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

Archive for August 2022


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

5133 Post No. : 17090

Hullo to all friends

I know it is rather late in the day to wish a ‘Happy Friendship Day’; but as the saying goes ‘Better Late Than Never’.

This morning my husband had a confused look on his face when he started receiving Friendship Day messages. He asked me “when is this day?”. The reason behind the question was – he had received friendship day messages last weekend too, on July 30th to be exact.

My reply (after a lot of googling, need not be the accurate answer)- “July 30th was the International Friendship Day as recognized by the United Nations General Assemby in 2011.”
The next question followed “Then why I am getting messages today?”

My reply – “In India Friendship Day is celebrated on first Sunday of August for some decades now. Personally I don’t know when all this began”.

On thinking deeper, do we really need any of these special days? Mother’s Day, Valentine’s Day, Father’s Day, Sibling Day, Grandparents Day, Son’s Day, Daughter’s Day, Friendship Day etc. Aren’t these relations part of our emotional framework? I can only see one purpose to these days- acknowledging the existence of these relations in our life when we are fortunate of them being there. Because we miss our friends, parents, and all loved ones when they are not there and away from us for some reason or they have been permanently removed from our life. It is good to appreciate them when they are there and not take them for granted.

Different matter that cynics would say the purpose of these DAYS is to increase the workload of postmen & courier services, greeting card makers and shops selling relevant gifts, flowers and chocolates. (good for economy Emoji) But let us not be cynics.

The first set of best friends or Best Friends Forever (BFF)- as the new generation would put it- were Krishna- Sudama, Karna- Duryodhana (my thinking, I may be wrong too).

All of us have our set of friends who have stood by us through thick and thin, in our good times and bad times. The ‘Friend in need is a friend Indeed” type. We have friends with whom we just need to see or dial and start talking as if there was no gap in between, as if we have been meeting or speaking every single day of the year. Today is the day to acknowledge the importance of all the friends in our life.

Do we have special songs for this occasion in Hindi Films? Yes of course. Any song with the words ‘yaar’, ‘yaari’, ‘dost’, ‘dosti’, will fit the bill for friendship day song and the blog has all the iconic and all-time hit songs that are marked in the ‘Dosti song’ and ‘Friendship song’ category.

August 7th happens to be the birthday of Suresh Wadkar. So we are having a song for Friendship Day in the voice of Suresh Wadkar. It is written by Khurshid Hallauri and composed by RD Burman. It is from the 1989 Vinod Chopra directed ‘Parinda’ a movie whose songs I simply love. The blog has three (there is two-version song) songs from this movie.

Prakashchandra ji had put a query in the comments section of the first song of this film “And Who is Khurshid Hallauri ??, the lyricist, Any one who has information about him, Please share with us.”
This is Avinashji’s reply to that query

“Here is a brief information about Khurshid Hallauri compiled from sources:
Khurshid Hallauri was born in 10 Feb 1938 in Mumbai (?). He is an Indian lyricist writing primarily for Hindi songs in Bollywood films / Albums.
Hallaur or Hallor village is located in Domariyaganj Tehsil of Siddharthnagar district in Uttar Pradesh, India. Domariyaganj is the nearest town to Hallaur village.

There are many of his videos on ‘Youtube’. But I think in movies he has only penned songs for ‘Parinda-1989’.”

Any further information on Khurshid Hallauri is welcome.

The song is filmed on Anupam Kher and Anil Kapoor who are childhood friends and are on the way to meet each other after a gap of some years. When the two were away -Anupam Kher for police training and Anil Kapoor for studies. The second singer for this all male duet is Shailendra Singh.
Thanking all my friends for being in my life and wishing Suresh Wadkar on his birthday.

Audio

Video

Song-Kitni hai pyaari pyaari dosti hamaari(Parinda)(1989) Singers-Suresh Wadkar, Shailendra Singh, Lyrics-Khursheed Halluri, MD-R D Burman
Unknown kid voice 1
Unknown kid voice 2
Unknown kid voice 3
Unknown kid Voice 4
Chorus in kid voices
Spoken Dialogues
Suresh Wadkar + Shailendra Singh

Lyrics

hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm
lalalalala
laralalalala

kitni hai pyaari pyaari dosti hamaari
jo yaar ki khushi vo khushi hai hamaari

[paper paper paper]
[paper paper paper]

[andha hai kya]
[chal]

ek din zaroor humko mehnat ka phal milega
hum kaamyaab honge duniya se gham hatega

jag mein aman rahega
sabki khushi mein hogi yaaro khushi hamaari
jo yaar ki khushi vo khushi hai hamaari

seedhi sachchi raahen apnaana chaahte hain
kuchh ban ke is jahaan ko dikhlaana chaahte hain
dikhlaana chaahte hain
taaqat se darega
har aadmi hamaari

[aise nahin bolte bhaiya]
[taaqat se nahin]
[pyaar se saadgi se]

duniya ko jeet legi saadgi hamaari
jo yaar ki khushi vo khushi hai hamaari

[karan mujhe bahut darr lag raha hai]
[darr mat paro, main hoon na tere saath]
[karan mujhe kabhi nahin chhodna]
[nahin paro main tumhen kabhi nahin chhodunga, kabhi nahin]

dil kehta hai mujhse
aisa bhi koi aaye
jo pyaar se ye kahke mujhko gale lagaaye

mujhko gale lagaaye
chaand main tumhaara
tu chaandani hamaari

chaand main tumhaara tu chaandani hamaari
jo yaar ki khushi vo khushi hai hamaari

badhte huye kadam ye hargiz nahin rukenge
kaatenge saath jeevan
jab yaar se milenge
jab yaar se milenge
zindagi hum uski
vo zindagi hamaari

zindagi hum uski
vo zindagi hamaari
jo yaar ki khushi
vo khushi hai hamaari

kitni hai pyaari pyaari dosti hamaari
jo yaar ki khushi
vo khushi hai hamaari

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

हम्म हम्म हम्म हम्म हम्म
हम्म हम्म हम्म हम्म हम्म
हम्म हम्म हम्म हम्म हम्म

ला ला ला ला ला
ला रा ला ला ला ला ला

कितनी है प्यारी दोस्ती हमारी
जो यार की खुशी वो खुशी है हमारी

[पेपर पेपर पेपर ]
[पेपर पेपर पेपर ]

[अंधा है क्या]
[चल]

एक दिन ज़रूर हमको मेहनत का फल मिलेगा
हम कामयाब होंगे दुनिया से ग़म हटेगा
जग में अमन रहेगा
सबकी खुशी में होगी यारो खुशी हमारी
जो यार की खुशी वो खुशी है हमारी

सीधी सच्ची राहें अपनाना चाहते हैं
कुछ बन के इस जहां को दिखलाना चाहते हैं
दिखलाना चाहते हैं
ताक़त से डरेगा
हर आदमी हमारी

[ऐसे नहीं बोलते भैया]
[ताक़त से नहीं’]
[प्यार से सागी से]

दुनिया को जीत लेगी सादगी हमारी
जो यार की खुशी वो खुशी है हमारी

[करण मुझे बहुत डर लग रहा है]
[डर मत पारो मैं हूँ ना तेरे साथ]
[करण मुझे कभी नहीं छोडना]
[नहीं पारो मैं तुम्हें कभी नहीं छोदूंगा कभी नहीं’]

दिल कहता है मुझसे
ऐसा भी कोई आए
जो प्यार से ये कह के’ मुझ को गले लगाए
मुझ को गले लगाए
चाँद मैं तुम्हारा
तू चाँदनी हमारी
चाँद मैं तुम्हारा तू चाँदनी हमारी
जो यार की खुशी वो खुशी है हमारी

बढ़ते हुये कदम ये हरगिज़ नहीं रुकेंगे
काटेंगे साथ जीवन
जब यार से मिलेंगे
जब यार से मिलेंगे
ज़िंदगी हम उसकी
वो ज़िंदगी हमारी
ज़िंदगी हम उसकी
वो ज़िंदगी हमारी
जो यार की खुशी है
वो खुशी हमारी
कितनी है प्यारी प्यारी दोस्ती हमारी
जो यार की खुशी है
वो खुशी हमारी


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 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 :

5133 Post No. : 17089

Today’s song is from a Costume drama-Jalti Nishani-1957.

There was another film Jalti Nishani made in 1932, by Prabhat Film Company of Poona. It was a bilingual film, made in Hindi and Marathi and the Marathi version was titled ” Agni kankan” ( अग्नी कंकण ). That was the usual story of an honest king, a bad Vazir, a runaway queen with her son and the revenge taken after 20 years. The 1957 film with the same title had almost a similar story with some variations. This film was made by Emsheth productions, produced aptly by a rich person called A.G.Dhanik. It was directed by Tara Harish and the melodious music was provided by the grand old man of Hindi film music – Anil Biswas.

The image of Anil Biswas carved in the minds of Music lovers is that of a smiling person who was respected by one and all in the industry. But few people know that behind that smiling face were many unpleasant events in his life. A failed marriage, loss of all earnings while settling the separation, loss of a dear friend-Mehboob, loss of an young son in Indian Air Force, a failed musician son, a pathetic end of his musical career field in Bombay and a life spent away from Bombay made Anil Biswas a Philosophical person at the end of his life.

I have full respect and liking for him as a person and also as a music melody creator in Hindi films. Today, in this post, we will take a short look at his life and a retelling of some interesting happenings of his life. In his Bio,you will find a less known story of his ambitious but unfortunate son who died untimely. I am not going into the details of his songs and music nor am I going to delve into the details of his interesting early life in Bengal, before coming to the Bombay film world scene. So, here we go….

