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

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

At the time of the release of National Studios’ film ‘Roti’ (1942) in August 1942, the production house was sold to KM Modi, a prominent film exhibitors of that time who had no interest in producing films. At that time, three films of National Studios were under the advance stage of completion. ‘Jawaani’ (1942) was one among the three films, other two films being ‘Lala ji’ (1942) and ‘Apna Paraaya’ (1942). Anil Biswas was the music directors for all the three films.
I find from the issues of ‘Filmindia’ magazines of 1942 that the publicity given to these three films was subdued as compared with the scale of publicity which National Studios normally used to indulge for their earlier films. Probably, for the new owner, the publicity for the films was not a priority.

‘Jawaani’ (1942) had the usual star cast of National Studios which included Surendra, Husn Bano, Jyoti, AR Kabuli, Sankatha Prasad, Gulzar, Kayam Ali, Wasekar etc. The film was directed by Wajahat Mirza Changezi, his first and the last under National Studios. He did direct a few films for other production houses later.

Wajahat Mirza was a familiar name in my younger days because of his association with ‘Mughal-e-Azam’ (1960) as one of the dialogue writers for which he received the Filmfare Award. Later, as a solo dialogue writer, he got the same category of Filmfare Award for ‘Ganga Jamuna’ (1961). His other famous films as a dialogue writers in the 50s and thereafter was ‘Mother India’ (1957), ‘Yahudi’ (1958), ‘Kohinoor’ (1960), ‘Leader’ (1964), ‘Palki’ (1967) etc. His last film as a dialogue writer was ‘Daaku Aur Jawaan’ (1978). K Asif’s swan song – the film ‘Love and God’ (1986) for which he had written the dialogues, was in the making for a long time and got released later.

As per Wikipedia, Wajahat Mirza Hussain Changezi (known as Wajahat Mirza) was born on 20/04/1908 in Sitapur, a part of Awadh region. He did his college education in Government Jubilee College, Lucknow where he got acquainted with a cinematographer from Calcutta. He accompanied the cinematographer to Calcutta to work as his assistant.

I became aware of Wajahat Mirza’s career in the film industry as lyricist and director only when I ventured into the films of 1940s as a part of the project for the blog. Details taken from his filmography indicate that his first film was New Theatres’ ‘Yahudi Ki Ladki’ (1933) as a dialogue writer. After this work, he had a 5-year hiatus from the film industry. Probably, he may have worked in the film industry during this period in a different capacity about which no information could be found online.

Wajahat Mirza joined Sagar Movietone as a screenplay/dialogue writer and lyricist in 1938. His first film as a dialogue writer/lyricist was ‘Watan’ (1938). Baburao Patel, in his review of the film, has complimented Wajahat Mirza by saying that for the first time in a Bombay film, good Urdu dialogue was written. From this point onward, his career got mostly associated with Mehboob Khan until ‘Roti’ (1942) after which he worked for the films as a free-lancer.

During the course of his association with Sagar Movietone and National Studios, he also worked as a lyricist in films ‘Watan’ (1938), ‘Hum Tum Aur Woh’ (1938), ‘Bahen’ (1941), Jawaani’ (1942) and ‘Roti’ (1942). After leaving National Studios, Wajahat Mirza worked as a dialogue writer in the popular films like ‘Zeenat’ (1945), ‘Shaheed’ (1948), ‘Shikast’ (1953) and those of 50s and 60s listed above.

During his career, Wajahat Mirza directed 5 films – ‘Jawaani’ (1942), ‘Swaminath’ (1942), Shahenshah Babar’ (1944), ‘Prabhu Ka Ghar’ (1945) and ‘Nishaana’ (1950). In his later career, he gave up direction and lyrics writing and concentrated only on story/screeplay/dialogue writing. He was regarded as an expert in writing dialogues in simple language which had the ability to create the desired impact on the scene. Because of this quality, Mehboob Khan recalled Wajahat Mirza to write the dialogue for ‘Mother India’ (1957) which had the story in rural setting. Incidentally, Wajahat Mirza had also written the dialogue for its earlier avatar ‘Aurat’ (1940).

Wajahat Mirza died on 4/08/1990 at the age of 82 in Karachi.

‘Jawaani’ (1942) was advertised as a romantic comedy film where ‘the youth triumphs over the age’. The film had 11 songs written by Wajahat Mirza (7) and Aarzoo Lucknowi (4). Two songs have been covered in the blog. Here is the 3rd song ‘Roney Se Nahi Fursat Jisko Wo Hansna Hansaana Kya Jaane’, sung by Husn Bano who was the female lead in the film. The song is written by Aarzoo Lucknowi and is set to music by Anil Biswas.


Song – Roney Se Nahin Fursat Jisko (Jawaani) (1942) Singer – Husn Banu, Lyrics – Aarzoo Lakhnawi, MD – Anil Biswas

Lyrics

rone se nahin fursat jisko
wo hansna hansaana kya jaane
rone se nahin fursat jisko
kya dard mein dil par banti hai
kya dard mein dil par banti hai
bedard zamaana kya jaane
bedard zamaana kya jaane
rone se nahin fursat jisko

jo dil ki tamanna ban ke rahe
wo dil kaa lagaana kya jaane
jo dil ki tamanna ban ke rahe
wo dil kaa lagaana kya jaane
dil aap hi naazon kaa hai pala
dil aap hi naazon kaa hai pala
wo naaz uthhaana kya jaane
wo naaz uthhaana kya jaane
rone se nahin fursat jisko

jis par bhi bharosa hamne kiya
jis par bhi bharosa hamne kiya
ki milke usi zaalim ne daga
ki milke usi zaalim ne daga
patthar ko jo phool samajhta ho
patthar ko jo phool samajhta ho
wo chot bachaana kya jaane
wo chot bachaana kya jaane
rone se nahin fursat jisko
wo hansna hansaana kya jaane
rone se nahin fursat jisko
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
रोने से नहीं फुर्सत जिसको
वो हँसना हँसाना क्या जाने
रोने से नहीं फुर्सत जिसको
क्या दर्द में दिल पर बनती है
क्या दर्द में दिल पर बनती है
बेदर्द ज़माना क्या जाने
बेदर्द ज़माना क्या जाने
रोने से नहीं फुर्सत जिसको

जो दिल की तमन्ना बन के रहे
वो दिल का लगाना क्या जाने
जो दिल की तमन्ना बन के रहे
वो दिल का लगाना क्या जाने
दिल आप ही नाज़ों का है पला
दिल आप ही नाज़ों का है पला
वो नाज़ उठाना क्या जाने
रोने से नहीं फुर्सत जिसको

जिस पर भी भरोसा हमने किया
जिस पर भी भरोसा हमने किया
की मिलके उसी ज़ालिम ने दग़ा
की मिलके उसी ज़ालिम ने दग़ा
पत्थर को जो फूल समझता हो
पत्थर को जो फूल समझता हो
वो चोट बचाना क्या जाने
वो चोट बचाना क्या जाने
रोने से नहीं फुर्सत जिसको
वो हँसना हँसाना क्या जाने
रोने से नहीं फुर्सत जिसको

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

Some established producer-directors generally have their wish list to make a film or two on the subjects that are close to their hearts. The fulfilment of their wishes gets postponed until such time the producer-directors are able to make the successful films in normal course of their career. After all, they need the financial security to take risk in producing films of their personal choices irrespective of the outcome at the box office.

Producer-director Guru Dutt had one such subject on which he was keen to make a film on a life of a successful director whose career is ruined by the will of the financiers and the personal circumstances in his life. Ultimately, the director dies as a lonely and forgotten man. The film was ‘Kaagaz Ke Phool’ (1959). The film was said to be based on the life of his mentor Gyan Mukherjee, one of the successful directors of Bombay Talkies.

Given the depressing theme of the story with a tragic end, Guru Dutt seems to have been aware of the box office risk of such a film. He took to produce and direct this film only after his three successive films became the box office hits – ‘Aar Par’ (1954), ‘Mr & Mrs, 1955’ (1955) and ‘Pyaasa’ (1957). Now he was ready to show his mastery over the artistic films and the use of the latest techniques in the film making. Guru Dutt’s expectations about his pet project was very high.

Unfortunately, ‘Kaagaz Ke Phool’ (1959) was a disaster at the box office putting Guru Dutt in dire financial difficulties. But what affected Guru Dutt more than the box office failure was that even the film critics had branded this film as boring and incoherent. But today, this film is regarded as one of the classics in Hindi films’ history.

Producer-Director Raj Kapoor, after producing a series of box office hits, produced ‘Mera Naam Joker’ (1970) which he had called his favourite film under RK Banner. The film was in the making for about 5-years. Because of the length of the film, it had two intervals. Raj Kapoor may have felt unsure about the risk at the box office. For that, he had some box office ingredients in the film and had roped in Rajendra Kumar, Dharmendra, Manoj Kumar and Dara Singh in the star cast. As usual, the expectation from the director’s pet project was very high from the financiers and distributors.

The film failed at the box office and Raj Kapoor was put into financial distress. Today, ‘Mera Naam Joker’ (1970) is regarded as the best films from RK Films banner.

Something similar happened to Mehboob Khan in 1942 when ‘Roti’ (1942) was released. After directing films like ‘Alibaba’ (1940), ‘Aurat’ (1940) and ‘Bahen’ (1941), which achieved the tremendous successes at the box office, Mehboob Khan announced the film ‘Roti’ (1942) which went to the floor in June 1941. The theme in the story of the film was the class conflict or disparity between rich and poor, a subject close to the heart of Mehboob Khan if one goes by the logo of Mehboob Productions.

I have seen in an advertisement of National Studios in which along with the names of the then current films under productions, the name of ‘Roti’ (1942) was written in bold letters with a statement ‘Mehboob’s Pride Picture With 5 Renowned Stars’. This shows the status of and the high expectations from the film.

The five ‘renowned stars’ of the film were Chandra Mohan, Sheikh Mukhtar, Sitara Devi, Akhtari Faizabadi (Begum Akhtar) and Ashraf Khan. For the first time, Chandra Mohan worked under the direction of Mehboob Khan in the film. Chandra Mohan was known to be a tough actor to handle as he was frank in giving his opinions to the directors about the shots to be framed on him. I had read in his interview taken sometime in 1941 in which he spelled out the director’s and actor’s roles in the film making. While the director sets his requirement of the scene to the actor, it is the actor who decide how to portray the acting for the scene. In other words, Chandra Mohan did not like to follow the director’s inputs in the acting.

Begum Akhtar who had not worked in the films after 1936 was roped in probably with the recommendation of Anil Biswas. It was doubtful whether she would accept the offer to act in the film. But for her, the offer had come at the right time. At that time, she was the court singer in the state of Rampur and the Nawab of Rampur wanted to marry her. She was not interested in marrying the already married Nawab. So she shifted to Bombay (Mumbai) in the guise of working in the film to wriggle out of Nawab’s marriage proposal.

The film took more than one year to complete and its release was delayed due to a last minute problem. Megaphone Recording Company brought a stay order as Akhtaribai had an exclusive singing contract with the Company. Finally, the stay order was withdrawn and the film was released only after all her six songs were deleted from the film. Later, Megaphone released 78 RPM records of these six songs. The film was released in Bombay (Mumbai) on 25/08/1942.
The film did not create ripple on the box office front though it ran for few weeks. I have watched the film on YT and my take as to why the film did not click for Mehboob Khan as much as it was expected is as under:

1. It was expected that with Chandra Mohan in terms of star value, Begum Akhtar in terms of her singing, and Sitara Devi with her dances would attract the audience to the theatres. The deletion of all the six songs of Begum Akhtar from the film would have definitely disappointed her fans.

2. With the deletion of all the six songs of Begum Akhtar, continuity in the film was lost. One can notice the abrupt moves from one scene to another scene in the film. Also Begum Akhtar did not look like a sophisticated daughter of a businessman. For her fans, she was engraved in their minds as a vocalist in semi-classical music.

