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

Archive for October 2021


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4853 Post No. : 16643

“Naach” (1949) was directed by Ravindra Dave for Kuldip Pictures. The movie had Shyam, Suraiya, Kuldip, Raj Mehra, Gulab, Yashodhara Katju, Sofia, Shyama, Wasti, Om Prakash etc in it.

The movie had eleven songs in it. Ten of these songs have been covered in the past.

Here are the details of the ten songs that have been covered so far:

Blog Post number Song Date of posting singer(s)
3986 Dil de diya hai tujhko 11 june 2011 Rafi, Shamshad Begam
4003 Ae ishq hamen barbaad na kar 15 june 2011 Suraiyya, Rafi
4046 Lab pe fariyaad hai dil barbaad hai 22 June 2011 Rafi, Lata, Geeta Dutt
9529 Chhaaya samaa suhaana 6 March 2014 Rafi, Suraiyya
9769 Baat takoon main teri kothhe chadh ke 26 April 2014 Suraiyya
9775 Ae dil kise sunaaun ye dukh bhara fasaana 27 april 2014 Suraiyya
9789 Jo tum badley jahaan badla 30 april 2014 Suraiyya
9795 Tere gham ke sahaare jee rahi hai zindagi meri 1 may 2014 Suraiyya
16300 Chhak chhak chali hamaari rail 1 April 2021 Geeta Dutt, Lata, Unknown male voice
16421 Namastejee Namastejee 1 June 2021 Zohrabai Ambalewaali, Shamshad Begam, Rafi

As we can see from the above table, this movie made its debut more than ten years ago on 1058th day of the blog . Today, on the 4853rd day of the blog, the eleventh and final song of “Naach”(1949) gets covered in the blog.

The song under discussion is sung by Rafi, Lata and Geeta Dutt. Mulkraj Bhakri is the lyricist. Music is composed by Husnlal Bhagatram. Only the audio of the song is available. It sounds like a fakeer/ beggar song to me. I request our knowledgeable readers to throw light on the picturisation of this song.

With this song, all the songs of “Naach”(1949) get covered in the blog and the movie joins the list of movies that have been YIPPEED in the blog.


Song-Kyun karta maan jawaani ka (Naach)(1949) Singers- Rafi, Lata, Geeta Dutt, Lyrics-Mulkraj Bhakri, MD-Husnlal Bhagatram
All

Lyrics

kyun karta maan jawaani ka
kyun karta maan jawaani ka
tu ek bulbula paani ka
tu ek bulbula paani ka
kyun karta maan jawaani ka
kyun karta maan jawaani ka
tu ek bulbula paani ka
tu ek bulbula paani ka

ye raunaq saari do din ki
ho do din ki
ho do din ki
jeewan phulwaari do din ki
ho do din ki
ho do din ki
kyun karta tera mera hai

na tera hai na mera hai
kyun karta tera mera hai
na tera hai na mera hai
duniya hai naam kahaani ka
duniya hai naam kahaani ka
tu ek bulbula paani ka
tu ek bulbula paani ka
kyun karta maan jawaani ka
kyun karta maan jawaani ka
tu ek bulbula paani ka
tu ek bulbula paani ka

ye roop jawaani rang rahe
na rang rahe
na rang rahe
sada koi bhi tere sang rahe
na sang rahe
na sang rahe
jo dekh raha hai sapna hai

koi na tera apna hai
jo dekh raha hai sapna hai
koi na tera apna hai
duniya hai naam kahaani ka
duniya hai naam kahaani ka
tu ek bulbula paani ka
tu ek bulbula paani ka
kyun karta maan jawaani ka
kyun karta maan jawaani ka
tu ek bulbula paani ka
tu ek bulbula paani ka


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4852 Post No. : 16642

“Pyaar Ki Raahen”(1959) was directed by Lekhraj Bhakri for Thakur Pictures Production, Bombay. The obscure movie had Pradeep Kumar, Anita Guha, Pran, Kuldeep Kaur,Helen, Sunder, Tiwari, Om Prakash, Jeevan, etc in it.

Here are the details of thismovie, as recounted by Mr Arunkumar Deshmukh, our beloved inhouse encyclopaedia:

Kundanlal is a zamindar, who lives with his younger step brother Prakash(Pradeep Kumar), wife Gangajali(Kuldip Kaur) and Lali(Anita Guha), sister of Gangajali. This Gangajali hates Prakash and is opposed to his love with Lali. Finally, she is successful in driving him out of the house and the town. Then she fixes Lali’s marriage with Nandlal, the son Rajaram, a rich, but stingy man from Lucknow.

His elder son Amarnath is a TB patient. Inspite of the opposition of Kundanlal, Lali is ready to marry Nandlal. At the time of marriage, Rajaram brings Amarnath-TB patient as the bridegroom and Lali gets married unknowingly to Amarnath. When they return to Lucknow, Amar dies and Lali becomes widow. Rajaram puts the entire blame on Lali and starts torturing her like a mother-in-law. Despite all this Lali decides to stay there and look after that family. Slowly,Rajaram changes his mind about Lali, looking at her dutifulness and devotion to family.
Finally, Rajaram himself finds out Prakash and marries Lali off to him.

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

a melancholic song sung by Asha Bhonsle. Prem Dhawan is the lyricist. Music is composed by Kanu Ghosh.

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


Song-Ham bhi is duniya mein kya taqdeer leker aaye hain (Pyaar Ki Raahen)(1959) Singer-Asha Bhonsle, Lyrics-Prem Dhawan, MD-Kanu Ghosh

Lyrics

hum bhi is duniyaa mein kya taqdeer leker aaye hain
ik khushi maangi jo hamne saikado gham paaye hain
hum bhi is duniyaa mein kya taqdeer leker aaye hain
hum bhi is duniyaa mein kya

dil ki har ik aarzoo dil mein hi ghut ke reh gayi
dil ki har ik aarzoo dil mein hi ghut ke reh gayi
har tamanna har khushi ik ashq banke beh gai
kya thhikaana unka jo kismat ke hi thhukraaye hain
hum bhi is duniyaa mein kya taqdeer leker aaye hain
hum bhi is duniyaa mein kya

zindagi ke dene waale ye bhi kya hai zindagi
zindagi ke dene waale ye bhi kya hai zindagi
jee rahe hain is tarah jaise saza hai zindagi
kuchh na poochho is jahaan ne kaise din dikhlaaye hain
hum bhi is duniyaa mein kya taqdeer leker aaye hain
hum bhi is duniyaa mein kya


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

This article is his 700th post in the blog.

Blog Day :

4851 Post No. : 16641

O P Nayyar was an odd man out in Hindi film industry as a music director. He did not have the formal or informal training in the music. He did not undergo ‘apprenticeship’ under any music directors. He did not work with Lata Mangeshkar during his entire career as a music director. The top three star-actors of 1950s and 60s – Dilip Kumar, Dev Anand and Raj Kapoor avoided him as a music director after working with him for one or two films. He did not work with Raj Khosla after his spate with him in ‘Ek Musaafir Ek Haseena’ (1962). His egoistic, stubborn, ‘calling spade a spade’ type of nature and some shades of eccentricities should have made him persona non grata in the Hindi film industry. Despite all these odds, he attained the status of one of the top music directors of Hindi films during 1950s and 1960s.

I always felt that O P Nayyar was the ‘Eklavya’ of Hindi film music – a self-trained music director who got inspirations from more than one Dronachaya of music directors – R C Boral, Pankaj Mullick, Ghulam Haider and Anil Biswas. As a teenager, O P Nayyar was fascinated by the films of New Theatres which he watched in Lahore. He was mesmerised by the songs of K L Saigal and Pankaj Mullick which guided him to pursue the singing career. He was a regular singer of bhajans and ghazals on AIR, Lahore in the 1940s until the partition. Two of his Kabir dohas which he used to recite on AIR. Lahore were recorded and released on HMV disc in 1943. He composed his first recorded song – a non-film, ‘preetam aan milo’ in the voice of C H Atma in 1945 which became very popular.

After shifting to Mumbai following the partition, O P Nayyar’s first three films – ‘Aasmaan’ (1952), ‘Cham Chama Cham’ (1952) and ‘Baaz’ (1953) turned out to be the flop films. It was only after a huge box office success of ‘Aar Paar’ (1954) that O P Nayyar established himself as music director and remained one of the top music directors of Hindi films until about end-1960s.

O P Nayyar achieved his musical career progression despite the handicap of his stubbornness and other traits. The same handicap also resulted in his downfall. In 1966, he had a spate with Mohammed Rafi during one of the songs recording of ‘Saawan Ki Ghata’ (1966) after which he did not work with Rafi for a long time. In 1974, Asha Bhosle, his muse of over 15 years, decided to part with him in what appears to be the clash of egos. By this time, Asha Bhosle had also become a force to reckon with in Hindi film music.

O P Nayyar’s musical journey virtually ended by mid-1970 though he did a few sporadic films until 1995. He spent rest of his life in isolation away from film industry and his family until his death in January 2007.

The question that may come to the minds of many Hindi film music enthusiasts as to how O P Nayyar could churn out many beautifully crafted songs based on Hindustani classical raags. In this context, it is worth mentioning the observations of Ustad Ameer Khan when he heard all the 11 songs of ‘Phaagun’ (1958). When O P Nayyar met Ustad Ameer Khan in some context, the latter asked him as to why he had composed all the 11 songs in Raag Pilu. O P Nayyar had no answers except to tell him it was just a coincidence that his compositions matched with Raag Pilu. Incidentally, Ustad Ameer Khan rendered for O P Nayyar, a bandish, jogiya mere ghar aaye in raag Lalit in ‘Raagini’ (1958). In the later years, Ustad Ameer Khan pointed out to him that in akeli hoon main piya aaa from ‘Sambandh’ (1969), he has used about 16 different raagas. Probably, music composition was God’s gift to O P Nayyar.