Anil Biswas,the Bhishma Pitamaha of HFM,was a respected person in the industry.He started from the mid 30s and for the next 25 years or so,he created many everlasting gems in film songs. In Bombay,the Playback was first started by him in the film Mahageet-1937. By the mid 50s his magic started waning and by 1960,he was almost gone from the industry. Initially he did 10-11 films with Sagar,then with Mehboob for National studios and then in Bombay talkies- where his name became immortal with the film Kismet-1943.

He married Ashalata in 1936. Along with her he started variety pictures and they produced films like Laadli-49,Laajawab-50;Badi Bahu-51,Hamdard-53 and Bajuband-54. ( a less known fact is-Anil da had made a Guest appearance in the film Hamdard-53 as a barber.) He also acted in the film Mehman-53 (produced by Ashalata),as a Pujari and a song was shot on him.In both cases he did not get any payments. As a Producer he lost heavily, because Ashalata usurped all the money. Frustrated, he gave up everything and separated from her in 1954.

To sustain life,he bought a Truck and did a business of transportation. In addition he also took the contract for a canteen in Mehboob Studios. He failed in both ventures. By now,his relations with Ashalata were soured and sweet links were established with singer Meena Kapoor-25 years younger to him, since 1948 itself.According to some reports, they got married with each other on 19-3-1957. The death of Brother in law and close friend Pannalal Ghosh in 1960 and younger brother Sunil in 1961 as well as his eldest son- Pradeep,broke his heart. He left Bombay and joined A.I.R. at Delhi on 1-3-1963,where he worked upto 27-6-1975. Later he was a consultant for Nehru University for a few years.

Like many filmi couples,Anil da’s married life was also a failure. In Bombay,he used to stay in a huge bungalow,called ” Asha-Pradeep “, on Vincent Road. From Ashalata,he got 3 sons-Pradeep,Amit and Utpal and 1 daughter-Shikha. His son Utpal formed a pair as Amar-Utpal and gave music to few films. The other son Amit established the First Digital Recording Studio in Bombay. Daughter Shikha too got married and settled.

However,hardly anything is known about his eldest son Pradeep,anywhere. Here is some information,hitherto not known much,brought specially for our readers.
Pradeep was a very bright student and always topped in school and college. He passed his entrance exam and the interview,with flying colours for entry to NDA college at Poona,to join armed forces. He excelled even in NDA training.Not only was he very popular there but sang well too. He participated in the music Festival of Khadakwasla NDA and sang 3 songs,winning all prizes. He was also a NDA Topper.

Shri Gopinath Talwalkar,an A.I.R. Programmer at Delhi,used to interview the Toppers of NDA every year. That year Pradeep was the Topper, so he was interviewed. Though the interview was in Hindi, after the recording,Pradeep asked Talwalkar,in pure Marathi,whether his interview had been good. Talwalkar was shocked. Pradeep then explained that he was Anil Biswas’s son and he had learnt Marathi from his actress mother Ashalata. Pradeep knew Hindi,Marathi,English and Gujarati languages.

After completing his NDA training,he was posted as Flight cadet at Jodhpur. He was further promoted and became Pilot Officer in 1957. During one Training flight some altitude problems occurred and his plane crashed at Begumpet Airport, Hyderabad, killing Pradeep instantly. This happened in 1961.

This was also the time of crisis for Anil da. He was struggling to survive. Films were not coming to him. Since he married Meena Kapoor, Lata Mangeshkar-a fast close friend of Ashalata , had gone against him and Meena’s singing career was suppressed. He had already lost Pannalal Ghosh and Sunil-his brother and now Pradeep’s death devastated him and he was literally forced to seek employment with Delhi A.I.R., when the opportunity came. After retirement, till his death on 31-5-2003, he spent his life in total anonymity and recluse. So sad for a composer, who was once a fountain of enthusiasm and who was considered Mentor by leading contemporary composers like C.Ramchandra.

Here is an anecdote about C.Ramchandra and Anil Biswas…

On the day of recording the first ever Hindi film song (a chorus song) of C.Ramchandra, (in 1942) all arrangements were done. Chorus singers were ready, musicians were ready and technicians were ready. Suddenly, a set of visitors arrived at the studio. The visitors were all top composers of the day like Anil Biswas, K.Datta, Naval Chatterjee and some others.They all had heard about C Ramchandra, his tunes and his work. They wanted to see how he operated. C Ramchandra had tremendous respect for Anil Biswas. He knew that the contributions of Anil Biswas to Hindi Film Music was praiseworthy. Anil Biswas was a master of harmonization technique in western and Indian music instruments.

C Ramchandra described this event thus-

” It was my great fortune that a senior composer whom I considered as my Guru was present at my first recording. To my greatest surprise all the visitors joined the Chorus group for singing. I just wanted to check if the final take can be taken. I said one ..two..three and the song and music started, but I felt something was wrong. One singer sounded different. I stopped and ran outside to the singers. To my shock it was Anilda who put a Teevr Nishad which was not in my composition. He smilingly asked, is it Ok ? I said respectfully, No Dada, this is not right. He very magnanimously and without further questions agreed and they all sang on my tune only !. ”

Here is one more anecdote about Anil Biswas and Dilip kumar…

A few interesting lines about the duet –‘Aa mohabbat ki basti basayeinge hum’. One afternoon Anil Da at his residence was in the company of celebrated actors –Dilip Kumar and Ashok Kumar. He played on his harmonium and hummed the serious tune of his forthcoming melody -‘Aa mohabbat ki basti basayeinge hum’. As to who will be the female singer, there was absolutely no doubt about Lata; but who will give the male voice? “Dada it should be Talat”-said Ashok Kumar. Whereas Dilip Kumar suggested –“Anil Da, in any case looking at the serious lyrical notes, male singer should be your favorite Mukesh.” Anil Da had something else in his mind. “How if Kishore sings with Lata”- said the maestro. “Kishore!’ –Dilip was taken aback; “if Kishore will sing such a serious song, then ‘Aapka joota aur mera sar (if Kishore will sing such a serious song, my head is ready for your shoe-beating)’” –added Dilip Kumar. “Mein joota le kar aataa hoon, sar tayyar rakho (Be ready with your head, I am bringing my shoe).”

Kishore Kumar was called, who at the first instance, bluntly refused to sing the said duet with Lata. But, the maestro’s conviction prevailed and eventually a heart-throbbing duet was created!

Film Girls school-49 has a very interesting History. As we know the film had 9 songs and there were 2 MDs-Anil Biswas and C Ramchandra (4 and 5 songs each).

This film was produced by Kavi Pradeep under the banner of Lokmanya Productions,Bombay. This was a company floated by him and Amiya Chakrawarty-director of this film. To understand the complexities of Girls school, we must go back a little. In 1942, Anil Biswas was invited by Ranjit @ 1500 pm and by Bombay Talkies @ 2500 pm. As National studio was winding up, AB wanted to make a change anyway, but due to the contract of national he could not join Bombay Talkies openly. He ,however , gave music to film Basant-42 and the name of his brother in Law, Pannalal Ghosh was used as its MD.

Finally when AB joined Bombay Talkies, there were already 2 groups there. One was led by Devika Rani and Amiya Chakraborty and the other was led by S. Mukherjee along with Ashok kumar, Gyan Mukherjee, Pradeep etc- a total of 15 artistes. AB was invited by Devika Rani and that too at 2500 pm,when Pradeep was getting 1500 pm. This irritated Pradeep to no end and he started troubling and finding faults with Anil Biswas. However Anil Biswas gave excellent music to film Kismet and then everyone was happy as the film celebrated jubilees everywhere.

With this background,Anil Biswas joined Girls school as a MD, mainly due to Amiya who knew his calibre. Kavi Pradeep being a producer and a Lyricist started interfering with Anil Bswas’s work and criticising him at every opportunity. AB was fed up. He had already recorded 3 songs and a solo by Lata , ” tum hi kaho,mera man udas kyun na rahe” was to be recorded. Anil Biswas had taken C Ramchandra as his assistant for this film. Though CR was already a popular and well known composer himself, still due to sheer respect for Anil Biswas, he had accepted to be his assistant here. When the tune for Lata’s solo was made, Pradeep passed caustic remarks about it being not so good. There was an altercation between Anil Biswas and Pradeep and Biswas quit then and there and went away.

Automatically, C Ramchandra had to take over as MD for the balance songs. Pradeep was very happy. Next day recording of Lata’s solo song took place under the supervision of C Ramchandra, as planned. Later when Lata came to know that Anil Biswas had left and C Ramchandra had replaced him,she was very angry and said that she would not have recorded the song had she known about AB’s exit. She objected to CR’s taking over and complained to the Artistes association too. (Remember, at that time Lata and CR’s relations had not formed yet, Lata was still with Husnlal.)

Later on in 1954, when O P Nayyar replaced Roshan for Mehbooba-54, Lata took up the issue with the MDs’ association. Anil Biswas was the chairman that time and OPN was boycotted. That time Lata quoted the film Girls school incident to prove that she was ” highly Principled” !

Anyway, this was how C Ramchandra became the next MD of Girls school-49,with 4 duets of Shamshad and 1 solo for Lalita Deulkar. All the 4 duets of this pair are very interesting. However, with all this jhamelas, film Girls school-49 was a total Flop. Pradeep lost heavily and closed the production company forthwith, after just one film.

