly worked as a free-lance music arranger due to the fact that he also played violin for almost all the top music directors. He started as a musician playing mainly violin with Naushad in 1943. He got his first assignment as music arranger with Shyam Sundar in Dholak (1951). His orchestration in Mausam Aaya Hai Rangeen is worth listening. He had also done orchestration for Hum Aapki Aankhon Mein  in ‘Pyaasa’ (1957) during which he also played violin. During his active filmy career between 1950-1965, he is said to have been associated in more than 1000 songs.

Antony Gonsalves taught violin to Pyarelal (of Laxmikant-Pyarelal) and RD Burman for 4 years. He had also become a keen follower of Hindustani classical music. In fact, in 1958, he had 110 musicians in his raag-based symphony orchestra playing his composition in various Indian raags blended with western music, a thing which is very common in the present generation. Unfortunately, his experiment did not click with the audience.  But his work was noticed at the international level.

Antony Gonsalves cut short his filmy career in 1965 and went to USA on an invitation from Syracuse University, New York. He remained in the USA for 10 years after which he returned to India and settled in his village Mojorda in Goa in seclusion during the rest of his life keeping away from the Hindi film industry.

An interesting trivia here – in the iconic song tuned by Laxmikant Pyaarelal – “My Name Is Anthony Gonsalves“, L-P have said that they used this name of their ‘teacher’, as a mark of honour for him.

Frank Fernand (03/05/1919 – 01/04/2007) worked as a music arranger mainly with Hemant Kumar, Ravi, Kalyanji Anandji though he also worked with other music directors. He migrated to Mumbai  in 1936 to join one of the dance bands. He got his first break as a music arranger in ‘Barsaat’ (1949) and also played trumpet and violin in some songs. During his career as musician/music arrangers, he is said to be associated with about 70 Hindi films. Frank Fernand’s work can be judged from Dil Deke Dekho Dil Deke Dekho, Baar Baar Dekho Hazaar Baar Dekho and Aage Bhi Jaane Na Tu  among his other works.

Sometime in the 60s, Frank Fernando ventured in to producing Konkani films and thereafter a couple of Hindi films in the 1970s. While his Konkani films earned him money, his first Hindi film ‘Priya’ (1970) was a box office failure while the second film ‘Aahat’ (1974) could be released only in 2010 after his death. In 1985, Frank Fernand was afflicted with Parkinson’s disease which kept him in the confine of his house in Bandra.

Sebastian D’Souza (29/01/1906 – 09/03/1996) was a dance band leader in early 1940s in a hotel in Lahore. During his Lahore days, he is said to have worked for Shyam Sundar and Ghulam Haider. After partition, he came to Mumbai. His first film as music arranger was with OP Nayyar in ‘Aasman’ (1952). His association with Shanker-Jaikishan started with ‘Daagh’ (1952) which continued uninterrupted till 1975.  With his attachment with OP Nayyar, Shankar-Jaikishan and occasionally with Salil Chaudhary, his outside assignments as music arrangers were few.

One can notice the ingenuity of Sebastian D’Souza’s in music arrangements in that despite working with OP Nayyar and Shankar-Jaikishan for a long time, his orchestrations retained the individual  stamps of these music directors in their respective songs. That Sebastian D’Souza could work with a temperamental music director like OP Nayyar for a long time speaks volume about his talent and of his mild nature.

It is said that Sebastian D’Souza’s counter-melody in orchestration was so good that  Jaikishan used some of his counter-melodies as  tunes for the songs. I am sure that in ‘Madhumati’ (1958), Salil Choudhary must have been impressed by Sebastian’s counter-melody in Aaja Re Pardesi and used it as a mukhda tune for Ghadi Ghadi Mora Dil Dhadke. Sebastian’s great work can be felt in almost all songs of S-J and OPN. However, the one song which I am very fond of because of orchestration is Poochho Na Hamen Hum Un Ke Liye from ‘Mitti Mein Sona’ (1960). The piano in this song was played by a Goan musician, Sunny Castellino who was a music arranger for ‘Aawaara’ (1951).

During his filmy career, Sebsatian D’Souza arranged music for about 125 films with around 1000 songs. He retired from film industry in 1975.

Merlyn D’Souza, daughter-in-law of Sebastian D’Souza has been continuing his musical tradition. She works as a music producer, music arranger and sometime as music director – both in films and theatres. In the music industry, she is often referred to as ‘Female AR Rahman’ due to her work in fusion music.

Chic Chocolate (real name : Antonio Xavier Vaz, 1916-1967) came to Mumbai in in the late 30s to become a lead jazz trumpeter in a dance band. His idol was Louis Armstrong, the American jazz trumpeter. Interestingly, he even looked like Louis Armstrong. Soon he became one of the best trumpeters in Mumbai’s jazz music scene. By the end of the World War-II, Chic Chocolate had already formed his dance band named ‘Chic & His Music Makers and had become one of the leading dance bands in Mumbai.

It is not clear as to when he started working for Hindi films. His earliest connection to Hindi film industry as a music arranger points to the film ‘Samaadhi’ (1950) in which he collaborated with C Ramchandra, The song  Gore Gore O Baanke Chhore which has jazzy music, brought him to the attention of Hindi film industry. His music arrangements in all the songs of  ‘Albela’ (1951) was a high point of his career as music arranger. I think, in this film, Chic Chocolate poured all his experience in Jazz music in such an extent that the songs which became a new category of songs with Indo-Jazz music.

In  Deewaana, Ye Parwaana, one can see Chic Chocolate playing trumpet with the musicians from his dance band ‘Chic & His Music Makers’. Because of runaway success of ‘Albela’ (1951), his dance band became more famous. He also adopted for his dance band the uniform that was used for his band in this song.

He mostly worked with C Ramchandra in the 1950s though he had also worked with other music directors. Take for instance, his music arrangements in the song, Ae Dil Mujhe Bata De in ‘Bhai-Bhai’ (1956) and Rut Jawaan Jawaan  in ‘Aakhri Khat’ (1966) in which he is seen playing trumpet.

With ‘Naadaan’ (1951), Chic Chocolate donned the hat of music director for the first time. This was followed by ‘Rangeeli’ (1952) and ‘Kar Bhala’ (1956).