O P Nayyar has composed many raag-based songs, some of which are semi-classical compositions in the films like ‘Aasmaan’ (1952), ‘Naya Daur’ (1957), ‘Raagini’ (1958), ‘Phaagun’ (1959), ‘Kalpana’ (1960), ‘Phir Wohi Dil Laaya Hoon’ (1963) etc. Almost all of his semi-classical songs have been covered on the Blog. But there is one semi-classical song which did not get as much attention from the Hindi film music lovers as it deserved. The song is from an obscure film ‘Qaidi’ (1957) which is yet to be covered on the Blog.

‘Qaidi (1957) was produced by F C Mehra under his banner, Eagle Films and was directed by Mohammed Hussain. The star cast included Padmini, Suresh, Anwar Hussain, Helen, Agha, Ragini, Leela, Johny Walker, M Kumar, Kamal Mehra, Rajan Kapoor etc. It was a ‘B’ grade action-oriented film. The film was released in January 1957.

The film had 8 songs of which 6 songs have been covered on the Blog. All the songs were written by Jaan Nisaar Akhtar which were set to music by O P Nayyar. I am presenting the 7th song, ‘bedardi preet nahi jaani’ which is a semi-classical song rendered by Asha Bhosle and Usha Mangeshkar. The video clip of the song is not available on any of the video sharing platforms. There is one audio clip which is available with an average sound quality. I have, therefore, made a new video clip from a mp3 clip of the song with me in a better sound quality and have uploaded the same.

From the lyrics as well as taraanas, the song appears to be picturised on two dancers. From the star cast, there are 4 dancers in the film – Padmini, Ragini, Helen and Leela. From the available video clips of the songs, it is observed that Asha Bhosle has sung both for Padmini and Helen in the film. In addition, Shamshad Begum has also sung for Padmini. If the song is used for the dance competition, it is quite likely that the dancers could be Padmini and Ragini as both are trained Bharatnatyam dancers and in the film, Ragini plays the role of Padmini’s friend.

I am not able to tell on which Raag the song has been composed. However, the tune closely resembles that of ae ri jaane na doongi from ‘Chitralekha’ (1964) which, according to Swarganga, is based on Raag Kamod.

Note: In this article, I have taken some inputs from an interview of O P Nayyar which appeared on http://www.cinemasangeet.com. and also from an article on O P Nayyar which was published in millenniumpost.

Audio Clip:

Song-Bedardi preet nahin jaani (Qaidi)(1957) Singers-Asha Bhonsle, Usha Mangeshkar, Lyrics-Jaan Nisaar Akhtar, MD-O P Nayyar
Both

Lyrics

tana naadir dirta ni ta nata taani ee
tana naadir dirta ni ta nata taani ee

bedardi preet nahin jaani ee
bedardi preet nahin jaani ee
main to roothhi sajanwaa
jaa tum sang nahin bo….loon
naahi boloo..n
bedardi preet nahin jaani ee
bedardi preet nahin jaani ee

jaa jaa jaa jaa re sainyyaan more
kaahe hamri bainyyaan marore
aaaaaaaaaa
aaaaaaaaaa
aaaaaaaaaa
jaa jaa jaa jaa re sainyyaan more
kaahe hamri bainyyaan marore

aaaaaaaaaa
aaaaaaaaaa
aaaaaaaaaa
jaa jaa jaa jaa re sainyyaan more
kaahe hamri bainyyaan marore

ghoonghat ke pat main nahin kholoon
ghoonghat ke pat main nahin kholoon
bedardi preet nahin jaani ee
tana naadir dirta ni ta nata taani ee
bedardi preet nahin jaani ee
main to roothhi sajanwaa
jaa tum sang nahin bo…loon
naahi boloo…n
bedardi preet nahin jaani ee
bedardi preet nahin jaani ee

main na tere bas mein aaun
jaa re jaa nahin ankhiyaan milaaun
aaaaaaaaaaa
aaaaaaaaaa
aaaaaaaaaaaaa
main na tere bas mein aaun
jaa re jaa nahin ankhiyaan milaaun/font>
aaaaaaaaaa
aaaaaaaaaa
aaaaaa
main na tere bas mein aaun
jaa re jaa nahin ankhiyaan milaaun

kaahe sainyyaan main teri ho loon
kaahe sainyyaan main teri ho loon
bedardi preet nahin jaani ee
bedardi preet nahin jaani ee
tana naadir dirta ni ta nata taani ee

main to roothhi sajanwaa
jaa tum sang nahin bo….loon
naahin boloo…n
bedardi preet nahin jaani ee
tana naadir dirta ni ta nata taani ee


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4850 Post No. : 16640

Today’s song is from the film Mera Ladka-1938. This was a film made by Prabhat Film Company, which was one of the most popular banners in India those days. Prabhat was the company which made the First Talkie ” अयोध्येचा राजा ” in Marathi (Ayodhya ka Raja in Hindi) in 1932. During the period of 1932 to 1944, Prabhat gave excellent films having reformative and educational content for the society of those days, combined with entertainment. Their peak came when films like Sant Tukaramin Marathi-1936 Duniya na maane-1937 and Aadmi-1939 became milestones in Indian film history. The person who took Prabhat to its peak was V. Shantaram, as a Director.

Shantaram was like a Jauhari (Jeweller) who identified the true value of people. His selection of actors for specific roles was nothing but amazing. Durga Khote, Pagnis, Shanta Apte, Shahu Modak, Shanta Hublikar, Vasant desai etc were his selections.

Whatever one may say, but it is a fact that Prabhat lost its sheen, lustre, name and fame after Shantaram’s exit from it. Envy of the partners and a faulty, unjust rule of the company (No Partner of the company should get involved in any actress. Should this happen, he has to leave the company) forced him to quit prabhat. Shantaram became its victim when he fell for actress Jayashree. Earlier , Keshavrao Dhaiber had to leave Prabhat when he married company’s Heroine Nalini Tarkhud. Surprisingly S. Fattelal-another partner cum Director survived from this rule, though he had married Prabhat’s silent film heroine Kamala Devi alias Gulabbai ( one seen with Tutari in Prabhat’s famous Logo). This was because the controversial rule came into being only after his marriage with Gulab bai !

Shantaram had selected Shanta Hublikar for the lead role, opposite Shahu Modak in the bilingual Mera Ladka i.e. माझा मुलगा in Marathi. her performance impressed Shantaram so much that she and Shahu Modak were selected for his next epoch making film Aadmi-1939 (माणूस in Marathi).

The Film Industry had artistes of all types, religions, regions and from different backgrounds. In the early era, most artistes were uneducated. This state remained so till the 4o’s, after which most artistes joining the film industry were educated and from good families. In those early years, there was no investment awareness, investment opportunities or avenues and the artistes led an uninhabited life – living for the moment. This finally led to many old time artisted dying in penury, poverty and with health issues with no one to look after them.

Most of us know about the sad ends of artistes like Parshuram, Vatsala Kumthekar, Rattanbai, Wasti, Sadiq Ali, Master Nissar, Master Shiraz, Meena Shorey and many others. Some of them had to beg on the road and their last rites had to be done by charity collections.

There were four educated lead actresses in the industry at almost the same times. Their careers spanned from the 30’s to the 70’s. They were Durga Khote, leela Chitnis, Shanta Apte and Shanta Hublikar. Shanta Apte and Shanta Hublikar stopped their work by the 50’s, while Durga Khote and Leela Chitnis continued till the 70’s. Let us see how they ended their lives.

Durga Khote remained the luckiest. She had money and recognition till the end but no one to look after her. She lost her sons prematurely and her daughter in law did a second marriage with a Parsee actor. She died a lonely death.

Leela Chitnis married many times, including a Muslim person, in search of happiness, but she never got it. In her last days, she went to USA to live with her sons, but they put her in an old age home. She lost health, suffered memory loss, Alzheimer and finally died all alone in the old age home. No one came even after her death. Only money was sent for cremation.

Shanta Apte remained without marriage till end but had a Live-In relationship with Bombay’s leading Gynaecologist Dr. Shirodkar for many years. She did have a daughter, without marriage and through a reported incestuous relationship-a forced one- from her own brother, but she never stayed with the daughter.

Shanta Hublikar married a businessman after films. The husband wound up his business and lived off her money. Her son and daughter in law kept her in a third rate old age home, from where some reporters rescued her. After her story was published help poured in and she spent her last days in a better old age home. She published her autobiography also in this period. She died unsung, unattended. Her death news flashed after a week or so.

Shanta Hublikar was born on 14-4-1914 at village Athergunchi, near Hubli. She was one among three sisters. The eldest was Neelamma, the second was Shanta, but her name was Rajamma( she was called only Raju) and the youngest was Sharada. She was fluent in Marathi and Kannad and could sing very well. When she was about 18-20 years she went to Kolhapur, which was an active centre of Film making. Her first film was Bhedi Rajkumar aka Thaksen Rajputra-1934. her role was a minor one.

Her first major role was in the film Kanhopatra-37(Marathi). She was picked up by Prabhat stalwarts for their film Mera Ladka (Majha Mulga in Marathi)-38. Her acting and songs impressed V. Shantaram.

Shantaram was planning a path breaking film Maanus (Marathi-Aadmi in Hindi) in those days and was in the process of finalising the cast. Vasant Desai who was Shantaram’s chela in those days was aspiring to become a Music Director. He started his career as an actor in small roles and he sang songs too. He had very high hopes that Shantaram will do something for him. One day Shantaram called him and said,” I am planning a new film. You will be the Hero and Shanta Apte will be the Heroine.” Vasant was very happy. His auditions were good.