One peculiar thing with Anil Biswas was that he liked to compose Chorus songs. That is why in almost every film you will find at least one chorus song. Right from his first film to his last film, I checked the song list. Even in his today’s film there are 2 chorus songs. Today’s song also has a chorus in it. It is a good song. Let us enjoy it.

(Information used in this article is from books Sagar Movietone, Mehboob Khan, Journey down melody lane, Ritu aaye Ritu jaaye- Marathi book Anil Biswas, by Sharad Dutt , notes from RMIM with thanks and my notes.)


Song- Aisa jaam pila nazron se hosh rahe na baaqi re (Jalti Nishaani)(1957) Singers- Hemant Kumar, Lata Mangeshkar , Lyrics-Qamar Jalalabadi, MD-Anil Biswas
chorus
Lata + Chorus

Lyrics

o o o saaqi ee re ae ae
saaqi re ho
saaqi re ho
saaqi re ho
saaqi re ho

hey ae ae
aisa jaam pila nazaron se
hosh rahe na baaqi re
saaqi re ho
saaqi re ho
saaqi re ho
saaqi re ae ae

aaj lage kyun ujda ujda
bhara hua maikhaana aa aa
aa aa aa aa
aa aa aa aa
jisko nazren dhoondh rahi hain
aen aen aen aen
aen aen aen aen
kaha hain wo deewaana ji
kaha hain wo deewaana
ye kaisi mehfil il il il il
ye kaisi mahfil hai jismein
pyaasaka hai khud saaki re ae ae

saaqi re ho
saaqi re ho
saaqi re ho
saaqi re ho

hey ae ae aisa jaam pila nazron se
hosh rahe na baaqi re
saaqi re ho
saaqi re ho
saaqi re ho
saaqi re ae

ek mein din hai raat ek mein
chhalke do paimaane
ae ae ae ae ae
ae ae ae ae ae ae
kiski kismat mein kya likha aa aa aa
aa aa aa
aa aa aa
ye kismat hi jaane he ji
ye kismat hi jaane

koi na jaane is mehfil mein
kaun rahega baaki re ji jee
kaun rahega baaki re
saaqi re ho
saaqi re ho
saaqi re ho
saaqi re ho

he ae ae ae
aisa jaam pila nazron se
hosh rahe na baaqi re


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 :

5132 Post No. : 17088

“Jeewan Jyoti”(1976) was produced by M Sarwanan and M Balu and directed by Murugan Kumaran for A.V.M. Productions Private Limited, Madras. This movie had Vijay Arora, Bindiya Goswami (debutant), A.K.Hangal, Satyen Kappu,Rakesh/rakesh pandey (Guest),Anjan Srivastava, Sudhir, Dinesh Hingu, Rajnath, Rahavaiah, Tulsiram, Bheeshma, Om Shivpuri, Sulochana chatterji,Dulari,Halam,Udayalakshmi,Bhanumati,Munni
Ritukamal, (Introducing) Jayamalini, (The wonder children )Master Raju Shrestha and Baby Mun mun etc in it.

“Jeewan Jyoti”(1976) had six songs in it. Two songs have been covered so far.

Here is the third song from “Jeewan Jyoti”(1976) to appear in the blog. The song is sung by Lata Mangeshkar. Anand Bakshi is the lyricist. Music is composed by Salil Chaudhary.

The song is picturised on Bindiya Goswami and Vijay Arora.

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

With this song, Lata Mangeshkar silently completes 3800 song posts in the blog.

audio link: (Full)

video link: (partial)

Song-Duniya rang badalti jaaye (Jeewan Jyoti)(1976) Singer-Lata, Lyrics-Anand Bakshi, MD-Salil Chaudhary

Lyrics(Provided by Prakashchandra)

Duniyaa aa aa aa aa
rang badaltee jaa..aaye
beetey dinon kee raatein
bichhudey huo`on kee baatein
bichhudey huo`on ko o
yaad dilaaye
haaayye duniyaa aa aaa
rang badaltee jaa..aaye
beetey dinon kee raatein
bichhudey huo`on kee baatein
bichhudey huo`on ko o yaad dilaaye
haaayye duniyaa aa aaa aa
rang badaltee jaa..aaye

ik rut aayegee
ik rut jaayegee eee
ik rut aayegi
ik rut jaayegee eee
birahan ke mann ko
har rut tadpaayegi
aake na jaaye jo woh
din aaye
haayye duniyaa aa
rang badalti jaa…aaye
beetey dinon kee raatein
bichhudey huo`on kee baatein
bichhudey huo`on ko o yaad dilaaye
haaayye duniyaa aa aaa aa
rang badaltee jaa..aaye

hamne naseebon ke
bhed naa aa jaaney thhe aey
hamne naseebon ke
bhed naa aa jaaney thhe
kyaa hum wohee hain jo
saathi puraaney thhe
aankhon ka dhokhaa mann ko
tadpaaye
haayye duniyaa aa
rang badalti jaa…aaye
beetey dinon kee raatein
bichhudey huo`on kee baatein
bichhudey huo`on ko o yaad dilaaye
haaayye duniyaa aa aaa aa
rang badaltee jaa..aaye


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 :

5131 Post No. : 17087

‘Kaarwaan (1956) was produced by Dev Jolly and directed by Rafique Rizvi for Shahkar Productions, Bombay. the movie had Mahipal, Shakila, Helen, Cuckoo, Randhir, Hiralal, Yashodhara Katju, Paul, Sheila Vaz, Gope, Satish, Zed Hussain, Sharma, Dhanraj, Prema etc in it.

The movie had nine songs in it. Three songs have been covered so far.

Here is the fourth song from ‘Kaarwaan’ (1956) to appear in the blog. The song is sung by Balbir. Pt Bhushan is the lyricist. Music is composed by S Mohinder. The song also has a female voice uttering monosyllables.

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

Lyrics and other details were sent to me by Prakashchandra.

audio link:

Song-O zara sambhal sabhal ke chal (Kaarwaan)(1956) Singer-S Balbir, Lyrics-Pt Bhushan, MD-S Mohinder

Lyrics

o zaraa sambhal sambhal ke chal..ll
pad jaaye kamar mein na bal..ll
kyon
haayye tere bhi chaahne waale hain jaani
tere bhi chaahne waale hain jaani
zara sambhal sambhal ke chal..ll

jabse tumko dekhaa maine
dil hai daanwaadol
aakhir teree marzi kyaa hai
kuchch to munh se bol
mar jaaoon na main jal jal..ll
mar jaaoon na main jal jal..ll
haan..aaa…aan
tere bhi chaahne waale hain jaani
tere bhi chaahne waale hain jaani
zara sambhal sambhal ke chal…lll

in zulfon mein baandh ley mujhko
baandh ley meree jaa…aan
ek baar to dekh le hans ke
main tere qurbaan
ab chain naheen ek pal…ll
ab chain naheen ek pal
chal hatt
haayye tere bhi chaahne waale hain jaani
tere bhi chaahne waale hain jaani
zaraa sambhal sambhal ke chal…ll

dekh ke gorey gorey rukh pe
kaala kaalaa til..ll
ho gaya tere ishq mein seedha
mera tedha dil..ll
sab nikal gaye hain bal..lll
sab nikal gaye hain bal..ll
hmm huhh
hoyye tere bhi chaahne waale hain jaanee
tere bhi chaahne waale hain jaani
zaraa sambhal sambhal ke chal..ll
pad jaaye kamar mein na bal..ll
haayye tere bhi chaahne waale hain jaani
tere bhi chaahney waaley hain jaani
zaraa sambhal sambhal ke chal….lll

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

ओ ज़रा संभाल संभाल के चल
पड़ जाये कमर में न बल
क्यों
हाए तेरे भी चाहने वाले हैं जानी
तेरे भी चाहने वाले हैं जानी
ज़रा संभाल संभाल के चल

जबसे तुमको देखा मैंने
दिल है डांवाडोल
आखिर तेरी मर्ज़ी क्या है
कुछ तो दिल से बोल
मर जाऊँ ना मैं जल जल
मर जाऊँ ना मैं जल जल
हाँ
तेरे भी चाहने वाले हैं जानी
तेरे भी चाहने वाले हैं जानी
ज़रा संभाल संभाल के चल

इन ज़ुल्फों में बांध ले मुझको
बांध ले मेरी जान
एक बार तो देख ले हंस के
मैं तेरे क़ुर्बान
अब चैन नहीं इक पल
अब चैन नहीं इक पल
चल हट
हाए तेरे भी चाहने वाले हैं जानी
तेरे भी चाहने वाले हैं जानी
ज़रा संभाल संभाल के चल

देख के गोरे गोरे रुख पे
काला काला तिल
हो गया तेरे इश्क़ में सीधा
मेरा टेढ़ा दिल
सब निकल गए हैं बल
सब निकल गए हैं बल
हम्मम
हाए तेरे भी चाहने वाले हैं जानी
तेरे भी चाहने वाले हैं जानी
ज़रा संभाल संभाल के चल
पड़ जाये कमर में न बल
हाए तेरे भी चाहने वाले हैं जानी
तेरे भी चाहने वाले हैं जानी
ज़रा संभाल संभाल के चल


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 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 :

5131 Post No. : 17086

Today’s song is a comedy duet from the film ‘Roshni’ (1949).

The film was made by Standard Pictures Corporation, Bombay. It was directed by Ramanlal Desai and the MD was C Ramchandra. The lyricist was PL Santoshi. The cast of the film was Rehana, Nihal, Pran, VH Desai, Mumtaz Ali, Sophia, Chand Barq, Indira, Shama, Zarine, Ishrat etc.

