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

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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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5247 Post No. : 17248

He was only 48 years old when he passed away in 1951. One of the pioneering luminaries of cinema in Bengal, as it was emerging in the 1920s and 30s, he was a multi skilled cinema person who was an actor, a producer, director, script writer, cinematographer, film editor, make-up specialist, lighting specialist – yes, quite a portfolio of skills.

Remembering Pramthesh Chandra Barua, on his remembrance day today. He passed away this day, in 1951.

Born on 24th October, 1903, he was the son of the royal family of Gauripur (in Assam). His school and college education happened in Calcutta. He got married at the age of 18, while still at college. Later in life, he would be married again twice. His third wife was actress Jamuna, who appeared opposite him in the Bengali version of ‘Devdas’ (1935) produced at New Theatres.

His introduction to the world of cinema was quite accidental. While at Shantiniketan, he got introduced to Dhirendranath Ganguly, who then introduced him to the fledgling films industry in Bengal. In 1926, he joined the film company British Dominion Films. His screen appearances start from 1929, as he appeared in ‘Panchashar’ (debut film) directed by Debaki Bose, and ‘Takay Ki Na Hay’ directed by Dhirendranath Ganguly.

His urge was to have his own studio and produce his own films. The opportunity came in 1930, when he had to travel to England for medical treatment. He obtained a letter of introduction from Gurudev Rabindranath Tagore for French film maker M Rogers. After his treatment in London, he met M Rogers in Paris, and learnt the skills of cinematography from him.  He also visited the Fox Studio and Elstree Studios in London and learned the techniques of lighting and scenario composition.

He returned to Calcutta (now Kolkata) with a load of camera and lighting equipment and set up the Barua Studio and Barua Film Unit. In 1931 he produced his first film ‘Apradhi’ which was directed by Debaki Bose. He played the lead role in this film. The film ‘Apradhi’ is a path breaking film for Indian cinema, from a technology perspective. This is the first film that was shot under artificial lighting. Prior to this experiment, the films were always shot using natural lighting. The use of artificial lighting also brought in the need to change the method of make-up of actors. It is notable that in the experimentation on lighting and make-up techniques, Barua wasted almost 50,000 feet of stock footage, and that in an era when raw stock was difficult to obtain, and was costly. But the film production brought in significant changes to the film making techniques and the technical know-how for film directors and cinematographers.

In 1932, he produced ‘Nisher Dak’ and ‘Ekada’. The latter was directed by Sushit Mazumdar, with story by Barua himself. He also appeared in the role of a villain in the film ‘Bhagyalaxmi’ produced by Indian Cinema Arts and directed by Kali Prasad Ghosh.

In 1932, he produced his first talkie film – ‘Bengal-1983’. It was a brave attempt by the young film maker to tackle a futuristic subject. The film was inaugurated by Gurudev Rabindranath Tagore. But the film turned out to be a commercial disaster, and Barua was forced to close down his studio due to financial difficulties.

In 1933, BN Sircar invited Barua to join New Theaters. With the skills at hand, and the encouraging environment at New Theatres, Barua excelled in his film making. New Theaters brought him to the zenith in his career as a film maker. His first directorial venture was ‘Rooplekha’ released in 1934. He played the lead role opposite to Uma Shashi. With this film, Barua introduced another new technique for the first time in Indian cinema – use of flashback for storytelling.

Then in 1935 came ‘Devdas’. Barua directed all the versions – the Hindi, Bangla and Assamese, and played the lead role in the Bangla version. Critically acclaimed, Barua’s portrayal of the tragic hero was so lively that it made him a legend. He was all but 32 years old at that juncture.

‘Devdas’ was an instant commercial success. It is hailed as the first social film to enjoy success and popularity as never before. From a technical perspective also, the film is rated very high – for the use of multiple techniques – close up, montage, wipe, dissolve, fade-in fad-out etc. The film also uses flashback and introduced a new technique – ‘intercut telepathy shot’.

In 1936 he directed ‘Manzil’ and in 1937 came ‘Mukti’. Both films were bold and much ahead of their times in terms of the subject matter. Taking off from ‘Devdas’, Barua explores the human relations and love triangles which are extremely poignant and thought provoking. The film ‘Mukti’ is notable in that it is a pioneering effort of outdoor shooting. A major part of the film is shot in the scenic outdoors of Assam. It took almost two decades for the rest of industry to become seriously interested in using outdoor shooting for storytelling.

In 1937, he directed ‘Rajat Jayanti’ which turned out to be a roaring riot of laughter. Considered as the first serious attempt at a full length comedy feature, this film was commercially and critically a success. In the same year, he also directed ‘Adhikar’, which is another path breaking film in that questioned the divisions in society and overtly advocated class struggle.

Bimal Roy and Phani Majumdar started their film careers working under Barua at New Theaters.

In 1940, after directing ‘Zindagi’ starring KL Saigal (coming together once again after ‘Devdas’ of 1935), Barua moved from New Theaters and started work once again as an independent and freelancer. Except for one or two, there are no notable films that came from his work in this period post New Theaters. One needs to mention ‘Shap Mukti’ (1940), which he directed for Krishna Movietone, ‘Jawaab’ (1942) which he directed for MP Productions, and ‘Shesh Uttar’ (1942) produced and directed by himself. It appears that Barua and New Theaters was the magic mix, which faded away when he moved out of New Theaters.

In this phase, he took to drinking heavily, and his health began to deteriorate. He passed away in 1951, on this date.

The song I present today is presumably not released on 78 rpm records. I present an edited clip extracted from the video of the film. Unfortunately, the first line of this rendition is not available in the original film clip that I have. On screen, this is actually a two part song that is listed as separate songs in the Geet Kosh. This song itself is a very thoughtful construction. The hero (Prashant, role played by Barua) is in a phase of depression. His earlier marriage with Chitra (role played by Kanan Devi) is a failed venture and post divorce he moves to rural Assam, where he stays in a local inn managed by Pahari (role played by Nawab), and his wife Jharna (role played by Menaka Devi). The couple takes to this depressed young man very kindly. Pahari and Prashant become very good friends.

A passage is shown where Prashant is off in the woods, and in his melancholic despair is singing two couplets from the original ghazal by Mirza Ghalib – ‘Koi Ummeed Bar Nahin Aati’. Incidentally Jharna is also close by, having come to fetch water from the river. She hears him sing these depressing lines, and then she responds with the second part of this song which is an effort to inspire and encourage the young man.

The notable thing is how the director has constructed this scenario. He takes two couplets from a famous ghazal of a legendary poet, and then attempts to juxtapose that against a positive and encouraging thought that answers to the points of despair raised in the original lines. The response is written by Aarzoo Lakhnavi, and is indeed a masterpiece in itself, as it tries to confront Mirza Ghalib, by showing the other side of the picture.

The music is composed by Pankaj Mullick. There is no mention about the identity of the singing voices. And I have indicated that as such below. Are these the voices of the on screen actors themselves? I do not know, and do not want to make an uninformed guess. I request our more knowledgeable readers to please help to identify and confirm the singing voices in this song.

Remembering PC Barua. An attempt to keep alive the memories of this multi skilled pioneer film maker, whose many path breaking contributions have enriched the film making technology and techniques. May these memories be sustained for the future generations.

Song – Koi Ummeed Bar Nahin Aati (Mukti) (1937) Singer – Unidentified Male Voice, Unidentified Female Voice, Lyrics – Ghalib, Aarzoo Lakhnavi, MD – Pankaj Mullick

Lyrics

[koi ummeed bar nahin aati]
koi surat nazar nahin aati
nahi aati

hum wahaan hain
jahaan se hum ko bhi
kuchh hamaari khabar nahin aati
marte hain aarzoo mein marne ki
maut aati hai
par nahin aati
nahin.. aati

hai gila kis ka
koi ummeed bar aa jaayegi
parde aankhon se utha
surat nazar aa jaayegi
parde aankhon se utha
surat nazar aa jaayegi

rakh tu be-aasi pe baaki
aas ka bhi silsila
tu kisi aalam mein bhi hoga
khabar aa jaayegi
tu kisi aalam mein bhi hoga
khabar aa jaayegi

hai museebat ki bhi ek hadd
is se ghabraana hi kya
ghabraana hi kya
maut ki to kya khabar
raahat magar aa jayegi
maut ki to kya khabar
raahat magar aa jayegi

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

[कोई उम्मीद बर नहीं आती]
कोई सूरत नज़र नहीं आती
नहीं आती

हम वहाँ हैं
जहां से हम को भी
कुछ हमारी खबर नहीं आती
मरते हैं आरज़ू में मरने की
मौत आती है
पर नहीं आती
नहीं॰॰ आती

है गिला किसका
कोई उम्मीद बर आ जाएगी
पर्दे आँखों से उठा
सूरत नज़र आ जाएगी
पर्दे आँखों से उठा
सूरत नज़र आ जाएगी

रख तू बे-आसी पे बाकी
आस का भी सिलसिला
तू किसी आलम में भी होगा
खबर आ जाएगी
तू किसी आलम में भी होगा
खबर आ जाएगी

है मुसीबत की भी इक हद
इस से घबराना ही क्या
घबराना ही क्या
मौत की तो क्या खबर
राहत मगर आ जाएगी
मौत की तो क्या खबर
राहत मगर आ जाएगी


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5243 Post No. : 17242

The Nightingale of Punjab – the sobriquet given to her by the film industry and the media. Today, she would have completed 93 years.