Chic Chocolate passed away in May 1967 shortly after the release of ‘Aakhri Khat’ (1966). His son Erwell Vaz is a drummer.

Hindi film music is the work of so many creative artists, musicians and music arrangers. I guess, in the 50s and 60s, music arrangers must have spent more man-hours for arranging music than the music directors for whom they worked. Unfortunately, in film and music industry, it is mainly the singers and music directors who get the credit. However, in the recent period, names of at least lead musicians and music arrangers are mentioned in the credit titles of many of the films as well as the covers of CDs.

Today, I present the 7th song (out of 8 songs, including two multiple version songs)  from the film ‘Naadaan’ (1951) for which Chic Chocolate got his first opportunity to set the tune to the songs in addition to the music arrangements. The song is ‘Saari Duniya Ko Peechhe Chhod Kar’ sung by Lata Mangeshkar. The song was written by PL Santoshi.

The tune of the song has a distinct style of C Ramchandra who was credited as Music Supervisor. Surprisingly, none of the 8 songs in the film has jazz flavours. This is not to undermine the overall contributions of Chic Chocolate in the songs of the film. It is worth mentioning in this context that Chic Chocolate had composed many jazz songs for his dance band in the 40s. There are at least six 78 rpm gramophone records which bear the name of Chic Chocolate as the music composer.

The song under discussion appears to be a dream sequence going by the sets used in the picturisation of the song.

Acknowledgements:

  1. Naresh Fernandes – Taj Mahal Foxtrot – The Story of Bombay’s Jazz Age (2012)
  2. Gumnaam Hai Koi – The Untold Story of Music Arrangers and Musicians : Part-I & II – Rajya Sabha TV (2015)

 

(Video)

(Audio)

Song – Saari Duniya Ko Peechhe Chhod Kar (Nadaan) (1951) Singer – Lata Mangeshkar, Lyrics – PL Santoshi, MD – Chic Choclate

Lyrics

saari duniya ko peechhe chhod  kar
saari duniya ko peechhe chhod  kar
hum sitaaron ki duniya mein aa gaye..ae
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod  kar
hum sitaaron ki duniya mein aa gaye
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod  kar
 
chalo khelenge saajna aankh micholi
o o o
o o
o o
chalo khelenge saajna aankh micholi
bhar len sitaaron se hum apni jholi
bhar len sitaaron se hum apni jholi
chaand chhup chhup ke karta ishaare
kitne dilkash hain ye sab nazaare
hain ye sab nazaare
hum ek nai duniya mein aa gaye
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod kar
hum sitaaron ki duniya mein aa gaye..ae
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod kar
 
saare aalam pe chhaayi hai chaandni
kyon na gaayen hum ulfat ki raagini
aaa  aaa 
aa aa
aa aa aa aa
aa aa
aa aa aa
la la la la la
la la la la la
la la
saare aalam pe chhaayi hai chaandni
kyon na gaayen hum ulfat ki raagini
aaj harsoo hai
aaj harsoo hai mousam khushi kaa
luft aayega ab zindagi kaa
ab zindagi kaa
hum nazaaron ki duniya mein aa gaye
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod kar
hum sitaaron ki duniya mein aa gaye..ae
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod kar
hum sitaaron ki duniya mein aa gaye..ae
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod kar 

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

सारी दुनिया को पीछे छोड़ कर
सारी दुनिया को पीछे छोड़ कर
हम सितारों की दुनिया में आ गये॰॰ए
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर
हम सितारों की दुनिया में आ गये
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर

चलो खेलेंगे साजना आँख मिचौली
ओ ओ ओ
ओ ओ
ओ ओ
चलो खेलेंगे साजना आँख मिचौली
भर लें सितारों से हम अपनी झोली
भर लें सितारों से हम अपनी झोली
चाँद छुप छुप के करता इशारे
कितने दिलकश हैं ये सब नज़ारे
हैं ये सब नज़ारे
हम एक नई दुनिया में आ गये
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर
हम सितारों की दुनिया में आ गये॰॰ए
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर

सारे आलम पे छाई है चाँदनी
क्यों न गायें हम उलफत की रागिनी
आss आss
आ आ
आ आ आ आ
आ आ
आ आ आ
ल ल ल ल ला
ल ल ल ल ला
ला ला
सारे आलम पे छाई है चाँदनी
क्यों न गायें हम उलफत की रागिनी
आज हरसू है
आज हरसू है मौसम खुशी का
लुत्फ आएगा अब ज़िंदगी का
अब ज़िंदगी का
हम नज़ारों की दुनिया में आ गये
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर
हम सितारों की दुनिया में आ गये॰॰ए
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर
हम सितारों की दुनिया में आ गये॰॰ए
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर


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 : 3694 Post No. : 14610

“Preetam” (1971) was produced and directed by Bhappie Sonie. The movie had Shammi Kapoor, Vinod Khanna, Leena Chandavarkar, Helen, Raj Mehra, Tiwari, Anwar Hussain, Manmohan, Siddhu, Malika, Urmila Bhatt, Raj Kishore, Ravikant, Daya Devi, Shyam, Dhanraj, Robert Slater, Birbal, Naaz, Dhumal, Mehmood etc in it.

The movie had six songs in it. Four songs have been covered in the past.

Here is the fifth song from the movie. It is sung by Asha Bhonsle. The song is picturised as a cabarat dance song on Helen.Rajinder Krishan is the lyricist. Music is composed by Shankar Jaikishan. The lyrics for this song have been sent in by Prakash ji.