Meanwhile “Mera Ladka” became quite popular and its songs particularly,”dekhoon kab tak baat( Paahu re kiti waat-Marathi)” by Shanta bai and composed by Keshavrao Bhole was a great Hit. Impressed with her effortless acting and natural singing style, Shantaram changed his mind and decided to cast Shanta Hublikar and Shahu Modak as the lead pair for Aadmi.

Shantaram called Vasant Desai and told him,” Be ready for a shock. I have decided to make Shanta Hublikar and Shahu Modak as the Hero and Heroine of my new film. You will have to wait. But your time will come ” Vasant Desai was heart broken. With Shantaram’s permission he composed music for Shobha and Aaankh ki sharm in 1942 and Mauj in 1943. He had worked as an assistant to Tembe, Krishnarao Bhole and Mainkar. he had acted and sang in Amar Jyoti. His time came when Shantaram gave him SHAKUNTALA-1943 as its Music Director.

Meanwhile Shanta Hublikar fully justified her selection for Aadmi-39. Her songs and acting became hits. Her multilingual song “ab kis liye kal ki baat” in Hindi, Punjabi, Gujarati, Tamil, Telugu and Bengali became a landmark song in Hindi films forever.

Shanta did not do many films. She did a few Marathi, Kannada and Hindi films- Thoratanchi Kamala and Pahila Palna in Marathi, Jeevan naatak in Kannada and Prabhat, Ghar ki Laaj, Maalan, Kulkalank and Jeewan Chhaya in Hindi.

After that Shanta married a rich businessman from Poona-Bapusaheb Geete, proprietor of Deccan Cloth Emporium in Poona. She did try a comeback in 1958 with Filmistan’s ‘Saubhagyawati Bhava and Ghar Grihasthi but that was the end. She then retired from films.
Shanta Hublikar died on 17-7-1992 at Poona.

The film Mera Ladka-38 was directed by Keshav Narayan Kale. He was born on 24-2-1904 in Maharashtra. After his formal education he became a radical Journalist and to give expression to his ideology joined films, as an actor,Director and writer. He acted in major films like Amar Jyoti, Dharmatma, Parakh for which he wrote the story and screenplay also.He acted in 13 films, Directed 7 films and wrote for 3 films, starting with Prabhat’s Wahan, which he also directed. His last film was Didi-1959. He died on 20-2-1974 at Bombay.

I saw MERA LADKA-1938 sometime in the fag end of the 40s, in a Prabhat Film Festival, at Hyderabad. The story was an offbeat one, not the usual love-story. The cast was Shanta Hublikar,Shahu Modak, Ulhas, Vasantrao Thengdi, Balakram, Master Chhotu, Vatsalabai Joshi etc.

Diwakar (Shahu Modak) is a young man full of new ideas, has hot blood and a rebellious thinking. He is a radical Journalist having his Printing press and editing a Newspaper. He has a rich girl Nalini (Shanta Hublikar) as his girlfriend. She sympathises with him but does not share his radicalism. His middle class father does not like all this. He wants Diwakar to do a 9 to 5 job like any other person.
His father expresses his displeasure to the cunning and scheming political friend of Diwakar, Vithal Rao (Vansant Rao Thengdi), who takes advantage of the situation. He arranges a strike in the press and when it closes down, takes over it.

The father is happy, but Diwakar does not yield. Instead of doing a 9-5 job, he decides to contest against Vithal Rao in the Municipal election.
Nalini also contests. First she joins the group of Vithalrao to know his tactics and then shifts to Diwakar’s camp. She even campaigns for Diwakar.

In the elections, Nalini wins, Diwakar loses,but he gives a speech, claiming a Moral Victory for him,as Vithal rao is defeated.

Film director Kale, being a radical journalist himself before entering films ,got so much involved in the film that after the film, he actually wrote a long essay ” Mera Ladka-Some Musings” in a local newspaper in 1939 ! (In Marathi it was titled ‘ Majha mulga chya Nimittane…)

Excellent performances by Shanta and Shahu Modak earned them the coveted roles in Aadmi(Manoos in Marathi)-1939, which happens to be a Milestone film in India.

The music Director was Keshavrao Bhole. Here is the second song from this film in the blog….


Song- Kaisa jaadu daala toone jaan-e-jaan (Mera Ladka)(1938) Singer- Shanta Hublikar, Lyricist-Pt. Anuj (S.L.Shrivastav), MD- Keshavrao Bhole

Lyrics

Apne dil ki baaten
maine tumhen hai sunaani
apne dil ki baaten
maine tumhen hai sunaani
shabo roz furkat mein rahoon
main pareshaan
shabo roz furkat mein rahoon
main pareshaan

Kaisa jaadu daala toone jaan-e-jaan
Kaisa jaadu daala toone jaan-e-jaan
naalon se mere jo uthha hai ye dhuaan
haan
naalon se mere jo uthha hai ye dhuaan
Kaisa jaadu daala toone jaan-e-jaan

chaahe mujhe thhukra do yaa
hiya mein basa lo
chaahe mujhe thhukra do yaa
hiya mein basa lo
haal dard e dil ka main karoon kaise bayaan
haal dard e dil ka main karoon kaise bayaan
kaisa jaadoo daala toone jaane jaan-e-jaan

raah e muhabbat se peechhe kadam na hataaoon
raah e muhabbat se peechhe kadam na hataaoon
tu bhi raaz e dil wo pyaar(?) kar de ??
tu bhi raaz e dil wo pyaar(?) kar le ??

Kaisa jaadu daala toone jaan-e-jaan
Kaisa jaadu daala toone jaan-e-jaan
haan
jaane jaan


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4849 Post No. : 16639

This is the tale of a Hindi film director whose first film he wrote and directed, became a super hit. Unfortunately, he also reached the pinnacle of his career as a director with his very first film. The reason was that none of his subsequent films could achieve the same scale of successes as was with his first film. He was associated with Hindi films as a director for nearly 3 decades, but he directed only 6 films. During the same period, he also produced 3 films. His name was Ram Krishna Nayyar, better known in Hindi film industry as R K Nayyar. In my view, he was a director whose expertise was in directing films in the genre of romantic mystery thriller.

Not much information is known about R K Nayyar’s early life. He started his filmi career as an assistant to Raj Kapoor in ‘Aah’ (1953) and to Prakash Arora in ‘Boot Polish’ (1954). He made his debut as a director in Sashadhar Mukerji’s ‘Love in Simla’ (1960). The film became super hit at the box office with debutant lead actors, Joy Mukerji and Sadhana. It is said that R K Nayyar was instrumental in suggesting the fringe hair style which Sadhana used in this film to hide her broad forehead. Her hairstyle became so popular that it became known as ‘Sadhana Cut’.

R K Nayyar’s next directorial venture came after a gap of 3 years in ‘Ye Raasten Hain Pyaar Ke’ (1963). This film was based on the famous Nanavati-Ahuja case of 1959. But the film was only moderately successful. He next directed Sashadhar Mukerji’s ‘Aao Pyaar Karen’ (1964) with Joy Mukerji and Saira Bano in the lead roles. The film did not click on the box office despite having a good musical score by Usha Khanna.

In 1966, R K Nayyar married Sadhana. In the same year, he released his first film as a producer-director, ‘Ye Zindagi Kitni Haseen Hai’ (1966) under his own banner, R K Nayyar Films. It was a high budget film with a major part of shooting taking place in Europe. The film did not fare well on the box office front.

Once again after a gap of 3 years, R K Nayyar directed ‘Intaqaam’ (1969) which was produced under the banner of Shaktiman Enterprises with Sadhana and Sanjay Khan in the lead roles. It was a ‘come back’ film for Sadhana after she had some medical issues. ‘Intaqaam’ (1969) was a hit film which should have revived the career of R K Nayyar. But it took him as long as 17 years to direct his next film. ‘Qatl’ (1986) which he also produced. It was his last film as a director. After this, he produced his last film. ‘Pati Parmeshwar’(1989) under R K Nayyar banner but entrusted Madan Joshi, his assistant to direct the film. Both these films flopped at the box office.

I was wondering as to why R K Nayyar had gaps in his filmi career. I got the answer from a rare interview which Sadhana had given sometime in 2012. R K Nayyar had lost a lot of money when his films. ‘Ye Zindagi Kitni Haseen Hai’ (1966), ‘Qatl’ (1986) and ‘Pati Parmeshwar’ (1989) flopped at the box office. Loans were to be repaid. Sadhana had almost withdrawn from the films after her persistent medical issues. All these put R K Nayyar in financial crunches affecting his own health. He had become an asthma patient which later became the reason for his death in 1995.

As mentioned earlier, ‘Ye Zindagi Kitni Haseen Hai’ (1966) was R K Nayyar’s first film as a producer-director under his own banner, R K Nayyar Films. The star cast included Ashok Kumar, Joy Mukerji, Saira Bano, Motilal, Sayeeda Khan, Hari Shivdasani, Badri Prasad, Mohshin Abdullah, Janakidas, Manmohan etc. The film was a romantic thriller with some good songs. But the film failed to sustain audience’s interest to make it a box office hit film. It is said that the film’s complicated plot with Saira Bano playing the double role with the same name and Joy Mukerji playing imposter confused the average cinema audience.

The film had 7 songs (including one multiple version) of which 4 songs (including one multiple version) have been covered on the Blog. All the songs are written by Rajinder Krishan and set to music by Ravi.