Remembering the zestful singer Surinder Kaur on her birth anniversary today.

Born in Lahore in 1929, her family moved to Ghaziabad near Delhi when the Partition happened. It was the same year that she also got married. She was already a singing star in undivided Punjab, and had made her debut as  singer on the Lahore radion station in 1943. Between 1943 and 1947, she and her elder sister Prakash Kaur recorded a number of Punjabi folk song with HMV. These songs have created a genre of their own, and continue to be the gold standard in Punjabi folk music even today, more than seventy five years after being originally recorded.

Her husband, Prakash Singh Sodhi, a professor of Punjabi Literature at Delhi University was very supportive of her career as a singer, and encouraged her to go to Bombay (now Mumbai) and make a mark for herself in the Hindi film industry. She came to Bombay in 1948, and immediately got a break, with music director Ghulam Haider giving her a chance to sing three songs in the film ‘Shaheed’. During the next four years, till 1952, she recorded more than fifty four songs in Hindi films. And then took a decision to return to Delhi. The reason that was cited was a disagreement with the climate of Bombay.

She was conferred the Sangeet Natak Akademi Award for Punjabi Folk Music in 1984, by the Sangeet Natak Academi, the Millennium Punjabi Singer award, and Padma Shri award in January 2006 for her contribution in Arts. The Guru Nanak Dev University conferred on her a doctorate degree in the year 2002.

Later in the year 2006, her health took a turn for the worse, and she went to United States for treatment, and to be with her daughters who are settled there. Her condition worsened and she passed away in a New Jersey hospital on 14th June, 2006. She was 77 years old.

Each of the songs that she has sung in Hindi films is a gem. The tone and character of her voice is so distinct, and her diction carries a touch of north India, and Punjab in particular. I present today this wonderful song from the 1948 film ‘Naao’. The lyrics are from the pen of DN Madhok and the music is from the mind of Gyan Dutt.

A song that tells of the state of the heart of the lady, whose beau is leaving for distant lands. The words and their rendition is simply too good –

तुम तो चले हो लगी तोड़ के
हम कित जाएँ

you are departing, breaking this alliance of hearts
alas, where can I go

 

Listen to this lovely melody, and the wonderful rendition – the voice of Surinder Kaur.

[Note: The lyrics of this song have been sent by dear Prakashchandra ji.]

Song – Tum Ho Na Ho Hamaare, Hum Ho Gaye Tumhaare (Naao) (1948) Singer – Surinder Kaur, Lyrics – DN Madhok, MD – Gyan Dutt

Lyrics (provided by Prakashchandra)

tum ho na ho hamaare
o lo ji hum ho gaye tumhaare
tum ho na ho hamaare
o lo ji hum ho gaye tumhaare
ab ho o o oo dil na dukhaana
ab ho o o oo dil na dukhaana
jaane waale pardesiya
mohe bhool na jaana
jaane waale pardesiya
mohe bhool na jaana
tum jeete hum haare
o lo ji hum ho gaye tumhaare
tum jeete hum haare
o lo ji hum ho gaye tumhaare
tum ho na ho hamaare
o lo ji hum ho gaye tumhaare

ae ji o ji ye adaayen na bhaayen
ae ji o ji ye adaayen na bhaayen
tum to chale ho lagi tod ke
hum kit jaayen
tum to chale ho lagi tod ke
hum kit jaayen
do nainon ke maare
o lo ji hum ho gaye tumhaare
do nainon ke maare
o lo ji hum ho gaye tumhaare
ab ho o o oo dil na dukhaana
jaane waale pardesiya
mohe bhool na jaana
tum jeete hum haare
o lo ji hum ho gaye tumhaare
tum ho na ho hamaare
o lo ji hum ho gaye tumhaare

o ji o ji dil sataaye hum ko
o ji o ji dil sataaye hum ko
din na kisi se katey
raat ki dil se pooch lo
din na kisi se katey
raat ki dil se pooch lo
kya jaadu kar daale
o lo ji hum ho gaye tumhaare
kya jaadu kar daare
o lo ji hum ho gaye tumhaare
ab ho o o oo dil na dukhaana
jaane waale pardesiya
mohe bhool na jaana
tum jeete hum haare
o lo ji hum ho gaye tumhaare
tum ho na ho hamaare
o lo ji hum ho gaye tumhaare

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

तुम हो ना हो हमारे
ओ लो जी हम हो गए तुम्हारे
तुम हो ना हो हमारे
ओ लो जी हम हो गए तुम्हारे
अब हो ओ ओ॰॰ दिल ना दुखाना
अब हो ओ ओ॰॰ दिल ना दुखाना
जाने वाले परदेसिया
मोहे भूल ना जाना
जाने वाले परदेसिया
मोहे भूल ना जाना
तुम जीते हम हारे
ओ लो जी हम हो गए तुम्हारे
तुम जीते हम हारे
ओ लो जी हम हो गए तुम्हारे
तुम हो ना हो हमारे
ओ लो जी हम हो गए तुम्हारे

ए जी ओ जी ये अदाएं ना भाएँ
ए जी ओ जी ये अदाएं ना भाएँ
तुम तो चले हो लगी तोड़ के
हम कित जाएँ
तुम तो चले हो लगी तोड़ के
हम कित जाएँ
दो नैनों के मारे
ओ लो जी हम हो गए तुम्हारे
दो नैनों के मारे
ओ लो जी हम हो गए तुम्हारे
अब हो ओ ओ॰॰ दिल ना दुखाना
जाने वाले परदेसिया
मोहे भूल ना जाना
तुम जीते हम हारे
ओ लो जी हम हो गए तुम्हारे
तुम हो ना हो हमारे
ओ लो जी हम हो गए तुम्हारे

ओ जी ओ जी दिल सताये हमको
ओ जी ओ जी दिल सताये हमको
दिन ना किसी से कटे
रात की दिल से पूछ लो
दिन ना किसी से कटे
रात की दिल से पूछ लो
क्या जादू कर डाले
ओ लो जी हम हो गए तुम्हारे
क्या जादू कर डारे
ओ लो जी हम हो गए तुम्हारे
अब हो ओ ओ॰॰ दिल ना दुखाना
जाने वाले परदेसिया
मोहे भूल ना जाना
तुम जीते हम हारे
ओ लो जी हम हो गए तुम्हारे
तुम हो ना हो हमारे
ओ लो जी हम हो गए तुम्हारे


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5242 Post No. : 17240 Movie Count :

4642

Uma Devi the singer – most people, especially of the more recent generations may not even recognize this name. And if they are film buffs, they may surely be familiar with the comedienne Tun Tun. However, they may not connect these two names to the same person.

Remembering Uma Devi on her remembrance day today. She left this world on 24th November in the year 2003, at the age of 80.

As a singer, we see her active from 1946 to 1959. The earliest reference as a singer is from the film ‘Wamiq Azra’ of 1946. And her last singing assignment is for the 1959 films ‘Jungle King’ and ‘Hero No. 1’.

As an actress, rather as a comedienne, she started appearing on screen from the 1950 film ‘Babul’. And she continued to be active till 1990. The last film she appeared on screen is ‘Dhandhe Ki Kasam’. In the 1950s and 1960s she was quite popular presence in Hindi films. During her career she teamed with many male counterparts such as Bhagwan Dada, Agha, Sunder, Mukri, Dhumal, Johnny Walker and Keshto Mukherjee. In the span of four decades, she appeared in about 200 films.