Song-Ham bhi shikaari tum bhi shikaari(Preetam)(1971) Singer-Asha Bhonsle, Lyrics-Rajinder Krishan, MD-Shankar Jaikishan

Lyrics (Provided by Prakashchandra)

hum bhi shikaari
tum bhi shikaari
hum bhi shikaari
tum bhi shikaari
teer tumhaare
aanhken hamaari
aankhen hamaari
hum bhi shikaari
tum bhi shikaari
teer tumhaare
aanhken hamaari
aankhen hamaari
aa haa
aa aaa
aa haa

aaja aaja zara aaja dilwaale
meri aaankh ka nishana aazmaa le
ya tu karle shikar mujhe teer se
ya tu chot meri nazron ki khaa le
aaja aaja zara aaja dilwaale
meri aaankh ka nishaana aazmaa le
ya tu kar le shikaar mujhe teer se
ya tu chot meri nazron ki khaa le
hey
luabara kaalu
hum bhi shikari tum bhi shikari
hey
hum bhi shikari
hey tum bhi shikaari
teer tumhaari aanhken hamaari
aankhe hamaari
aa haa
aa aaa
aahaa

jo huzur ko garoor hai shikaar ka
to gumaan mujhe roop ke bahaar ka
zara haath se kamaan to uthhaayiye
main bhi hausla to dekhoon sarkaar ka
jo huzur ko garoor hai shikaar ka
to gumaan mujhe roop ki bahaar ka
zara haath se kamaan to uthhaayiye
mai bhi hausla to dekhoon sarkaar ka
hey
balaru bai sa
hum bhi shikaari
tum bhi shikari
hum bhi shikari
haa tum bhi shikari
teer tumhaare
aanhken hamaari
aankhen hamaari
aa haa
aa aa
aa haa

dil waalon ko jalaana mera kaam hai
achche achchon ko jhukaana mera kaam hai
kaho karna hai mujhse muqaabla
zara soch lo
jawaani mera naam hai
dil waalon ko jalaana mera kaam hai
achche achchon ko jhukaana mera kaam hai
kaho karna hai mujhse muqaabla
zara soch lo
jawaani mera naam hai
hey
juwaala
judeta
hum bhi shikaari
tum bhi shikari
he
hum bhi shikari
he tum bhi shikari
teer tumhaare
aanhken hamaari
aankhen hamaari
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.

Blog Day : 3694 Post No. : 14609

“Mamta”(1952) was produced by R B Haldia and J L Sharma and directed by Gunjal for Sishaat Films, Bombay. The movie had Sumitra Devi, Ulhas, Mirza Musharraf, Rajan Haksar, Kamal Mehra, Chitralekha, Bhagwandas, Ramesh, Rajni, Shantabai, Sadiq, Kaabil amritsari, Baby Salma, Master Raja, G P Srivastava, Sheila, paro etc in it.

The movie had eight songs in it that were penned for four lyricists.

Four songs have been covered in the past.

Here is the fifth song from “Mamta”(1952) to appear in the blog. This song is sung by Geeta Dutt. Verma Malik is the lyricist. Music is composed by Sonik.

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


Teri kaali kaali ankhiyaan kanhaiyya (Mamta)(1952) Singer-Geeta Dutt, Lyrics-Verma Malik, MD-Sonik

Lyrics

teri kaali kaali ankhiyaan kanhaiya
teri kaali kaali ankhiyaan kanhaiya
main dil mein basa loon
main dil mein basa loon
teri gori gori bainya ho kanhaiya
teri gori gori bainya ho kanhaiya
main seene se laga loon
main seene se laga loon

o
o o o
teri nanhi nanhi palkon mein preet hai
ho preet hai
o
o o o
man meet ke sangeet ka tu geet hai
ho geet hai
mere nanhe munne pappu saanwariya
mere nanhe munne pappu saanwariya
main jhulna jhula loon
main jhulna jhula loon
teri kaali kaali ankhiya kanhaiya
teri kaali kaali ankhiya kanhaiya
main dil mein basa loon
main dil mein basa loon

o
o o o
chhidi pyaar mein hai bheeni bheeni raagini
meethi raagini
o
o o o
tu hai chaand aur main hoon rat chaandni
raat chaandni
tujhe laage na kisi ki najariya
tujhe laage na kisi ki najariya
aanchal mein chhupa loon
aanchal mein chhupa loon
teri kali kali ankhiyaan kanhaiya
teri kali kali ankhiyaan kanhaiya
main dil mein basa loon
main dil mein basa loon


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 : 3693 Post No. : 14608

Today’s song is from a film ‘Ek Hi Bhool’ from 1940. It was a film made by Prakash Pictures and was directed by Vijay Bhatt. The lyricist was ‘Anuj’ and the music director was the favourite of Prakash – Shankar Rao Vyas. The film’s cast was Jairaj, Mehtab, Umakant, Amirbai, Prahlad Dutt, Baby Meena (Meena kumari) and also a Dog called Tiger. (I always wonder when people can see that it is a dog, then why the owners name it as Tiger to mislead others ?).

Many people know that actress Mehtab was Sohrab Modi’s wife, having married him against opposition from all, on 28th April 1946. But most people do not know her background. Mehtab was born on 28th April, 1918 in Bombay. Her father Siddee Ebrahim Khan was the Nawab of Sachin (Surat, Gujarat). Her parents named her as Najma. She was the step sister of actresses Zubeida (‘Alam Ara’ fame), Sultana and Shehzadi. She studied up to intermediate. She was fluent in Urdu, Gujrati, English and Marathi. When her father – the Nawab – gave talaaq to her mother, her mother took her to Bombay where her sautan, Fatima, another wife of the Nawab was promoting her 3 daughters to become actresses. Fatima gave her refuge, solace and a promise to promote Najma also as an actress. Her career  started as child artist at the age of 12. She did 3 silent films, namely ‘Second Wife’ (1928), ‘Kamal e Shamsheer’ (1930) and ‘Sheroo Sainik’ (1931) – all  produced by her mother. Her first talkie film as heroine was Indian Arts Production’s ‘Veer Kunal’ (1932) through which she got her screen name Mehtab. Ashraf Khan was the hero of that film. Subsequently, Chandulal Shah signed her for two films viz. ‘Bhola Shikar’ (1933) opposite E Billimoria and ‘Ranchandi’ (1934) opposite Navin Chandra. None of these films did well, so her mother formed a film company of her own. Meanwhile, Mehtab had got married, at the age of 14 years only and had got a son from that marriage, Ismail. However, no film was completed under their company and they faced heavy losses. Moreover, Mehtab’s marriage also didn’t work out and she took divorce and won the custody of her son.