I am presenting the 5th song, ‘nange baazoo nangi taange husn ka ye meyyar nahi’ from the film to appear on the Blog which is sung by Mohammed Rafi. It is picturised on Joy Mukerji when he and Saira Bano are on a visit to Paris for participating in Mr Universe and Miss Universe, respectively.

I was not aware of this song until I heard this song a couple of days back. What invited my attention to this song was the unusual mukhda for a Hindi film song. There are other unusual features of the song:

In the film sound track version, the song starts with antara, ‘tera badan hai raaj khuda kaa’ followed by mukhda, ‘nange baazoo nangi taange’ as a refrain. This is because Joy Mukerji responds in song when Saira Bano says –“kya main ladki nahi hoon?, kya main haseen nahi hoon?” Furthermore, there are 4 antaras in the film sound track version of the song. In the record version, the song starts with mukhda followed by only two antaras – 1st and 4th of the film sound track song probably to accommodate the song within the space of a 78 RPM record.

In the film sound track version, the mukhda is ‘nange baazoo nangi TAANGE’. However, in the record version, mukhda is ‘nange baazoo nangi RAANEN’. ‘Raanen’ is a Urdu word which means ‘thighs’.

In the lyrics, some other unusual Urdu words have been used as under:

Meyaar= Standard, Measurement

Paash= Sprinkle

Khoo-e-uriyaani= Habit of nakedness

Enjoy the song with Mohammed Rafi intoxicatingly singing ‘beemaar’ in the song.

Video Clip:

Audio Clip:

Song-Nange baazoo nangi taangen (Ye Zindagi Kitni Haseen Hai)(1966) Singer-Rafi, Lyrics-Rajinder Krishan, MD-Ravi

Lyrics (Based on Video Clip)
———————————————-

tera badan hai raaj khuda kaa
insaanon par paash na kar
tera badan hai raaj khuda ka
insaanon par paash na kar
yaa aisa ghar mujhe dikha de
jis mein koi deewaar nahin ee

nange baazoo nangi taangen
husn kaa ye meyaar nahin
khoo-e-uriyaani se lutf uthhaaun
rooh meri beemaar nahin ee
nange baazoo nangi taangen
husn kaa ye meyaar nahi
khoo-e-uriyaani se lutf uthhaaun
rooh meri beemaar nahin ee
nange baazoo

aankh shama se tab hatati hai
jab tak wo khaamosh na ho o
be-parda ho jaaye to koi
takne to taiyyar nahin
nange baazoo nangi taangen
husn ka ye meyaar nahin
khoo-e-uriyaani se lutf uthhaaun
rooh meri beemaar nahin ee
nange baazoo

la la la laa laa laa
la la la laa laa laa laa
la la
la la la laa laa laa laa
la la la laa
la la laa
la la laa
la la laa

kisne dekhi chaand ki chaandi
kahaan bika suraj ka sona
kahaan lagaa inki boli
aisa koi baazar nahin
nange baazoo

apna ek ek ang dikha kar
jeet li toone husn ki baazi
soch zara ye thhande dil se
jeet teri kya haar nahin ee
nange baazoo nangi taangen
husn kaa ye meyaar nahin
khoo-e-uriyaani se lutf uthhaaun
rooh meri beemaar nahin
nange baazoo

——————————
Lyrics (Based on Audio Clip)
——————————

nange baazoo nangi raanen
husn kaa ye meyaar nahin
khoo-e-uriyaani se lutf uthaaun
rooh meri beemaar nahin ee
nange baazoo nangi raanen
husn kaa ye meyaar nahin
khoo-e-uriyaani se lutf uthaaun
rooh meri beemaar nahin
nange baazoo

tera badan hai raaj khuda kaa
insaanon par baash na kar
tera badan hai raaj khuda kaa
insaanon par baash na kar
yaa aisa ghar mujhe dikha de
jis mein koi deewaar nahin ee
nange baazoo nangi raanen
husn kaa ye meyaar nahin
khoo-e-uriyaani se lutf uthhaaun
rooh meri beemaar nahi
nange baazoo

la la la laa laa laa
la la la laa laa laa laa
la la
la la la laa laa laa laa
la la la laa
la la laa
la la laa
la la laa

apna ek ek ang dikha kar
jeet li tune husn ki baazi
apna ek ek ang dikha kar
jeet li tune husn ki baazi
soch zara ye thhande dil se
jeet teri kya haar nahi ee
nange baazoo nangi raanen
husn kaa ye meyaar nahi
khoo-e-uriyaani se lutf uthaaun
rooh meri beemaar nahi
nange baazoo


This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4848 Post No. : 16638 Movie Count :

4532

Hullo Atuldom

26th Ocotober is a day when we wish the first Follower of the blog Rajaji on turning a year younger. He is the ‘yaaron-ka-yaar’ who is currently off the radar. Hope he marks his presence on the blog and reads this post. He is not a kanjoos (and I have a whole set of the followers of the blog who will endorse my statement) and will not shy away from giving us a treat by saying a “Hello”. Actually, I sincerely hope he is fine, the last post by him, as a guest contributor, was on 8th March 2021- for the birth centenary of his favourite lyricist/ poet Sahir Ludhianvi.

Our Rajaji was one of the first to see posts on Atulsongaday. One of the first to post his Farmaish to Atulji. And if I am not wrong, one of the first guest contributors as lyrics contributor in April 2009 with this post of a song from ‘Bin Baadal Barsaat’ . His first full-length post was Teri umar naadaan hai on 26 june 2010 from “Aankhon Aankhon Mein”(1972) and since then he has been a regular contributor and loves to write about Rajesh Khanna, Mohd. Rafi, Kishore Kumar and of course Sahir Ludhianvi. In the interim he has also written posts on some artistes whose work he appreciates. Here is wishing this friendly Atulite all health and happiness and waiting for his next post- essay, novel or short story anything but in your unique style Rajaji.

26th October also happens to be the birth date of an actress (don’t like to use the adjective yesteryear for this one, too young for that) who was known to be cast in the roles of typical heroine i.e. one emotional scene, two haughty scenes, three or four duets or solos and that is about it. There is a period in every actress’s career when she reaches the top-spot doing this kind of inane roles. Then she tires of it and tries to break the shackles and get cast in some roles that gives her chance to show her emoting and acting capabilities.

Today’s birthday girl made her Bollywood debut as Salman Khan’s heroine in ‘Patthar Ke Phool’ went on to co-star with all the biggies of that era and reaching heights of popularity as the ‘mast mast’ girl in ‘Mohra’ She was ready to give it all up sometime in 1995 for the sake of family and marriage. But when things didn’t work out the way she expected them to, she made a successful comeback with movies opposite Govinda which were from the David Dhawan stable. She played meaningful or non-glamourous characters in movies like “Shool” (1999) “Daman” (2002) “Satta” (2005) and “Jaago” in 2004 where she played the mother of a ten-year-old gang-rape-victim who dies in front of her.
Do I need mention the name of the actress- Raveena Tandon? She finally took a hiatus from acting after marriage and kids (as per her original plan for life) and has four children two of whom she adopted when the girls were 11 and 8 and she herself was only 21.

I may not call myself her fan but I like this actress for her sprightly acting, Today’s song is from the 1997 crime -drama “Ghulam-e-Mustafa” which was directed by Partho Ghosh and had a cast headed by Nana Patekar and Raveena Tandon played a night club dancer who falls in love with Mustafa (Nana Patekar) on hearing his life story. They even get married and have a happy life, which is short lived as Kavitha (Raveena) gets killed in a car bomb explosion which was meant for Abba (Paresh Rawal). The cast also included Ravi Behl, Aruna Irani, Keerthi Chawla, Shivaji Satam, Sulabha Deshpande, Mohan Joshi, Mohnish Bahl etc. Rajesh Roshan and Amar Haldipur were the music directors, and the song with this post has been credited to Anand Bakshi. Myswar.com says that Amar Haldipur was responsible for the background score.

This songs sees our birthday girl Raveena Tandon as a new bride out for a joy trip when their Gypsy breaks down, of course I need not explain the visuals of the song and will just say that she dies after this.

I would also like to wish the daughter of an Atulite on her birthday today. Hope this message is conveyed to your little girl and wish her all the best for her future.
Once more wishing all the best and happy birthday to our Rajaji, the little one of our Atulite and Raveena Tandon.

Happy

Sad

Song-Tera gham mera gham ek jaisa sanam(Ghulam e Mustafa)(1997) Singers-Kavita Krisnamurthy, Hariharan, Lyrics-Anand Bakshi, MD-Rajesh Roshan

Lyrics

Happy version
———————–

hmmmm hmmm
tera gham mera gham ek jaisa sanam
tera gham mera gham ek jaisa sanam
ham donon ki ek kahaani
aaja lag ja gale dil ja..aaa..ani
tera gham mera gham ek jaisa sanam
ham dono ki ek kahaani
aaja lag ja gale dil jaa..aa..ni

tera gham mera gham ek jaisa sanam

main achchi buri jaisi bhi hoon
tu achha bura jaisa bhi hain
main teri hoon kaisi bhi hoon
tu mera hai kaisa bhi hai
tu mera hai kaisa bhi hai

tera gham mera gham ek jaisa sanam
tera gham mera gham ek jaisa sanam
ham donon ki ek kahaani
aaja lag ja gale dil jaa..aa..ni
tera gham mera gham ek jaisa sanam

toote huye dil ki kashti ko
toofan mein kinaara mil jaaye
aaa aaaaaa
tu tham le mera haath agar
donon ko sahaara mil jaaye
donon ko sahaara mil jaaye
tera gham mera gham ek jaisa sanam
tera gham mera gham ek jaisa sanam
ham donon ki ek kahaani
aaja lag ja gale dil jaa..aa..ni

tera gham mera gham ek jaisa sanam

———————————-
Sad version
——————————-
tera gham mera gham ek jaisa sanam
ham donon ki ek kahaani
aaja lag ja gale dil jaa..aa..ni
tera gham mera gham ek jaisa sanam
ham donon ki ek kahaani
aaja lag ja gale dil jaa..aa..ni


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4848 Post No. : 16637 Movie Count :

4531

Today’s song is from an absolutely obscure film called Vijay Laxmi-1943. The film’s song are not available on social media like YT etc, but I had 4 songs of this film and I found that this film is yet to make a Debut on our Blog.