3. In the traditional definition of the hero and the heroine of the film, Chandra Mohan and Begum Akhtar had leading roles with Chandra Mohan one sided love with Begum Akhtar. But Chandra Mohan had also had the role of a villain as he was responsible for murdering his partner whose daughter he now loves. Under such a situation, unless the director is able extract the emotional scenes to bond with the audience with such a character, it is difficult to maintain the interest of the audience in the film.

4. The class conflict as the main theme of the film was not brought out in a manner which could have kept the audience interest intact. The whole idea of bringing the life style of Sheikh Mukhtar and Sitara Devi in their forest dwelling in contrast with that of Chandra Mohan as a rich and greedy businessman in a palatial residence did not create a forceful anti-capitalist impact in the film. The scenes of Ashraf Khan giving his philosophical preaching was boring.

Later, Mehboob Khan adopted the sickle and the hammer as the logo for his film production company, Mehboob Productions in 1942 in accordance with the main theme of his film ‘Roti’ (1942).

‘Roti’ had 14 songs of which Begum Akhtar had 6 songs. 7 songs (3 Begum Akhtar’s songs) have already been covered in the Blog. I am presenting the 8th song from the film which is a ghazal rendered by Begum Akhtar. The ghazal is ‘wo hans rahen hain aah kiye jaa raha hoon main’ written by Aarzoo Lucknowi. After listening to the style of rendition of the ghazal, I feel that it has more of Begum Akhtar’s contribution than that of Anil Biswas as a music director.


Song – Wo Hans Rahe Hain Aah Kiye Jaa Raha Hoon Main (Roti) (1942) Singer – Akhtari Bai, Lyrics – Aarzoo Lakhnawi, MD – Anil Biswas

Lyrics

wo o o o
wo o o  o o o
wo hans rahe hain
aah kiye jaa raha hoon main
main
wo hans rahe hain
aah kiye jaa raha hoon main
main
pathar ke dil mein raah
kiye jaa raha hoon main
main
pathar ke dil mein raah
kiye jaa raha hoon main

bahr e karam ko  ..oo
josh mein
laane ke wa..aaste ae
ae ae ae ae
ae ae ae ae
aen aen aen  aen  aen
daanishtaa
daanishtaa kuchh gunaah kiye
jaa raha hoon main
main
daanishtaa kuchh gunaah kiye
jaa raha hoon main
main
daanishtaa kuchh gunaah kiye
jaa raha hoon main

aadat ke ba..aad
dard bhi dene lagaa aa mazaa
aaa
aa  aa aaa
aa aa aa aa
aa aa aaa
hans hans ke
ae ae ae 
ae ae ae
hans hans ke
aah aah kiye
jaa raha hoon main
main
hans hans ke aah aah kiye
jaa raha hoon main
aen aen

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

वो ॰॰ओ॰॰ओ
वो ॰॰ओ॰॰ओ॰॰ओ
वो हंस रहे हैं
आह किए जा रहा हूँ मैं
मैं
वो हंस रहे हैं
आह किए जा रहा हूँ मैं
मैं
पत्थर के दिल में राह
किए जा रहा हूँ मैं
मैं
पत्थर के दिल में राह
किए जा रहा हूँ मैं

बहर ए करम को॰॰ओ॰॰ओ
जोश में
लाने के वास्ते॰॰ए
॰॰ए॰॰ए॰॰ए॰॰ए
॰॰ए॰॰ए॰॰ए॰॰ए
दानिश्ता
दानिश्ता कुछ गुनाह
किए जा रहा हूँ मैं
मैं
दानिश्ता कुछ गुनाह
किए जा रहा हूँ मैं
मैं
दानिश्ता कुछ गुनाह
किए जा रहा हूँ मैं

आदत के बा॰॰आद
दर्द भी देने लगा मज़ा
॰॰आ
॰॰आ॰॰आ॰॰आ
॰॰आ॰॰आ॰॰आ
॰॰आ॰॰आ॰॰आ
हंस हंस के
॰॰ए॰॰ए॰॰ए॰॰ए
॰॰ए॰॰ए॰॰ए॰॰ए
हंस हंस के
आह आह किए
जा रहा हूँ मैं
मैं
आह आह किए
जा रहा हूँ मैं ॰॰एं॰॰एं


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

Today’s song is from film ‘Jawani Ki Pukaar’ aka ‘Call Of Youth’ (1942). The film makes its debut on our blog today. It is sung by Sarfaraz Deen, who too makes his debut with this song.

The song is a parody song. The dictionary meaning of ‘parody’ is ” humorous exaggerated imitation”. This was quite a popular genre of songs in Hindi films. The earliest parody song is found in film ‘Deccan Queen’ (1936), sung by Surendra in his debut film. The song – “Birha Ki Aag Lagi Mere Mann Mein“, which is a parody of the iconic KL Saigal song from the 1935 film ‘Devdas’ – “Baalam Aaye Baso Morey Mann Mein“. The producers at Sagar Movietone, (the banner under which ‘Deccan Queen’ was produced) wanted Surendra to become ‘Saigal’ of Bombay !

People have a misconception that making a parody song is very easy, but it is not so. First of all, there should be a suitable situation in the film. Secondly, the lyrics should not only be funny, but they should also fit into the metre of the original tune. Thirdly, the singer must sing more or less in the original singer’s style. Lastly, the composer must arrange the music appropriately. The basic condition for a parody song is that the original song or songs must be well known and popular. In a good parody song, tunes of at least 3 stanzas are used from 3 different songs. I know of longer songs where 6 to 7 famous songs have been used.

During the period 16-3-2013 to 2-4-2013, I had discussed 10 parody songs on this blog, for my series ‘Parody Songs’. On the blog, a total of 22 parody songs have been discussed so far. Even after the series was over, I have discussed 4 more parody songs. Many MDs, though not all, used to compose parody songs in their films.

When I was searching for parody songs for my series, I found that there is a list of more than 150 parody songs, between the years 1936 to 1980, available on the website ‘Hamara Forum’, which was once upon a time a very popular and active site for film songs and related topics. Sad that this site is no more active, but one can still find valuable information even on it. (I have been able to locate several lists on various topics, for example I found a list of double role movies. The list was so detailed that it gave details by and by year. Like in how many films Amitabh Bachchan has done double role, in which year etc.) I have seen many sites closing down after only few years on the internet. Some of them were very useful too. Alas !

Initially, when I got today’s song from one of my friends, I became excited, for 2 reasons. One, the film and the singer would make their debut and two, this song will give me an opportunity to write about a less known or rather unknown Music Director, Vasant Kumar Naidu. With my recent experience with the song “Hum Aage Badhte Jaayen” from film ‘Anban’ (1944), I first sent this song to our Sudhir ji to inquire if he had this song in his collection and if it was longer than the one I had sent. Sure enough, Sudhir ji replied yes for both points. This was a good news as the song would have its full length now. Very kindly, Sudhir ji has uploaded the song and here we are to enjoy it. Thank you Sudhir ji. The world is a better place with people like you !

This blog is read by millions of music lovers from all over the world. Considering the figure of visitors by the counter, a quick rough calculation tells me that on an average 3000 visitors come to the blog every day. Some of them are connected with the film industry too, in direct or indirect way. Sometimes, people who are close or distant relatives of alive or departed artists, leave their comments here. I have been able to establish contact with them and get valuable information about those cine artistes. Like this, I was able to write articles on actor/singer Parshuram, actress Indurani, Bhudo Advani, Latika, Mukri and Mirza Musharraf etc.

In case of music director Vasant Kumar Naidu, no information is available in any book or on the internet. Only Pankaj Raag writes about his films and songs in his book ‘Dhunon Ki Yatra’. This too is based on HFGK only. Luckily Ms. Sai Lakshmi and Mr. Krishna Kumar Naidu, niece and nephew of Vasant Kumar Naidu have visited our blog and left some comments when Sadanand ji had discussed a different song (not of Vasant Kumar Naidu) and had just mentioned his name in the write up. I picked up this slender lead and wrote to both of them. It is to their credit that both responded promptly . They tried to provide song and film information from different sites, which I already knew. After exchanging few mails, they sent me a newspaper cutting, announcing the passing away of Vasant Kumar Naidu, along with his photo and his a copy of his death certificate. Krishna Kumar ji also gave me some information about his family. I can understand their limitations. Naidu ji died in 1951. At that time these two were very young and now there may not be any other elder who may provide information about this artist.

Anyway, earlier I had zero information, now at least I have some information about him, plus his filmography as per the HFGK. I sincerely thank Ms. Sai Lakshmi ji and Shri Krishna Kumar Naidu ji for their help.

Vasant Kumar ji was born in 1915. His family had settled in Burma like thousands of other South Indian families. When Burma was struggling for independence, in the 1930s, most Indians left Burma and came to India. Many went to Calcutta and many went to South India. Many families walked for around 6 months from Burma to India. Mr.Vasant Kumar’s family was one amongst them. They walked from Rangoon to Madras. The family settled in Madras for some years.

Vasant Kumar ji had come alone to Bombay earlier in search of a career in music. He was an instrumentalist and could play any string instruments and also harmonium. He was also very much interested in reading different languages. There were many books that he read. He was also very keen in dressing up and had several suits in those days. He joined the industry and started growing as a Music Director. He then called his mother and other siblings to live with him in Mumbai along with his eldest brother’s widow and her son. He had 4 brothers. His eldest brother expired in Madras itself. Vasant Kumar ji was the second eldest. He had two younger brothers as well. They all lived on Peddar Road initially. Later, he left his Peddar Road flat and moved to Parel.

Vasant Kumar ji thereafter lived in Parel until his passing away on 16-10-1951.

Vasant Kumar ji got married in Madras. This marriage was arranged by his mother. Eventually his other brothers also got married. All three brothers and their wives stayed under the same roof in Parel in a joint family which was headed and supported monetarily by Vasant Kumar ji. His younger brother, the late Mr. Pandurang Naidu was also working towards a career in music. He became a musician (played banjo and mandolin). Vasant Kumar ji taught several string instruments to his brother, Pandurang ji. His youngest brother, the late Mr. Sreenivasn Naidu, became a composer at a later stage of his life for the Indian Railways Music Academy (Central Railway Cultural Academy).

Vasant Kumar ji is survived by his only daughter, Mrs. Pramila Naidu, who is now a widow. She lives in Pune with her grown up children. Pramila ji was around 5 years when her fatherpassed away. She has vague memories of her father. It is sad to see her struggling now financially. She continues to gives tuition at the age of 70 to make her living. She lawfully owns 3 flats in Parel, Mumbai but the 3rd generation of the family has occupied these flats and are not willing to vacate. This property is now worth in crores. The cousins of Pramila ji have gotten together and have filed a law suit against these 3rd generation greedy family members. The law suit is going on now for the past 3 years.

Vasant Kumar ji started his career in 1939 by giving music to films ‘Thunder’ and ‘Pakke Badmash’. Till 1947, he composed music for 22 films, as per the HFGK. He sang 1 song as a duet with Khan Mastana for film ‘Mere Sajan’ (1941). He has composed 160 songs in these 22 films. His filmography, as per the Geet Kosh, is ‘Thunder’ (1939), ‘Pakke Badmash’ (1939), ‘Rangeela Jawaan’ (1940), ‘Jung-e-Azadi’ (1940), ‘Desh Bhakt’ (1940), ‘Suhaana Geet’ (1941), ‘Meri Khwaish’ (1941), ‘Mere Saajan’ (1941), ‘Lehri Jawaan’ (1941), ‘Lala ji’ (1942), ‘Call Of Youth’ (1942), ‘Maata’ (1942), ‘Watan Ki Pukaar’ (1943), ‘Nai Zindagi’ (1943), ‘Mohabbat Ki Jeet (1943), ‘Daawat’ (1943), ‘Circus Girl’ (1943), ‘Bhaagta Bhoot’ (1943), ‘Beda Paar’ (1944), ‘Shaahi Khazaana’ (1946), ‘Chamkati Bijli’ (1946) and ‘Toote Dil’ (1947).

Unfortunately, Vasant Kumar ji got mostly B and C stunt and action films for composing the music. Big banners like National Studios gave him an opportunity with film ‘Lala ji’ (1942), in which he got many songs sung by Anil Biswas, Kusum Mantri, and Vatsala Kumthekar. However such films came to him only as an exception, therefore his exposure to audience was limited and his name did not gain any fame. Actually, many big, well known and popular singers have sung for him.