She started doing films in any role, not only heroine’s. After doing 19 films, she got a call from Calcutta. In 1940, she was offered a film named ‘Qaidi’ (1940) made by Film Corporation of India. Though she was not the leading heroine of the film but her acting was praised all over. She did 3 films in Calcutta. After ‘Qaidi’, she did ‘Masoom’ (1941). The banner signed her again as the heroine for their next film ‘Chitralekha’ (1941) in which she created a sensation overnight by doing a bathing scene aesthetically, something shown for the very first time in a Hindi film. Around 1941 to 1943, Mehtab was among the most famous actresses of Hindi films. Her next three films ‘Sharda’ (1942), ‘Chauringhee’ (1942), and ‘Bhakt Kabeer’ (1942) also proved to be hits.

In 1944, Central Studio signed Mehtab for their film ‘Parakh’ (1944). Sohrab Modi was directing the film. At the time of signing the contract, Mehtab told Modi that she had heard that he only took his own close-ups in his films and ignored the others. He told her that he wasn’t acting in that film. Thereafter, Sohrab Modi again took Mehtab as heroine in his film ‘Ek Din Ka Sultan’ (1945) opposite Wasti under his own banner Minerva Movietone. Slowly, Sohrab Modi fell in love with her and proposed to her. Mehtab agreed only on the condition that she would not leave her son Ismail. Sohrab didn’t find any problem in that and they got married on the birthday of Mehtab, 28 April 1946. Sohrab Modi’s family didn’t approve as they were Parsi and Mehtab was Muslim. Sohrab never interfered in Mehtab’s career or religion. Mehtab had a son from Modi named Mehli who was brought up as Parsi. Modi sent both the sons abroad to study.

Mehtab did few films after marriage like ‘Behram Khan’ (1946), ‘Saathi’ (1946), ‘Shama’ (1946). Her last major film was ‘Jhansi Ki Rani’ (1953). She did a small role in film ‘Samay Bada Balwan’ (1969). Sohrab Modi was the producer, director and the hero of the film. It was Sohrab’s first colour film. She acted in total 40 films.

Sohrab Modi died on 28 January 1984 due to cancer of the bone marrow. Mehtab’s both sons were settled abroad, though she spent her life in Cuff Parade, Mumbai till her death. She died on 8-4-1997. She was buried at the Bada Qabrastan, Marine Lines, Mumbai.

Another name one can see in the cast is that of Prahlad Dutt. He was actually a foreign trained photographer and cameraman, and an expert in trick photography. He was working in Lahore in the early 1940s. Pancholi’s film ‘Shirin Farhad’ (1945) was getting ready and Prahlad Dutt was its director and trick scenes master. His work was applauded by everyone. The scene where Farhad digs out a canal from a big mountain single-handed, was done by Prahlad with astounding results. After the partition, he ran away from Lahore to Bombay. He soon got work here as his name was well known and famous.

He was working in Ranjit directing a film ‘Mitti Ke Khilaune’ (1948). It was in early 1948. Gandhiji was assassinated on 30th January. 4-5 days after that, Ranjit studio workers were shocked to find a police jeep entering the studio, in speed. Out jumped an inspector and asked, “Where is Prahlad Dutt?”. Ranjit Manager asked “Why?” the answer was “We have his arrest warrant in connection with Gandhi killing”. While the manager offered to call him here from another floor where he was shooting, the police ran towards that place. As soon as Prahlad saw the police, he started running, with police chasing him and shouting at him to stop. He tried to climb the wall and disappear, but the inspector warned him first and then shot him with his pistol in his thigh. He fell down. He was arrested and taken away.

He was charged with various crimes and a case was put on him. However, he was released unblemished after 4 months. Ranjit management helped him quite a lot in those days. Prahlad Dutt acted in only one film – ‘Ek Hi Bhool’. He directed 5 films in all – ‘Shirin Farhad’ (1945), ‘Piya Ghar Aa Jaa’ (1947), ‘Mitti Ke Khilaune’ (1948), ‘Nazaare’ (1949) and ‘Madhubala’ (1950).

One more name in the cast is that of Umakant (full name Umakant Desai).  I am sure most people would not know anything about him.

People remember Dilip kumar for his double role in ‘Ram Aur Shyam’ (1967) and triple role in ‘Bairaag’ (1976). People also remember Sanjeev Kumar for his 9 roles in ‘Naya Din Nayi Raat’ (1974) or Kamal Hassan for his 10 roles in ‘Dashavtaar’ (2008), but hardly anyone knows that Umakant Desai was the FIRST actor to do 3 roles in film ‘Hukum Ka Ikka’ (1939) (as the rajkumar, as a madari and as a common man).

Umakant Desai was born in Sankheda, near Vadodara (Baroda), Gujarat on 13-6-1908. After matriculation, he came to Bombay and did a job in BB&CI Railways (Bombay,Baroda and Central India Railway), a private railway company of pre Independence period. He used to do roles in local dramas. One day director Chimanlal Desai saw him in a drama called ‘Jaya Aur Jayant’. He was so impressed with him, that he took him to act in Gujarat’s First Talkie ‘Narsi Mehta’ (1932). In this film Umakant did the role of Krishna.

So, the son of a landlord Himmatbhai Jagubhai Desai became a film actor. He joined Prakash Pictures on a salary of Rs 150/- pm, but when he left Prakash, he was drawing Rs 3,000/- pm. In 1934, he worked in Gujarati film ‘Sansaar Leela’. He sang 2 duets with Rajkumari in this film. The film was a hit and was remade in Hindi as ‘Nai Duniya’. He worked in ‘Bharat Milap’ (1942). His best remembered role was as Laxman in film ‘Ram Rajya’ (1943), which created several records, including that it was the first and the only film Mahatma Gandhi ever saw in his lifetime !

Umakant worked in 59 Hindi films and 15 Gujarati films. ‘Anmol Moti’ (1948) was his last film as a hero. Then he shifted to doing character roles. He had worked with Durga Khote, Shobhana Samarth, Pramila, Ratnamala, Ranjana, Sitara, Snehprabha Pradhan, Meena Kumari, Amita, Vijayanti Mala, Nalini Jaywant, Kamini Kaushal etc. For fluency in Hindi and Urdu, he had appointed a teacher also.