If 100 films are made in one year, only about 10% of films are Hits or popular. About 10 to 20 % of films do an average business on Box office, but the rest number of films either flop or disappear from the theatres quickly. That means the majority of the films are not worth remembering. Why does this happen when so much money is poured into the films ? No one wants to waste his money on making a film.

Filmmaking is like playing on a Race Course. 100 people buy tickets and put their money on different horses. Only a few win. The rest lose their money, but then everybody can’t win. It is a matter of Luck, because there is no fixed formula for success. When a producer puts his money into making a film, he has all the hopes to earn profit by making the film a Hit. However, not every film can become a Hit. In Spite of this uncertainty in races, films and other such matters, people take chances again and again by changing their strategies.

Let us now take a look at what the Film scenario was in the year 1943….

1943 was a year in which the II world war was in full swing. Both sides were almost equal. The effects of the war on India were… it faced the infamous Bengal Famine, caused by the war profiteering. Controls on film production were tightened by the Government. I.P.T.A. became operative with its first staged p0lay ‘ Nibanna’. Film Kismet became one of the biggests Hits ever. V.Shantaram’s Rajkamal Kalamandir debuted with Shakuntala, as did Mehboob with his film Najma. Government made showing of Newsreel before any film mandatory. Film Raj Nartaki’s english version The Court Dancer was exhibited in the USA, first time for an Indian film.

1943 produced 105 Hindi films, the highest number during the war years, 1939 to 1945. Many landmark and musical films appeared in this year giving a respite to the war torn audience of Indian Cinema. Let us take a look at some of these films.

Film Bhaichara had music by the only other ” Sursagar” musician – Himangshu Dutt ( the more well known being the singer Jagmohan Sursagar).

C.Ramchandra had his first musical hit with the film Bhakta Raj, made by Jayant Desai productions.

Film Gauri from Ranjit became Monica Desai’s first Hindi film in Bombay. It was a very successful film with songs by Khemchand Prakash, based on Bangla Folk tunes.

Kanan Devi gave some sweet songs in the film Hospital, under Kamal Dasgupta’s baton.

Bombay Talkies film Hamari Baat was the last film in which Devika Rani acted. Anil Biswas was the composer.

Music Director Khurshid Anwar brought Gauhar Sultana from Lucknow to sing some songs in the film Ishara. Naushad'[s musical film Kanoon had some good Suraiya and Shyam duets.

Film Kashinath was Nitin Bose’s last film in New Theatres, after he developed differences with B.N.Sircar.

Anil Biswas gave his career best musical Hit film ” Kismet”- the longest running film from Bombay Talkies.

Nurjehan’s musical film Nadaan was popular with songs from composer K.Datta. Director Mehboob made his first film Najma, under his own banner Mehboob productions.

Yet one more musical from Naushad- film Namaste.

At last a musical hit for composer S.N.Tripathi- Panghat from prakash Pictures. Rajkumari Shukla sang her only Hindi song in this film;. (the film was remade as Chitchor-1976).

Film Paraya Dhan had music by Bengal’s famous musician Gyan Prakash Ghosh. Deena Pathak sang her only 2 songs in this film as Deena Sanghavi.

Ghulam Haider makes merry again with Shamshad hit songs in the film Poonji from Pancholi, Lahore.

One more superhit film – Ram Rajya from Prakash Pictures had very good songs from composer Shankar Rao Vyas. Saraswati Rane gave 2 melodious songs. Yashwant joshi and Yashwant Nikam sang the famous song ” Bharat ki ek Sannari ki katha”. Ram Rajya had also a distinction as the only Hindi film that was seen by Mahatma Gandhi, on 2-6-1944.
( before this Gandhi had seen ” Mission to Moscow-43′ an English film, in Wardha, according to The Hindu (Kathmandu Ed.) dt.8-2-2010). The film had early songs by Manna Dey also.

Naushad in full swing with his 3rd Musical Sanjog, where Suraiya gave playback to Mehtab, the Heroine.

Vasant Desai gave excellent songs in the hit film Shakuntala by V.Shantaram.

Hospital- excellent songs by kanan Devi.

Kanoon- another hit from Naushad.

Mera Khwab- MD Ghulam Mohammed’s Debut film

Najma- Mehboob khan’s first film, on Muslim society.

Nurse- Gyan Dutt gave an excellent song of Rajkumari-‘ Vo gaye nahin’

Prithvi Vallabh- A big budget costume drama made by Minerva, based on story of K.M.Munshi. It had songs by Minakshi Shirodkar.

Tansen- Saigal’s first film in Bombay. Khurshid matches him song by song.

Taqdeer- Nargis aka Baby Fatima debuted as an adult. However her name comes third in the credits, after Motilal and Chandramohan.

Besides these films, the following films were also made but their names are not even known to most people. These films just came and went into oblivion !
Andhera, Angoothi, Ashirwad, Bhalai, Chhed Chhad, Daawat, Duniya Deewani, Jangi jawan, Kurbani,Mohabbat, mauj, Pati pooja, prem sangeet, Rekha, Sahara, Salma, Sawaal, Tasweer, Vijay laxmi and Zameen etc etc. These are only sample names. I have not counted C grade and stunt or costume films, which were plenty in numbers.

Today’s film Vijay Laxmi was made by Indian Art Pictures and was directed by one G.S.Kashyap. I find that his name appears as a Director only for this film in the HFGK. Possibly he was a one film director like many in the war period ( who would provide finance also for the film to become a director ). The music was composed by G.M.Durrani, who was basically a singer but had a strong desire to also be a composer. While he sang 305 songs in 168 films, he also composed music in 8 films and acted in 16 films. He even wrote 1 song in film Nazare-1949.

The cast of the film was Shobhana Samarth, Motilal, Yashodhara katju, Gope, David, Meher Bano (actress Purnima, in adult life),Bhudo Advani, Leela Mishra and many others. In this film even Leela Mishra’s husband Ram Prasad Mishra had also done a small role and his name appears in the credits too.

Leela Mishra (1 January 1908 – 17 January 1988) was a Hindi film actress. She worked as a character actor in over 300 Hindi films for five decades, and is best remembered for playing stock characters such as aunts (Chachi or Mausi). She is best known for her role of “mausi” in the blockbuster Sholay (1975), Dil Se Mile Dil (1978), Baton Baton Mein (1979), Rajesh Khanna films such as Palkon Ki Chhaon Mein, Aanchal, Mehbooba, Amar Prem and Rajshri Productions hits such as Geet Gaata Chal (1975), Nadiya Ke Paar (1982) and Abodh (1984). Her career’s best performance was in Naani Maa in 1981, for which she received the Best Actress award at the age of 73.

Leela Mishra was married to Ram Prasad Mishra, who was a character artist, then working in silent films. She got married at the very young age of 12. By the time she was 17, she had two daughters. She hailed from Jais, Raebareli, and she and her husband were from zamindar (landowners) families.

Leela Mishra was discovered by a man called Mama Shinde, who was working for Dadasaheb Phalke’s Nasik Cinetone. He persuaded her husband to make her work in films. During those days there was a severe scarcity of women actors in films; this was evident in the paychecks that the Mishras received when they went to Nasik for the shooting. While Ram Prasad Mishra was hired on a salary of Rs. 150 per month, Leela Mishra was offered Rs. 500 per month. However, as they fared poorly in front of the camera, their contracts were cancelled.

The next opportunity that came their way was an offer to work in the movie Bhikarin, which was being produced by a company owned by the Maharaja of Kolhapur. However, Leela Mishra lost out on this opportunity too, as the role required her to put her arms round the actor (who was not her husband) while delivering a dialogue, which she point-blank refused to do.

Their next film was Gangavataran-37, directed by Dadasaheb Phalke. This was his only and the last Talkie film. In this film Leela did the role of Parvati. This became her first film.

She faced a similar problem while working in another film titled Honhaar. She was cast opposite Shahu Modak as a heroine, and was supposed to hug and embrace him, which she again refused steadfastly. Since the company was legally in a weak position, they couldn’t turn her out of the film, which proved to be a blessing in disguise for her. She was offered Modak’s mother’s role in the film and it clicked instantly. This opened the doors for her to play mother roles at the young age of 18.

Early on in her career she acted in notable films such as the musical hit Anmol Ghadi (1946), Raj Kapoor’s Awaara (1951) and Nargis-Balraj Sahni starrer Lajwanti (1958), which was nominated for the Palme d’Or for Best Film at 1959 Cannes Film Festival.

She acted in the first Bhojpuri film, Ganga Maiya Tohe Piyari Chadhaibo (1962), which also starred Kumkum, Helen and Nasir Hussain.

Her roles varied from mothers, benign or evil aunts, to comic roles.

She acted in 344 films. Her last released film was Aatank-96. 8 films were released after her death. ( Thanks to wiki, Ateet ke sitare, muVyz, HFGK and my notes).

I have no idea about the film’s story or other details. The song was given to me by friend Abhay Jain (USA) and was uploaded by our Sadanand Kamath ji. Thanks to both.