However, without a mentor, God Father or the support of a big banner, it became impossible for Vasant Kumar ji to grow further. During the transition period of 1947-48, when many composers migrated to Pakistan, the existing big composers made their positions solid. Thus smaller composers never got any opportunity to benefit from the void created by the exit of composers. This was the case of many small time composers like him.

The film ‘Jawani Ki Pukaar’ (1942) has 9 songs. Lyricists are AK Sindhi. He has written lyrics for another film – ‘Meri Khwahish’ (1941). The film was directed by D Bilimoria, who was also the hero of the film. I tried to find out more about this film in the 1942 issue of ‘Film India’, but nothing is mentioned anywhere- not even an advertisement. Other cast of the film includes Harish, Kalyani, WM Khan, Samson, Urmila, Alaknanda (elder sister of Sitara Devi), Gulab etc.

This song is sung by Sarfaraz Deen. I could not get any information about Deen as a singer. This song is a parody of 3 famous and popular songs, namely
1.  “Saawan Ke Nazaare Hain” from film ‘Khazaanchi’ (1941) ( Shamshad Begum, Ghulam Haider)
2.   “Chal Chal Re Naujawaan” from film “Kangan” (1941) ( Ashok Kumar, Leela Chitnis)
3.   “Main Kya Jaanu Kya Jaadu Hai” from film “Zindagi” (1940) (KL Saigal)

Now, let us enjoy this parody song….


Song – Saalan Mein Bataate Hain (Jawaani Ki Hawaa aka Call Of Youth) (1942) Singer – Master Deen, Lyrics – AK Sindhi, MD – Vasant Kumar Naidu
Chorus

Lyrics

saalan mein bataate hain
saalan mein bataate hain
haan chheelo chheelo
haan chheelo chheelo
saalan mein bataate hain
saalan mein bataate hain

chal chal ri chhuri chal
chal chal ri chhuri chal
cheelna tera kaam
khaana meri shaan
cheelna tera kaam
khaana meri shaan

jisne tujhe kha liya wo jag ko suna de
jisne tujhe kha liya wo jag ko suna de
haan sabko suna de
haan sabko suna de
duniya hai paani mujhe ik baar pila de
duniya hai paani mujhe ik baar pila de
aahe waar bataate
waar bataate
aahe waar bataate
waar bataate

tu hind ka rehbar
tu hind ka rehbar
zoorat ka tu parwar
zoorat ka tu parwar
jis ne
tujhko kabhi na khaaya
jis ne
tujhko kabhi na khaaya
un ne
mazaa kabhi na paaya
un ne
mazaa kabhi na paaya

tum kya jaano kyaa
tum kya jaano kyaa
aaloo hai
aaloo hai
aaloo hai

saalan mein bataate hain
haan saalan mein bataate hain
haan chheelo chheelo
haan chheelo chheelo
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

सालन में बटाटे हैं
सालन में बटाटे हैं
हाँ छीलो छीलो
छीलो छीलो
सालन में बटाटे हैं
सालन में बटाटे हैं

चल चल री छुरी चल
चल चल री छुरी चल
छीलना तेरा काम
खाना मेरी शान
छीलना तेरा काम
खाना मेरी शान

जिसने तुझे खा लिया वो जग को सुना दे
जिसने तुझे खा लिया वो जग को सुना दे
हाँ सबको सुना दे
हाँ सबको सुना दे
दुनिया है पानी मुझे इक बार पिला दे
दुनिया है पानी मुझे इक बार पिला दे
आहे वार बटाटे
वार बटाटे
आहे वार बटाटे
वार बटाटे

तू हिन्द का रहबर
तू हिन्द का रहबर
ज़ूरत का तू परवर
ज़ूरत का तू परवर
जिस ने
तुझको कभी ना खाया
जिस ने
तुझको कभी ना खाया
उस ने
मज़ा कभी ना पाया
उस ने
मज़ा कभी ना पाया

तुम क्या जानो क्या
तुम क्या जानो क्या
आलू है
आलू है
आलू है

सालन में बटाटे हैं
हाँ सालन में बटाटे हैं
हाँ छीलो छीलो
हाँ छीलो छीलो


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

#the Decade of Seventies – 1971 – 1980 #
——————————————————————
# Bhoole-Bisre Geet # 54 # Qawwalis – 6#
———————————————–—————-

Today I present a ‘qawwali’ which I was not aware until a year ago till I took up presenting the ‘qawwalies’ from the seventies. Neither have I heard this qawwali anywhere before.

This is from an unreleased movie “Shaadi Kar Lo” (from the decade 1971-1980).

“Shaadi Kar Lo” was directed by Sikandar Khanna for ‘Laxmi Art International, Bombay’. As per information available in HFGK, only two names of its star cast is mentioned – Rupesh Kumar and Helen. Music for this film was composed by Jaidev and its lyricist was Jaan Nisar Akhtar.

But so far as per HFGK this is the only song listed under this movie and until we come across any new discovery or addition of any song which might have been recorded for this movie, the today’s song is the only song from this movie, which is a ‘Qawwali’ sung by Mohd Rafi and Parveen Sultana.

As mentioned above lyrics are by Jaan Nisar Akhtar and this is composed by Jaidev.

I would request knowledgeable readers to throw more light on this movie and its songs.

(The EP record for this song was released by EP no. 7EPE 7225)

Thanking Surinder Sidhu ji for this wonderful upload, let us now enjoy this ‘muqabla qawwali’!!

Song – Na Tum Hato Na Hum Haten (Shaadi Kar Lo) (1970s)(UR) Singer – Mohammed Rafi, Parveen Sultana, Lyrics – Jaan Nisar Akhtar, MD – Jaidev
Unidentified Male Voice
Male Chorus
Female Chorus
All Chorus

Lyrics

aa aa aa aa aa
waah ustaad waah

aa aa aa aa aa aa aa aa aa
aa aa aa aa

shabaab o husn ka tay aaj maskila ho jaaye
zaraa to saaf dilon ka maamila ho jaaye
tumhaara husn hamaari nazar ka saaya hai
tumhaara aa aa aa husn
hamaari nazar ka saaya hai
hamaare saamne baitho
baitho na aa
hamaare saamne baithho
ke faislaa ho jaaye
ho jaaye
ustaad
ho jaaye
ustaad

kya kahaa
hamaara husn
tumhaari nazar ka saaya hai
huzoor ne hamein itna haseen banaaya hai
hoon

haan 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 aa aa aa aa

kya baat hain

hamen qubool 
hamen qubool jo hona hai
faislaa ho jaaye
muqaabila hai to aao
muqaabila ho jaaye
ho jaaye
ho jaaye

rahe to kyun kafal rahe
rahe to kyun kafal rahe
mili huyi nazar rahe
na tum hato
na ham haten
na tum hato
na ham haten
na tum hato
na ham haten
na tum hato
na ham haten

muqaabila ab to muqaaabila
muqaabila ab to muqaaabila
muqaabila
muqaabila aa
na tum hato
na ham haten
na tum hato
na ham haten

laakh taqraar karo
aa haa
ye to ikraar karo
aa haa
tum ko sau naaz diye
aa haa
saare andaaz diye
aa haa
tum ko sau naaz diye
aa haa
saare andaaz diye
aa haa
rang gaalon mein bharaa
aa haa
dekho aayinaa zaraa
aa haa
zulf ik raat bani
hamse har baat bani
zulf ik raat bani
hamse har baat bani
hamne har tarah sajaaya hai
sanwaaraa hai tumhe
ik haseen phool ke maanind
nikhaara hai tumhe
ham na hote to ye andaaz kahaan se milte
husn ko husn ke aijaaz kahaan se milte
tum qayamat hi sahi
ek aafat hi sahi
ham agar chhod gaye
tum se munh mod gaye
kaun pooje ga tumhe
kaun poochhega tumhe
haar jaaogi aji
sab udaayenge hansi

ha ha ha ha haa

agar hai ab bhi hai hausla aa
to phir rahe muqaabla aa
na tum hato
na ham haten
na tum hato
na ham haten

haan aan
aa aa aa aa aa
na tum hato
na ham haten ae
na tum hato
na ham haten
muqaabila ab to muqaaabila
muqaabila ab to muqaaabila
muqaabila
muqaabila aa
na tum hato
na ham haten
na tum hato
na ham haten

zamaana kul nisaat hai
koi to ham mein baat hai
zamaana kul nisaat hai
koyi to ham mein baat hai
ke aap ham pe
mar mite ae ae
ke aap ham pe
mar mite ae ae
sanam sanam pe mar mite ae
sanam sanam pe mar mite ae
hamen jo chhod jaaoge ae
to dukh pe dukh
uthhaaoge ae
dukh pe dukh
dukh pe dukh
to dukh pe dukh uthhaaoge ae
hai kaun hum sa doosra aa
idhar to dekhiye zaraa aa
rahe to kyun kafal rahe ae ae
mili huyi nazar rahe ae ae ae
na tum hato
na ham haten
na tum hato
na ham haten
na tum hato
na ham haten
na tum hato
na ham haten
muqaabila ab to muqaaabila
muqaabila ab to muqaaabila
muqaabila
muqaabila
na tum hato
na ham haten
na tum hato
na ham haten

hum se roothha na karo
aa haa
itna gussa na karo
aa haa
khair aaraam na do
aa haa
muft ilzaam na do
aa haa
khair aaraam na do
aa haa
muft ilzaam na do
aa haa
dil ko qurbaan kiya
aa haa
kam ye ehsaan kiya
aa haa
hamne har dard sahaa
tumse kuchh bhi na kahaa
hamne har dard sahaa
tumse kuchh bhi na kahaa
hamne tahzeeb e mohabbat se na rishta toda
ho gaye khaaq pe daaman na tumhaaraa chhoda
kisliye hamse har ik baat pe jhagdaa karna
ishq kya jaane bhalaa husn ko ruswaa karnaa aa
itni bedard na ho
haaye
is kadar sard na ho
hoye hoye
ishq ki shaan judaa aa
hoye ae
ishq ki aan judaa aa
haaye haaye
ishq hai dil ki sazaa
ishq aadaab e wafaa
ishq ke saamne kya
husn thehrega bhalaa
ishq ke saamne kya
husn thehrega bhalaa
husn thehrega bhalaa aa

ustaad zaraa hauslaa rakho
hauslaa
haa
agar hai ab bhi hauslaa aa
to phir rahe muqaabila aa aa
muqaabila ab to muqaaabila
muqaabila ab to muqaaabila
muqaabila
muqaabila
na tum hato
na ham haten
na tum hato
na ham haten

tumhe jo hum se pyaar hai
wo jism ki pukaar hai ae
tumhe jo ham se pyaar hai
wo jism ki pukaar hai ae
kabhi chunar dhalak gayi ee
kabhi chunar dhalak gayi ee
to aag si bhadak gayi ee ee
to aag si bhadak gayi ee ee
jawaan badan per mar gaye
lab o dahan pe mar gaye
lab o dahan
lab o dahan
lab o dahan pe mar gaye
tumhaara ishq jhooth hai
ye tan badan ki loot hai
ye loot hai
ye loot hai
ye jhooth hai
ye jhooth hai
ye jhooth hai ae ae ae ae

o ho ho ho o
be baat ye jhagdaa mol liya
be baat ye jhagdaa mol liya
be baat ye jhagdaa mol liya
be wajah dilon ke pyaar gaye
be wajah dilon ke pyaar gaye
lo haath bhi hamne jod liye ae
lo haath bhi hamne
jodo bhai haath jodo
lo haath bhi hamne jod liye ae
tum jeet gayin ham haar gaye
ham haar gaye
tum jeet gayin ham haar gaye
ham haar gaye
ham haar gaye
ham haar gaye
dil haar gaye ae ae ae

bahot muqaabila huaa
bahot muqaabila aa huaa
chalo ye faislaa huaa
ke ham bin tum adhoore
ke tum bin ham adhoore
ke ham bin tum adhoore
ke tum bin ham adhoore


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

Today, 21st June is designated as the World Music Day. The reminders checked in quite late in the afternoon today. The historical details about this event are available on the internet, and our dear Arun ji has also summarized them in a brief post on the Whatsapp group.