After making it in Hindi films as an MD for film ‘Sukhi Jeevan’ (1942), C Ramchandra had joined Jayant Desai productions on a salary of Rs. 300 pm. He gave successful films like ‘Bhaktaraj’ (1943), ‘Zaban’ (1943), ‘Lalkar’ (1944), ‘Manorama’ (1944) and ‘Samrat Chandragupta’ (1945), C Ramchandra felt that he deserved a salary increase. As Jayant Desai was not ready to increase it to his desire, he left the company. After a few months, with the help of Kavi Pradeep, C Ramchandra joined Filmistan, where he got what he wanted, namely salary of Rs. 1,000 pm and freedom to give music to outside films also.

While he continued with Filmistan, he reached his peak in career by giving hit musicals like ‘Safar’ (1946), ‘Shehnai’ (1947), ‘Sajan’ (1947), ‘Nadiya Ke Paar’ (1948), ‘Khidki’ (1948), ‘Patanga’ (1949), ‘Sargam’ (1950) and many more. Meanwhile he was giving music to films of other production companies, but managing a proper balance with Filmistan films. ‘Roshni’ (1949) was also one such film.

Taking a look at the cast, I found 3 actresses of interest, about whom not much is known to common lovers of old films and music. The first was Shama. During the period of 1930’s and the 1940’s, there were 3 actresses with the name Shama or Shyama. The first of them was Shyama Zutshi, second was Shama Dulari and the third was actress Shyama, who ruled in the 50’s and the 60’s with over 160 films.

Shyama Zutshi was the first Kashmiri Girl who joined films in 1934. She acted in many films, some of which are :-

1 ‘Vishnu Bhakti’ in 1934
2 ‘Laila Majnu’ in 1935
3 ‘Khooni Jadugar’ in 1939
4 ‘Kaarwaan e Hayaat’ in 1935

Shyama Zutshi belonged to a well to do family of Lahore. Her father was a barrister. She was quite a successful and sought after actress but suddenly she moved out from films and focused on politics and freedom struggle. Shyama was a congress leader .

Another reason for her to quit films was the presence of a fellow Kashmiri Actor Chander Mohan Wattal. Chander Mohan would always tell her to quit as according to him acting in films was not meant for girls from good families . Chander Mohan Wattal opposed the entry of Kashmiri girls to films .

The second was Shama Dulari. Not much is known about her personal life. Shyama Dulari hailed from a small city of Madhya Pradesh. She was interested in acting and had acted in school and college dramas. After education, she came to Bombay and appeared for a screen test and interview at Filmistan. She passed the test, but did not like the salary that was offered.

She went to Poona and met WZ Ahmed of Shalimar Pictures. He was quite impressed with her and signed an exclusive contract for 3 years, offering her a very lucrative salary. However in the next two years she acted only in two films – ‘Meerabai’ (1947) and ‘Shehzadi’ (1947). Due to the contract, she could not work anywhere else also.

After 1947, when Ahmed migrated to Pakistan along with Neena, she came to Bombay. Jayant Desai signed her for the lead role in the film ‘Lakhpati’. Unfortunately, due to her father’s illness, she had to leave Bombay and go back to her native city in MP. She came back and tried to get work. She worked in films like ‘Rangeela Rajasthan’ (1949), ‘Shair’ (1949), ‘Roshni’ (1949), ‘Rooplekha’ (1949), ‘Naqli Baap’ (1949), ‘Jal Tarang’ (1949), ‘Ek Teri Nishani’ (1949), ‘Char Din’ and ‘Dolti Naiya’ (1950). Her last known film was ‘Babul’ (1950) wherein she did a small role.

No information after that. Problem was that at the same time the famous actresses Shyama (Khurshid Akhtar) and Shyama Dulari were in the film line. Shyama initially was acting under the names like Baby Akhtar, Baby Khurshid and Baby Shyama; whereas Shama Dulari was credited as Shama, Shama Dulari and sometimes Shyama also. I listed films in Shyama’s name and tried to see the credits of films which were available. Though very few films are available on You Tube, I tried to separate the films for Shama Dulari based on her credits and by conjuncture. Still there could be some errors, which will be corrected when proof comes up suitably.

The third was Shyama, too well known to write anything about. We all know her well.

The case of Shama Dulari was different. She was actually a victim of an intentional restrictive contract. When she signed a contract with WZ Ahmed of Shalimar Pictures, Poona, little did she know that she would rot there without work for 3 years ! The company used her only in 2 films – ‘Shehzadi’ (1947) and ‘Meerabai’ (1947). Rest of the time she was paid only half salary and legally she was prohibited from working elsewhere. It was only after Ahmed migrated to Pakistan, with Neena and without paying the staff salaries, she became a free bird.

Such cases were not uncommon in the Hindi film industry. This happened with actress Meena Shorey too (Lara Lappa girl) and Sohrab Modi, who demanded Rs. 60,000 from her to remove a legal case against her for breaking their contract and working in a Lahore film. It was with the intervention of Mehtab, that the amount was reduced to Rs. 30,000, which Meena had to pay through her nose to avoid legal action.

Same happened with Mrudula, the first heroine of Dilip Kumar in the film ‘Jwaar Bhata’ (1944). She had signed a contract with Devika Rani of Bombay Talkies for work in the films. However, after ‘Jwaar Bhata’, she did not get any film. After 1945 end, Devika Rani left Bombay Talkies, selling all her shares and getting married to ‎Svetoslav Roerich,  a Russian artiste, leaving Mrudula to rot for the remaining 3 years without work and thus spoiling her career.

This also took place with the firebrand actress Shanta Apte, when Prabhat Film company threatened her to take legal action if she worked in films of other companies, breaking their contract. She was a tough person. She staged a demonstration at the gates of Prabhat film company and also sat for Fasting (अन्न सत्याग्रह). Newspaper reporters were called, and for the fear of bad publicity, Prabhat compromised and relieved Shanta Apte unconditionally !

The third name in the cast is Indira (Wadkar). In the 40’s and 50’s, there were 3 Indira named actresses. Indira Wadkar, Indira Billi (heroine of some Punjabi films) and Indira Bansal – the fat comedienne. Hansa Wadkar’s father had three sisters, Kesharbai, Indirabai and Sushilabai. Sushila was married to Master Vinayak, a renowned actor-director of the early era of Indian cinema. The elder sister as well as Indira Wadkar were acting in films and Indira was a classical singer as well. Indira acted in several films including ‘Duniya Kya Hai’ (aka ‘Resurrection’) (1937) and in films of Vinayak’s production company Hans Films like ‘Devata’ (1939) in Marathi. Indira used the surname Wadkar to avoid using the family name Salgaokar, for fear of reprisal from society against women acting in films. Her older sister, Kesharbai, was working in a film made by MG Rangnekar and suggested that Indira Wadkar work in films to sustain her family. She acted in 11 Hindi films. She was a popular shrewish mother in law in Marathi films.

Today’s song is a comedy duet sung by Chitalkar and Shamshad Begum. Enjoy.


Song- Mere dil ka dil ka mere dil ka kabootar(Roshni)(1949) Singers-Chitalkar, Shamshad Begam, Lyrics-P L Santoshi, MD-C Ramchandra
Chitalkar + Shamshad Begam

Lyrics

mere dil ka dil ka
mere dil ka
o mere dil ka kabootar
tere chhajje pe bole
tere chhajje pe bole
gutar goon goon goon goon goon goon
gutar goon goon goon goon goon goon
gutar goon goon..hoon
mere dil ka dil ka
mere dil ka kabootar

tere gali ke karoon main sau sau phere
saanjh sawere
tere gali ke karoon main sau sau phere
saanjh sawere
duniya kahe tu laila hai meri
main tera majnu
duniya kahe tu laila hai meri
main tera majnu
gutar goon goon goon goon goon goon
gutar goon goon goon goon goon goon
gutar goon goon..hoon
mere dil ka dil ka mere dil ka
haan mere dil ka kabootar tere chhajje pe bole
tere chhajje pe bole
gutar goon goon goon goon goon goon
gutar goon goon goon goon goon goon
gutar goon goon..hoon
mere dil ka dil ka
mere dil ka kabootar

gali ke phere na kar more raja
ankhiyon mein aa jaa more raja
gali ke phere na kar more raja
ankhiyon mein aa jaa more raja
nazar bachaa ke main duniya se
palkon mein rakh loon
nazar bachaa ke main duniya se
palkon mein rakh loon
gutar goon goon goon goon goon goon
gutar goon goon goon goon goon goon
gutar goon goon..hoon
mere dil ka dil ka mere dil ka
haan mere dil ka kabootar
tere chhajje pe bole
tere chhajje pe bole
gutar goon goon goon goon goon goon
gutar goon goon goon goon goon goon
gutar goon goon..hoon
mere dil ka dil ka
mere dil ka kabootar

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

मेरे दिल का दिल का
मेरे दिल का
ओ मेरे दिल का कबूतर
तेरे छज्जे पे बोले
तेरे छज्जे पे बोले
गुटर गूँ गूँ गूँ गूँ गूँ गूँ
गुटर गूँ गूँ गूँ गूँ गूँ गूँ
गुटर गूँ गूँ गूँ॰॰हूँ
मेरे दिल का दिल का
मेरे दिल का
मेरे दिल का कबूतर