He worked in 26 films of Prakash, in which 8 films were directed by Vijay Bhatt. He mostly worked in mythological and social films. Some of his films were ‘Miss Mala’, ‘Chhote Babu’, ‘Station Master’, ‘Amar Asha’, ‘Poornima’, ‘Anmol Moti’, ‘Kavita’, ‘Hamara Ghar’ etc . He did Laxman’s role in 7 films.

Umakant’s son and daughter-in-law died a tragic death in a snow blizzard in USA in 1975. His wife Kaumudiben died in 2006 and Umakant died on 25-1-2007.

He was awarded Dadasaheb Phalke Academy Award in 2004.

While going through the title index by Harmandir ji for films from 1931 to 2012, I found that the word ‘EK’ is the most used word in Hindi film Titles. As many as 206 films are made, beginning with the word ‘EK’. Amongst these, there are 32 film titles starting with ‘Ek Aur ….’. Films with title ‘Ek Hi Bhool’ were made 3 times – 1940, 1981 and 2005.

Today’s song is sung by Amirbai Karnataki and NM Adhikari. I have not been able to get any information about this male singer. It seems this was the only film in which he sang. He sang 1 solo and 1 duet. With this song, the film ‘Ek Hi Bhool’ of 1940 and the singer NM Adhikari make their debut on our blog.

(Credits- Sapnon Ke Saudagar by Vithal Pandya, Harish Raghuwanshi, HFGK, MuVyz and my notes.)


Song – Main Phoolon Ki Sugandh Bankar Upvan Saara Mehkaaoon (Ek Hi Bhool) (1940) Singer – Amirbai Karnataki, NM Adhikari, Lyrics – Sampatlal Shrivastav ‘Anuj’, Music – Shankar Rao Vyas

Lyrics (Provided by Sudhir)

main phoolon ki
main phoolon ki
sugandh ban kar
upvan saara mehkaaun
main phoolon ki
sugandh ban kar
upvan saara mehkaaun
main phoolon ki
main bhaunra
main bhaunra ban kar
chupke se phoolon ka ras le jaaun
main bhaunra ban kar
chupke se phoolon ka ras le jaaun

main madmaati koel ban kar
birha ka geet sunaaun
main madmaati koel ban kar
birha ka geet sunaaun
main premi ke aansu ban kar
birha ki aag bhujaaun
main premi ke aansu ban kar
birha ki aag bhujaaun

aao hil mil
armaanon ki duniya nai basaayen
aao hil mil
armaanon ki duniya nai basaayen
is neeras jeevan
mein phir se
is neeras jeevan
mein phir se
hai nai umangen laayen
hai nai umangen laayen

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

मैं फूलों की
मैं फूलों की
सुगंध बन कर
उपवन सारा महकाऊँ
मैं फूलों की
सुगंध बन कर
उपवन सारा महकाऊँ
मैं फूलों की
मैं भौंरा
मैं भौंरा बन कर
चुपके से फूलों का रस ले जाऊँ
मैं भौंरा बन कर
चुपके से फूलों का रस ले जाऊँ

मैं मदमाती कोयल बनकर
बिरहा का गीत सुनाऊँ
मैं मदमाती कोयल बनकर
बिरहा का गीत सुनाऊँ
मैं प्रेमी के आँसू बन कर
बिरहा की आग बुझाऊँ
मैं प्रेमी के आँसू बन कर
बिरहा की आग बुझाऊँ

आओ हिलमिल
अरमानों की दुनिया नई बसाएँ
आओ हिलमिल
अरमानों की दुनिया नई बसाएँ
इस नीरस जीवन
में फिर से
इस नीरस जीवन
में फिर से
है नई उमंगें लाएँ
है नई उमंगें लाएँ


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 : 3693 Post No. : 14607

Songs to Tickle Your Memory – 36
– – – – – – – – – – – – – – – – – –

Seriously, for some reason, I have always carried this impression that this song is already posted on our blog. And not just that, also that it has been posted long back. The song itself has not been seen online for a long time. And dear friend, Shri Arvinder ji, has been requesting me for months now to upload it. And I have been postponing it, for reasons of other preoccupations. His requests have recently been turning more sinister. So I was just by the way checking status of films of 1960s. And found that this song is not on the blog.

So now that I could also do post on the blog, then it became imperative that the song be uploaded. And seriously, I had to revive this series, which I had kind of set aside since September of 2016, after having posted 35 episodes. But this song, realizing that it is still to be posted, definitely merits consideration for this series. It certainly is a song that will tickle your memory. A song that was quite popular and often heard on the radio in those days, is now being reprised after a long gap. I am sure you are going to love it.

The words by Bharat Vyas are simple and yet exquisite. They capture the emotions of a heart that seems to be falling in love for the first time. A tussle is one between the a newly blossomed flower of champa, and the marauding bhanwara. The fresh champakali is trying to hide herself from the prying eyes of the bhanwra. She is afraid that he may not steal her heart away, and come to reside in it. And the bhanwra is floating around her, humming away, and telling her that this wonderful weather of fresh rains will pass soon. Yes, it is time to fall in love.

Surely it is. The melody is vintage Chitragupt, twining the verses of Bharat Vyas in such an enchanting manner that the heart simply gets carried away with this expression and description of budding love between the champakali and the bhanwra, a phenomena that is so intrinsic to the nature. Beautiful words, enchanting music and very playful and joyous rendering by Asha Bhosle. A very special song, indeed.

The film is ‘Mahabharat’ from 1965. The film is produced under the banner of AG Films, Bombay and is directed by Babubhai Mistry. The star cast is impressive and includes Pradeep Kumar, Padmini, Dara Singh, Abhi Bhattacharya, Jeevan, Ambika, Manhar Desai, Tiwari, Anoop Kumar, Maruti, and Achla Sachdev amongst others. Song list in Geet Kosh contains 9 songs, all created by Bharat Vyas and Chitragupt.

This is the second song of this film to come on board here. Listen, and get that ticklish feeling of meeting a very dear friend after a very long gap. Enjoy.