As I set down thinking about this event, and to search out an appropriate song for today, my mind almost immediately went to the 1985 film ‘Sur Sangam’.  In my mind, this is probably the best film on the theme of classical music, in the recent decades. Times are past that classical music and the legends of this art form used to be the central themes of many a film, especially from the historical perspective, in the decades that coincide with the golden era of Hindi film music. Historical persona such as Tansen and Baiju, Narsi Mehta and Meerabai, Kalidas and Soordas, Kabir and Rani Roopmati have been central themes and central characters of many a film till the decade of 1970s. Beyond that, I cannot easily recall a film whose theme and storyline is based primarily on classical music.

‘Sur Sangam’ is one of the last such examples that I can recall. After the 1980s, my interest in Hindi films kind of petered down, and I would appreciate if other friends and readers can tell about such films beyond the 1980s. This film is a remake (not a dub) of another absolutely fabulous Telegu film, ‘Shankarabharanam’ (1979). It is opportune for me that I have also seen this film, on the big screen. Both films, in their own standing, are wonderful productions in all aspects of combining classical music and cinema. The profundity, the importance, and the current state of affairs in this field, had been excellently expressed. Yes, as opposed to the themes mentioned above, this film is set in the contemporary times, and fate meted out to the exponents of this art form in our times is very well depicted.

As is the requirement of this theme, there are some very wonderful songs in this film, that are about classical music, about learning classical music, about ‘sur’ and ‘naad’. The song that I present today is one such beautiful expression of this art form – “Aaye Sur Ke Panchhi Aaye”. Other songs from this film relating this theme are “Saadh Re Mann Sur Ko Saadh Re” and “Saadho, Aisa Hi Gur Bhaave”.

This song is the first thing we see on the screen within a couple of minutes after the credits have been completed. We are introduced to Pandit Shivshankar Shastri, one of the senior-most and expert practitioner of the art form of classical music. And what better an introduction than presenting a stage performance by him. We see Pandit Shivshankar (role played by Girish Karnad) on stage. His child daughter Sharda (role played by Baby Mamta) accompanies him on stage, playing the taanpura. We also see Gopal (role played by Paintal), one of his disciples, accompanying him on table. There are other artists and musicians also present. In the audience, we see Tulsi (role played by Jayaprada), who is an ardent admirer of Pandit ji, sitting in the front row with her mother Ratnabai (role played by Tabassum). The man wearing a white cap and sitting next to Tabassum, plays the role of Ratnabai’s brother, i.e. uncle to Tulsi.

As the performance is in progress, another gentleman, appearing to be a rich man / politician, enters the hall, and comes and sits in front of Ratnabai, with his back towards the stage. Pandit ji immediately ceases the performance, and walks away. In the film, a little later, the last antaraa of this song – “Sur Ka Hai Sopaan Sureela. . .”, is presented as being played on a gramophone player, and Tulsi is practising alongside with the image of her guru, Pandit Shivshankar Shastri, sitting on a jhoola next to her.  For this part, I have not been able to locate a separate video clip, so the audio clip is included.

The verses of this song are penned by Vasant Dev, and the music is by Laxmikant Pyaarelal. The singing voices are of Rajan-Sajan Misra, the brothers duo of classical singers, and Kavitha Krishnamurthy.’

Celebrating the World Music Day, listen to this magnificent rendition and presentation, in Raag Maalkauns.

Part 1 – Video

Part 2 – Audio

Song – Aaye Sur Ke Panchhi Aaye (Sur Sangam) (1985) Singer – Rajan Sajan Misra, Kavitha Krishnamurthy, Lyrics – Vasant Dev, MD – Laxmikant Pyaarelal
Rajan-Sajan Misra + Kavitha Krishnamurthy

Lyrics

Part  1
(aalaap)

aa..aaye sur ke panchhi aaye
aaye sur ke panchhi aaye
aaye sur ke panchhi aaye
ambar ke onkaar naad ki
goonj sunaate aaye
ambar ke onkaar naad ki
goonj sunaate aaye
aa..aa..aa
aaye sur ke panchhi aaye
aaye sur ke
(sargam)
aaye sur ke panchhi aaye
(aalaap)
aaye sur ke panchhi aaye
aaye sur ke panchhi aaye
(sargam)
aaye sur ke panchhi aaye
aaye sur ke panchhi aaye

kirnon ki avroh raah se
dharti par utar aaye
aaa
aaaaaa
aaaaaa aaaaa aaaaa
kirnon ki avroh raah se
dharti par utar aaye
maati ko chhoo kar jeene ki
chaah jagaate aa..aa..aaye
aaye sur ke panchhi aaye
aaye sur ke panchhi aaye

(sargam)

saam ved ki ras ganga mein
lehar uthaate aaye
ree..eeee.eeee.eeee.eeeee
saam ved ki ras ganga mein
lehar uthaate aaye
veena ki jhankaar sureeli
ban kar mann mein chhaa..aa..aaye
aaye sur ke panchhi aaye
aaye sur ke
(sargam)
aaye sur ke
(sargam)
aaye sur ke
(alaap)

[intrusion and singing ceases]
Part 1 Ends

Part 2
sur ka hai sopaan sureela

su. . . ree. . . laa. . .
aa ha
aaa aaa aaaa
sur ka hai sopaan sureela
amar lok le jaaye
jaaye
jahaan pahunch kar
mann ka saara
jahaan pahunch kar
mann ka saara
dooja pan mit jaa..aa..aa..aa..aaye
aaye sur ke panchhi aaye
aaye sur ke panchhi aaye

(sargam)

aaye sur ke panchhi aaye
aaye sur ke panchhi aaye
aaye sur ke panchhi aa..aa..aa..aaye

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

भाग १
(आलाप)

आ॰॰आए सुर के पंछी आए
आए सुर के पंछी आए
आए सुर के पंछी आए
अंबर के ओंकार नाद की
गूंज सुनाते आए
अंबर के ओंकार नाद की
गूंज सुनाते आए
आ॰॰आ॰॰आ॰॰
आए सुर के पंछी आए
आए सुर के
(सरगम)
आए सुर के पंछी आए
(आलाप)
आए सुर के पंछी आए
आए सुर के पंछी आए
(सरगम)
आए सुर के पंछी आए
आए सुर के पंछी आए

किरणों की अवरोह राह से
धरती पर उतर आए
आs
आsssss
आssss आssss आsssss
किरणों की अवरोह राह से
धरती पर उतर आए
माटी को छू कर जीने की
चाह जगाते आ॰॰आ॰॰आए
आए सुर के पंछी आए
आए सुर के पंछी आए

(सरगम)

साम वेद की रस गंगा में
लहर उठाते आए
री॰॰ई॰॰ई॰॰ई॰॰ई॰॰
साम वेद की रस गंगा में
लहर उठाते आए
वीणा की झंकार सुरीली
बन कर मन में छा॰॰आ॰॰आए
आए सुर के पंछी आए
आए सुर के
(सरगम)
आए सुर के
(सरगम)
आए सुर के
(आलाप)

[अनुचित प्रवेश एवं गायकी का अन्त]
भाग १ का अन्त

भाग २
सुर का है सोपान सुरीला
सु॰॰॰री॰॰॰ला॰॰॰
आ हा
आ आ आ
सुर का है सोपान सुरीला
अमर लोक ले जाये
जाये
जहां पहुँच कर
मन का सारा
जहां पहुँच कर
मन का सारा
दूजापन मिट जा॰॰आ॰॰आ॰॰आ॰॰आये
आए सुर के पंछी आए
आए सुर के पंछी आए

(सरगम)

आए सुर के पंछी आए
आए सुर के पंछी आए
आए सुर के पंछी आ॰॰आ॰॰आए


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

This post is 501st post by Sadanand Ji. Due to a tagging error, we all missed the event of 500th post by him (his previous post).

In the early part of the golden era of Hindi film music, there were many films which were box office disasters. These films got released but vanished from the theatres quickly. These films also got ‘erased’ from the memories of the film audience of that time except those who had interest in Hindi film history. Some of such obscure films had the treasures of melodious songs.

If I confine myself to the first half of 1950, I get quite a good numbers such obscure films having melodious songs. Some of such films were ‘Adaa’ (1951, Madan Mohan), ‘Malati Madhav’ (1951, Sudhir Phadke), ‘Ghunghroo’ (1952, C Ramchandra), ‘Nirmohi’ (1952, Madan Mohan), ‘Raag Rang’ (1952, Roshan), ‘Baaghi’ (1953, Madan Mohan), ‘Fareb’ (1953, Anil Biswas), ‘Jhaanjhar’ (1953, C Ramchandra), ‘Chor Baazar’ (1954, Sardar Malik), ‘Naaz’ (1954, Anil Biswas), ‘Rishta’ (1954, K Datta), ‘Garam Coat’ (1955, Amarnath Chawla), ‘Madhur Milan’ (1955, Bulo C Rani) etc. The list is not exhaustive.

These obscure films of early 1950s had the adverse impact on the careers of some of the music directors for no faults of theirs. The then upcoming music directors like Madan Mohan and Roshan had to struggle hard to establish themselves in the film industry. Like-wise, the already established music directors like Anil Biswas and Bulo C Rani had difficulties in retaining their positions in the film industry.

‘Maan’ (1954) was one such film which had very melodious songs from the baton of Anil Biswas. The film was directed by Dr Safdar Aah Sitapuri, a well-known lyricist, and screen play/dialogue writers of 1930s and 40s. This was his second and the last directorial venture, the first being ‘Bhook’ (1947). The star cast included Ajit, Chitra, Gajanan Jagirdar, Durga Khote, M Kumar, Achala Sachdev, Kamlesh Kumari, Yashodara Katju, Chandabai etc. The film belongs to the costume drama genre.

Dr.Safdar Aah Sitapuri was a Urdu laureate. He started his career in the Hindi film industry sometime in 1930s, probably with Mohan Pictures. He worked with Anil Biswas for the first time in ‘Comrades’ (1939) made under the banner of Sagar Movietone followed by ‘Alibaba’ (1940) and ‘Aurat’ (1940).

When Sagar Movietone was merged with General Films and renamed as National Studios in 1940, Dr Safdar Aah Sitapuri and Anil Biswas shifted to this banner. Under National Studio Banner, Dr Safdar Aah Sitapuri worked with Anil Biswas in films like ‘Aasra’ (1941), ‘Bahen’ (1941), ‘Nai Roshni’ (1941), ‘Roti’ (1942) etc. After Anil Biswas joined Bombay Talkies in 1942, he had to work with lyricists which were already in the pay roll with the banner. So he had no chance of working with Dr Safdar Sitapuri in Bombay Talkies but worked with lyricists Pt. Narendra Sharma and Kavi Pradeep among others.

After a gap of about 3 years, Dr. Safdar Aah Sitapuri got the opportunity to work with Anil Biswas for the film ‘Pehli Nazar’ (1945) in which he wrote, among other songs, “Dil Jaltaa Hai To Jalne De” and Mukesh sang from his heart to make the song an iconic one. Thereafter Dr.Safdar Aah Sitapuri had worked with Anil Biswas in films like ‘Laadli’ (1949), ‘Laajawaab’ (1950), ‘Badi Bahu’ (1951), ‘Naaz’ (1954) and ‘Maan’ (1954) which was his last film as the director and I guess, it was also his last film as a lyricist.

The information on the internet indicates that Dr Safdar Aah Sitapuri returned to his teaching profession sometime in the later 50s though it appears that he was involved with writing screen-play and dialogues for ‘Son Of India’ (1962). Post-retirement from the film industry, Dr, Safdar Aah Sitapuri wrote books like ‘Amir Khusro Bhaisiyat Hindi Shaayar’, ‘Rubiyaat-e-Zamzama’, ‘Tulsidas Aur Ramcharitmanas’. I came to know through internet a few years back that he was also a guide for students doing Ph.d in Urdu literature.