The song that I bring on board today is from a lesser known film of 1949. The film name is ‘Sumitra’. The names of the lyricist and music director are given, however both are completely  unfamiliar. Checking through the Geet Kosh I find that this is the only film where these two names are appearing. The lyricist is KF Contractor and the music director is HD Subham. I request our more knowledgeable readers to please add more information about these artists.

This is a love song in which the lady is expressing her feelings of being completely captured by love. A rare and very less heard / unheard song.

Song – Teri Preet Ne Tadpaaya (Sumitra) (1949) Singer – Uma Devi, Lyrics – KF Contractor, MD – HD Subham

Lyrics

teri preet ne tadpaaya
teri preet ne tadpaaya
pardesiya.. mera sab kuchh chheen liya
teri preet ne tadpaaya
teri preet ne tadpaaya
pardesiya.. mera sab kuchh chheen liya

jaane kaise jeet liya o tu ne mera jiya
jaane kaise jeet liya o tu ne mera jiya
tere bina mera jiya chain nahin laage piya
tere bina mera jiya chain nahin laage piya
preet ne tadpaaya
teri preet ne tadpaaya
teri preet ne tadpaaya
pardesiya.. mera sab kuchh chheen liya

chaar aankhon ne mil kar dil se
chaar aankhon ne mil kar dil se
kar leen dil ki baaten
kar leen dil ki baaten
aao aapas mein ab to kar len
aao aapas mein ab to kar len
do dil ki mulaqaaten
aao aapas mein ab to kar len
do dil ki mulaqaaten
teri preet ne tadpaaya
teri preet ne tadpaaya
pardesiya.. mera sab kuchh chheen liya
teri preet ne tadpaaya
teri preet ne tadpaaya
pardesiya.. mera sab kuchh chheen liya

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

तेरी प्रीत ने तड़पाया
तेरी प्रीत ने तड़पाया
परदेसिया॰॰ मेरा सब कुछ छीन लिया
तेरी प्रीत ने तड़पाया
तेरी प्रीत ने तड़पाया
परदेसिया॰॰ मेरा सब कुछ छीन लिया

जाने कैसे जीत लिए ओ तूने मेरा दिल
जाने कैसे जीत लिए ओ तूने मेरा दिल
तेरे बिना मेरा जिया चैन नहीं लागे पिया
तेरे बिना मेरा जिया चैन नहीं लागे पिया
प्रीत ने तड़पाया
तेरी प्रीत ने तड़पाया
तेरी प्रीत ने तड़पाया
परदेसिया॰॰ मेरा सब कुछ छीन लिया

चार आँखों ने मिल कर दिल से
चार आँखों ने मिल कर दिल से
कर लीं दिल की बातें
कर लीं दिल की बातें
आओ आपस में अब तो कर लें
आओ आपस में अब तो कर लें
दो दिल की मुलाकातें
तेरी प्रीत ने तड़पाया
तेरी प्रीत ने तड़पाया
परदेसिया॰॰ मेरा सब कुछ छीन लिया
तेरी प्रीत ने तड़पाया
तेरी प्रीत ने तड़पाया
परदेसिया॰॰ मेरा सब कुछ छीन लिया

 


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5241 Post No. : 17238

Today we celebrate a combined anniversary of two singers. Two singers who were contemporary, two singers who were very good friends, two singers whose voices were considered almost similar. It is the birth anniversary of Geeta Dutt (nee Roy), and the remembrance day of Meena Kapoor.

23rd November – Geeta Ji was born in the year 1930 in Idilpur village (now in Bangladesh), into a zamindar family. In early 1940s, they moved to Calcutta (now Kolkata) and then to Bombay (now Mumbai) in mid 1940s.  The same date in 2017, Meena ji passed away in Kolkata, after some years of illness. She was in Delhi till 2003, the year when Anil Da (Anil Biswas) passed away, and then she moved to Kolkata.

Geeta ji started her singing career in 1945, with the film ‘Aadhaar’ under the music direction of SN Tripathi. Her last released film is ‘Anubhav’ from 1971, and then ‘Midnight’ from 1972, which remained unreleased.

Meena ji started her career in 1946. Two films with her playback singing were released that year – ‘Door Chalen’ under the music direction of KC Dey, and ‘Eight Days’ under the music direction of SD Burman. Her last singing assignment is recorded for the 1965 film ‘Chhoti Chhoti Baaten’, with music by Anil Biswas.

As I thought of writing a combined post for these two singing ladies, I tried to search for a duet sung by them. As per the Geet Kosh, I am able to locate only three duets they have sung. Two of them are already posted here on our blog. The first one is from the film ‘Aadhi Raat’ (1950) – “Main Ne Balam Se Poochhaa Miloge Kahaan”, and the second one is from the film ‘Jalte Deep’ also from 1950 – “Aayi Milan Ki Raat Karo Meethhi Meethhi Baat”. The third duet listed in Geet Kosh is from 1951 film ‘Ghaayal’. The song is “Tera Kisi Pe Aaye Dil…”. This song is not yet posted on our blog. And for good reason. This song is not yet traceable in public domain. The funny thing is that the song on the ‘palat’ (other) side of the record (GE 8739) is very much available – “Dil Toota Hua, Pal Pal Tujhe Pukaare” (singer is Meena Kapoor) and also posted on our blog. But as I started inquiring yesterday evening from my trusted circle of collector friends, all of the replied that this song is somehow not yet available.

But then today late morning, I got information about two other duet songs of this pair, which was very heartening. Just as a side, film ‘Ghaayal’ of 1951 has one other song in which the voices of these two ladies appear. However, this one is a trio song accompanied by GM Durrani. It is a long song, on both sides of the record (no. GE8740) which means it is about 6 minutes long. I was actually preparing to use this trio song for today’s post, but then I got two responses from two dear friends, both sharing information about one duet song each. Very interesting development indeed.

First I got to see a message from dear Gajendra Khanna ji (Bengaluru based) in which he shared info about another duet song. This one is from the 1948 film ‘Hip Hip Hurray’ (aka ‘Chaube ji’) and the song title is “Hum Jaan Gaye Jaan Gaye Jaan Gaye Ji”. The Geet Kosh does not list the singer names for this song. I tried to confirm this information, checking with another dear friend Zafar Bhai (based in Delhi-6), and he sent me the image of the record of this song. The reason that GK does not list the singer names is because the record itself does not carry these names. On checking back with Gajendra Ji, he shared with me the audio of the song, and said that the identification is based on the voices on the track. So we found another duet song.

And then almost immediately Zafar Bhai also responded with an additional song. This turns out to be a NFS duet, that makes it all the more rare. The fact that there are really very rare duet NFS songs (of any pair of singers), being able to locate one with these two voices, which have otherwise also not sung too many songs together, makes is rarer than rare.

I decided to go ahead with this NFS song, and dear Zafar Bhai immediately obliged by posting it on YouTube. All the additional delays that bring this post to almost 9 pm in the evening, are my doing. :D) :D)

The lyrics of this song are from the pen of Madhukar Rajasthani, an eminent poet of his time. Music is from the mind of Vedpal Verma, one of the lesser heard names in Hindi films, who has otherwise a notable portfolio of 70 songs from about a dozen films (this info is till 1980, and there may be more work done by this MD beyond 1980).

The song is a ‘bidaai’ song. A hoary tradition of this land – a song that is sung to bid farewell to a new bride as she starts her journey to a new home, a new family and a new life partner. The words are so wonderfully appropriate. My identification of the voices is that the first stanza is in the voice of Geeta ji and the second stanza is in the voice of Meena ji. I may be wrong, as I am not a good judge of voices. The record label unmistakably carries both names. In case my identification is in error, please let me know and I will make necessary changes.

In the beginning of the song there are a few lines that have been recited by an unidentified male voice. Could it be the poet himself? I cannot say.

Two very beautiful voices, and two very beautiful ladies. Good friends, but singing together only occasionally. Enjoy this very rare treat of an NFS duet song, with lots of thanks to Zafar Bhai for making my day.