तेरी गली के करूँ मैं सौ सौ फेरे
साँझ सवेरे
तेरी गली के करूँ मैं सौ सौ फेरे
साँझ सवेरे
दुनिया कहे तू लैला है मेरी
मैं तेरा मजनूँ
दुनिया कहे तू लैला है मेरी
मैं तेरा मजनूँ
गुटर गूँ गूँ गूँ गूँ गूँ गूँ
गुटर गूँ गूँ गूँ गूँ गूँ गूँ
गुटर गूँ गूँ गूँ॰॰हूँ
मेरे दिल का दिल का
मेरे दिल का
हाँ मेरे दिल का कबूतर
तेरे छज्जे पे बोले
तेरे छज्जे पे बोले
गुटर गूँ गूँ गूँ गूँ गूँ गूँ
गुटर गूँ गूँ गूँ गूँ गूँ गूँ
गुटर गूँ गूँ गूँ॰॰हूँ
मेरे दिल का दिल का
मेरे दिल का कबूतर

गली के फेरे ना कर मोरे राजा
अँखियों में आजा मोरे राजा
गली के फेरे ना कर मोरे राजा
अँखियों में आजा मोरे राजा
नज़र बचा के मैं दुनिया से
पलकों में रख लूँ
नज़र बचा के मैं दुनिया से
पलकों में रख लूँ
गुटर गूँ गूँ गूँ गूँ गूँ गूँ
गुटर गूँ गूँ गूँ गूँ गूँ गूँ
गुटर गूँ गूँ गूँ॰॰हूँ
मेरे दिल का दिल का
मेरे दिल का
हाँ मेरे दिल का कबूतर
तेरे छज्जे पे बोले
तेरे छज्जे पे बोले
गुटर गूँ गूँ गूँ गूँ गूँ गूँ
गुटर गूँ गूँ गूँ गूँ गूँ गूँ
गुटर गूँ गूँ गूँ॰॰हूँ
मेरे दिल का दिल का
मेरे दिल का कबूतर


This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 :

5130 Post No. : 17085

Today 4th August 2022 is the ninety-third birth anniversary (4 August 1929 – 13 October 1987) of Kishore Kumar.

For the music lovers and readers associated with this blog today is another great day and we remember Kishore Da today and pay our tributes to him today here on the blog.

Today I have been late in sending this post to our editors and I sincerely hope that they will get time to consider and post this one. For more than a month now there is a ‘special project’ going at my workplace and because of this I am getting very less time to participate in blog activities. Though I wish to write and send many posts and many songs keep going through my mind on daily basis, but I am unable to concentrate and put in my energy on writing. I hope things to get back to normal after this ‘two months’ project gets over.

Today’s post got delayed because I was unable to make my mind up while making the selection. There are so many Kishore Kumar songs yet to be posted on the blog.
Since today is his birth anniversary I first looked for a happy song, then a fun song, then a romantic song, only a solo song, inspirational song, motivational song etc etc.

There was one song lying since years and pending to be posted, but it was a duet song and I did not wish to post a duet on this occasion today. I even noted two other songs, but then decided to send other.

Finally, I selected a Pancham composition which is in a sombre mood. Nevertheless listening to Kishore Kumar’s voice in this soulful song will bring back many memories for the readers. Poetry in the song by Majrooh Saab is also very nice and philosophical. The music prelude, the guitar and the mouth organ in between used in this composition is also very nice to listen to.

The movie and its songs were not much popular during its time. Nevertheless the overall musical score for this movie by Pancham Da is very very nice.

So here I am presenting a song from the ‘1985’ movie ‘Sitamgar’.

‘Sitamgar-1985’ was directed by Raj N Sippy for Bikramjeet Films International, Bombay and produced by Bikram Singh Dehal.

It had Dharmendra, Parveen Babi, Rishi Kapoor, Poonam Dhillon, Dr. Shreeram Lagoo, Prem Chopra, Jagdish Raj Gurbachan, Ranvir Raj, Azad, Tilak Mehta, Raj Kaul, Shamsuddin, Nath Kamle, Ved Akash, Ashok Gaekwad, Master Alankar, and Baby Geeta. Narendra Nath, Sonia Shania, and Sudhir make special appearance in this movie.

Ved Aakash and Pankaj Kharbanda were the Chief Assistant Directors of this movie. Ashok Gaekwad was the Associate Director for this movie.

V.N. Mayekar was the editor while Sakharam Borse assisted him in editing. Story and Screenplay of this movie was written by Mirza Brothers and dialogues were written by Dr. Rahi Masoom Raza.

This movie had six songs written by Majrooh Sultanpuri and composed by R.D. Burman (Manohari, Babloo and Martin were assistants). Asha Bhonsle, Kishore Kumar and Lata Mangeshkar gave their voices to the songs in this movie.

Today’s song is picturised on Dharmendra who is riding on a horse. It reminds us of many songs with similar picturisation.

Lyrics are by Majrooh Sultanpuri, and music is composed by R.D. Burman.

The audio version is having three stanzas while the video of this song is of only two stanzas.

Let us now listen to the great voice Kishore Kumar and take a journey down memory lane …

Audio

Video

Song-Pyaar jab na diyaa zindagi ne kabhi (Sitamgar)(1985) Singer-Kishore Kumar, Lyrics-Majrooh Sultanpuri, MD-R D Burman

Lyrics

pyaar jab naa diya aa
zindagi ne kabhi ee
phir sitamagar kaun huaa
aadmi ya zindagi
pyaar jab naa diya aa
zindagi ne kabhi ee
phir sitamagar kaun huaa
aadmi ya zindagi

jurm ki hai sazaa
ye to jaanen sabhi
jurm ki hai sazaa
ye to jaanen sabhi
koyi mujrim kyun banaa
ye nahin maanen kabhi
saath jab naa diyaa
zindagi ne kabhi ee
phir sitamagar kaun huaa
aadmi ya zindagi

daagh lagtaa rahe
phir bhi jeena pade ae
ho o daagh lagtaa rahe
phir bhi jeena pade ae
zillaton ruswaaiyon ka
zehar bhi peena pade
reham jab naa kiya
zindagi ne kabhi
phir sitamagar kaun huaa
aadmi ya zindagi

wo to kehta rahaa
zindagi ke liye
wo to kehta rahaa
zindagi ke liye
ek mohabbat ke siwaa
kuchh na mujhko chaahiye
pyaar jab naa diya
zindagi ne kabhi
phir sitamagar kaun huaa
aadmi ya zindagi
pyaar jab naa diya aa
zindagi ne kabhi ee
phir sitamagar kaun huaa
aadmi ya zindagi
aadmi ya zindagi
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm


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

5130 Post No. : 17084 Movie Count :

4615

Hullo Atuldom

A few songs are playing in my head since morning.
1) Rimjhim gire saawan(Manzil)(1979)
2) Bheegi bheegi raaton mein (Ajnabi)
3) Tere mere pyaar ki jo baat chali (Aankh Michauli)
4) Aaj rapat jaayen to hamen na uthhaiyyo (Namak Halal)
5) Ab ke saawan mein jee darey (Jaise Ko Taisa)

No prizes for guessing the connection between these songs- they are all Rain songs. And why was I thinking of these songs? Giving the answer as “Rainy Season or Monsoon” (and India is having a fairly good monsoon I must say) doesn’t bring out the romance associated with these songs. But if we say that it is the month of “Saawan or Shravan” then the rains and the ‘jhoolas’ and all traditionally romantic Indian aspects play in our mind’s eye. As I set out to hear and see the above listed songs I also ended up hearing this less heard (unheard should be the correct word here) song “Jhoom jhoom naach rahi barkha bahaar hai (Duniya Kya Jaane)“. Then I went on to listen to a few ‘post Rain’ songs like ‘Ek ladki bheegee bhaagee si (Chalti Ka Naam Gaadi)‘, ‘Roop tera mastaana (Aradhana)‘.

The trigger for the listening session was the program on Radio Ceylon this morning which gave me this rimjhim-gire-saawan-sulag-sulag-jaaye-man/ (in its one and half hour program). Of course radio Ceylon didn’t play the song as a ‘Rain Song’ but as a Kishore Kumar song. Why? Because today is KISHORE KUMAR’s birth anniversary. He would have been 93.

Almost all online HFM sharing portals and apps are putting out playlists which promise the listener hours of song listening pleasure. We at ASAD are a lot that is not satisfied with the regular lists, correct? No, NO. Don’t get me wrong. We are not upset when someone plays a song from ‘Jhumroo’, ‘Jewel Thief’, Blackmail’, ‘Manzil’, ‘Amar Prem’, ‘Rampur Ka Laxman’, ‘Chalti Ka Naam Gaadi’. ‘Lal Patthar’, etc. etc. Atulites don’t complain at the content present in the preset playlists anyone offers, we just go and make our own lists and from these we post songs that are great on the ears and not yet present on the blog.
Of course today I did hear a FUN- Kishore Kumar song which I haven’t heard before. It was from the 1968 release ‘Shrimaanji’ and it had lot of fun elements in it- the lyrics, the tune and accompanying sounds that Kishoreda excelled in. This is the song Iss duniyaa mein pyaare do kaam karnaa (Shrimaanji) .
I also heard one song that I had forgotten, Aansuon ko thhaam le (Chhotaa Baap).

What I am trying to show by posting the links to the songs which I heard today is that this blog has covered songs by Kishoreda in all his moods – many rare songs which were popular once upon a time but now forgotten are also there in this blog.