Coming back to Anil Biswas, I personally feel that after Lata Mangeshkar started singing for him from ‘Anokha Pyaar’ (1948) onwards, his song compositions attained a higher level of melody than what was earlier. For example, I find his song compositions in the film ‘Anokha Pyaar’ (1948) in which Lata Mangeshkar sang for him for the first time, superior to those in ‘Veena’ (1948) in which Lata Mangeshkar had no songs. Incidentally, stories of both these films revolved around love triangles.

I recall reading few years back that when Sardul Kwatra, the music director was asked as to how his compositions are so beautiful. His reply was that he got inspiration from the singers themselves to compose the beautiful songs. I think, Anil Biswas could compose some of the best soulful songs for Lata Mangeshkar because of her voice and the faster pick up of nuances of song compositions. This quality of her could inspire anyone to compose the songs for her better than their best.

Today, I am presenting one of the soulful songs ‘Guzraa Hua Ulfat Ka Zamaana Yaad Karke Royenge’ from the film ‘Maan’ (1954). The song is rendered by Lata Mangeshkar on the words of Dr. Safdar Aah Sitapuri.


Song – Guzra Hua Ulfat Ka Zamaana (Maan) (1954) Singer – Lata Mangeshkar, Lyrics – Safdar ‘Aah’ Sitapuri, MD – Anil Biswas

Lyrics

guzraa hua ulfat kaa zamaana
yaad karke royenge
yaad karke royenge
apni kahaani apna fasaana
yaad karke royenge
yaad karke royenge
guzraa huwa ulfat kaa zamaana
yaad karke royenge
yaad karke royenge

jab saawan ki mast ghataayen
dhoom machaati aayengi ee
jab saawan ki mast ghataayen
dhoom machaati aayengi  ee
jab koyal ki meethi taanen
kaanon mein bas jaayengi
ham ik bhoola hua taraana
yaad karke royenge
yaad karke royenge

kabhi kabhi jab tumko apne
dil kaa dard sunaate thhe
kabhi kabhi
kabhi kabhi jab tumko apne
dil kaa dard sunaate thhe
pyaar se dhaadas dekar saajan
hamko gale lagaate thhe
wahi pyaar se gale lagaana
yaad karke royenge
yaad karke royenge
guzraa hua ulfat kaa zamaana
yaad karke royenge
yaad karke royenge
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

गुज़रा हुआ उल्फ़त का ज़माना
याद करके रोएँगे
याद करके रोएँगे
अपनी कहानी अपना फसाना
याद करके रोएँगे
याद करके रोएँगे
गुज़रा हुआ उल्फ़त का ज़माना
याद करके रोएँगे
याद करके रोएँगे

जब सावन की मस्त घटाएँ
धूम मचाती आएंगी
जब सावन की मस्त घटाएँ
धूम मचाती आएंगी
जब कोयल की मीठी तानें
कानों में बस जाएंगी
हम इक भुला हुआ तराना
याद करके रोएँगे
याद करके रोएँगे

कभी कभी जब तुमको
अपने दिल का दर्द सुनाते थे
कभी कभी
कभी कभी जब तुमको
अपने दिल का दर्द सुनाते थे
प्यार से ढाढ़स दे कर साजन
हमको गले लगाते थे
वही प्यार से गले लगाना
याद करके रोएँगे
याद करके रोएँगे
गुज़रा हुआ उल्फ़त का ज़माना
याद करके रोएँगे
याद करके रोएँगे

 


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

Hullo to all in Atuldom

On this blog, Atul has a page for birthdays of various Hindi film artistes. He has meticulously kept track of these dates and makes it a point, as much as possible, to post a song honouring the artiste on the concerned date. That is like a doctor treating his patients.

And, just like a doctor having his own turn at being unwell, today it is Atul’s turn to have his own birthday celebrated, instead of celebrating others. And it is our turn to do the celebration!

This is what our own Rajaji had written last year on this date that happens to be our very own Karta Dharta’s birthdate.

Taking a risk of being labelled a repeater or a copy-cat I must reiterate what has been said before, at various places, on this blog… “I shudder whenever I think as to how Atul ji has managed all these years without an iota of exhaustion in pursuing the ‘Project ASAD’.” This was Sadanandji’s comment on Rajaji’s post last year. I also have thoughts similar to Sadanandji. 😊

Guruji/ Arunji- our very own encyclopaedia came up with a superb poem on Atulji and without his permission I am reproducing it here (hope he doesn’t mind)

suno ji suno,
yeh hai mera pyara
subka dil lubhanewala,
Ganewala, Ranchiwala……..1

ye koi khel nahi hai
itna aasan nahi hai
yadein taaza karnewala
Gaanewala, Ranchwala…….2

duniya isko dekh rahi hai
gaane sunke khoj rahi hai
hai bhala kaun ye dilwala
Gaanewala, Ranchiwala……3

iske pyar mein doobi duniya
isko chaahe saari duniya
kahan hai pyaare geetonwala
Gaanewala, Ranchiwala…..4

geeton ki iss yatra mein
hum sab hai iske saathi
sub ko saath lenewala
Gaanewala, Ranchiwala…..5

nayak ho to aisa dilwala
khushiyan apni baatnewala
har yaatri ko chahnewala
Gaanewala, Ranchiwala…..6

sab ke dil mein ek hi naara
neta ho to aisa pyaraa
Atul ji jaisa bade dilwala
Gaanewala, Ranchiwala…..7

Though I am not as fortunate as our Rajaji to know Atulji from time immemorial I am lucky enough to have spoken to him over this last 4-5 years and have some knowledge about him through his own writings on the blog… his dedication to the blog, his pets and family. I like the way he talks about his pets and the way they wake him early so that they also get time with him before he leaves for work or sits down to write posts for us. He has never complained (like I have on many occasions) about the lack of electricity or internet connections. He has gone beyond his own target of posting a set number of songs and today he himself has 10091 posts and has been magnanimous in allowing we hijackers some of our own posts too.

So, repeating everything I said last year – May God give Atulji health, peace of mind, lots of time and good infrastructural support in the form of unending internet and electrical connections. And we will not mind him being absent from the blog when his family is around as they are more entitled to his time. And hope he doesn’t mind us pestering him with our farmaishes. Here is hoping he gives us many opportunities to celebrate and we will keep presenting him with lovely songs.

Since ours is a primarily a blog fed by Bollywood here is a song which celebrates the various awards functions that happen every year. It is a party song from “Om Shanti Om” (2007). It is written by Javed Akhtar and has music by Vishal (Dadlani) and Shekhar (Ravjiani). The movie was co-written and directed by Farha Khan. The uniqueness of the movie is that more than 42 well known movie stars appear in the course of the movie. Today’s song itself has about 30 stars – Rani Mukherjee, Zayed Khan, Vidya Balan, Jeetendra, Tushar Kapoor, Priyanka Chopra, Shilpa Shetty, Dharamendra, Shabana Azmi, Urmilla Matondkar, Karisma Kapoor, Arbaaz Khan, Malaika Arora, Dino Morea, Amrita Arora, Juhi Chawla, Aftab Shivdasani, Tabu,Govinda, Mithun Chakravarty, Kajol, Bobby Deol, Preity Zinta, Rekha, Riteish Deshmukh, Salman Khan,Saif Ali Khan, Sanjay Dutt, Lara Dutta, Suneil Shetty, with Arjun Rampal- a character in the film- making an appearance towards the end of the song. And of course, there is Shahrukh Khan in the film present in every frame of the song. Udit Narayan, Sunidhi Chauhan, Shreya Ghoshal, Shaan, Rahul Saxena are the playback singers. I hope this is a good party song for the occasion. It stands for all the Deewangi that this blog has generated among its followers.

Wish you a very Happy Birthday Atulji.

Song – Dekho Dekho Hai Shaam Badi Deewaani (Om Shanti Om) (2007) Singers – Udit Narayan, Sunidhi Chauhan, Shreya Ghoshal, Shaan, Rahul Saxena , Lyrics – Javed Akhtar, MD – Vishal – Shekhar

Lyrics

dekho
dekho
hai shaam badi deewani
dheere
dheere
ban jaaye na koi kahaani

dekho
dekho
hai shaam badi deewani
dheere
dheere
ban jaaye na koi kahaani

dilbar hai
dilkash hai
dildaar nazare hain 

aaj zameen per utre kitne sitaare hai
ad lo hosh nami daanam
hum hain dil hai aur jaanam
bas deewangi deewangi deewangi hai
na koi rehzan na rehbar
yeh ilzaam lage kis per
bas deewangi deewangi deewangi hai
all hot gals put ur hands up and say
om shanti om

all cool boys com’on make some noise n say
om shanti om

shaam ghazab ki
hungama khez hai

is ka nasha hi
gehra hai tez hai

shaam ghazab ki
hungama khez hai

is ka nasha hi
gehra hai tez hai

zulf khuli hai
resham resham

saans ghuli hai madham madham
yeh to ishaare hain
ad lo hosh nami daanam
hum hain dil hai aur jaanam
bas deewangi deewangi deewangi hai
na koi rehzan na rehbar
yeh ilzaam lage kis per
bas deewangi deewangi deewangi hai
all hot gals put ur hands up
and say
om shanti om

all cool boys com’on make some noise n say
om shanti om

all hot gals put ur hands up and say
om shanti om

all cool boys com’on make some noise n say
om shanti om

kehne ko waise to
saara sukoon hai

phir bhi yeh dil hai ke
is ko junoon hai

kehne ko waise to
sara sukoon hai

phir bhi yeh dil hai ke
is ko junoon hai

palkon palkon
khwaab sajaa de

isko usko
sab ko bataa de

raaz jo saare hain
ad lo hosh nami daanam
hum hain dil hai aur jaanam
bas deewangi deewangi deewangi hai
na koi rehzan na rehbar
yeh ilzaam lage kis per
bas deewangi deewangi deewangi hai

all hot gals put ur hands up and say
om shanti om

all cool boys com’on make some noise n say
om shanti om
all hot gals put ur hands up and say
om shanti om

all cool boys com’on make some noise n say
om shanti om
all hot gals put ur hands up and say
om shanti om

all cool boys com’on make some noise n say
om shanti om
all hot gals put ur hands up and say
om shanti om

all cool boys com’on make some noise n say
om shanti om

 


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

Wishing our Dear Atul ji, a very Happy Birthday. May this day be celebrated on this blog many, many, many more times.

Today’s song is from film ‘Do Behnen’ (1959). After KA Abbas’s film ‘Anhonee’ (1952), the attention of film makers was drawn to the theme of 2 sisters of same looks but different natures. Such themes provided a scope for double role. ‘Do Behnen’ (1959) was also inspired by this theme.

This reminds me of an early film based on this theme. The film was ‘ Muqaabla ‘ (1942). Fearless Nadia was the heroine and did the double role of both the good and bad sisters. It was very funny to see Nadia in a saree and doing pooja etc. It was funnier to listen to her broken, anglicised pure Hindi dialogues. Normally, in Nadia’s films, her dialogues used to be minimum – actions spoke for her. But ‘Muqaabla’ was such a story that dialogues were a must.

‘Do Behnen’ was a film in which Shyama had a double role. The other cast of the film was Rajendra Kumar, Chand Usmani, Ram Mohan, Tiwari, SK Prem, Mumtaz Begum etc. It was produced by Kailash Kapoor, JP Sehgal and Prakash Seth. The film was directed by Kedar Kapoor (2-9-1927 to 5-6-1987), who directed 35 films from 1954 to 1983. He was called Dara Singh expert, as he had directed 10 Dara Singh movies in the 1960s. Actress Madhu Kapoor is his daughter.

Chand Usmani was one of those actresses, who were good in acting but poor in good luck ! Actresses like Farida Jalal, Tabassum, Shubha Khote, Nazima, Zahira, Zahida, Yashodhara Katju and many more fall in this category. These actresses never made it to the regular heroine roles in A grade films, more than few films. They had some beginner’s luck but that was the end. They continued in side roles only.