Editor’s note:_Readers are request to suggest correction to the lyrics wherever applicable.


Song- Bano sudeshi bano Sudeshi (Vijay Laxmi)(1943) Singers- G M Durrani, Lyricist- Not known, MD- G M Durrani

Lyrics

Bano sudeshi
Bano sudeshi
Bano sudeshi
Bano sudeshi
?? bhayo ??
?? bhayo ??
?? bhayo ??

tan sudeshi man sudeshi
maal ?? deshwaalon
kyun nahin lete sudeshi
desh hai kangaal
desh hai kangaal

?? bhayo ??
?? bhayo ??
?? bhayo ??
??
bano sudeshi
bano sudeshi
bano sudeshi
bano sudeshi

laakhon hamaare bhai
zinda hi mar rahe hain
roti ka nahin tukda
faakon se mar rahe hain
aanten hain unki bhookhi
aanten hain unki bhookhin
bachche hain unke bhookhe
maayen hain unki bhookhi

kapdon ko mohtaaj
dhaanp nahin saktin
maa behnen
apne tan ki laaj
apne tan ki laaj
unki roti aatma ka
unse hai sawaal
unse hai sawaal
unki roti aatma ka
unse hai sawaal
unse hai sawaal
?? bhayo ??
?? bhayo ??
bano sudeshi
bano sudeshi
bano sudeshi
bano sudeshi

jo desh pe urbaan
achche wahi insaan
desh laakhon mit gaye
zinda hai Hindustan
zinda hai Hindustan

Desh apna bemisaal
uska tum se hai sawaal
Desh apna bemisaal
uska tum se hai sawaal
?? bhayo ??
?? bhayo ??
marte dam Bhagwaan
de yahi vardaan
har har janam humko miley
ye pyaara Hindustaan
har har janam humko miley
ye pyaara Hindustaan
pyaara Hindustaan
pyaara Hindustaan
pyaara Hindustaaaan


This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4847 Post No. : 16636

‘The Burning Train -1980’ was directed by Ravi Chopra for B.R. Films, Bombay. It was produced by B.R. Chopra. Ravi Chopra also wrote the story of this movie.

It had Dharmendra, Hema Malini, Vinod Khanna, Parveen Babi, Neetu Singh, Danny, Vinod Mehra, Jeetendra, Navin Nischol, Simi, Asha Sachdev, Padmini Kapila, Romesh Sharma, Payal, Asrani, Ranjeet, Iftekhar, Om Shivpuri, Sujit Kumar, Nana Palsikar, Rajendra Nath, Mukri, Keshto Mukherji, Padma Khanna, Komila Virk, Nazir Hussain, Indrani Mukherji, Paintal, Dinesh Thakur, Yunus Parvez, Shammi, Ravindra Kapoor, T.P. Jain, Jankidas, Jagdish Raj, Gufi, Sudha Shivpuri, M. Rajan, Uma Dhawan, Mac Mohan, Anand Balraj, Prem Bedi, Master Bittoo, Baby Khushboo, Junior Danny, Master Romy, Master Salim and others. Madan Puri, Chandrashekhar, Satyen Kappu and Urmila Bhatt make a guest appearance in this movie.

Its screenplay and dialogues were written by Kamleshwar. Pran Mehra was the chief editor for this movie and S.B. Mane and R.P. Bapat assisted him.

This movie was passed by Censor Board on 20.03.1980.

This movie had six songs penned by Sahir Ludhianvi and composed by R.D. Burman. Asha Bhonsle, Kishore Kumar, Mohd Rafi, Padmini Kolhapure and Sushma Shreshtha and Usha Mangeshkar gave their voices to the songs in this movie.

So far, four songs from this movie have been posted on the blog earlier. Here are the details of all the six songs in this movie;

Sr.no. Song Title Singer/s Posted On
01 Ae Ae la laa laa laa … meri nazar hai tujhpe Asha Bhonsle
02 La laa laa laa …pehli nazar mein hamne to apna… Asha Bhonsle, Mohd Rafi, Kishore Kumar, Usha Mangeshkar
03 Kisi ke waade pe kyon hamne aitbaar kiyaa Asha Bhonsle 22.02.2021
04 Waada, haan jee waada, jab tak amber par taare… Asha Bhonsle,Kishore Kumar 08.12.2016
05 Pal do pal ka saath hamaaraa Asha Bhonsle, Mohd Rafi 08.12.2008
06 Teri hai zameen tera aasmaan Sushma Shreshtha, Padmini Kolhapure 17.10.2012

Today’s song is sung by Asha Bhonsle, Mohd Rafi, Kishore Kumar and Usha Mangeshkar.

The final tally of Sahir- R.D. Burman collaboration including this song looks like this now;

Name of the Movie Year Songs of lyricist in the blog Song penned by lyricist in movie as per HFGK Song penned by lyricist in movie as per the book -The People’s Poet
Aa Galey Lag Jaa 1973 6 6 5
Joshila 1973 8 8 8
Deewaar 1975 5 5 5
The Burning Train 1980 5 6 6

let us now enjoy today’s song picturized on Dharmendra, Hema Malini, Vinod Khanna and Parveen Babi.

Today (25 october 2021) is the remembrance day of Sahir Ludhianvi. We pay our homage to him on this occasion.

Audio

Video

Song-Pehli nazar mein hamne to apna dil de diya thha tujhko (The Burning Train)(1980) Singers-Asha Bhonsle, Mohd Rafi, Kishore Kumar, Usha Mangeshkar, Lyrics-Sahir Ludhianvi, MD-R D Burman

Lyrics

la laa laa laa laa
la laa la la laa lala
la laa laa la la la laa laa
la la la laa la la la laa laa
la la la
la laa la la la laa laa

pehli nazar mein
hamne to apnaa
dil de diyaa thhaa tumko
par tumne der lagaayi
ruk ruk ke baat badhhaayi

waise to hamne
dil se hi tumse
apnaa liyaa thhaa tumko
par jaan ke baat chhupaayi
naa kah ke qadar badhhaayi

dekha tumhen to hamne ae
sabse nazar uthhaa li ee ee
khone ki cheez kho di
paane ki cheez paa li ee ee
ho seedhe na sahi ee
ghoom ke sahi
mil to gaye hain ae ae
la laa laa laa laa
laa laa laa laa laa
pehli nazar mein
hamne to apnaa
dil de diyaa thhaa tumko
par tumne der lagaayi
ruk ruk ke baat badhhaayi
laa laa laa aa

hamne tumhaari khaatir
kya kya kiye bahaane ae
ho o o o o
aasaan nahin mohabbat
ab to ye baat maane ae
thhoda nahin kam
jaise bhi hon ham
mil to gaye hain
pehli nazar mein
hamne to apnaa
dil de diyaa thhaa tumko
par tumne der lagaayi
ruk ruk ke baat badhhaayi

likkhaa thhaa aasmaan par
yoon hi ye khel honaa aa
pehle nazar ulajhnaa aa
phir dil ka mel honaa aa
ho o o
chhodo ye giley ae ae
jaise bhi miley
mil to gaye hain ae ae
pehli nazar mein
hamne to apnaa
dil de diyaa thhaa tumko
laa laa laa laa laa
par tumne der lagaayi
ruk ruk ke baat badhhaayi
la laa la la laa
la laa la la laa
la laa laa la la la laa laa
la la la laa la la la laa laa
la la la laa la la la laa laa


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4847 Post No. : 16635

Yearwise discussion of Lata Mangeshkar songs in HFM: Part LVII: Year 2004
———————————————————————————————————

In this episode, the 57th episode, we were supposed to discuss Lata Mangeshkar songs that she sang in Hindi movies released in 2003, seeing that previous episode covered songs that she sang in 2002.

It turns out that Lata Mangeshkar did not sing any songs in movies released during 2003. So 2003 was the first year after 1945, when Lata Mangeshkar did not sing any songs in Hindi movies. So we needed to move on to the next year viz 2004. Even in that year, we were drawing a blank, till we reached the alphabet V. “Veer Zaara”(2004) turned out to be the only movie of 2004 where Lata Mangeshkar sang songs. She sang as many as 9 songs in this movie. 90 Hindi movies containing 632 songs were released uring 2004. So Lata Mangeshkar got to sing in 1.1 % of these movies and she sang 1.4 % of songs in these movies. So her era almost drew to a close after ruling the roost for more than six decades.

Here are the details of songs sung by Lata Mangeshkar in Hindi movies released in 2004 :-

S N Movie Music director Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Lyricists
1 Veer Zaara Madan Mohan 3 9 2 4 0 3 Javed Akhtar
Total 1 movie 1 MD 3 9 2 4 0 3 1 lyricist

Lata Mangeshkar worked with 1 music director and 1 lyricist in this one movie released in 2004. Madan Mohan had passed away in 1975, but his unused tunes, which his son had in his possession, were used for this movie, crediting Madan Mohan as the music director.

Laxmikant Pyarelal were the most prolific music directors with Lata, with 664 songs in HFM with Lata Mangeshkar by the end of 2002. Shankar Jaikishan with 457 songs in the voice of Lata Mangeshkar were in the second position. R D Burman with 332 Lata Mangeshkar and Kalyanji Anandji with 307 songs were next ahead of C Ramchandra with 275 songs. Other top music directors for Lata Mangeshkar were Chitragupta (239), Madan Mohan (204), S D Burman (179),Naushad (146), Roshan (144), Hemant Kumar (127), Anil Biswas (120), Bappi Lahiri (112), Rajesh Roshan (111), Salil Chaudhary (109), Husnlal Bhagatram (108), and Vasant Desai (104). Together these seventeen music directors composed 3742 songs out of 5234 songs that Lata Mangeshkar had sung in Hindi movies till end of 2004. Anand Bakshi with 731 songs was the top lyricist with Lata Mangeshkar. Other leading lyricists with Lata Mangeshkar were Rajinder Krishan (555), Majrooh Sultanpuri (407), Shailendra (361), Hasrat Jaipuri (301), Prem Dhawan (201), Bharat Vyas (193), Shakeel Badayuni (189), Sahir Ludhianvi (161) and Indeewar (156). These ten lyricists had penned 3252 songs sung by Lata Mangeshkar till that time.