 

Song – Jaa Ri Laadli Apne Ghar Ko (NFS) (1952) Singer – Geeta Roy (Dutt), Meena Kapoor, Lyrics – Madhukar Rajasthani, MD – Vedpal Verma

Lyrics

kaisa milan ye kaisa bichhudna
kaisa milan ye kaisa bichhudna
kaisi jag ki reet re
kaisi jag ki reet
de di bida mohe hanste hanste
de di bida mohe hanste hanste
kaise hain ye meet
goonj raha kaanon mein ab tak
wahi vidaai geet
ja ri laadli apne ghar ko
yaad hamaari karna
saath tumhaare meri duaaen
phoolo phalo khush rehna
ja ri laadli

oo oo oooo
bachpan ke sab sangi saathi
bachpan ke sab sangi saathi
bhulat naahin bhulaaye
man chhoda babul ki nagri
man chhoda babul ki nagri
tan doli mein jaaye
tan doli mein jaaye
door kahin wo le ke bansi
baar baar ye gaaye
ja ri laadli apne ghar ko
yaad hamaari karna
saath tumhaare meri duaaen
phoolo phalo khush rehna
ja ri laadli

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

कैसा मिलन ये कैसा बिछुड़ना
कैसा मिलन ये कैसा बिछुड़ना
कैसी जग की रीत रे
कैसी जग की रीत
दे दी बिदा मोहे हँसते हँसते
दे दी बिदा मोहे हँसते हँसते
कैसे हैं ये मीत
गूंज रहा कानों में अब तक
वही विदाई गीत
जा री लाड़ली अपने घर को
याद हमारी करना
साथ तुम्हारे मेरी दुआएं
फूलो फलो खुश रहना
जा री लाड़ली

ओ ओ ओ
बचपन के सब संगी साथी
बचपन के सब संगी साथी
भूलत नहीं भुलाए
मन छोड़ा बाबुल की नगरी
मन छोड़ा बाबुल की नगरी
तन डोली में जाये
तन डोली में जाये
दूर कहीं वो ले के बांसुरी
बार बार ये गाये
जा री लाड़ली अपने घर को
याद हमारी करना
साथ तुम्हारे मेरी दुआएं
फूलो फलो खुश रहना
जा री लाड़ली


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5218 Post No. : 17208

Dada Burman – the senior doyen of the music directors of Indian cinema. A music director who, unlike many other music dirrctors,  maintained  consistency in his work all through his career. His fans, critics and observers of music, journalists and industry biggies – whatever they may say about his work, all agree that Sachin Da has consistently maintained a very high quality and a very high standard of his music direction work, across all his films.

Remembering SD Burman on the anniversary of his passing away – 31st October, 1975, i.e. 47 years ago.

He started his career as a singer with the Calcutta Radio Station in the late 1920s. There are some other interesting trivia about his early career which are probably not well known. That he made his debut as a singer in the New Theatres production ‘Yahudi Ki Ladki’ (1933), but the songs recorded by him were not used. They were rercorded in the voice of Pahadi Sanyal. Then in 1934, he appeared on screen in the film ‘Selima’, in which is played a role of a singer. In 1935, he made another similar on screen appearance in the Bangla film ‘Birodhi’. The same year he also sang in another Bangla film – ‘Sanjher Pidim.

Before entering the cinema world as a music director, he worked for the Bangla theatre in Calcutta, and composed music for famous plays such as ‘Sati Tirath’ and ‘Janani’. In Bangla cinema, his first film as a music director was ‘Sudurer Priye’ in 1935. In the next decade, from 1935 to 1945, he composed music for 18 Bangla films. In 1945, he moved to Bombay as the invitation of Sashadhar Mukherjee of Filmistan. In 1946, Filmistan released two films with his music – ‘Shikari’ and ‘Eight Days’. Big time success came his way the subsequent year when ‘Do Bhai’ (1947) was released. The iconic song “Mera Sundar Sapna Beet Gaya” in the voice of Geeta Dutt became and all time great hit. And the rest, as they say, is history.

In a career that spans four decades, Sahin Da has composed music for about 110 films – both Hindi and Bangla.

Almost five decades have gone by since he bid farewell to this life. And it seems that we have not heard all of his music; that there are still more of his creations to be explored and enjoyed. As I was searching today for a song to go with this post, I stumbled upon this wonderful melody from thr 1954 film ‘Radha Krishna’. A song in the voice of Asha Bhosle, this is an exquisite piece of melody and poetry that is such a pleasing listen. After a long time I use the phrase ‘love at first listen’, as I started to hear this song for the first time, earlier in the day today.

The lyrics are wonderful poetry by Narendra Sharma. The words tell of an expected tryst between the Eternal Lovers – Radha and Krishna. The poet writes such exquisite lines – “. . .ghir ghir aayi milan yaamini, kabhi na hogi bhor. . .”. The sound of chorus is so beautifully used in this composition.

A must listen song – I am sure you will fall in love with.

Song – Neel Gagan Mein Maadal Baaje (Radha Krishna) (1954) Singer – Asha Bhosle, Lyrics – Narendra Sharma, MD – SD Burman
Chorus

Lyrics

neelgagan  mein maadal baaje
maadal baaje. . .
neelgagan  mein maadal baaje
angnaa mein naache mor sakhi ri ali
angnaa mein naache mor. . .
ghir ghir aayi milan yamini
kabhi na hogi bhor sakhi ri ali
kabhi na hogi bhor. . .
neelgagan  mein maadal baaje

sapne mein aaye manhar saiyyan
hans kar pakdi baiyyan ho
hans kar pakdi baiyyan
laaj ke maare mar mar jaaun
padun sajan ke paiyyan
paiyyan
hans kar pakdi baiyyan
jhagad ke hum ne baanh chhudaai
angnaa ki tooti kor sakhi ri ali
angnaa ki tooti kor. . .
neelgagan  mein maadal baaje

naath kahi meri ek na maani
piya kare manmaani ho
piya kare manmaani
jitna sataaye ati mann bhaaye
reet hai ye anjaani
piya kare manmaani
pag pag par mujhe rokat mori
anchal ka pakde chhor sakhi ri ali
anchal ka pakde chhor. . .
neelgagan  mein maadal baaje

kabhi milan kabhi bichhdan waali
preet ki reet niraali ho
preet ki reet niraali
ho oo neend ke maare lag gayi akhiyaan
rooth gaye banmaali
rooth gaye banmaali. . .
jaag jaag mann bhaavan aaye
bhavnaan mein mach gaya shor sakhi ri ali
bhavnaan mein mach gaya shor. . .
neelgagan  mein maadal baaje
angnaa mein naache mor sakhi ri ali
angnaa mein naache mor. . .
ghir ghir aayi milan yamini
kabhi na hogi bhor sakhi ri ali
kabhi na hogi bhor. . .
neelgagan  mein maadal baaje. . .

maadal baaje
maadal baaje
maadal baaje
aa aaa aaa aaaa
aa aaa aaa

maadal baaje
maadal baaje
maadal baaje
aa aaa aaa aaaa
oo oo oo

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

नीलगगन में मादल बाजे
मादल बाजे॰ ॰ ॰
नीलगगन में मादल बाजे
अंगना में नाचे मोर सखी री आली
अंगना में नाचे मोर॰ ॰ ॰
घिर घिर आई मिलन यामिनी
कभी ना होगी भोर सखी री आली
कभी ना होगी भोर॰ ॰ ॰
नीलगगन में मादल बाजे

सपने में आए मन हर सैंय्यां
हंस कर पकड़ी बैंय्यां हो
हंस कर पकड़ी बैंय्यां
लाज के मारे मर मर जाऊँ
पड़ूँ सजन के पैंय्यां
पैंय्यां
हंस कर पकड़ी बैंय्यां
झगड़ कर हमने बांह छुड़ाई
अंगना की टूटी कोर सखी री आली
अंगना की टूटी कोर॰ ॰ ॰
नीलगगन में मादल बाजे

नाथ कही मेरी एक ना मानी
पिया करे मनमानी हो
पिया करे मनमानी
जितना सताये अति मन भाए
रीत है ये अनजानी
पिया करे मनमानी
पग पग पर मुझे रोकत मोरे
अंचल का पकड़े छोर सखी री आली
अंचल का पकड़े छोर॰ ॰ ॰
नीलगगन में मादल बाजे

कभी मिलन कभी बिछड़न वाली
प्रीत की रीत निराली हो
प्रीत की रीत निराली
हो ओ
नींद के मारे लग गई अखियां
रूठ गए बनमाली
रूठ गए बनमाली॰ ॰ ॰
जाग जाग मन भावन आए
भवनां में मच गया शोर सखी री आली
भवनां में मच गया शोर॰ ॰ ॰
नीलगगन में मादल बाजे
अंगना में नाचे मोर सखी री आली
अंगना में नाचे मोर॰ ॰ ॰
घिर घिर आई मिलन यामिनी
कभी ना होगी भोर सखी री आली
कभी ना होगी भोर॰ ॰ ॰
नीलगगन में मादल बाजे॰ ॰ ॰

मादल बाजे
मादल बाजे
मादल बाजे
आ आ आ आ
आ आ आ

मादल बाजे
मादल बाजे
मादल बाजे
आ आ आ आ
ओ ओ ओ


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

Blog Day :

5203 Post No. : 17188

Hullo Atuldom

‘Dhoop Chhaaon’ (1977) was a movie produced by KK Jain & SN Jain and directed by Prahlad Sharma for Trishul Arts. It had Hema Malini, Yogita Bali, Shaukat Kaifi Azmi, Sanjeev Kumar, Om Shivpuri, Nasir Hussain, Gajanan Jagirdar, Yunus Parvez, Dinesh Hingoo etc in the cast. Lyricists used were Virendra Mishra, Vitthalbhai Patel, Vishweshwar Sharma and Kaifi Azmi. Shankar-Jaikishan were the music directors (of course it was Shankar alone after Jaikishan’s untimely death in 1971).