I was looking at the statistics page of the blog and found that the blog has 1283 songs of Kishoreda as singer, 33 as music director and 6 as lyricist. Looking up the stats is a fun job and here are some more numbers:-

144 songs of Kishoreda for Rajesh Khanna.
590 solo songs
21 duets with Shamshad Begum
13 duets with Geeta Dutt
19 duets with Mohd Rafi
only 1 duet with Mukesh
7 duets with Mannada songs
6 duets with Mahendra Kapoor songs

Here are some expected numbers:- 218 duets with Lata Mangeshkar and 263 with Asha Bhonsle.

The above are the numbers present on the blog and not what Kishoreda accomplished in his career. I would have loved to do a similar exercise of Kishoreda’s collaboration with lyricists and music directors to see the numbers that we have on the blog, maybe next time.

I have a whole set of songs in my mind across various genres and moods. I am settling for a song from a fun movie. The movie had Kishore Kumar as the producer, director, actor, music director, and singer. The cast had Amit Kumar, Yogita Bali, Mehmood, S.N. Banerjee, Jayshree T., Madan Puri, Bhagwan, and a host of supporting actors. It could possibly have been a launch vehicle for Amit Kumar as an actor and south Indian actress Jaya Sudha made her Hindi debut with this film- ‘Shabash Daddy’ (1979)

The other singers used in the movie were Amit Kumar, Asha Bhonsle, Sulakshana Pandit, and Mehmood. Irshad Jalili and Gulshan Bawra were two other lyricists of the movie.

I remember having seen it on release all those years ago in 1979 but don’t find it anywhere for repeat viewing. It was the story of a retired army officer Col. Chhaju Singh (Kishore Kumar) who falls in love with a beautiful fisher-woman when he has a son of marriageable age. There were a lot of comments back then that this was their family life playing out on screen as Kishore Kumar had just married Yogita Bali.

I am sure many purists will feel that today’s song shows Kishoreda grossly overacting. And not doing justice to the talent that he was. But that is the way he was – mostly too good and gross at times.

Thinking of the multi-talented highly energetic entertainer with this song written, composed and sung by Kishore Kumar. I feel that the female voice accompanying is of Yogita Bali (I may be wrong)

Audio

Video

Song-Maine jo dil diya (Shaabaash Daddy)(1979) Singer-Kishore Kumar, Lyrics-Kishore Kumar, MD-Kishore Kumar
Yogita Bali (?)

Lyrics

nonsense
dammit
idiot
rrrrrr
rascal

ye us ghooskhoriye reporter ki chaal hai
usi ne mujhe badnaam karne ki saazish ki hai

main
main
main uski ghanti baja kar rakh doonga

kya hua colomel saahab
chhape mein koi buri khabar chhapi hai kya
jo itna laal peela ho raha hai

mat poochh kuch Kamli
mat poochh

jal gayi

jal gayi

jal gayi
kaun jalgayi

duniya

maine jo dil diya
tujhe jo dil diya
to jaanti hai kya huaa
kya huaa
maine jo dil diya
tujhe jo dil diya
to jaanti hai kya huaa
kya huaa
kahaani ban gayi
ye duniya jal gayi
baithhe bithhaaye hangaama ho gaya
ke jab se main tera deewaana ho gaya
maine jo dil diya
tujhe jo dil diya
to jaanti hai kya huaya
kya huaa
kahaani ban gayi
ye duniya jal gayi
baithhe bithaaye hangaama ho gaya
ke jab se main tera deewaana ho gaya

colonel saahab
o colonel saahab
theher naa
baat sun
saaf saaf bata kya huaa
o colonel saahab

udi khabar jo ye ke tera mera pyaar huaa
udi khabar jo ye ke tera mera pyaar huaa
machi gadar haan is kadar ke sabka haal huaa
koi to daal pe latak ke phaansi chadh gaya
koi bechaara kood kar nadi mein mar gaya
are re re re re
koi piya zahar
koi gaya akad
koi gaya bigad
koi gaya rakhad
koi jo chust thha
use bukhaar ho gaya
ho gaya
ho gaya
bas kar bas kar bas kar
maine jo dil diya
tujhe jo dil diya
to jaanti hai kya huaa
maaloom hai kya huaa
kahaani ban gayi
ye duniya jal gayi

baithhe bithhaaye ek hangaama ho gaya
ke jab se main tera deewaana ho gaya

jaanti hoon
main thahri gareeb
aur tu paise waala
to oonchi jaat ka
main ek abhaagan
tera mera kya mel
is bedard duniya ki reet hi aisi hai
par ismein mera kya kasoor
bata na
mera kya kasoor

sach hai
main ameer
aur tu gareeb
magar
magar kusoor tera kuchh nahin
ye tera
ye tera naseeb hai

sanam ye sach hai mai ameer tu gareeb hai
sanam ye sach hai mai ameer tu gareeb hai
kusur tera kuch na ye tera naseeb hai
mujhe kubul hai ke mai tera diwana hu
shama hai tu meri
to main tera parwaana hoon
chalenge saath hum rukenge saath hum
jiyenge saath hum marenge saath hum
ye fsala hamara laakh bar ho gaya
ho gaya ho gaya
bas kar bas kar bas kar
maine jo dil diya
tujhe jo dil diya
to jaanti hai kya huaa
kya huaa
kya huaa
kya huaa

kahaani ban gayi
ye duniya jal gayi
baithe bithhaaye hangaama ho gaya
ke jab se main tera deewaana ho gaya


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 :

5130 Post No. : 17083

———————————————–—————————————
Blog 10-Year Challenge (2012-2022) – Song No. 78
————————————————————————————–

This date ten years ago (viz 4 August 2012) saw as many as eight songs from eight different movies getting covered in the blog.

Here are the details:-

Blog post number Song Movie (Year) Remarks
6367 Wo thhi ham thhey ham thhe wo thhi Chalti Ka Naam Gaadi(1958) Movie YIPPEED by now
6368 Jin raaton ki bhor nahin hai Door Gagan Ki Chhaaon Mein (1964) Movie YIPPEED by now
6369 Tum bhi chalo ham bhi chalen chalti rahe zindagi Zameer (1975) Movie YIPPEED by now
6370 Na aaj thhaa na kal thha Pati Patni Aur Woh ( 1978) 4 songs coovered out of 5
6371 Khuda hi juda kare to kare Aap To Aise Na Thhey (1980) Movie YIPPEED by now
6372 Arre nazar lage na saathiyon Des Pardes (1978) Movie YIPPEED by now
6373 Jis ka koi nahin uska to khuda hai yaaron Laawaaris (1981) Movie YIPPEED by now
6374 Jeewan se na haar o jeene waale Door Ka Raahi (1971) 6 songs covered out of 9

One can notice that six movies (out of eight) whose songs were covered on this date ten years ago on 4 august 2012 have since been YIPPEED. That leaves us with two movies that are eligible for Blog Ten YEar Challenge today on 4 August 2022.

We also notice that all the eight songs featured the voice of Kishore Kumar. That was to mark the occasion of Kishore Kumar’s birth anniversary which falls of this day. This gives us an idea how prolific this blog used to be ten years ago, when six and more songs used to get covered in the blog with ease.

“Door Ka Raahi”(1971) is one movie that is eligible for Blog Ten Year Challenge today. This movie was produced and directed by Kishore Kumar. The movie had Ashok Kumar, Tanuja, Abhi Bhattacharya, Ganga, Amit Kumar, Bambi, Hiralal, Yograj, Iftikhar, Padma Khanna, Shivraj, Asit Sen, Keshto, Radheshyam, Gautam Mukherji, Ratan Gaurang, Abhay Shah,Baby Deepa aka Rajni Sharma, Kishore Kumar, Moni Chatterjee, Sameer Kumar etc in it.

The movie had nine songs in it. Six songs from the movie have been covered so far.

Here is the seventh song from ‘Door Ka Raahi’ (1971) to appear in the blog. This song is sung by Kishore Kumar. Though HFGK is silent about the lyricist, the record label mentions A Irshad as the lyricist. Music is composed by Kishore Kumar.

Only audio of the song is available. It is almost certain that the song was picturised on Kishore Kumar himself in case this song was picturised. I request our knowledgeable readers to throw light on the picturisation of the song.

Lyrics of the song were sent to me by Prakashchandra.

We take this opportunity to pay our tribute to Kishore Kumar (4 August 1929- 13 october 1987) on the occasion of his 93rd birth anniversary.

audio link:


Song-Mujhe kho jaane do (Door Ka Raahi)(1971) Singer-Kishore Kumar, Lyrics-A Irshad, MD-Kishore Kumar

Lyrics(Provided by Prakashchandra)

mujhe ae
kho jaaney do o
duniyaa kee
nigaahon se parey ae

jahaan na dhoondh sakey aen
koyee ee nazar
meraa aaa nishaan…aan
koyi aawaaz naa aa pahunchey
koyee ee
aansoo na bahey ae
kisee tinkey ae
kisee zarrey ae
ko na ho o o
meraa gumaan

meri laash par..rrr
rakh dey aey ae ae
kudrat hee ek safed kaffan..n
rooh ko o meri nazaaron mein hee
kho jaaney do o
daastaan..aan
meri hawaaon ko hee..ee
dohraa..aaney ae do o o

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

मुझे
खो जाने दो
दुनिया की
निगाहों से परे

जहां ना हूनह सके
कोई नज़र
मेरा निशां
कोई आवाज़ ना पहुंचे
कोई
आँसू ना बहे
किसी तिनके
किसी ज़र्रे
को ना हो
मेय गुमाँ

मेरी लाश पर
रख दे
कुदरत ही एक सफ़ेद कफन
रूह को मेरी नज़ारों में ही
खो जाने दो
दास्ताँ मेरी
हवाओं को ही
दोहराने दो


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

5129 Post No. : 17082

Hullo Atuldom

I have always felt that one thought, a stray statement or headline triggers a range of connected and unconnected thoughts and memories.