Chand Usmani  was born in Agra, UP, and came to limelight by participating in ‘Kardar-Kolynos-Teresa Contest’ in 1949. She felt surprised when she was selected  for the contest and was overjoyed when she won the second spot in the finals. She acted as the female lead of ‘Jeevan Jyoti’ directed by Mahesh Kaul in 1953 opposite Shammi Kapoor. It was the debut film of Shammi Kapoor also.

Chand Usmani became an established actress later on, but she got only secondary roles which she performed always nicely. Gradually she accepted supporting roles, character roles, mother roles etc. She got Filmfare Best Supporting actress award for her portrayal of the character as ‘Champa’ in the 1970 film ‘Pehchan’. She acted in films of all prominent actors of that period.

In 1957, in the film ‘Naya Daur’ directed by BR Chopra, and in which Dilip Kumar-Vyjayantimal were the main pair, Chand Usmani acted as sister of the hero Dilip Kumar’s character ‘Shankar’. In the historical film ‘Samrat Pritviraj Chauvan’ (1959) she acted in the role of Rajkumari. ‘Prem Patra’ (1962) was a well noted film directed by Bimal Roy in 1962. A medical College student Arun Kumar Mathur (Shashi Kapoor) has a misunderstanding over a love letter and the consequences were the theme of the film. Sadhna was the heroine and Chand Usmani acted in the supporting role as ‘Sumitra’.

Biswajeet, Saira Banu, Jayant, Sajjan, Nazima, Chand Usmani etc. were the star cast of ‘April Fool’ (1964) directed by Subodh Mukherjee. This film pointed to the fact that sometimes even practical jokes done for just fun can also lead to unexpected serious problems.

In the super hit film ‘Khilona’ in which Sanjeev Kumar acted in leading role in 1970, Chand Usmani  acted as the character Laxmi Singh.  In the film ‘Ujala Hi Ujala’ (1974),  she portrayed mother’s role and acted as mother of Yogita Bali’s character Anuradha. She presented excellent acting skill  along with Shabana Azmi in the 1976 classic movie ‘Kadambari’. In the 1977 super hit movie of Manmohan Desai ‘Parvarish’ in which Amitabh Bachchan, Shammi Kapoor, Neetu Singh, Shabana Azmi, Vinod Khanna, Amjad Khan, Kader Khan etc acted, Chand Usmani acted skilfully as the mother of Neetu and Shabu (Neetu Singh and Shabana Azmi). She had well noted character role in another super hit film of Amitabh Bachchan-Neetu Singh pair ‘Yaarana’ in 1981 and yet another film ‘Pukar’ (1983) in which Amitabh Bachchan and Zeenat Aman were the main pair. She acted as mother of Suraj (Raj Babbar) in the film ‘Zakhmi Aurat’ (1988).

Chand Usmani passed away in 1989 at Mumbai.

There was one more name in the cast of this film – Ram Mohan. Actors like him are seen in many films, but their names are not known to many. He is the male version of actresses like Farida Jalal, in getting the lead roles. Good in acting but low in good luck !

Ram Mohan Sharma – a young, handsome lad from Ambala. Born in Ambala 0n 2-11-1929, Ram Mohan Sharma was a graduate (BA) and had come to Bombay in 1945 in search of a career in cinema. The youngster, who was in his early twenties, with fair colour, curly hair and sharp features, had approached Jagdish Sethi to get work in movies as an actor. The latter found him sincere and gave him a supporting role in ‘Jaggu’ (1952), which he was to make. The movie had very good music, scored by Hansraj Behl and it had moderate success, when released. Later, Ram Mohan got small roles in few movies in 1954, Sethi Sahab cast him in the romantic role opposite Shyama in ‘Pensioner’ (1954). The movie did not do well and it was the end of Ram Mohan’s career as hero.

Life goes on and he decided to accept any role offered to him and soon he was a known name in the film circle. In ‘Do Behnen’,which had Shyama in double role, Ram Mohan enacted the role of a villain, which gave his career a big boost as bad man . Later he came in touch with Sunil Dutt and Nargis, and forged a permanent friendship with them. Although Ram Mohan mostly got roles of tough characters, but inside he was soft hearted. He was a member of Film Artists Association. He requested Sunil Dutt Ji who was feeling depressed after Nargis Ji passed away, to help the ‘Have Nots’ of film industry.

Virtually an encyclopaedia of film industry, Ram Mohan knew every technician, junior artists as well as old and forgotten artists, who needed help. Whenever they both were free, they used to visit the ailing artists in hospital or their residences, to give them moral as well as financial support. Rajan Haksar was in a charity hospital, after failure of his kidneys. Both benevolent persons visited the hapless artist to boost his spirit. Ram Mohan was confidant of Asha Parekh, the kind hearted lady who was president of the Artists Association and they together helped many artists, who were in dire need of assistance.

Ram Mohan was vice president of CINTAA ( Cine and TV Artists Association) for 4 years and secretary for 6 years. Ram Mohan had a very good reputation every where and when he came to know about the miserable condition of AK Hangal, he met a political leader and arranged the financial help through Maharashtra Govt, on a regular basis. At the time of bereavement, he made it a point to help the family till all religious formalities were over. Every one in the film industry use to address him as Ram Mohan Ji ,to show their genuine respect for him.

In his career of more than five decades, Ram Mohan appeared in more than 250 movies (the number varies from 240 to 277), mostly in negative roles. He did not believe in self publicity and did his philanthropic work quietly. Ram Mohan was keeping indifferent health when his pillar of strength, his life partner passed away. Ram Mohan also followed suit and breathed his last six months later on 6th December 2015 .

Ram Mohan had 3 sons and 1 daughter, all very well settled in life. He will always be gratefully remembered by thousands of anonymous film artists who were helped by him. His memories will be cherished by his admirers, who loved his work on and off the screen. Truly, to find people like him, in this era is a rarity. Let us hope his selfless work will inspire other persons connected with the film industry to help their less fortunate colleagues and the tradition of “वसुधैव कुटुम्बकम” (“vasudhaiv kutumbakam“) set by him will continue. He found an admirer in Gulzar Sahab, who always referred him as Ram Mohan Ji. Please see the credit titles of film ‘Ijaazat’, where his name is listed as Ram Mohan ji. (Thanks to ‘Beete Huye Din’, and Shri MN Sardana ji, for some of the information included in the bio sketch above).

The film ‘Do Behnen’ was not on fire at the box office. Such films do average business. Double roles, in my opinion, help the film recover the costs and ensure that there are no losses. The story of this film was repeated in so many films, that after interval, almost every scene must be predictable. There is a famous saying in the film industry all over the world that there are only 36 stories in the world. All film stories are different versions and adaptations of one of these only.

The story of the film was written by eminent writer Pt. Mukhram Sharma (29-5-1909 to 25-4-2000), the most famous writer of stories with social themes in the 1950s. Pt Mukhram Sharma had a long association with BR Chopra. He had written stories for many of his hit films. Some of his notable films are ‘Ek Hi Raasta’, ‘Aulaad’, ‘Sadhna’ and ‘Dhool Ka Phool’. His other hit films include ‘Santaan’, ‘Do Kaliyan’, ‘Jeene Ki Raa’h, ‘Raja Aur Rank’, ‘Dadi Maa’, ‘Gharana’ and ‘Talaaq’. Pt. Sharma had won Filmfare awards for ‘Sadhna’, ‘Vachan’ and ‘Aulaad’. He was also honoured with the Sangeet Natak Academy Award in 1961.

Before coming to Bombay, he was a teacher in Meerut. In 1939, he came to Bombay, but could not get any job. He moved to Poona and joined Prabhat films as a tutor for Marathi and Hindi. In Poona, he married a Marathi actress Shanta Mujumdar. He was with Marathi films till 1952, then he came to Bombay and got the first Filmfare award for best story for his film ‘Aulaad’ (1954). After that, there was no looking back. After winning Filmfare awards 3 times, Academy Award and Lifetime achievement Zee award, Pt. Sharma retired in 1980 and went back to Meerut.

The story of ‘Do Behnen’ is summarized below.

Bombay-based look-alike twin sisters, Vasanti and Malti (roles played by Shyama), live a wealthy lifestyle with their parents. Their father, Raghunath (SK Prem), arranges devout Vasanti’s marriage with Ramesh (Rajendra Kumar), who lives with his widower father, a doctor (Tiwari), and a sister, Rekha (Chand Usmani). After the wedding, Raghunath is shocked to find Malti singing and dancing with a male named Anokhe (Ram Mohan) in a nightclub. He brings her home, admonishes her severely and forbids her to leave the home. In response, she elopes with Anokhe, travels to Poona and books a room in Paramount Hotel. Shortly thereafter Anokhe shows his true colors, squanders her money, starts drinking, and frequenting prostitutes. He then takes her jewellery and walks out of her life. In order to recover the rent, the hotel manager contacts the Mathurs. Vasanti and her mother (Mumtaz Begum) attend to take Malti back home. While traveling home, the train meets with an accident and Vasanti passes away. Her mother tells everyone that it is Malti who has passed away, and compels Malti to take over as Vasanti, which she does reluctantly.

After going to her house, she finds it very difficult to adjust to the sati savitri type behaviour. However, slowly  she starts loving the new house and also her husband. Ramesh many times gets puzzled with her behaviour, but ignores.

Finally the truth is out one day, but by that time Ramesh starts liking her and so a new Malti takes over her dead sister’s place officially. (636)

The film has 7 songs, all written by Kavi Pradeep. This is the fourth song to be discussed on our blog from this film. The music director is Vasant Desai. Pradeep had never teemed up with Desai. In 1959, their first film was ‘School Master’ (1959), made in Madras by BR Panthulu and then the second and the last film was ‘Do Behnen’. Vasant Desai never preferred Pradeep, because 1) he wanted at least one song for him to sing  and 2) he would insist for the tunes that he composed himself for his lyrics. This was precisely the reason why many  composers like Naushad always kept away from Pradeep, unless compelled. In ‘School Master’ as well as ‘Do Behnen’, Pradeep had one song each to sing.

Today’s song is sung by Lata, Mahendra Kapoor and chorus. Mahendra Kapoor has no lines to sing, only two short aalaps (lip synched on screen by Ram Mohan). The song is a lovely melody. It is picturized on Chand Usmani, Ram Mohan and their friends, having a frolic in boats in a lake. Enjoy…..


Song – Jhuk Jhuk Jhola Khaaye Re Badariya (Do Behnen) (1959) Singer – Lata Mangeshkar, Mahendra Kapoor, Lyrics – Pradeep, MD – Vasant Desai
Chorus

Lyrics

aaa aaa aaaaaaaaa
aaa aaaa aaaaaaa aaaaaa
aaa aaaa aaaaa aaaaa

jhuk jhuk jhola khaaye
jhuk jhuk jhola
jhuk jhuk jhola khaaye
jhuk jhuk jhola

ho oo oo oo
jhuk jhuk jhola khaaye re badariya
jhuk jhuk jhola khaaye
saawan ki rut aayi re
mero dheeraj chhooto jaaye
haaye haaye dheeraj chhooto jaaye
jhuk jhuk jhola khaaye
jhuk jhuk jhola
jhuk jhuk jhola khaaye
jhuk jhuk jhola

ho lo re lo chalne lagey hain
pawan ke chanchal jhonke
oo chanchal jhonke
oo haaye mere mann wich
mere mann wich
o mere mann wich dhuk dhuk hoye
ke jiyara chaunke
oo jiyara chaunke
ho oo oo
kitna achha ho sakey jo
aise mein koi aa jaaye
saawan ki rut aayi re
mero dheeraj chhooto jaaye
haaye haaye dheeraj chhooto jaaye
jhuk jhuk jhola khaaye
jhuk jhuk jhola
jhuk jhuk jhola khaaye
jhuk jhuk jhola

jhuk jhuk jhola khaaye
(aaa aaa aaaa aaa aaa)
jhuk jhuk jhola
(aaa aaa aaaa aaa aaa)
jhuk jhuk jhola khaaye
(aaa aaa aaaa aaa aaa)
jhuk jhuk jhola
(aaa aaa aaaa aaa aaa)
aaa aaa aaaa aaa aaa
aaa aaa aaaa aaa aaa
aaa aaa aaaa aaa aaa
aaa aaa aaaa aaa aaa

dekho re dekho kaun door se gaaye re. . .
aa ha aa ha haa
dekho re dekho kaun aaj lalchaaye re
aa ha aa ha haa
kaahe nazar meri chakraaye
mera manwa ud ud jaaye
kuchh bhi nahin samajh mein aaye re
ha ha
haa haa ha ha haa
oo oo aa ja re aa ja o pardesi
aa ja
aa ja re aa ja o pardesi
kyon mujhko tarsaaye
saawan ki rut aayi re
mero dheeraj chhooto jaaye
haaye haaye dheeraj chhooto jaaye
jhuk jhuk jhola khaaye
jhuk jhuk jhola
jhuk jhuk jhola khaaye
jhuk jhuk jhola

ho oo oo oo
jhuk jhuk jhola khaaye re badariya
jhuk jhuk jhola khaaye
saawan ki rut aayi re
mero dheeraj chhooto jaaye
haaye haaye dheeraj chhooto jaaye
jhuk jhuk jhola khaaye
jhuk jhuk jhola
jhuk jhuk jhola khaaye
jhuk jhuk jhola

jhuk jhuk jhola khaaye
(aaa aaa aaaa aaa aaa )
jhuk jhuk jhola
(aaa aaa aaaa aaa aaa)
jhuk jhuk jhola khaaye
(aaa aaa aaaa aaa aaa)
jhuk jhuk jhola
(aaa aaa aaaa aaa aaa)
jhuk jhuk jhola khaaye
(aaa aaa aaaa aaa aaa )
jhuk jhuk jhola
(aaa aaa aaaa aaa aaa)
jhuk jhuk jhola khaaye
(aaa aaa aaaa aaa aaa)
jhuk jhuk jhola
(aaa aaa aaaa aaa aaa)