From what I have read online, the plot was run-of-the-mill.

Dr. Paras (Sanjeev Kumar) is assigned to go and treat a particular village during some serious epidemic. He does that successfully, additionally he falls in love with the most beautiful village belle – Lajwanti a.k.a Lajjo (Hema Malini). He leaves the village after promising Lajjo of returning and marrying her. But (as in all stories of this type) he gets embroiled in his work on reaching the city as well as in his boss’s daughter Dr. Manju (Yogita Bali). Meantime Lajjo loses her eyesight, and Dr. Paras and Dr. Manju are the doctors who are going to treat her. Isn’t that enough to create confusion in the lives of the protagonists?

There were four songs in this movie of which the most popular song, which was regularly heard on the radio was Joode Mein Gajra Mat Baandho and that is already posted. Another song from this movie Jis Roop Mein Bhi Aao is also on the blog. Here is the next song. It is a typical song where we see some village girls tease a friend of theirs on her falling in love. The group of ‘sahelis’ are led by Madhu Malhotra – she used to be part of the unnamed extras when this movie was made. Usha Mangeshkar and Kalyani Mitra are the playback singers in this song.

Why are we having this song? Because it is the birthday of one of the top actresses of that time. She became popular playing Meera, Seetha, Geetha, Basanti etc. Raj Kapoor was her first hero. Just like with Rekha & Rakhee even Hema Malini (today’s birthday girl) had older male actors as her heroes to begin with. Her first film with Dharmendra came in 1970 -“Tum Haseen Main Jawaan”. Subsequently she co-starred the likes of Amitabh Bachchan, Shatrughan Sinha, Jeetendra, Rakesh Roshan, Vinod Khanna, Rajesh Khanna etc. She was appreciated in a negative character in ‘Laal Patthar’ (1971) and ‘Jamai Raja’ (1990) later in her career. She is still So Very Breathtakingly Gorgeous and so approachable.

Here is wishing her Lots and Lots of good health and happiness.

Also, remembering music director Shankar of the Shankar Jaikishan duo. Yesterday, 15th October was the birth centenary of Shankar, born in Hyderabad on 15th October, 1922.

 

Song – Ik Shehri Chhora Teer Kaleje Maar Gayo Re (Dhoop Chhaaon) (1977) Singer – Usha Mangeshkar, Kalyani Mitra, Lyrics – Vishveshwar Sharma, MD – Shankar Jaikishan
Hema Malini
Chorus

Lyrics (Provided by Sudhir)

ho ho
oo oo
ho oo

ik shehri chhora teer kaleje maar gayo re
gori gori chhori ne bigad gayo re
ik shehri chhora teer kaleje maar gayo re
gori gori chhori ne bigad gayo re

ik pagla panchho buri najariya daal gayo re
teekha teekha kajra bigaad gayo re
ik pagla panchho buri najariya daal gayo re
teekha teekha kajra bigaad gayo re
ik pagla panchho

le ke khushboo mere tan ki
mehki hawaayen saare chaman ki
khilti kaliyaan meri ada se
chalti hirni saathi ban ki’
ik baanka hansa chadti nadiya paar gayo re
gori gori chhori ne bigad gayo re
na na na na na
ik pagla panchho buri najariya daal gayo re
teekha teekha kajra bigaad gayo re
ik pagla panchho

uthti  nigaahen log bharte aahen
kitne tadapte hain thaamne baahen
aage peechhe kitne deewaane
rokte kitne meri raahen
ik chhail chhabeela julmi dorey daal gayo re
haan
gori gori chhori ne bigad gayo re
na na na na na
ik pagla panchho buri najariya daal gayo re
teekha teekha kajra bigaad gayo re
ik pagla panchho

nadiya ka paani jaisi meri jawaani
jharnon ki lehron mein meri ravaani
baadal mein bijli jaise samaai
aisi hai meri prem kahaani
ik julmi daaku nath pe daaka daal gayo re
gori gori chhori ne bigad gayo re
na na na na na
ik pagla panchho buri najariya daal gayo re
teekha teekha kajra bigaad gayo re
ik pagla panchho

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

हो हो
ओ ओ
हो ओ

इक शहरी छोरा तीर कलेजे मार गयो रे
गोरी गोरी छोरी ने बिगाड़ गयो रे
इक शहरी छोरा तीर कलेजे मार गयो रे
गोरी गोरी छोरी ने बिगाड़ गयो रे

इक पगला पंछी बुरी नजरिया डाल गयो रे
तीखा तीखा कजरा बिगाड़ गयो रे
इक पगला पंछी बुरी नजरिया डाल गयो रे
तीखा तीखा कजरा बिगाड़ गयो रे
इक पगला पंछी

ले के खुशबू मेरे तन की
महकी हवाएँ सारे चमन की
खिलती कलियाँ मेरी अदा से
चलती हिरणी साथी बन की
इक बांका हंसा छड़ती नदिया पार गयो रे
गोरी गोरी छोरी ने बिगाड़ गयो रे
ना ना ना ना ना
इक पगला पंछी बुरी नजरिया डाल गयो रे
तीखा तीखा कजरा बिगाड़ गयो रे
इक पगला पंछी

उठती निगाहें लोग भरते हैं आहें
कितने तड़पते हैं थामने बाहें
आगे पीछे कितने दीवाने
रोकते कितने मेरी राहें
इक छैल छबीला जुल्मी डोरे डाल गयो रे
हाँ
गोरी गोरी छोरी ने बिगाड़ गयो रे
ना ना ना ना ना
इक पगला पंछी बुरी नजरिया डाल गयो रे
तीखा तीखा कजरा बिगाड़ गयो रे
इक पगला पंछी

नदिया के पानी जैसी मेरी जवानी
झरनों की लहरों में मेरी रवानी
बादल में बिजली जैसे समाई
ऐसी है मेरी प्रेम कहानी
इक जुल्मी डाकू नथ पे डाका डाल गयो रे
गोरी गोरी छोरी ने बिगाड़ गयो रे
ना ना ना ना ना
इक पगला पंछी बुरी नजरिया डाल गयो रे
तीखा तीखा कजरा बिगाड़ गयो रे
इक पगला पंछी


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5194 Post No. : 17175

Greetings and Happy Birthday wishes to Usha Khanna ji.

Born this day in 1941, she is all of 81 years old today. With a reign lasting from 1959 to 2003, she may be the most prolific and accomplished lady music director in the Hindi film industry. In the early decades of Hindi cinema, we have been earlier introduced to lady music directors viz., Bibbo, Jaddan Bai and Saraswati Rane. Then after a gap of maybe a decade, the teenaged Usha Khanna (she was 18 years when ‘Dil Deke Dekho’ was released in 1959) made her debut.

And the audience and the industry took notice of this new and attractive sound of music. After a slow beginning, she went on to become one of the mainline music directors in the industry. Over the period of about four and a half decade, she has composed music for more than 160 films. Her last film was released on 2003 – ‘Dil To Pardesi Hai’. We do not see more films from her after this, although technically she has not formally announced her retirement from an active career.

The song that I bring up today is from the 1964 film ‘Awaara Baadal’. This is a song performed on screen by Helen. And true to the spirit of this fabulous danseuse, the composition is so lilting and magical. On screen we see a dance being  performed by Helen and a group of supporting dancers. The performance is being viewed by Niranjan Sharma.

The lyrics of the song have been penned by Javed Anwar and the singing voice is that of Asha Bhosle.