Here is the summary of Lata Mangeshkar’s playback career in Hindi movies till end of 2004 :

Year Movie count Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Remarks
1946 3 movies 4 4 4 0 0 0
1947 3 movies 5 5 3 1 0 1
1948 17 movies 51 57 42 8 4 3
1949 40 movies 141 160 105 35 13 7
1950 36 movies 116 143 93 32 14 4
1951 49 movies 190 223 158 52 10 3
1952 43 movies 150 177 138 31 4 4
1953 45 movies 170 195 149 35 5 6
1954 43 movies 142 172 144 23 4 1
1955 50 movies 172 218 177 30 10 1
1956 49 movies 174 204 153 35 13 3
1957 47 movies 132 160 110 38 7 5
1958 35 movies 104 132 95 25 10 1
1959 58 movies 190 211 131 68 12 1
1960 48 movies 142 166 102 50 9 5
1961 44 movies 128 152 88 55 5 4
1962 40 movies 119 129 84 40 5 0
1963 37 movies 105 111 62 38 8 3
1964 46 movies 123 133 91 31 8 3
1965 42 movies 84 91 71 17 1 2
1966 49 movies 105 133 110 14 8 1
1967 44 movies 94 106 67 38 8 3
1968 33 movies 84 84 59 19 5 1
1969 43 movies 78 97 67 27 2 1
1970 54 movies 91 130 84 39 3 4
1971 52 movies 107 126 71 52 3 0
1972 62 movies 100 151 86 60 3 2
1973 60 movies 93 138 94 37 3 4
1974 55 movies 71 104 66 33 0 5
1975 45 movies 62 90 50 35 3 2
1976 41 movies 58 97 53 39 1 4
1977 50 movies 50 96 59 27 8 2
1978 46 movies 60 90 48 34 3 5
1979 42 movies 38 66 37 25 2 3
1980 43 movies 28 71 43 21 3 4
1981 46 movies 40 88 48 34 2 4
1982 45 movies 28 82 41 37 1 3
1983 33 movies 29 73 36 37 0 0
1984 39 movies 11 70 32 33 4 1
1985 40 movies 21 72 39 31 0 2
1986 27 movies 4 41 22 17 0 2
1987 12 movies 4 21 13 8 0 0
1988 21 movies 9 43 24 17 1 1
1989 19 movies 10 38 20 16 1 1
1990 9 movies 4 12 3 9 0 0
1991 16 movies 6 57 35 20 1 1
1992 12 movies 3 25 12 13 0 0
1993 14 movies 3 49 22 23 2 2
1994 12 movies 5 39 9 28 0 2
1995 4 movies 2 8 3 4 0 1
1996 5 movies 2 14 7 7 0 0
1997 5 movies 1 21 2 14 4 1
1998 3 movies 4 11 3 7 0 1
1999 7 movies 3 14 6 7 0 1
2000 2 movies 3 5 1 2 0 2
2001 6 movies 2 12 6 5 0 1
2002 2 movies 1 8 3 5 0 0
2003 NIL movies 0 0 0 0 0 0
2004 1 movie 3 9 2 4 0 3
Total upto 2004 1875 movies 3757 5234 3383 1512 213 126

As observed earlier, “Veer Zaara”(2004) was the only movie released in 2004 that had the voice of Lata Mangeshkar. “Veer Zaara”(2004) was produced and directed by Yash Chopra for Yashraj Films, Bombay. The movie had Shahrukh Khan, Rani Mukerji, Preity Zinta, Kirron Kher, Divya Dutta, Boman Irani and Anupam Kher in main roles. The movie had special appearances by Amitabh Bachchan, Hema malini and Manoj Bajpai. The movie also had Zohra Segal, S.M.Zaheer, Tom Alter, Akhilendra Mishra, Arun Bali, Gurdas Mann, Rushad Rana, Flt.Lt.Vinod Negi, Balwant Bansal, Rajesh Jolly, Anup Kanwal Singh, Kanwar Jagdish, Dev.K.Kantawala, Vicky Ahuja, Ranjeev Verma, Chandni, Jas Keerat, Sanjay Singh Bhadli, Kulbir Baderson, Shivaya Singh, Huzeifa Gadiwalla, Vishal Sharma, Amir Zadey, Sayyed Firdaus, Manish Arora, Banwarilal Jhol, Darshan Aulakh, Jitendra Bhardwaj, Pankaj Rain, Gurinder Singh Ginda etc in it.

The movie had eleven songs in it. Lata Mangeshkar’s voice was there in 9 of these songs.

Four songs, inclusing three containing Lata Mangeshkar’s voice, have been covered in the blog.

Here is the fourth song from “Veer Zaara”(2004) to appear in the blog. This song is sung by Lata Mangeshkar and Sonu Nigam. Javed Akhtar is the lyricist. Madan Mohan is the composer.

The song is picturised on Preity Zinta and Shahrukh Khan.

Lyrics of the song and other details were sent to me by Prakashchandra.

audio

video

Song-Do pal rukaa khwaabon ka kaarwaan (Veer Zaara)(2004) Singers-Lata, Sonu Nigam, Lyrics-Javed Akhtar, MD-Madan Mohan

Lyrics(Provided by Prakashchandra)

aaa aaa aaa aaaa
aaa aaa aaa aaa

do pal rukaa khwaabon ka kaarwaan
aur phir chal diye
tum kahaan aan hum kahaan

do pal ki thhi ye dilon ki daastaan
aur phir chal diye
tum kahaan aan hum kahaan aan
aur phir chal diye
tum kahaan aan hum kahaan aan aan

tum thhe ke thhi koyi ujli kiran
tum thhe yaa koyi kali muskaayi thhi…eee

tum thhe yaa sapnon kaa thhaa saawan
tum thhe ke khushiyon ki ghataa chhaayee thhee
tum thhe ke thaa koyi phool khilaa
tum thhe ae yaa milaa thha
mujhe nayaa jahaaan aan aan
do pal rukaa khwaabon ka kaarwaan
aur phir r r chal diye
tum kahaan aan hum kahaan aan

do pal ki thhi ye dilon ki daastaan
aur phir chal diye aey ae ae
tum kahaan aan hum kahaan aan
aur phir chal diye ae
tum kahaan aan hum kahaan aan aan aan

aaa aaa aaa aaa
aaa aaa aaa aaa
aaa aaa aaa aaa
aaa aaa aaa aaa
aaa aaa aaa aaa

tum thhe yaa khushboo hawaaon mein thhee
tum thhe yaa rang saari dishaaon mein thhe aey ae ae

tum thhe yaa raushni raahon mein thhi
tum thhe ya geet goonjey fizaaon mein thhe ae ae
tum thhe miley yaa mili thhi manzilein
tum thhe ae ke thhaa jaadoo
bharaa koyi samaa aan aaa aan aa
do pal rukhaa khwaabon ka kaarwaan
aur phir chal diye ae
tum kahaan aan hum kahaan aan

do pal ki thhi ye dilon ki daastaan
aur phir chal diye
tum kahaan aan hum kahaan aan
aur phir chal diye
tum kahaan aan hum kahaan aan

aur phir chal diye
tum kahaan aan hum kahaan aan aan aan


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4846 Post No. : 16634

The song, tum jo aao to pyaar aa jaaye zindagi mein bahaar aa jaaye was from a ‘B’ grade film, ‘Sakhi Robin’ (1962) sung by Manna Dey and Suman Kalyanpur. The song was written by a then struggling lyricist, Yogesh Gaud which was set to music by Robin Banerjee who was trying to establish himself as the music director in Hindi films but did not succeed. If this song was to appear in an ‘A’ grade film, probably this duet would have been sung by Mohammed Rafi or Mukesh with Lata Mangeshkar. Another popular song, na jaane kahaan tum thhe na jaane kahaan ham thhe from ‘Zindagi Aur Khwaab’ (1961) was sung by Manna Dey with Suman Kalyanpur set to music by Dattaram who was also trying his best to graduate from assistant to Shankar-Jaikishan to an independent music director since 1957.

Personally, I was very happy that these two romantic songs were sung by Manna Dey with Suman Kalyanpur as they broke the monotony of our ears getting flooded with the familiar voices of the topmost male and female playback singers of that time. These two songs became popular as they were regularly played on Vivid Bharati.

What made me to remember these two songs is the 8th Remembrance Day of Manna Dey today, October 24, 2021. It is Manna Dey’s bad luck that his singing versatilities could not be fully exploited by the music directors. He could not become the mainstream playback singer as his contemporary playback singers, Mohammed Rafi, Mukesh, Talat Mehmood and later Kishore Kumar were preferred by producers, directors and actors. Nonetheless, Manna Dey who commenced his playback singing career in Hindi films in 1942 continued to sing until 1990s – a period of 5 decades during which he sang close to 1375 songs in diverse genres in Hindi films and composed songs as a music director for 15 Hindi films.