Today’s post arises from the song “Har Ek Saans Hai Mehmaan Kuchh Pehar Ke Liye” of Avinashji. In this post he has listed songs sung by Bhupinder Singh – the singer who left this mortal world recently. I was listening to the songs listed therein – on YouTube. One song led to another and I ended up listening to Zindagi Cigarette Ka Dhuaan -a song written by Kaifi Azmi and music was by Jaidev.

Jaidev was born Jai Dev Verma on 3rd August 1918 in Nairobi where his father was an official in the railways. He was brought up in Ludhiana and has said that his mother was responsible for instilling the love of music in him as she used to recite the Ramayana soulfully and musically. Looking up Jaidev ji and his life-journey I found that he had also acted in 4-5 mythological/swashbuckling films but soon realized that acting was not his forte. He was the disciple of the sarod maestro Ali Akbar Khan and accompanied him to Bombay and assisted him in composing music for a couple of Chetan Anand films. These films were not successful and Ali Akbar Khan moved on but Jaidev stayed back. He then assisted SD Burman in music composing for such landmark films as ‘Taxi Driver’, ‘House No. 44’, ‘Munimji’, ‘Lajwanti’, ‘Chalti Ka Naam Gaadi’ ‘Sujata’, ‘Insaan Jaag Utha’ etc. He got his first independent break in Chetan Anand’s ‘Joru Ka Bhai’ (1955). It was the 1961 release ‘Hum Dono’ that brought Jaidev ji to the notice of Hindi film music lovers. This was followed by the songs of ‘Mujhe Jeene Do’ (Source:- https://timesofindia.indiatimes.com/readersblog/manufocus/outstanding-music-director-jaidev-a-mine-of-talent-that-remained-underexploited-10855/)

Following the unforgettable songs of ‘Hum Dono’ and ‘Mujhe Jeene Do’ were songs of ‘Reshma Aur Shera’, ‘Do Boond Paani’, Alaap’, ‘Gharonda’, ‘Dooriyan’, ‘Gaman’ etc and a few more. As the Times of India article headline says he was an “Outstanding Music Director: A Mine of Talent that Remained Underexploited”- his filmography shows only 41 films; many of his compositions are lost in unreleased, unfinished albums. He was said to be Lata Mangeshkar’s favorite composer along with Salil Choudhary and Madan Mohan and Asha Bhonsle was his preferred singer when he composed songs out of the literary works of Harivansh Rai Bachchan, Jaishankar Prasad, Mahadevi Verma etc. His ghazals helped the careers of Peenaz Masani, Hariharan, Chandan Das etc. in the initial stages. Simple, sincere, unassuming and gentle Jaidev ji was someone who didn’t compromise on quality of music. He was an excellent music director who has given some of the best melodies in Indian Cinema.

Thinking of Jaidev ji today on his birth anniversary with this song from ‘Faaslaa’ (1974) whose first song Zindagi Cigarette Ka Dhuaan was posted in 2011. Today’s song is also in Bhupinder’s voice and written by Kaifi Azmi. On screen we have Shabana Azmi and Raman Khanna.


Song-Dil ne tadap tadap ke tadapna sikha diya (Faaslaa)(1974) Singer-Bhupinder Singh, Lyrics-Kaifi Azmi, MD-Jaidev

Lyrics

hmm hmm hmm
hmm hmm hmm hmm hmm
dil ne tadap tadap ke tadapna sikha diya
inaam ab miley ke sazaa
sar jhuka diya
dil ne tadap tadap ke tadapna sikha diya
inaam ab miley ke sazaa
sar jhuka diya

deewaana karke chhod de jo
ik zamaane ko o o
deewana karke chhod de jo
ik zamaane ko
mujhko usi nigaah ne
insaan bana diya aa
mujhko usi nigaah ne
insaan bana diya
inaam ab miley ke sazaa
sar jhuka diya

bas itna jaanta hoon
mujhe tumse pyaar hai ae
aur pyaar mein naa jeet kisi ki na haar hai
iske siwaa jo yaad thha
sab kuchh bhula diya
iske siva jo yaad tha
sab kuchh bhula diya
inaam ab miley ke sazaa
sar jhuka diya
deewana karke chhod de jo
ik zamaane ko
mujhko usi nigaah ne
insaan bana diya aa
hmm hmm hmm
hmm hmm hmm hmm hmm
hmm hmm hmm

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

हम्म हम्म हम्म
हम्म हम्म हम्म हम्म हम्म

दिल ने तड़प तड़प के तड़पना सिखा दिया
इनाम अब मिले के सज़ा
सर झुका दिया
दिल ने तड़प तड़प के तड़पना सिखा दिया
इनाम अब मिले के सज़ा
सर झुका दिया

दीवाना कर के छोड़ दे जो
इक जमाने को
दीवाना कर के छोड़ दे जो
इक जमाने को
मुझको उसी निगाह ने
इनसां बना दिया
मुझको उसी निगाह ने
इनसां बना दिया
इनाम अब मिले के सज़ा
सर झुका दिया

बस इतना जानता हूँ
मुहे तुमसे प्यार है
और प्यार में ना जीत किसी की ना हार है
इसके सिवा जो याद था
सब कुछ भुला दिया
इसके सिवा जो याद था
सब कुछ भुला दिया
इनाम अब मिले के सज़ा
सर झुका दिया

दीवाना कर के छोड़ दे जो
इक जमाने को
मुझको उसी निगाह ने
इनसां बना दिया

हम्म हम्म हम्म
हम्म हम्म हम्म हम्म हम्म
हम्म हम्म हम्म


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 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 :

5129 Post No. : 17081

Today’s song is from the film ‘Tamanna’ (1942).

This was a film made by Laxmi Productions, Bombay. It was directed by Phani Mujumdar and for songs written by SK Kalla, the music was provided by India’s first blind music director KC Dey. In later years there were two more blind MDs. One was Manoharlal Sonik – of the Sonik-Omi duo of MDs and the other was Ravindra Jain. This film was released on 20-6-1942 at the Royal Opera House theater in Bombay.

Film ‘Tamanna’ was an ordinary film, but it became famous afterwards, when it became known that the famous singer Manna Dey had made his debut as a Playback singer in Hindi through this film. However, besides this point, there were few more matters which made this film a special film. In addition to being the debut film for Manna Dey, it was also the debut film for the Banner-Laxmi Productions. Further, it was the first film of its heroine Leela Desai, in the Bombay film world.

People who write on old songs and old films generally write about actors, actresses, directors, lyricists, MDs, singers and also occasionally on the arrangers and the cinematographers. But very rarely, something is written about a producer. Actually it is the producer who conceives the idea of the film, who arranges the finances for the film, who selects a team of director, MD and the cast of the film, still he is not paid much attention. It is because of the producer, an artiste can make debut or an MD gets praise for his music etc, but the producer remains unsung.

Today, we will talk about an enterprising producer of film ‘Tamanna’ who had made several well known films, gave opportunities to many actors, directors and MDs. His name is Chimanlal Trivedi.

Chimanlal Trivedi, was one of the major filmmakers of the 30s and the 40s decades. He was more a producer businessman than a director. While he directed hardly 7 films, he produced close to 50 films – all having A grade actors, directors and composers !

Born on 19-3-1909 at a village near Anand in Gujarat he was from a Brahmin family. He did his schooling in Ahmedabad and technical graduation from Baroda. Being an expert in weaving, he took up a job as a weaving master in Calcutta. Fond of writing, he started writing dramas, which were staged in Bengal and Gujarat. He was attracted towards cinema and tried some work in New Theaters. Knowing that the real playing field is Bombay he reached there. He wrote stories for the film ‘Chevrolet’ (1936) and ‘Danger Signal’ (1937) for Mohan Pictures.

He established his own production company CIRCO (Cine Industries Recording Company) in 1937. By 1943, he had made 12 films. He preferred not to direct his films, but appointed directors like Mohan Sinha for ‘Laxmi’ (1940), ‘Anuradha’ (1940) and ‘Vanmala’ (1941), Balwant Bhatt for ‘Suhag’ (1940) and ‘Madhusudan’ (1941), AR Kardar for ‘Swami’ (1941) and ‘Nai Duniya’ (1942) and Debaki Bose for ‘Apna Ghar’ (1942).

He had the art of getting the most popular stars for his films like, Prithviraj Kapoor, Chandramohan, Durga Khote, Mazhar khan, Bibbo, Surendra, Jairaj, Sitara, Jeevan, Yaqub, Shobhana Samarth, Prem Adeeb, Vishnupant Pagnis, Leela Desai, Pahadi Sanyal, Shanta Apte and many others. Even big directors like Debki Bose, Nitin Bose, Kardar, Mohan Sinha, Sarvottam Badami, Nandlal Jaswantlal, Profull Roy, Sudhir Sen, RS Chaudhary, Phani Majumdar, Balwant Bhatt etc. worked for him. From Prabhat he brought Shanta Apte for Rs. 1,000 pm, and also Chandramohan, Pagnis and Mazhar Khan. His friend Chandulal Shah followed his way and brought KL Saigal from New Theaters !