 

Song – Champakali Chhup Chhup Jaaye Re (Mahabharat) (1965) Singer – Asha Bhosle, Lyrics – Bharat Vyas, MD – Chitragupt
Chorus

Lyrics

aha haa haa haa haa haa haa ha..aa..aa..aa

champakali chhup chhup jaaye re
bhanwra lalchaaye re
jhaanke chori chori laaj nahin aaye re
jhaanke chori chori laaj nahin aaye re
champakali chhup chhup jaaye re
bhanwra lalchaaye re
jhaanke chori chori laaj nahin aaye re
jhaanke chori chori laaj nahin aaye re
champakali chhup chhup jaaye re

aaaa aaaaaaa aa
aaaa aaaa aaaa aaaaaaaa aa
aaaa aaa aa
aaaa aaa aa aaaaaa

chhui mui nanhi kali badi ghabraaye
koi anjaana mora jiya na le jaaye
chhui mui nanhi kali badi ghabraaye
koi anjaana mora jiya na le jaaye
boley nahin
palken khole nahin
koi kajraare nainan mein bas na jaaye re
champakali chhup chhup jaaye re
bhanwra lalchaaye re
jhaanke chori chori laaj nahin aaye re
jhaanke chori chori laaj nahin aaye re
champakali chhup chhup jaaye re

dheemi dheemi hawa chale ghata lehraaye
gun gun bhonwra bole mausam beeta jaaye
dheemi dheemi hawa chale ghata lehraaye
gun gun bhonwra bole mausam beeta jaaye
dhadhke jiya
bairi ye chhalia
mere kaanon mein preet bhara geet gaaye re
champakali chhup chhup jaaye re
bhanwra lalchaaye re
jhaanke chori chori laaj nahin aaye re
jhaanke chori chori laaj nahin aaye re
champakali chhup chhup jaaye re

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

आहा हा हा हा हा हा हा हा॰॰आ॰॰आ॰॰आ

चम्पाकली छुप छुप जाये रे
भँवरा ललचाये रे
झाँके चोरी चोरी लाज नहीं आए रे
झाँके चोरी चोरी लाज नहीं आए रे
चम्पाकली छुप छुप जाये रे
भँवरा ललचाये रे
झाँके चोरी चोरी लाज नहीं आए रे
झाँके चोरी चोरी लाज नहीं आए रे
चम्पाकली छुप छुप जाये रे

आsss आsssssss आs
आsss आsss आsss आsssssss आs
आsss आss आs
आsss आss आs आssssss

छुई मुई नन्ही काली बड़ी घबराए
कोई अंजाना मोरा जिया ना ले जाये
छुई मुई नन्ही काली बड़ी घबराए
कोई अंजाना मोरा जिया ना ले जाये
बोले नहीं
पलकें खोले नहीं
कोई कजरारे नैनन में बस ना जाये रे
चम्पाकली छुप छुप जाये रे
भँवरा ललचाये रे
झाँके चोरी चोरी लाज नहीं आए रे
झाँके चोरी चोरी लाज नहीं आए रे
चम्पाकली छुप छुप जाये रे

धीमी धीमी हवा चले घटा लहराए
गुन गुन भौंरा बोले मौसम बीता जाये
धीमी धीमी हवा चले घटा लहराए
गुन गुन भौंरा बोले मौसम बीता जाये
धड़के जिया
बैरी ये छलिया
मेरे कानों में प्रीत भरा गीत गाये रे
चम्पाकली छुप छुप जाये रे
भँवरा ललचाये रे
झाँके चोरी चोरी लाज नहीं आए रे
झाँके चोरी चोरी लाज नहीं आए रे
चम्पाकली छुप छुप जाये रे


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 : 3692 Post No. : 14606

27th August – a traveling tour, a distant land, and an unexpected loss; a loss that is as numbing even today, as shattering as it was when it happened then. 1976, and a hotel in Detroit, USA. The soul of the voice and the voice of the soul – both were stilled forever. A life of just 53 years. And a singing career that was wonderfully placed. Both cut short by the matters of the heart – matters that could not be set right.

Today, we remember Mukesh, through his songs, in an effort to re-live the times. And to enjoy the listening pleasure that this voice still continues to be forty two years after his departure.

Mahesh ji’s wonderful selection “Yahaan Radha Kund Hai Shyam Kund Hai” from an obscure film ‘Subhash Chandra’ has already posted earlier in the day today. Here is one more song in the memory of this soulful voice.

The film is ‘Aayega Aanewaala’ from 1967. This film is produced and directed by Kewal Misra for his home company, Kewal Productions, Bombay. The list of actors reads as follows – Kumkum, Sanjeev Kumar, Sabita Chatterjee, Ram Mohan, Kundan, Rajan Haksar, Chaman Puri, Uma Khosla, Ravi Khanna, Bela Bose, Khairati, and Agha.

There are six songs in this film, all written by Naqsh Lyallpuri, and the music is composed by the duo of Sapan Jagmohan. One song of this film has already been posted here. This is the second song coming on board.

The filming location for this song is Simla (in Himachal Pradesh) – a very scenic and a popular vacation resort, right from the pre-independence days. The song is picturized as what appears to be a picnic song. Sanjeev Kumrar is wooing and teasing Kum Kum, telling her that he is a seasoned player, and that he is not easily perturbed.

The song is a lively, playful song. In the voice of Mukesh, it becomes more endearing. The voice suits all types of emotions – even naughty playfulness. Listen and enjoy.

Song – Hum Wo Nahin Jo Aapke Kadmon Mein Dil Ko Rakh Den (Aayega Aanewaala) (1967) Singer – Mukesh, Lyrics – Naqsh Lyallpuri, MD – Sapan Jagmohan

Lyrics

hum wo nahin to aapke
kadmon mein dil ko rakh den
hum ne zamaana dekha hai
hum ne zamaana dekha hai
hum wo nahin to aapke
kadmon mein dil ko rakh den
hum ne zamaana dekha hai
hum ne zamaana dekha hai

aise na hamen tum dekho
chehre se zulf hata ke
aise na hamen tum dekho
chehre se zulf hata ke
teri nazar ka raaz hain hum
bade zamaana saaz hain hum
hum ne zamaana dekha hai
hum ne zamaana dekha hai

hothon pe phool hansi ke
aankhon mein hayaa ka sagar
hothon pe phool hansi ke
aankhon mein hayaa ka sagar
badi haseen hain ye adaayen
kaho hamen na aazmaayen
hum ne zamaana dekha hai
hum ne zamaana dekha hai

tauba ye shokh jawaani
rangeen qayaamat ho tum
tauba ye shokh jawaani
rangeen qayaamat ho tum  
tumhen kasam hai maan jaao
hamen ye tewar na dikhaao
kyon ke zamaana dekha hai
hum ne zamaana dekha hai

hum wo nahin to aapke
kadmon mein dil ko rakh den
hum ne zamaana dekha hai
hum ne zamaana dekha hai