A quick reminder for the readers, regarding the lyricist. Javed Anwar is a pseudonym for a team of two songwriters working together. Javed is the name that is used by Manohar Khanna, who is the father of Usha Khanna in real life. And Anwar is the pen name of the second songwriter – Raheel Gorakhpuri.

Wishing Usha ji for good health and many more such celebrations to come.

I invite you to listen to this foot tapping melody that is so apt for a Helen dance song.

Song – Dil To Niraala Hi Sharaabi Hai (Awaara Baadal) (1964) Singer – Asha Bhosle, Lyrics – Javed Anwar, MD – Usha Khanna

Lyrics

dil to niraala hi sharaabi hai
kehta hai un aankhon mein gulaabi hai
thodi si pee loon to kya kharaabi hai
haaye maasha allah maasha allah
maasha allah maasha allah

dil to niraala hi sharaabi hai
kehta hai un aankhon mein gulaabi hai
thodi si pee loon to kya kharaabi hai
haaye maasha allah maasha allah
maasha allah maasha allah

oo oo oo
o nasheeli aankhon waale sun
oo oo oo
o raseeli aankhon waale sun
ho
ho
ho
ho oo
o nasheeli aankhon waale sun
oo oo oo
o raseeli aankhon waale sun
in aankhon se
hamen peene de
hamen jeena hai
hamen jeene de
ho
ho
ho oo oo
dil to niraala hi sharaabi hai
kehta hai un aankhon mein gulaabi hai
thodi si pee loon to kya kharaabi hai
haaye maasha allah maasha allah
maasha allah maasha allah

oo oo oo
laakh rokega zamaana ye
oo oo oo
jhoomta rahega deewaana ye
ho
ho
ho oo
laakh rokega zamaana ye
oo oo oo
jhoomta rahega deewaana ye
samjhega ye
mastaana kya
mastaane ko
samjhaana kya
ho
ho
ho oo oo
dil to niraala hi sharaabi hai
kehta hai un aankhon mein gulaabi hai
thodi si pee loon to kya kharaabi hai
haaye maasha allah maasha allah
maasha allah maasha allah

oo oo oo
aa gayin hain wo hawaayen bhi
oo oo oo
chhaa gayin hain wo ghataayen bhi
haaye
haaye
haaye
aa gayin hain wo hawaayen bhi
oo oo oo
chhaa gayin hain wo ghataayen bhi
saari duniya
chaahe roothegi
tauba tooti hai
tauba tootegi
ho
ho
ho oo oo
dil to niraala hi sharaabi hai
kehta hai un aankhon mein gulaabi hai
thodi si pee loon to kya kharaabi hai
haaye maasha allah maasha allah
maasha allah maasha allah

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

दिल तो निराला ही शराबी है
कहता है उन आँखों में गुलाबी है
थोड़ी सी पी लूँ तो क्या खराबी है
हाए माशा अल्लाह माशा अल्लाह
माशा अल्लाह माशा अल्लाह

दिल तो निराला ही शराबी है
कहता है उन आँखों में गुलाबी है
थोड़ी सी पी लूँ तो क्या खराबी है
हाए माशा अल्लाह माशा अल्लाह
माशा अल्लाह माशा अल्लाह

ओ ओ ओ
ओ नशीली आँखों वाले सुन
ओ ओ ओ
ओ रसीली आँखों वाले सुन
हो
हो
हो
हो ओ
ओ नशीली आँखों वाले सुन
ओ ओ ओ
ओ रसीली आँखों वाले सुन
इन आँखों से
हमें पीने दे
हमें जीना है
हमें जीने दे
हो
हो
हो ओ ओ
दिल तो निराला ही शराबी है
कहता है उन आँखों में गुलाबी है
थोड़ी सी पी लूँ तो क्या खराबी है
हाए माशा अल्लाह माशा अल्लाह
माशा अल्लाह माशा अल्लाह

ओ ओ ओ
लाख रोकेगा ज़माना ये
ओ ओ ओ
झूमता रहेगा दीवाना ये
हो
हो
हो ओ
लाख रोकेगा ज़माना ये
ओ ओ ओ
झूमता रहेगा दीवाना ये
समझेगा ये
मस्ताना क्या
मस्ताने को
समझाना क्या
हो
हो
हो ओ ओ
दिल तो निराला ही शराबी है
कहता है उन आँखों में गुलाबी है
थोड़ी सी पी लूँ तो क्या खराबी है
हाए माशा अल्लाह माशा अल्लाह
माशा अल्लाह माशा अल्लाह

ओ ओ ओ
आ गईं हैं वो हवाएँ भी
ओ ओ ओ
छा गईं हैं वो घटाएँ भी
हाए
हाए
हाए
आ गईं हैं वो हवाएँ भी
ओ ओ ओ
छा गईं हैं वो घटाएँ भी
सारी दुनिया
चाहे रूठेगी
तौबा टूटी है
तौबा टूटेगी
हो
हो
हो ओ ओ
दिल तो निराला ही शराबी है
कहता है उन आँखों में गुलाबी है
थोड़ी सी पी लूँ तो क्या खराबी है
हाए माशा अल्लाह माशा अल्लाह
माशा अल्लाह माशा अल्लाह


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5193 Post No. : 17173 Movie Count :

4624

I first met him on screen in 1971. The film was ‘Mere Apne’, a story of a destitute old lady fallen on to hard times, intersecting with gang wars between young street smarts. I had heard his name before. In 1968, when Sunil Dutt launched his younger brother Som Dutt via his home production ‘Man Ka Meet’, one also read in the news that another new face was being introduced – name Vinod Khanna.

Remembering Vinod Khanna on his birth anniversary today. He would have been celebrating his 76th year on this planet. He passed away five years ago, on 27th April, after losing a battle with the dreaded cancer.

As the decade of 1960s came to a close, the latter half introduced a few handsome young men to the the Hindi screen, that would go on to make big name for themselves over next few decades – Rishi Kapoor, Rajesh Khanna, Jeetendra, Amitabh Bachchan – and yes, Vinod Khanna.

I was verily impressed by his screen presence in ‘Mere Apne’. An attractive physique, a stoic and solemn demeanor that is not easily ruffled, a determined and earnest quietness, an un-agitated dialogue delivery that conveys a commanding confidence. His screen presence felt good and comfortable.

As the decade would progress, there would be more impressive performances that added to his stature as an accomplished actor in Hindi cinema. Starting with the villain’s role in ‘Man Ka Meet’, he went on to doing side roles or shared leads in films like ‘Purab Aur Paschim’, ‘Mastaana’, ‘Aan Milo Sajna’ and ‘Sachcha Jhootha’ (all 1970) and ‘Reshma Aur Shera’ (1971), he moved into the lead role with the film ‘Hum, Tum Aur Who’ (1971) opposite Bharati. That year also witnessed two more of his great perfromances – ‘Mere Apne’ by Gulzar and ‘Mera Gaon Mera Desh’ by Raj Khosla. In the former he share the lead with Shatrughan Sinha, and in the latter with an established Dharmendra. And he stood his ground well in both these outings.

In 1972, we see him as the best friend of the hero in Gulzar’s ‘Parichay’. All this while, his presence in films is growing rapidly. In 1973 he plays the role of an army officer inadvertently caught in an illicit love triangle in ‘Achanak’, a film by Gulzar and KA Abbas. This role earned him a lot of critical acclaim.

In 1974, another very impressive performance in ‘Imtihan’ and also in ‘Haath Ki Safai’. For the latter performance, he got the Filmfare’s Best Supporting Actor award for the year. From 1976 I remember his roles in ‘Shaque’ and ‘Hera Pheri’. Moving on to bigger and better in 1977, we see him in ‘Parvarish’, the outstanding cops and robbers story ‘Inkaar’ and the blockbuster hit ‘Amar Akbar Anthony’.

1978 turned out to be yet another big year for him with films like ‘Main Tulsi Tere Aangan Ki’ and ‘Muqaddar Ka Sikandar’. 1979 saw him play the role of Rana ji in Gulzar’s ‘Meera’. And in 1980 he made it big with films like ‘Qurbani’ and ‘The Burning Train’. From 1981 I remember him in ‘Kudrat’, a film by Chetan Anand.

Although Vinod Khanna went on to a brilliant career, the above listed films are the ones that are in my mind as mine, my selection – I have watched them on the big screen.