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

आ आ आ
आ आ आ आ
आ आ आ आ

झुक झुक झोला खाये
झुक झुक झोला
झुक झुक झोला खाये
झुक झुक झोला

हो ओ ओ ओ
झुक झुक झोला खाये रे बदरीया
झुक झुक झोला खाये
सावन की रुत आई रे
मेरो धीरज छूटो जाये
हाय हाय मेरो धीरज छूटो जाये
झुक झुक झोला खाये
झुक झुक झोला
झुक झुक झोला खाये
झुक झुक झोला

हो लो रे लो चलने लगे हैं
पावन की चंचल झोंके
ओ चंचल झोंके
ओ हाए मेरे मन विच
मेरे मन विच
ओ मेरे मन विच धुक धुक होय
के जियरा चौंके
ओ जियरा चौंके
हो ओ ओ
कितना अच्छा हो सके जो
ऐसे में कोई आ जाये
सावन की रुत आई रे
मेरो धीरज छूटो जाये
हाय हाय मेरो धीरज छूटो जाये
झुक झुक झोला खाये
झुक झुक झोला
झुक झुक झोला खाये
झुक झुक झोला

झुक झुक झोला खाये
(आ आ आ आ आ)
झुक झुक झोला
(आ आ आ आ आ)
झुक झुक झोला खाये
(आ आ आ आ आ)
झुक झुक झोला
(आ आ आ आ आ)
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ

देखो रे देखो कौन दूर से गाये रे॰ ॰ ॰
आ हा आ हा हाss
देखो रे देखो कौन आज ललचाये रे
आ हा आ हा हाss
काहे नज़र मेरी चकराये
मेरा मनवा उड़ उड़ जाये
कुछ भी नहीं समझ में आए
हा हा
हाss हाss हा हा हाss
ओ ओ आ जा रे परदेसी
क्यों मुझको तरसाये
सावन की रुत आई रे
मेरो धीरज छूटो जाये
हाय हाय मेरो धीरज छूटो जाये
झुक झुक झोला खाये
झुक झुक झोला
झुक झुक झोला खाये
झुक झुक झोला

हो ओ ओ ओ
झुक झुक झोला खाये रे बदरीया
झुक झुक झोला खाये
सावन की रुत आई रे
मेरो धीरज छूटो जाये
हाय हाय मेरो धीरज छूटो जाये
झुक झुक झोला खाये
झुक झुक झोला
झुक झुक झोला खाये
झुक झुक झोला

झुक झुक झोला खाये
(आ आ आ आ आ)
झुक झुक झोला
(आ आ आ आ आ)
झुक झुक झोला खाये
(आ आ आ आ आ)
झुक झुक झोला
(आ आ आ आ आ)
झुक झुक झोला खाये
(आ आ आ आ आ)
झुक झुक झोला
(आ आ आ आ आ)
झुक झुक झोला खाये
(आ आ आ आ आ)
झुक झुक झोला
(आ आ आ आ आ)


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

Today, I am presenting a duet song “Zulm Bhi Karten Hain Aur Kehten Hain Fariyaad Na Kar” sung by Suman Kalyanpur and Mohammed Rafi in ‘Mera Ghar Mere Bachche’ (1960). This song has been in my radar for more than two years, to present in the blog. However, I got overtly involved with locating the rare songs from the films of 1940s and share those. During this period, I thought that Rafi fans or ‘Sureeli’ Suman Kalyanpur fans among the Atulites would post this song on the Blog. But this did not happen. So I am destined to present this song.

I have been occasionally listening to this song during the last two years. Each time I heard this song, I felt that what a loss of opportunity for many top music directors to exploit Rafi-Suman Kalyanpur combination which has its own charm for listeners like me. There are obvious reasons for not utilising Rafi-Suman Kalyanpur combination by music directors which are known to most of the Hindi film music lovers. To evaluate what the Hindi film music lovers have lost, listen to some of her songs with Rafi given below:

Chand Takta Hai Idhar  –   Dooj Kaa Chaand (1964) – Roshan

Aapne Huzoor Mujhe Kya Se Kya Bana Diya – Fariyaad (1964) – Snehal Bhatkar

Mujhe Ye Phool Na De Tujhko Dilbari Ki Kasam –  Ghazal (1964) – Madan Mohan

Parbton Ke Pedon Par Shaam Ka Basera Hai – Shagoon (1964) – Khaiyyam

Agar Teri Jalwaa Numaayee Na Hoti –   Beti Bete (1964) – Shankar-Jaikishan

Thahariye Hosh Mein Aa Loon – Mohabbat Isko Kehten Hain (1965) – Khaiyyam

Aise To Na Dekho –   Bheegi Raat  (1965) – Roshan

Incidentally all the teasers listed above had been sung by Suman Kalyanpur with Rafi when Lata Mangeshkar  had stopped singing with him. I did not miss Lata Mangeshkar in the above listed songs.

I have done some approximate calculations of Suman Kalyanpur’s songs with Mohammed Rafi which gives me a tally of 133 songs out of the total of about 760 songs sung by her during her career.  I note from the right side of the home page of the blog that as many as 86 duets of Rafi-Suman Kalyanpur have been covered in the Blog.

While it is difficult of get the exact figure as to how many songs Suman Kalyanpur sang with Mohammed Rafi during the period when Lata Mangeshkar had stopped singing with him (1960-63). The reason is that the points of cessation/resumption of singing by Lata Mangeshkar with Rafi as well as the releases of the films are at different points of time.   One important advantage that Suman Kalyanpur got during 1963 to say 1967 was that  she started getting A grade films with top music directors as against mostly B grade films she used to get for singing during the earlier part of her playback singing career.

‘Mera Ghar Mere Bachche’ (1960) was a Minerva Movietone’s film, produced and directed by Sohrab Modi. The star cast included Sohrab Modi, Sulochana Latkar, Sudesh Kumar, Naaz, Subbiraj, Kavita, Balraj, Sadhana Chowdhari, Charlie, Nana Palsikar, Daisy Irani etc. I have watched the film which is available on YT with some missing portions resulting in the loss of continuity in the film’s story including the end of the film.While the subject of the film – the effect of generation gap – is good, somehow, Sohrab Modi has not been successful in making the subject interesting. Probably, financial constraint may be the reason.

It appears to me that the film was considerably delayed in production. Two signs I get from the film in this context. First, different playback singers have been used for the same character played by Sudesh Kumar for whom both Rafi and Mukesh lip sync for him. Again Mukesh lip syncs for Subbiraj and Rafi for Charlie as well. The second and more important evidence for the film getting delayed is that the credit title shows actress Sadhana Chowdhari being introduced in this film for the first time. The fact is that Sadhana Chowdhari appeared in films ‘Sahara’ (1958), ‘Post Box No,999 (1958) and ‘Bus Conductor’ (1959) which were released earlier than the  ‘Mera Ghar Mere Bachche’ (1960).

Now the story in nutshell:

The story of the film is built around the effect of the generation gap. Inderjit, the father, (Sohrab Modi) and the owner of an engineering firm, is a strict disciplinarian and autocrat. His younger son, Kishore (Sudesh Kumar) and daughter Meena (Naaz) wish to pursue the careers in music and dance respectively which is resented by the father. He imposes his own will as to what career path they should choose. There is a resentment in son and the daughter on this issue. But they cannot express their feelings to the father because of his autocratic nature.

While the younger son is in love with Lata (Kavita) who was an orphan and given shelter in the house, the daughter is in love with Narendra (Subbiraj) whose father (Nana Palsikar) works in  Inderjit’s firm. The father resents both the love affairs mainly because they are not in the same financial status as him. Lata is sent back to her native place and Kishore is made to work in his father’s factory. Narendra’s father is dismissed from the job.

In the meanwhile, knowing her daughter and son’s preferences for their life partners, Parvati, the mother (Sulochana) secretly arranges their marriages. Inderjit is furious and in a fit of anger, he drives all of them out of his palatial house. Now he lives alone in the house.

On the marriage front, nothing works out between Narendra and Meena and between Kishore and Lata. There are arguments and quarrels. In this scenario, Kishore falls in the trap of Lily (Sadhana Chowdhari) and Meena returns to her mother.  The family is in the verge of disintegration.

[Since, the end part of the film was missing in the VCD, I am not aware as to how the film ends. But a scene shown in Inderjit’s office with Lily does gives an indication that Inderjit is prepared to mend his way. But what is the trigger that unites the family? Arun ji, in his comments on one of the songs of the earlier posted songs of this film, has indicated that]
Inderjit suffers a heart attack. The entire family comes to his side to attend to him to make him recover from the illness. This gesture makes Inderjit to realise the importance of family. The entire family is united.

The film had 9 songs all penned by Hasrat Jaipuri, the brother-in-law of Sardar Malik who set the songs to music. Four songs have been covered in the Blog. The song which I am presenting is not available on the DVD/VCD of the film. I have no idea whether the song was originally deleted from the film or deleted only from the DVD/VCD.

Without video also the song is pleasant to the ears.  It is worth noting that the first part of the last two antaras have been rendered by both the singers in higher octave.

Enjoy the romance filled teasing song written by the king of the romantic songs, Hasrat jaipuri.