Probodh Chandra Dey, known by his pet name, Manna Dey (01/05/1919 – 24/10/2013) had the initial training in music from his uncle, K C Dey. When K C Day decided to shift to Mumbai in the early 1942 on the invitation of Chimanlal Trivedi of Laxmi Productions, Manna Dey accompanied him to assist him both in his filmy career as a music director as well as to look after his uncle who was blind. It was K C Dey, who gave Manna Dey his debut song, a duet with Suraiya, jaago aayi usha panchhi bole jaago in ‘Tamanna’ (1942). Neither the songs nor the film created any ripple on the box office front. He also got opportunity to sing three songs in ‘Ram Rajya’ (1943) which was first offerred to K C Dey but declined the offer by saying that he sang only his self-composed songs.

While Manna Dey continued to assist K C Dey, he was entrusted to Ustad Aman Ali Khan of Bhendi Bazar Gharana by his uncle to get him trained as a vocalist in Hindustani classical music. He also took training in learning Urdu to improve his diction. In 1946, K C Dey returned to Kolkata after which Manna Dey assisted music directors Hari Prasanna Das, Khemchand Prakash and S D Burman. Somehow, he detested the work of music direction and instead concentrated on playback singing.

Manna Dey started his playback singing career at a time when Mukesh had started his career as a singer-actor in 1941 followed by Mohammed Rafi in 1944. It would be interesting to know as to how they fared in their initial play-back singing career in the 1940s. As I expected, Mohammed Rafi topped among them with around 325 songs, followed by Mukesh (around 160 songs). Manna Dey came a distant third with around 60 songs only. It was apparent that Manna Dey getting branded as a specialist in classical singing and singing for character actors in the genre of prayer or philosophical songs, had affected his playback singing output significantly.

In the 1950s also, Manna Dey was not yet in the reckoning as one of the main playback singers for the lead actors. The producers/distributors of the films preferred Mohammed Rafi, Mukesh, and Talat Mehmood in that order. Manna Dey would get the chance to sing for the lead actors only if the song was based on a classical raagas. Even in other genres of songs, he got only limited opportunity to sing for the lead actors.

In one of his interviews, Manna Dey had revealed that sometime in 1954, he had contemplated to quit the Hindi film industry out of the frustration of not getting opportunity to sing for the lead actors and also in diverse genres. It was his wife, Sulochana Kumaran who encouraged him to give up the defeatist attitude and prove that he could sing any type of songs.

A major opportunity came to Manna Dey in the film ‘Shri 420’ (1954) when Mukesh after singing two songs for Raj Kapoor excused himself from singing more songs as he had signed a contract with the producer of ‘Maashooqa’ (1953) which prohibited him singing in other films until the release of the film. This gave opportunity for Manna Dey as he was chosen to sing for Raj Kapoor for 3 remaining songs. He also sang for Raj Kapoor in ‘Chori Chori’ (1956) and in ‘Parvarish’ (1958). All these songs became very popular. With these success, Shankar-Jaikishan got confidence to make Manna Dey sing 4 songs for Shammi Kapoor in ‘Ujjala’ (1959). But thereafter it was back to square one as in the 1960s, producers and actors preferred Mohammed Rafi and Mukesh over Manna Dey.

Probably, to prove his point that he could sing any genre of songs, in the 1960-70s, he sang a few beautiful non-film songs of the diverse genre such as nazaaron mein ho tum khayaalon mein ho tum, ye aawaara raaten ye khoyi si baaten, ‘nathhili se toota moti re’, ‘saawan ke rimjhim mein thirak thirak naache’ and many more.

In the 1960s, Manna Dey sang diverse types of songs some of which were not to his likings. But he accepted such songs to prove a point that he could sing any genre of Hindi films songs. Since he was regarded as a specialist in classical rendition, some music directors started using his classical rendition in the comical situations. For instance, he sang a Bhairavi thumri, arre hato kaahe ko jhoothhi banaao batiyaan in ‘Manzil’ (1960) which was made very famous by Ustad Faiyyaz Khan. In the similar situation, Manna Dey also rendered phool gendwa na maaro in ‘Dooj Ka Chaand’ (1964). He was also the main voice in one of landmark qawwalis of Hindi films, na to kaarwaan ki talaash hai in ‘Barsaat Ki Raat’ (1960).

Manna Dey also sang fun songs mostly for Mehmood in the 1960s like main tere pyaar mein kya kya na bana dilbar in ‘Ziddi’ (1964), aao twist karen jaag uthha mausam in ‘Bhoot Bangla’ (1965), o meri maina maan le mera kehna in ‘Pyaar Kiye Jaa’ (1966) and the iconic song, ek chatur naar kar ke singaar in ‘Padosan’ (1968).

Despite Manna Dey proving himself to be a versatile singer, he never got his dues that he deserved from Hindi film industry. From his interviews most of which he gave after he took the ‘self-imposed exile’ from Hindi film industry in the 1990s, his frustration about the way he was treated by Hindi film industry is quite apparent. In his interviews, Manna Dey gave a few instances where producers openly said their preference for Mukesh in front of him for the songs he was to sing. Fortunately, in most such cases, the concerned music directors stood for him. One such instance which Manna Dey did not reveal openly but shared with Pulak Bandyopadhyay, the lyricist for Bangla films and non-films songs:

When Manna Dey was rehearsing the song, tere naina talaash karen from ‘Talaash’ (1969) with S D Burman in his music room, O P Ralhan, the producer-director of the film walked in and listened to the song. In the presence of Manna Dey, O P Ralhan asked Burmanda as to why not Mukesh sing. Burmanda replied that Mukesh can not sing this song. O P Ralhan’s repartee to Burmanda was that why did he compose song which could not be sung by Mukesh ? Burmanda lost his cool and told O P Ralhan that if he wants S D Buirman’s music for ‘Talaash’, this song will have this tune and it would be sung by Manna Dey only. If he does not like this arrangement, he can look for another music director. O P Ralhan retreated from his stand. On the day of celebration of the silver jubilee of the film, O P Ralhan said ‘S D Burman Saab, you are our Dada – our eternal Dada’ [from Pulak Bandyopadhyay’s autobiography in Bengali ‘Kathay Kathay Raat Hoye Jay’ quoted in ‘S D Burman – The World of His Music’ by Khagesh Dev Burman (2013)].

Probably, Manna Dey lacked the ‘glamour’ quotient which his contemporaries, Mohammed Rafi, Mukesh, Talat Mehmood and later Kishore Kumar had due to their large and strong fan-followings many of them could turn out to be the ‘fanatic’ fans. A large fan-following drives the box office demand for a playback singer. Nonetheless, Manna Dey has left with us scores of his immortal songs as a proof of his versatility to cherish his memory.

On the occasion of 8th Remembrance Day of Manna Dey, I have selected one of his trade mark semi-classical songs, ‘man bhaawan sangeet suhaawan’ which is the only remaining song from ‘Chandramukhi’ (1960) to be covered on the Blog. The song was written by Bharat Vyas which was set to music by S N Tripathi.

‘Chandramukhi’ (1960) had 8 songs of which 7 songs have been covered on the Blog as under:

Songs Date of Posting Singers
Nain ka chain churaakar le gayi 29/03/2010 Mukesh
Aaj rituon ka raaja aaya 18/04/2011 Rafi-Suman Kalyanpur
Tera man mera man miley preet yoon khile 20/05/2012 Lata-Mukesh
Nadi kinaare koi pukaare 09/12/2012 Geeta Dutt-Rafi
Nainon se nainon ki baat huyi 08/02/2013 Lata
Chaandni jhilmil kare taaron bhari ye raat hai 03/12/2016 Sudha Malhotra-Lata
Bas gayi hai aankhon mein 18/12/2020 Manna Dey-Suman Kalyanpur

With the last song being covered now, all the songs of ‘Chandramukhi’ (1960) have been covered on the Blog.

————————————————————————————————————————–

Note: The information used in this article on the life sketch of Manna Dey has been taken from his interviews which appeared on print as well as electronic media.

Audio Clip:

Song-Manbhaawan sangeet suhaawan (Chandramukhi)(1960) Singer-Manna Dey, Lyrics-Bharat Vyas, MD-S N Tripathi
Chorus

Lyrics

O…….m

man bhaawan sangeet suhaawan
man bhaawan sangeet suhaawan
madhur madhur madhu been bajaawan
sa ma ma ga dha
pa ma dha ri
sa ni dh pa ma ga ri sa
man bhaawan sangeet suhaawan

aadi bramah lay sur upjaaye ae ae ae
aa aa aa aa aa aa
aadi bramah lay sur upjaaye
sapta suran ke haath sajaaye
mahaguni Naarad ne apni
veena par kiske gun gaa..ye
man bhaawan sangeet suhaawan

saraswati ki taan sureeli
sunkar dharti dol uthhe
aaaaa
aa aa aa aa aa
aa aa aa aa
aa aa aa aa aa aa
aa aa aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa aa aa
aa aa aa aa aaa
saraswati ki taan sureeli
sunkar dharti dol uthhe
jan jan ki sangeet sudha se
dason dishaayen bol uthhe
ma…aa
ma ma dha
ni re gaa re gaa re saa
ni re saa
paa ni saa

jal thhal dole ambar dole
dhara kaa kan kan bol uthe
mahadev kaa maharaag sun
sheshnaag bhi dol uthhe

[Tabla notations recited by
Manna Dey and an unidentified male voice]

aa aa aa aa aa aa
aa aa aa aa aa aa
aa aa aa aa aa aa
aa aa aa aa aa aa
aa aa aa aaa
aa aa aa aaa
aa aa aa aaa
man bhaawan sangeet suhaawan
man bhaawan sangeet suhaawan


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 FOURTEEN years. This blog has over 17100 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2022) 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.

Total number of songs posts discussed

17162

Number of movies covered in the blog

Movies with all their songs covered =1329
Total Number of movies covered=4609

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