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

हम वो नहीं जो आपके
कदमों में दिल को रख दें
हमने ज़माना देखा है
हमने ज़माना देखा है
हम वो नहीं जो आपके
कदमों में दिल को रख दें
हमने ज़माना देखा है
हमने ज़माना देखा है

ऐसे ना हमें तुम देखो
चेहरे से जुल्फ हटा के
ऐसे ना हमें तुम देखो
चेहरे से जुल्फ हटा के
तेरी नज़र का राज़ हैं हम
बड़े ज़माना साज हैं हम
हमने ज़माना देखा है
हमने ज़माना देखा है

होठों पे फूल हंसी के
आँखों में हया का सागर
होठों पे फूल हंसी के
आँखों में हया का सागर
बड़ी हसीं हैं ये अदाएं
कहो हमें ना आज़माएँ
हमने ज़माना देखा है
हमने ज़माना देखा है

तौबा ये शोख जवानी
रंगीन क़यामत हो तुम
तौबा ये शोख जवानी
रंगीन क़यामत हो तुम
तुम्हें कसम है मान जाओ
हमें ये तेवर ना दिखाओ
हमने ज़माना देखा है
हमने ज़माना देखा है

हम वो नहीं जो आपके
कदमों में दिल को रख दें
हमने ज़माना देखा है
हमने ज़माना देखा है


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 : 3692 Post No. : 14605

“Raaj Raani”(1950) was directed by Satish Nigam for Jagat Pictures, Bombay. The movie had Meena Shorey, Rehman, Sohan, Usha Kiran, Cuckkoo, Vyas, Mehta, Shashikala etc in it.

This “social” movie had seven rare songs in it that included six female solos-two each by Shamshad Begam, Surinder Kaur and Lata, whereas there was one duet sung by Shamshad Begam and Rafi.

Two Surinder Kaur solo songs from the movie have been covered in the past.

Here is a Lata solo from the movie. The song is penned by D N Madhok. Music is composed by Hansraj Bahl.

Only the audio of this “bhanwra-kali” genre of song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.


Song-Bhanwra beimaan gaaye mohabbat ke gaane (Raaj Raani)(1950) Singer-Lata, Lyrics-D N Madhok, MD-Hansraj Bahl

Lyrics

bhawra beimaan
bhanwra beimaan
gaaye muhabbat ke gaane
bade mastaane
suhaane lubhaane
kali phooli na samaaye
boli lipat ras lei ja
chipat ras lai ja
mere bag mein koi shikwe na gaaye
bhawra beimaan

bana ras ka lobhi
udhar muskuraata aa aa
bana ras ka lobhi
udhar muskuraata
taraane madhur madbhare gungunaata
bola lipat ras dai ja
chipat ras dei ja
fiza mein bade ashq humne bahaaye
bhanwra beimaan
gaaye muhabbat ke gaane
bade mastaane suhaane lubhaane
kali phooli na samaaye
boli lipat ras lei ja
chipat ras lai ja
mere baag mein koi shikwe na gaaye
bhawra beimaan

ye sun kar bekali mein
wo kali bhanwre se yoon boli
mera tum ho na ho
o ras ke lobhi
main teri ho li
arre aa jaao
arre aa ja
lipat ras lei ja
chipat ras lai ja
bahaaron ki rut jaa ke aaye na aaye
bhanwra beimaan
gaaye mohabbat ke gaane
bade mastaane suhaane lubhaane
kali phooli na samaaye
boli lipat ras lei ja
chipat ras lai ja
mere baag mein koi shikwe na gaaye
bhawra beimaan


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 : 3692 Post No. : 14604

Fabulous Foot Tappers – 9
– – – – – – – – – – – – – –

O boy, after almost one year – well, nine months to be precise, the next episode of this series. I had posted the eighth song – “Dekhne Waale Dekh Karishma Yaaron Ka” on 7th November, last year. In the interim, many other things happened – but that is an old story by now. One thing happened was that inadvertently, a couple of songs that I was saving for this series, got posted otherwise, and so I had to wait for locating a few more to complete the series, i.e. reach a number of 10 at least. 😉

This song is from the 1959 film ‘Mr John’. This was a period when Johnny Walker was still commanding lead roles. In this film he is paired opposite to Shyama. Seems to be a romantic comedy. The rest of the star cast consists of Helen, Lalita Pawar, Iftikhar, Krishna Kumari, Mumtaz, Tuntun, Mohan Choti, Kamal Mohan, Sampson, Uma Dutt, Ravi, Champaklala, Rasheed, Daraaz, Wahid, Genius, Tiwari, Ram Lal, Anil, Singh, Jaani, Gaus, Tarun Kumar, Ajay Kumar, Ajeet, B Fazle Kareem, Mukhtar, and Pandit Baijnath. It seems as if the last dozen or so names are just henchmen in a gang. 🙂

The film is produced by Nigam for the banner of NK Productions, Bombay, and is directed by Inder. When I read the director’s name in the film listing, my mind is now wondering whether he could be IS Johar. The complete name, as you are aware, is Inder Sen Johar. Maybe a question to be investigated; being a comedy, there is a good possibility.

The film has seven songs, three of which are already posted here on our blog. This is the fourth one to come on board. All the songs are written by Jaan Nisaar Akhtar and the music is composed by N Dutta. This song is duet in the voice of Geeta Dutt and Mohammed Rafi.

I request other readers to please add information about this film and the picturization of this song. It appears to be a club dance song, which has a lead pair performing, supported by other dancers. It is possible that the song is performed by Helen and Johnny Walker, but that is just a guess. As I said, request for more information from other knowledgeable readers.