In 1982, Vinod took a break in his career, to be with Acharya Rajneesh, his spiritual Guru. That break ended in 1986, as he returned to India, after Acharya Rajneesh was made to leave the US by the authorities. Coming back, Vinod rejoined the industry and continued with his career. We see him active in the industry all the way up to 2015. Later, the medical issues overtook his life and he passed away in 2017. His last role was in a film released posthumously in 2020 – ‘Guns Of Banaras’.

The song I present today is from the 1974 film ‘The Cheat’ aka ‘Farebi’. The film is from Jaimini Dewan Productions. (Readers will recall that Jaimini Dewan was the elder brother of actor Karan Dewan). It is directed by Sudesh Issar. The cast of the film is listed as Vinod Khanna, Maushumi Chatterjee, Nirupa Rai, Anwar Hussain, Fariyal, Ranjeet, Randhir, Uma Dutt, Jankidas, Dubey, Naidu, Nishan Singh, Haroon Khan, Madhu Chauhan, Shah Agha, Soni, Ratan Gaurang, Jawahar Chopra, Sunil Sharma, Sat Prakash, and Bindu.

The film has six songs, all have been penned by Verma Malik. Music is composed by Laxmikant Pyaarelal. The singing voice is that of Kishore Kumar. With this song, the film ‘The Cheat’ makes its debut on our blog.

The lyrics of this song have been provided by dear Prakash ji.

Video

Audio

Song – Ae Mere Dil, La La La La  (The Cheat) (1974) Singer – Kishore Kumar, Lyrics – Verma Malik, MD – Laxmikant Pyaarelal

Lyrics (Provided by Prakashchandra)

ae mere dil
la la la la
khushi se machal
la la la la
ae mere dil
la la la la
khushi se machal
la la la la
poori karunga main teri tamanna
aaj mere kadmon me duniya
ae mere dil
la la la la
khushi se machal
la la la la
ae mere dil

ye dil fareb din nasheen
ye moorten haseen haaen
ye dil fareb din nasheen
ye moorten haseen haaen
ye roop ki numaaishen
ye shokh shokh naazneen
thaam loon baahon ko
main rokun teri raahon ko
dil na mila na sahi
mila gaeen nigaahon ko
mila gaeen nigaahon ko
ae mere dil
la la la la
khushi se machal
la la la la
ae mere dil

bhara bhara ye jaam hai
ye mehki mehki shaam hai
bhara bhara ye jaam hai
ye mehki mehki shaam hai
ae dil mere bharam na kar
ye sab tumhaare naam hai
ye mere dil ki pyaas hai
ye zindagi ki aas hai
aaj tum se door jo
wo kal tumhare paas hai
wo kal tumhare paas hai
ae mere dil
la la la la
khushi se machal
la la la la
poori karunga main teri tamanna
aaj mere kadmon me duniya
ae mere dil
la la la la
khushi se machal
la la la la
ae mere dil

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

ए मेरे दिल
ला ला ला ला
खुशी से मचल
ला ला ला ला
ए मेरे दिल
ला ला ला ला
खुशी से मचल
ला ला ला ला
पूरी करूंगा मैं तेरी तमन्ना
आज मेरे कदमों में दुनिया
ए मेरे दिल
ला ला ला ला
खुशी से मचल
ला ला ला ला
ए मेरे दिल

ये दिल फरेब दिलनशीं
ये मूरतें हसीं हसीं
ये दिल फरेब दिलनशीं
ये मूरतें हसीं हसीं
ये रूप की नुमाइशें
ये शोख शोख नाज़नीन
थाम लूँ बाहों को
मैं रोकूँ तेरी राहों को
दिल ना मिला ना सही
मिला गईं निगाहों को
मिला गईं निगाहों को
ए मेरे दिल
ला ला ला ला
खुशी से मचल
ला ला ला ला
ए मेरे दिल

भरा भरा ये जाम है
ये महको महकी महकी शाम है
भरा भरा ये जाम है
ये महको महकी महकी शाम है
ए मेरे दिल भरम ना कर
ये सब तुम्हारे नाम है
ये मेरे दिल की प्यास है
या ज़िंदगी की आस है
आज तुमसे दूर जो
वो कल तुम्हारे पास है
वो कल तुम्हारे पास है
ए मेरे दिल
ला ला ला ला
खुशी से मचल
ला ला ला ला
पूरी करूंगा मैं तेरी तमन्ना
आज मेरे कदमों में दुनिया
ए मेरे दिल
ला ला ला ला
खुशी से मचल
ला ला ला ला
ए मेरे दिल


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

Blog Day :

5185 Post No. : 17164

28th Sept 2022 marks the first birthday of Lata Mangeshkar without her physical presence in this world. Due to old age and couple of hospitalizations at the fag end of her life, her passing away on that fateful day of 06th Feb 2022 was not really shocking so to say.

But then, an emptiness befell upon music lovers all over the world. It was as if a part of our lives was lost forever. It was a different kind of mourning; one of helplessness and the bare truth that such a soul would never be born again. And such is a gargantuan legacy of work left behind that one can only sit back and wonder how an individual could achieve so much in a single life. It is not about the span-life of her singing or the number of songs that she has sung, but of the utmost dedication, sincerity to her career and the love of the masses that she received.

Calling her the greatest singer ever would arguably be an understatement. Love for her voice knows no religion, caste, creed or man made international boundaries. For her voice touched the innermost recesses of human souls. The voice that she has left behind has amalgamated with the atmosphere and will continue to regale music lovers for generations to come.

Adjectives, honorific titles, awards are altogether too, a pale shadow compared to what she has achieved and left behind. Her work and career encompassed the entire gamut of technology from shellac records to the present cloud technology.

Blessed are we for breathing the same air, sharing an epoch and a planet with Lata Mangeshkar.

There have been many biographical posts, anecdotes, series etc. on Lata Mangeshkar on this blog. In fact, in the recently concluded long series concluded by Atul ji covers her entire singing career from first to her last song sung in HFM. Also, her wiki page is quite elaborate if one has to understand the entire spectrum of her life and career in acting, singing, composing, production etc.

There were two aspects that I wanted to include in this post, and I have to profusely apologize to readers that I could manage neither due to other priorities and paucity of time.

One was to put forth a table listing her very first one or two dozen songs irrespective of whether she sang for Hindi / Marathi or for herself / playback. There are many blogs, articles, interviews and information out there on the net containing these facts, but to have it on a well-prepared table with her songs in chronological order and then get it vetted by veterans in the field was what I was looking for.

The second was to present my interest and limited knowledge and on her association with various composers and singers. There is so much that I wish to keep on writing about her Hindi film songs. Her pronunciation of the word “hum” in the title song of ‘Barsaat’ (1949) and again the finest way she sings the word “chaar” in the duet with Shankar Dasgupta in ‘Girls’s School’ (1949) amazes me to no end. That she could so effortlessly empathize with the situation of the song on screen in her voice modulation in 1940’s itself speaks volumes as to where she was headed in her career.

Why she has a solitary song for Gyan Dutt? Why Kishore Kumar used her sparingly in his compositions? Will the solo song from the film ’26 January’ (1956) ever be heard by music lovers are some of the points that I wanted to touch upon. Let me see, how soon, I can put these thoughts on the blog.

Her association with the many composers, singers, lyricists, actors etc. can be discussed with no end. Naming a few will be a gross injustice to the many others that she sang for. I shall hence stop myself from even attempting to do so.

Coming to the song to be posted for today’s occasion and considering that most of her songs in the golden period have already been covered on the blog, I made a rather strange request to the editors to kindly offer me a good song for the occasion. I know there are many more songs yet to be covered, but then again due to time constraints, I thought, I will make this new request. 🙂

A sad, solo from late 40’s or early 50’s was what I requested for.

And guess what?

Sudhir ji promptly sent me a gem of a sad solo from 1949. My goodness! Of all the years, 1949, the year Lata Mangeshkar stamped herself as the undisputed queen of playback. Music lovers know the importance of the year 1949 and the abundant flow of melody in that particular year.

Thank you, Sudhir ji and Atul ji. I could not have asked for anything better.

So here is the gem from 1949 film ‘Rakhi’ in the mellifluous voice of one and only Lata Mangeshkar.

Wishing her a very happy birthday, I am sure the heavens and the Gods are more blessed to have Hema Hardikar aka Lata Mangeshkar amongst their midst.