Song – Zulm Bhi Karte Hain Aur Kehte Hain Ke Fariyaad Na Kar (Mera Ghar Mere Bachche) (1960) Singer – Suman Kalyanpur, Mohammed Rafi, Lyrics – Hasrat Jaipuri, MD – Sardar Malik

Lyrics

zulm bhi karten hain
zulm bhi karten hain
aur kehte hain fariyaad na kar
ek bulbul pe sitam
o mere sayyaad na kar
ek bulbul pe sitam
main hoon tera meri ummeed ko naashad na kar
meri ulfat ko samajh le
meri ulfat ko samajh le
mujhe barbaad na kar
meri ulfat ko samajh le

kuchh na puchho bade zaalim hai zamaane waale
dil kahin aankh kahin jaa ke milaane waale
dil kahin aankh kahin jaa ke milaane waale
ab koi yaad bhi aaye to usey yaad na kar
ek bulbul pe sitam
o mere sayyaad na kar
ek bulbul pe sitam

sab to zaalim nahi hote hain zamaane waale ae
sab to zaalim nahi hote hain zamaane waale
ishq mein jaan bhi dete hain nibhaane waale
ishq mein jaan bhi dete hain nibhaane waale
jhoota ilzaam na de haaye re bedaad na kar
meri ulfat ko samajh le mujhe barbaad na kar
meri ulfat ko samajh le

pyaar sach hai to hamen koi shikaayat hi nahin
pyaar sach hai to hamen koi shikaayat hi nahin
ye na samajho ke hamen tumse mohabbat hi nahin
ye na samajho ke hamen tumse mohabbat hi nahin
pyaar se dil mein samaa pyaar ki fariyaad na kar
pyaar se dil mein samaa….aa

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

ज़ुल्म भी करते हैं
ज़ुल्म भी करते हैं
और कहते हैं फरियाद ना कर
एक बुलबुल पे सितम ओ मेरे सैय्याद ना कर
एक बुलबुल पे सितम
मैं हूँ तेरा मेरी उम्मीद को नाशाद ना कर
मेरी उलफत को समझ ले
मेरी उलफत को समझ ले
मुझे बर्बाद ना कर
मेरी उलफत को समझ ले

कुछ ना पूछो बड़े ज़ालिम हैं जमाने वाले
दिल कहीं आँख कहीं जा के मिलाने वाले
दिल कहीं आँख कहीं जा के मिलाने वाले
अब कोई याद भी आए तो उसे याद ना कर
एक बुलबुल पे सितम ओ मेरे सैय्याद ना कर
एक बुलबुल पे सितम

सब तो ज़ालिम नहीं होते हैं जमाने वाले
सब तो ज़ालिम नहीं होते हैं जमाने वाले
इश्क़ में जान भी देते है निभाने वाले
इश्क़ में जान भी देते है निभाने वाले
झूठा इल्ज़ाम ना दे हाए रे बेदाद ना कर
मेरी उलफत को समझ ले
मुझे बर्बाद ना कर
मेरी उलफत को समझ ले

प्यार सच है तो हमें कोई शिकायत ही नहीं
प्यार सच है तो हमें कोई शिकायत ही नहीं
ये ना समझो के हमें तुमसे मोहब्बत ही नहीं
ये ना समझो के हमें तुमसे मोहब्बत ही नहीं
प्यार से दिल में समा प्यार की फरियाद ना कर
प्यार से दिल में समा॰॰आ


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

Missing Films of 1960s – 32
– – – – – – – – – – – – – – –

At the beginning of this month, June 1st, I had a personal reminder to myself – passing away anniversary of Khwaja Ahmed Abbas. I was wanting to do a brief remembrance post. Other “things” intervened and the day came and went. Then, it so happened that on the 15th June, there was a set of reminders and requests for the birth centenary celebrations of Sajjaad Husain. Not many “things” intervened that day, and I was able to locate a rare recording of a song from film ‘Dharam’ (1945), as yet unposted, and was able to post the remembrance article in good time. You may remember the title line of that song “Chali Pawan Purvaai, Chali Pawan”.

Allow me to come to the connection between these seemingly unconnected events and songs. On YouTube, I have a subscriber friend, who is very stridently focused on the Hindi film music from the decade of 1960s. After following my uploads on YouTube for some time, she now frequently sends ‘farmaish’ messages to post rare songs from 1960s. Most of the time it is just this line – “please post unavailable songs of films from 1960s”. Whenever I post an unavailable song from 1960s, she is quite profuse in her appreciation and thanks. Whenever I post a song that might be a repeat on account of quality or completeness of the song, there is a terse comment from her – “Already available. Pls post unheard, unavailable songs”. Whenever I post any song which is not from the decade of 1960s, she invariably comments something to the effect that –  “Ok, so this is a good song”, and then adds the more important reminder – “please post songs from 1960s”. I am gratified at the persistence of her requests of her choice of songs. 🙂

So on 15th, when I posted the Sajjaad Husain song “Chali Pawan Purvaai, Chali Pawan”, as expected, her response was almost immediate. “Good song”, was all she said for the upload, and added, “pl upload rare & unavailable songs from sixties.” This was followed almost immediately by another comment – “Pl try to locate song chali hawa purvai from Hamara Ghar (1964).”

Now, she generally does not put in a request for a specific song, this is probably the first time that she has. Earlier, the reminders are for songs from sixties, and occasionally a movie name – whether I have any songs from that particular film. On seeing her comment, I just checked some, and was able to locate this song in my collection. The film name ‘Hamaara Ghar’ seemed familiar, so I checked our blog, and found that two songs of this film are already posted here. Then did a double take, and realized – the two songs posted are from a film of the same name from 1950. In fact there are no songs posted of this 1964 film. Checking on YouTube, what I find is that except for one song (“Saare Jahaan Se Achha. . .”), no other song of this film is available online.

And so I said to myself, here is an opportunity for a debut song for the day. 🙂

And immediately, as I started locating information about this song and film, I realized that this film is produced and directed by Khwaja Ahmed Abbas. The connection came full circle. The film is produced under Abbas Sb’s own banner of Naya Sansaar, Bombay. As I tried to locate more information, I came across this interesting anecdote.

“Shehar Aur Sapna”, the 1963 production by Abbas Sb, which focused on migrant population and housing problem in the city of Bomaby, had won the National Award for the Best Film of the year. Apparently, at the function where the award was given, the then prime minister, Jawaharlal Nehru, requested Abbas Sb for a film for children. It seems that Abbas Sb took on that request almost immediately, because the film ‘Hamaara Ghar’ was released in the very next year i.e. 1964. This year was also when Nehru ji passed away (on 27th May). I have not been able to locate the information about the release date of this film, and whether Nehru ji was able to see this film, that was produced by Abbas Sb at his request.

The star cast of this film includes Sonal Mehta, Yasmeen, Rekha Rao, Tanya Siraaj, Pasha Azeem, Deepak Prasad, Sunil Kaushik, Noel Moses, Jai Prakash Narula, Maruti, Narayan Devanpalli, Levi Aaron, Ghanshyam Rohera, Nana Palsikar, Surekha, Dilip Raj, Anwar Abbas, Meena Abbas, and Yunus Parvez. As one reads this list, one can make out that the first many names are likely child artists, who are the lead performers in this film. Incidentally, the name Sunil Kaushik is of the second son of JP Kaushik, the music director for this film. Also, if I am not mistaken, the name Pasha Azeem is of Abbas Sb’s son.

This social drama is a film on national integration, at the level of children. I am able to locate a poster of this film online. The poster, all in tones of light blue, depicts a row of thirteen children, boys and girls, standing in ankle deep waves on a beach, and the name of the film is written in the sky background, in all languages of India. The caption at the bottom says – “A Film For Children Of All Ages”. Abbas Sb in his element of social responsibility, as always.

The film has six songs, five of them are penned by Ali Sardar Jafri. The sixth is the song “Saare Jahaan Se Achha. . .” written by the legendary Iqbal. Music is by Jag Phool Kaushik, the music director who started his film career with Abbas Sb for his 1963 film ‘Shehar Aur Sapna’. On the blog “Beete Huye Din” by Shishir Krishna Sharma, I am able to locate a detailed write up on this music director. An interesting trivia to note is that Anil Biswas was the resident music director for all films of Abbas Sb, before 1963. In fact, at the first instance, when JP Kaushik went to meet Abbas Sb with a reference, seeking work as a music director, he was told that Anil Biswas had already started to work on this particular film. Later, I assume that as Anil Da moved to New Delhi, likely during the production time of this film, the work for music direction was given to JP Kaushik. As I read in this blog, two songs for this film were already recorded by Anil Da, but later both of them were not used in the film. It would be interesting to track down the whereabouts of these songs, which I would like to designate as rarities, on account of circumstances.

The Geet Kosh lists only the name Vijaya Majumdar as the singer in this song accompanied by chorus. However, as we listen to this song, we are able to make out at least three more unidentified voices – a male voice, a female voice and a child’s voice, who get to render two or three lines each in between. Listening to the song, it seems like a children’s group song. The words are lot of fun, but also carry deeper meanings. And the music and rendering sequence of different voices and chorus, make it a delightful song to hear. The music is so minimal. Seems that this song is picturized on the beach location which is depicted in the poster of the film. I refer to the lines

daud ke neeli neeli lehren
paaon hamaare choomen

Once again, a wonderful memory from the radio listening days, which I have been prompted to dig out and showcase, based on the request of my friend on the YouTube. I am very sure you are going to like this song very much.

Song – Chale Hawa Purvaai (Hamaara Ghar) (1964) Singer – Vijaya Majumdar, Lyrics – Ali Sardar Jafri, MD – JP Kaushik
Unidentified Male Voice
Unidentified Female Voice
Unidenfied Child Voice
Chorus

Lyrics

. . . chale hawa purvaai

chale hawa purvaai
usha jagmag aayi
aayi aayi
chale hawa purvaai
chale hawa purvaai
usha jagmag aayi
aayi aayi
chale hawa purvaai

daali daali chidiyaan chehken
bhaunre saaz bajaayen
nanhi nanhi kaliyan mehken
rang roop dikhlaayen
o ho rang roop dikhlaayen
yoon aankhen jhapkaayen
jaise hamen bulaayen
bulaayen bulaayen
chale hawa purvaai

chale hawa purvaai
(aaa aaa aaa aaa aaa)
o ho chale hawa purvaai
(aaa aaa aaa aaa aaa)

daud ke neeli neeli lehren
paaon hamaare choomen
paaon hamaale choomen
pyaar kare pedon se chhaaya
sar par baadal jhoomen
jhoomen jhoomen
sar par baadal jhoomen
chaahe jahaan hum ghoomen
ha ha ha ha ha
dhoom machaayen jhoomen
jhoomen
jhoomen
lalla lalla la la la
chale hawa purvaai

chale hawa purvaai
(aaa aaa aaa aaa aaa)
o ho chale hawa purvaai
(aaa aaa aaa aaa aaa)

titli rani ke pankhon par
cham cham chamke sona
sona
cham cham chamke sona
roshn bahut hai bhara hai un ke
mann ka kona kona
kabhi niraash na hona
haan ji
kabhi niraash na hona
duniya khel khilona
khilona khilona
chale hawa purvaai

chale hawa purvaai
(aaa aaa aaa aaa aaa)
o ho chale hawa purvaai
(aaa aaa aaa aaa aaa)
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

॰ ॰ ॰ चले हवा पुरवाई

चले हवा पुरवाई
उषा जगमग जगमग
आई आई
चले हवा पुरवाई
चले हवा पुरवाई
उषा जगमग जगमग
आई आई
चले हवा पुरवाई

डाली डाली चिड़ियाँ चहकें
भौंरे साज़ बजाएँ
नन्ही नन्ही कलियाँ महकें
रंग रूप दिखलाएं
ओ हो रंग रूप दिखलाएं
यूं आँखें झपकाएं
जैसे हमें बुलाएँ
बुलाएँ बुलाएँ
चले हवा पुरवाई

चले हवा पुरवाई
(आ आ आ आ आ)
ओ हो चले हवा पुरवाई
(आ आ आ आ आ)

दौड़ के नीली नीली लहरें
पाँव हमारे चूमें
पाँव हमाले चूमें
प्यार करे पेड़ों से छाया
सर पर बादल झूमें
झूमें झूमें
सर पर बादल झूमें
चाहे जहां हम घूमें
हा हा हा हा हा
धूम मचाएँ झूमें
झूमें झूमें
लल्ल लल्ल ला ला ला
चले हवा पुरवाई

चले हवा पुरवाई
(आ आ आ आ आ)
ओ हो चले हवा पुरवाई
(आ आ आ आ आ)

तितली रानी के पंखों पर
चम चम चमके सोना
सोना
चम चम चमके सोना
रोश्न बहुत है भरा है उनके
मन का कोना कोना
कभी निराश ना होना
हाँ जी
कभी निराश ना होना
दुनिया खेल खिलौना
खिलौना खिलौना
चले हवा पुरवाई

चले हवा पुरवाई
(आ आ आ आ आ)
ओ हो चले हवा पुरवाई
(आ आ आ आ आ)


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What is this blog all about

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

This is a labour of love, where "new" songs are added every day, and that has been the case for more than eight years. This blog has over 13300 song posts by now.

This blog is active and online for over 3200 days since its beginning on 19 july 2008.

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Movies with all their songs covered =1012
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