So, introducing another rollicking foot tapping number. Listen and enjoy.

Song – Tip Tip To Mere Dil Hain Do  (Mr John) (1959) Singer – Geeta Dutt, Mohammed Rafi, Lyrics – Jaan Nisaar Akhtar, MD – N Dutta
Chorus

Lyrics

tip tip to
to
mere dil hain do
do
tip tip to
to
mere dil hain do
do

tip tip to
mere dil hain do

oo ho ho
hum bhi sunen to
tip tip to
mere dil hain do
oo ho ho
hum bhi sunen to

ek dil mera
mera
ek dil tera
tera
ek dil mera
to ek dil tera
jo maine tujhse maanga
to phir nahin phera
to yun bolo..oo..oo
tip tip to
mere dil hain do
oo ho ho
hum bhi sunen to
tip tip to
mere dil hain do

ye tan gora gora
ye til kaala kaala
jo ik mera dil tha
tujhe wo de daala
ye tan gora gora
ye til kaala kaala
jo ik mera dil tha
tujhe wo de daala
agar hai pyaar hum se
agar hai matwaala
to ek aur bhi dil
kahin se tu chura la
jo tum bolo..oo
tip tip to
mere dil hain do
oo ho ho
hum bhi sunen to
tip tip to
mere dil hain do

ye do meri zulfen
ye do mere baazu
ada se main to daalun
dilon pe laakh jaadu
ye do meri zulfen
ye do mere baazu
ada se main to daalun
dilon pe laakh jaadu
suney jo aisi baaten
rahe na haaye kaabu
zaraa galey laga le
agar khafaa na ho tu
to yun bolo..oo
tip tip to
mere dil hain do
oo ho ho
hum bhi sunen to
tip tip to
mere dil hain do

ye do teri aankhen
inhen bhi chaar kar le
nazar mila ke zaalim
nazar se pyaar kar le
ye do teri aankhen
inhen bhi chaar kar le
nazar mila ke zaalim
nazar se pyaar kar le
tu chaahta hai jhat se
galey ka haar kar le
thoda sa hi to aaya
kuchh intezaar kar le
to yun bolo..oo

tip tip to
to
mere dil hain do
do
tip tip to
to
mere dil hain do
do

tip tip to
mere dil hain do

oo ho ho
hum bhi sunen to
tip tip to
mere dil hain do
oo ho ho
hum bhi sunen to

ek dil mera
mera
ek dil tera
tera
ek dil mera
to ek dil tera
jo maine tujhse maanga
to phir nahin phera
to yun bolo..oo..oo
tip tip to
mere dil hain do
oo ho ho
hum bhi sunen to
tip tip to
mere dil hain do

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
टिप टिप टो
टो
मेरे दिल हैं दो
दो
टिप टिप टो
टो
मेरे दिल हैं दो
दो

टिप टिप टो
मेरे दिल हैं दो

ओ हो हो
हम भी सुनें तो
टिप टिप टो
मेरे दिल हैं दो
ओ हो हो
हम भी सुनें तो

एक दिल मेरा
मेरा
एक दिल तेरा
तेरा
एक दिल मेरा
तो एक दिल तेरा
जो मैंने तुझसे मांगा
तो फिर नहीं फेरा
तो यूँ बोलो॰॰ओ॰॰ओ
टिप टिप टो
मेरे दिल हैं दो
ओ हो हो
हम भी सुनें तो
टिप टिप टो
मेरे दिल हैं दो

ये तन गोरा गोरा
ये तिल काला काला
जो इक मेरा दिल था
तुझे वो दे डाला
ये तन गोरा गोरा
ये तिल काला काला
जो इक मेरा दिल था
तुझे वो दे डाला
अगर है प्यार हमसे
अगर है मतवाला
तो एक और भी दिल
कहीं से तू चुरा ला
जो तुम बोलो॰॰ओ॰॰ओ
टिप टिप टो
मेरे दिल हैं दो
ओ हो हो
हम भी सुनें तो
टिप टिप टो
मेरे दिल हैं दो

ये दो मेरी ज़ुल्फें
ये दो मेरे बाज़ू
अदा से मैं तो डालूँ
दिलों पे लाख जादू
ये दो मेरी ज़ुल्फें
ये दो मेरे बाज़ू
अदा से मैं तो डालूँ
दिलों पे लाख जादू
सुने जो ऐसी बातें
रहे ना हाए काबू
ज़रा गले लगा ले
अगर खफा ना हो तू
तो यूँ बोलो॰॰ओ॰॰ओ
टिप टिप टो
मेरे दिल हैं दो
ओ हो हो
हम भी सुनें तो
टिप टिप टो
मेरे दिल हैं दो

ये दो तेरी आँखें
इन्हें भी चार कर ले
नज़र मिला के ज़ालिम
नज़र से प्यार कर ले
ये दो तेरी आँखें
इन्हें भी चार कर ले
नज़र मिला के ज़ालिम
नज़र से प्यार कर ले
तू चाहता है झट से
गले का हार कर ले
थोड़ा सा ही तो आया
कुछ इंतज़ार कर ले
तो यूँ बोलो॰॰ओ॰॰ओ

टिप टिप टो
टो
मेरे दिल हैं दो
दो
टिप टिप टो
टो
मेरे दिल हैं दो
दो

टिप टिप टो
मेरे दिल हैं दो

ओ हो हो
हम भी सुनें तो
टिप टिप टो
मेरे दिल हैं दो
ओ हो हो
हम भी सुनें तो

एक दिल मेरा
मेरा
एक दिल तेरा
तेरा
एक दिल मेरा
तो एक दिल तेरा
जो मैंने तुझसे मांगा
तो फिर नहीं फेरा
तो यूँ बोलो॰॰ओ॰॰ओ
टिप टिप टो
मेरे दिल हैं दो
ओ हो हो
हम भी सुनें तो
टिप टिप टो
मेरे दिल हैं दो


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(© 2008 - 2018) 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 over TEN years. This blog has over 14700 song posts by now.

This blog is active and online for over 3700 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14752

Number of movies covered in the blog

Movies with all their songs covered =1150
Total Number of movies covered =4034

Total visits so far

  • 10,987,631 hits

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Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

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