Song – O Rooth Jaane Waale, Mera Qasoor Kya Hai  (Rakhi) (1949) Singer – Lata Mangeshkar, Lyrics – Saarshaar Sailaani, MD – Husnlal Bhagatram

Lyrics (Provided by Prakashchandra)

o rooth jaane waale
o rooth jaane waale
mera qasoor kya hai
kyon pher leen nigaahen
kyon pher leen nigaahen
kyon mujhko gham diya hai
o rooth jaane waale
mera qasoor kya hai

fariyaad kar rahi hai
sehmi hui jawaani
kisko sunaaun ae dil
dukh dard ki kahaani
apne nahin jab apne
gairon se kya gila hai
o rooth jaane waale
o rooth jaane waale
mera qasoor kya hai

beete huye dinon ki
baaton ko yaad kar ke
guzri hui suhaani
raaton ko yaad kar ke
main dil ko ro rahi hoon
dil mujhko ro raha hai
o rooth jaane waale
o rooth jaane waale
mera qasoor kya hai

din raat kha raha hai
gham teri berukhi ka
nazdeek aa raha hai
anjaam zindagi ka
tu hi bata ke aise
jeene mein kya maza hai. . .

————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
ओ रूठ जाने वाले
ओ रूठ जाने वाले
मेरा कसूर क्या है
क्यों फेर लीं निगाहें
क्यों फेर लीं निगाहें
क्यों मुझको ग़म दिया है
ओ रूठ जाने वाले
मेरा कसूर क्या है

फरियाद कर रही है
सहमी हुई जवानी
किसको सुनाऊँ ए दिल
दुख दर्द की कहानी
अपने नहीं जब अपने
ग़ैरों से क्या गिला है
ओ रूठ जाने वाले
ओ रूठ जाने वाले
मेरा कसूर क्या है

बीते हुये दिनों की
बातों को याद कर के
गुज़री हुई सुहानी
रातों को याद कर के
मैं दिल को रो रही हूँ
दिल मुझको रो रहा है
ओ रूठ जाने वाले
ओ रूठ जाने वाले
मेरा कसूर क्या है

दिन रात खा रहा है
ग़म तेरी बेरुखी का
नज़दीक आ रहा है
अञ्जाम ज़िंदगी का
तू ही बता के ऐसे
जीने में क्या मज़ा है॰ ॰ ॰


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

Blog Day :

5183 Post No. : 17161

Hullo Atuldom

A very Happy Navaratri to all. The date corresponds to the first day after Amavasya in the month of Ashwin of the sixth month (as per the Solar Bengali calendar) and seventh month (as per the Indian National lunar calendar of the Deccan Plateau) overlapping the months of September and October of the Gregorian calendar. It is the Sharath Navaratri. The period when we worship the Mother Goddess in the form of Durga Lakshmi and Saraswati. Additionally, this is also the time when we have Ram Leela celebrations across the country.

That is why I have chosen a song featuring Ram Leela. We can see Dev Anand, Janakidas, Premnath, Paintal, on stage enacting the Lanka dahan part of the Ramayan. It begins with Seeta maiyya crying under a tree in Ashok Vatika and  Hanuman seeing her from atop a tree. Sita maiyya (who is the actress?) sees Hanuman when he falls from the tree (I don’t know if all Ram Leelas have such comic elements. Remember there was a similar comic Ram Leela in Hrishikesh Mukherjee’s ‘Naram Garam’). Ravan’s son Meghnad is played by Sharat Saxena. Did anyone recognize the Kumbhkaran? It is the actor who has a Guinness book entry for playing a police inspector maximum number of times. Yes, Jagdish Raj. Then we have two Hema Malini in the audience.

I could only recognize Manna Dey’s voice as the male playback, there is one more male singer. The female voice belongs to Anuradha Paudwal. The song is written by Anand Bakshi and Laxmikant Pyaarelal are the music directors. Also we can hear Dev Anand’s voice in all the dialogues in between.  All-in-all an entertaining song from the 1976 released Chetan Anand directed ‘Jaaneman’.

The storyline of the film had Dev Anand playing a taxi driver and Hema Malini in the double role of sisters -Santo & Banto. Plus there were Premnath, Ajit, Paintal, Janakidas Sharat Saxena Jagdish Raaj etc. in the cast.

I have read somewhere that it was a movie in the 25th year of Navketan Films. The movie has 6 songs and the blog has 4 of them (one is a three part song).  The last song from this movie was posted in 2016. Today’s song is sort of in the same category as the iconic song from ‘Munim ji’ (1955) – “O Shivji Bihaane Chale Paalki Sajaaye Ke

Born on 26 September, 1923, today is also the 99th birth anniversary of Dev Anand. With this song, we remember him and celebrate his birth anniversary.blog

Editor’s note:-This song is the 200th song picturised on Dev Anand in the blog.

 

Song – Siyavar Ramchandra Ki Jai (Jaaneman) (1976) Singer – C Anand Kumar, Manna Dey, Anuradha Paudwal, Vinod Sharma, Lyrics – Anand Bskshi, MD – Laxmikant Pyaarelal
Dev Anand
Chorus

Lyrics (Provided by Sudhir)

siyavar ramchandra ki
jai
janak nandini siya maiyya ki
jai
laadle lakhan lal ki
jai
pavan sut hanuman ki
jai

seeta ji ka haran kiya
ravan ne badal ke bhes
ram bhaye vyaakul lachhman ke
mann ko laagi tthes
pavan putr hanuman chala
udd kar laane sandes
baavan kot chhappan darwaazon waale lanka dhaam
aur phir

[parda kholo]
[laughter]
[ae bhai]
[? Kholo]

lanka pahunch kar hanuman ne dekha

kya dekha

ke ashok vatika mein
seeta maiyya
ik vriksh ke neeche
apni akhiyaan meeche
ram ke. . .
dhyaan mein
khoi huyi hai

tum bin naahi chain
din raean. . .
tum bin naahi chain
rim jhim barsat nain
din raean. . .

[laughter]
[kamjor ped kaahe laaye]
[tum kaun ho]
[bolo, bolo kyon maun ho]

pavan putr main ram bharose

[ram bharose aap apne ghar honge]
[yahaan hanuman ho, hanuman]

pavan putr shri ram ka pyaara
mere mann mein ram rehte hain
mujhe hanuman kehte hain
mujhe hanuman kehte hain
pavan putr shri ram ka pyaara
mere mann mein ram rehte hain
mujhe hanuman kehte hain
mujhe hanuman kehte hain

seeta ji ko hamri batiyaan
kahin laage na jhoothi
is kaaran raghunath ne bheji
hamre haath angoothi

[hanuman, ram kaise hain]
[kuchh wahan ka haal sunaao]

ram sukhi hain

[arey seeta ke bina ram sukhi kaise ho sakte hain]
[kaho ram dukhi hain]

ram dukhi hain
aapki aankhon se aansoo behte hain
mujhe hanuman kehte hain
mujhe hanuman kehte hain

[seeta maiyya, yadi aapki aagya ho to]
[main kuchh kha loon]
[apni bhookh mita loon]

[khaa lo]
[mita lo]

bees bhuja das sees ka ravan
gyaani aur balwaan
kaisi nadaani kar baitha
dekho wo nadaan
us ko sabak sikhaane aaya
ram bhakt hanuman

[hmmm. . .]
[meghnaad, ye tum kya laaye]

pujya pita ye hai ik bandar
is be baag ke sab phal khaaye
isi liye isey baandh ke laaye

[bol tu hai kiska doot]

main
main hoon teri maut ka bhoot

[ha ha ha]
[tu aur mujhko maarega]

arey marte samay
hee hee hee hee
marte samay tu ram ka naam pukaarega

bolo jai siya ram
bolo jai siya ram
bolo jai siya ram
bolo jai siya ram
bolo jai siya ram
bolo jai siya ram
bolo jai siya ram
bolo jai siya ram
bolo jai siya ram
bolo jai siya ram

[raavan tum kyon gaate ho jai siya ram]

[band karo ye ram ram ram ram ram]

ram
ram

[khubhkaran]
[bolo isey dand kya doon]

[snoring]

[ye sota hai]
[isey sone do]
[meghnaad tum to jaagte ho]
[tum hi kaho isey kya dand den]

[iski poonchh mein aag laga do]

[satya vachan]
[main teri poonchh mein aag laga doonga]

[laga do, laga do]
[main apni poonchh se teri lanka jala doonga]

[jala do jala do]
[aieeen, ye kya kaha vaanar]

[laughter]

 


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over FOURTEEN years. This blog has over 17200 song posts by now.

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

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(© 2008 - 2022) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

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