CL Trivedi was an expert in gathering funds for his films. After CIRCO at Parel, he started Laxmi Productions at Andheri, in 1942. He made ‘Mera Gaon’, ‘Sharafat’, ‘Bhagya Laxmi’, ‘Kadambari’, ‘Tamanna’, ‘Inkaar’, ‘Mohabbat’, ‘Miss Devi’ etc. In 1951, it was Supreme Pictures, then Trivedi Productions in 1952, Kala Kendra in 1953 and with Chitra Bharati in 1954, he made 13 films upto 1961. Top composers like Timir Baran, Ashok Ghosh, Rafiq Gaznavi, KC Dey, Saraswati Devi, Husnlal-Bhagatram and Naushad gave music to his films.

In the end, he turned to stage and started Abhinay Bharati. He staged many dramas in Bombay and Gujarat. Chimanlal always went for big names. He had close relations with Nehru, Menon, Morarji Desai, and other national leaders. His wife Kantaben was a leader herself. Chimanlal Trivedi died on 25-11-1973. His wife, 3 sons and a daughter settled in the USA.

It may be a coincidence, but Gujarati businessmen like Chimanlal Trivedi, Chimanlal Desai, Chimanlal Luhar, Chaturbhuj Doshi, Chimankant Desai, Chunibhai Desai and Chandulal Shah made sizable contribution to Hindi cinema in the first 20 years of the Talkie era. All names started with ‘CH’ ( ? ) !

[Author’s Note: Thanks to Harish Raghuwanshi ji for his book “बॉलिवूडमा गुजरातीयो” in Gujarati, Encyclopedia of Indian Cinema, muVyz and my notes.]

This was also the first film in Bombay for the film’s heroine Leela Desai, a famous and well known name in Bengal made films, till then. She was especially invited by Chimanlal Trivedi for this film. Later she did many of his and others’ films in Bombay. Trivedi had also called 7 different technicians from Calcutta for this film, according to Baburao Patel – editor of Film India in its June 1942 issue. This was to make the film technically superior quality. These technicians did it, but the film had a very weak story. Actually, in those days it was the first film on ‘Village Uplift and Cottage Industry’ – a favorite topic for speeches of Gandhi ji. The story was built around ‘a typically Bengali idea of Platonic Love’, seen in many earlier New Theaters films from Calcutta.

Leela Desai was cast opposite Jairaj. They fall in love. She is very rich, but will get her wealth only after marriage. Jairaj works in a company on a high post. He spends half his salary on research and half on village development. Due to a misunderstanding, on her offering money for Jairaj’s work, they separate. Leela marries Karan Dewan to get the money. She anonymously gives that money to Jairaj for his project. Karan Dewan comes to know the entire story and magnanimously divorces Leela. Jairaj and Leela get married.

Leela Desai was the daughter of Dr. Umedbhai Lalbhai Desai-a Gujarati and his wife Satyabala Devi – a Bengali from Bihar, who was a famous and prominent singer of the 1930s. Leela Desai was born on 1-1-1909 in Newark, New Jersey, America, where her parents had gone for a 3 year work trip. She grew up in India. She learnt dancing from Amla Devi (who married Uday shanker), as well as from Lachhu Maharaj and Sohan lal. She also learnt music at Morris College, Lucknow.

Leela Desai was the 4th of the 5 children born to Dr Umedram Desai from Gujarat and Satybala Devi, daughter of a Bengali landlord settled in Bihar. It was a second marriage for both of them as Satyabala Devi lost her husband during childhood while Dr Umedram Desai got married to his first wife in his childhood through whom he had two sons. Later, Dr Umedram Desai married Gunobati Mitter, a Bengali Christian, for the third time with whom he had 6 children. Before her marriage, Gunobati Mitter worked as a tutor for the children of Dr Umedram Desai and Satyabala Devi in Rampur. So apart from her own 4 siblings, Leela Desai had 8 step brothers/sisters.

Leela Desai was trained in the Bhatkhande Music Institute established in Lucknow in 1926. It has played a vital role in training generations of performing artistes, dedicated gurus and gifted composers. Lucknow has contributed music directors, (like Naushad, Madan Mohan, Roshan), actors and actresses (like Kumar, Iftekhar, Akhtari Bai, Bina Rai, Yashodhara Katju, Swaranlata), singers (Talat Mahmud, Anup Jalota, Dilraj Kaur, Krishna Kalle), writers (like Amritlal Nagar, Bhagawati Sharan Verma, Achala Nagar), lyricists and dancers. Lachhu Maharaj was a very successful choreographer for many films. Pahadi Sanyal, Leela Desai and Kamlesh Kumari of New Theaters at Calcutta were all trained here.

In one of her stage performances in Lucknow, NT’s Director Hem Chander saw her and invited her to Calcutta for work in films. She worked in the film ‘President’ (1937) as the sister of Kamlesh Kumari, opposite Saigal. It was followed by ‘Vidyapati’ (1937), ‘Dushman’ (1938), ‘Kapaal Kundala’ (1939) and ‘Nartaki’ (1940). She also did ‘Adarsh Mahila’ (1937) with Ideal Film company.

Leela Desai had been invited by the students of the Intermediate College in 1941. Bangalore had the distinction of holding festivals of films made by New Theaters and Prabhat Film Co.

BN Sircar’s empire introduced personalities of the stature of PC Barua, Bimal Roy, Debaki Bose, Leela Desai, Phani Majumdar, Timir Baran, Uma Shashi, Nitin Bose, KL Saigal, Pankaj Mullick, Nemo, Sisir Kumar Bhaduri and Jamuna, all of whom later earned all India fame, under the banner of New Theaters. Among his technical achievements were the bringing of sound to Calcutta for Bengali films, and the introduction of the playback system. The elephant logo of New Theaters acted as a magnet to draw crowds throughout the country.

Chimanlal Trivedi brought her to Bombay to act opposite Jairaj in the film ‘Tamanna’. She acted in 5 films of Chimanlal Trivedi. After ‘Tamanna’, Leela Desai acted in films like ‘Sharafat’, ‘Paraya Dhan’, ‘Nagad Narayan’, ‘Inkaar’, ‘Mujrim’, ‘Miss Devi’, ‘Kaliyan’, ‘Meghdoot’, ‘Maharani Minal Devi’, ‘Magadhraj’, ‘Kamla’, ‘Dev Kanya’, ‘Soorat’ and last film ‘Geet Govind’ (1947).

She acted opposite leading actors like KL Saigal, Najmul Hasan, Jairaj, Pahadi Sanyal, Surendra, Chandra Mohan, Khalil, Baburao Pendharkar etc. She worked under top directors like Debaki Bose, Nitin Bose, Kedar Sharma, Phani Majumdar and others. Her sister Monica Desai (who married Phani Majumdar) was also in films. In 1944, Leela also acted in the movie ‘Kaliyan’ with Ramola. Ramola also acted in the film ‘Lalkar’ in the same year. In a span of just 10 years, Leela Desai acted in 21 films and then left films.

She settled in Darjeeling with her mother. Leela Desai owned a house in Darjeeling called ‘Lily Cottage’. Her mother Satyabala Devi lived there until her death. It is possible that Leela knew Manjula or Sumitra Sanyal in Darjeeling. Leela Desai is mentioned in Bollywood actress Sumitra Sanyal’s site.

Today’s song is sung by an unknown male, female and a chorus. I feel it must have been sung by some street singers or in the background in the film. Anyway, enjoy the song….


Song – Hai Kaun des tumhaara musaafir (Tamanna)(1942) Singers- Unknown Female voice, Lyricist – SK Kalla, MD – KC Dey
Male voice + Female voice
Chorus

Lyrics

hai kaun des tumhaara musaafir
kaun des tumhaara musaafir
kahaan ke
haan haan haan
kahaan ke
rahnewaale ae
tum kahaan ke rahnewaale
tere bolon ne praan jagaaye
teri baani se hum yahaan aaye
tere bolon ne praan jagaaye
teri baani se hum yahaan aaye

aa ha ha ha
hum bane kisaan dulaare
maata dharti ke pyaare
hum bane kisaan dulaare
maata dharti ke pyaare
haath bane hathhiyaar hamaare
hum mazdoor hain saare
haath bane hathhiyaar hamaare
hum mazdoor hain saare

hum hain lohaar
hum hain kumhaar
hum hain kapda bun’ne waale
hum hain lohaar
hum hain kumhaar
hum hain kapda bun’ne waale

haath bane hathhiyaar hamaare
hum mazdoor hain saare
haath bane hathhiyaar hamaare
hum mazdoor hain saare

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

है कौन देस तुम्हारा मुसाफिर
कौन देस तुम्हारा मुसाफिर
कहाँ के
हाँ हाँ हाँ
कहाँ के
रहनेवाले
तुम कहाँ के रहनेवाले
तेरे बोलों ने प्राण जगाए
तेरी बातों से हम यहाँ आए
तेरे बोलों ने प्राण जगाए
तेरी बातों से हम यहाँ आए

आ हा हा हा
हम बने किसान दुलारे
माता धरती के प्यारे
हम बने किसान दुलारे
माता धरती के प्यारे
हाथ बने हथियार हमारे
हम मज़दूर हैं सारे
हाथ बने हथियार हमारे
हम मज़दूर हैं सारे

हम हैं लुहार
हम हैं कुम्हार
हम हैं कपड़ा बुनने वाले
हम हैं लुहार
हम हैं कुम्हार
हम हैं कपड़ा बुनने वाले

हाथ बने हथियार हमारे
हम मज़दूर हैं सारे
हाथ बने हथियार हमारे
हम मज़दूर हैं सारे


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This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

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