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

Archive for the ‘Asha Bhonsle songs’ Category


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

Blog Day :

4841 Post No. : 16628

Today’s song is from a Mythological film-Devyani-1952.

This was the story of Kach and Devyani from Mahabharat. I like the various stories from our Epics Ramayan and Mahabharat. There are hundreds of subplots and stories in both these Holy books, in addition to the main stories. However, I like stories from the Mahabharat more than Ramayan. The reason is stories from Ramayana are simpler and involve good virtues like Love, Cooperation, Loyalty, truthfulness etc etc. These are desirable but have no links to today’s social structure. The stories from Mahabharat are built around the practical difficulties in day to day life, defeat of the evil at any cost and use of tact, diplomacy, revenge, punishment etc etc which are more interesting to read.

As such, Mahabharat in itself or its stories seem to be closer to today’s values like ‘Tit for Tat’ and winning over the Evil with equally Evil remedies. The basic difference between Ram and krishna is, Ram was a character who was upright, just and straightforward, while Krishna is a character down to earth, who does not mind using unconventional methods to defeat the Evil. I always feel that in today’s world Krishna tactics are more relevant than Ram Rajya rules !

The story of Kach and Devyani, on which the film Devyani -52 was based was…..

There were regular wars between the Gods and the Demons (Sur and Asur). However the Gods could never win any battle. The reason ? Rishi Shukracharya, who was the Rajguru of the Demons knew the Sanjivani mantra, with which the dead demons would be brought back to life.
Realising that without getting the mantra, they would never win any battle with Demons, the Gods sent Kach- son of God Brihaspati (Jupitor) to Shukracharya as his disciple. Kach impressed Shukracharya’s daughter Devyani and they became friends. Devyani started loving kach.
The Demons came to know who Kach was . They killed him, burnt his body and mixed the ashes with wine, which was given to Shukracharya to drink. He knew that it contained Kach ashes. Meanwhile Devyani came to know that Kach was killed. She insisted that Shukracharya use his Mantra and bring him back to life. Due to daughter’s love, Shukracharya recited the Sanjivani mantra and Kach came out alive from his stomach. Shukracharya died. But Kach now knew the Mantra and he brought back Shukracharya to life again.

Devyani now expresses her love and proposes marriage to Kach, but he refuses stating that since he came from Shukracharya’s stomach, she was her sister now. Devyani is disappointed with his weak logic and curses Kach that what he learned here, he will never be able to use anywhere. Angrily, Kach too curses her that no Bramhin will ever marry her in her life. He goes away and the film ends as a tragedy.

The film ends here alright, but it raised a question in my mind as to how, then, the Gods ever won the battles with Demons ? The answer is, during the ” Samudra – Manthan ” a pot containing ” Divine Potion ” came up. It contained Amrit, which made the Gods immortal (Amar). In due course Shukracharya also died, without parting with the Sanjivani mantra and thus the Demons were defeated in the ensuing wars by Gods.

The film Devyani-52 was produced by Madhukar Harihar under the banner of Madhav Pictures, Bombay. It was directed by Vasant painter and the Music Director was S.Purushottam, assisted by Shamrao Kamble. These names are rather not commonly seen or heard and the readers may not be knowing about them, as they did only few films compared to others and without any famous film either. Let us first know about Vasant Painter.

Vasant Anandrao Painter was born in a village near Kolhapur on 13-8- 1913. His father Anandrao, along with cousin Baburao Painter wanted to make films. Anandrao had bought a second hand Projector, which he turned into a Camera and shot a short film also. Unfortunately, Anandrao Mistry or Anandrao Painter died suddenly on 22-10-1915.Vasant Painter was only a 2 year old baby at that time. Baburao Painter went on to become the famous founder of Marathi films in the Silent Era.

By the time Vasant became 16 year old,the Silent film era was in full swing and many films were made in Kolhapur, Poona and Bombay. He had a liking for painting,so he picked up poster painting work,first in Maharashtra Film company and later in Prabhat film company when it was started in Kolhapur. Actually Damle and Fatelal were keen on helping him as he was the son of Anandrao, from whom they had learnt so many things. They called him to work in Prabhat. He did all jobs,including assisting in cinematography and direction.

His first break came when he was 33 year old. He got an opportunity to direct Prabhat’s film ” Gokul”-46 and later on ” Seedha Raasta”-47. After V.Shantaram had left Prabhat to start his own Rajkamal,Vasnt painter remained in Prabhat loyally, so he got the reward. Prabhat decided to make the film “Namdev” and Vasant was selected as a director. The cast was fixed and other arrangements done, but due to financial reasons the film was cancelled. Anyway, he got another opportunity. Actress Kamala Kotnis had floated a production company,Kamala Chitra Ltd..She invited Painter to direct her film,’Sati Ahilya’-49. Snehal Bhatkar was the MD.

Painter directed ‘ Bhishma Pratignya ‘-1950. This was,probably,the only Mythological film Nargis had acted in, with Shahu Modak.. His other films were,Murliwala-51, Devyani-52, Sajni-56, Patit paawan-55, Gokul ka chor-59, Pyar ki jeet-62 . Meanwhile he was producing and directing several Marathi films too. He won 9 awards,including the prestigious ” V.Shantaram Award”.

Vasant Painter died on 31-5-2006,leaving behind him 6 daughters and 1 son.

And now something about Shamrao Kamble….

Music Directors’ names are famous. At times their assistants too get a mention in the credits, but what about the soul of every song-the Arranger ? Many people do not even know that there is someone called an Arranger. An Arranger not only exists, but without him the song orchestration is not possible.

What does an Arranger do ?

A tune and music is decided by the Composer, but the harmonization of the orchestra is done by the Arranger. He decides which instrument should be used more, like one decides about a flower in a bouquet of flowers. Arranger is like an ‘ interior decorator ‘ of music. Composer decides what effect he needs and what should be the interlude music. Arranger decides which instrument should be played.

Melody is the main ingredient in a song. Orchestra has to supplement and complement the Melody. In this case orchestration is like Jewellery. A beautiful woman must use jewellery to enhance her beauty, but no overuse or underuse will do. Similarly Arranger does optimization of instruments.

Arranger must know the Notations, so that it can be written and given to the players.

How many Arrangers are known to the public in India ? A composer is Zero without an Arranger. So they try to employ the best of them in their service. Some of the Arrangers become successful Composers themselves, like Sonik-Omi or Laxmikant Pyarelal. Most arrangers fail as composers because they don’t know the commercial aspects, like getting films, knowing and mixing with film personalities in Parties, having friends and God fathers in the right place etc etc.

The other day I was reading a book “Voh Bhooli Dastaan” by Subhash Chandra Jadhav,on Indian Film Music. In this book he has described information about one such successful but totally unknown Arranger SHYAMRAO KAMBLE.

Kamble was born in Karad, near Kolhapur in Maharashtra, on 23-10-1925. His elder brother taught him Tabla and Pakhawaj. Kamble joined a musical drama company where he learnt writing notations. When he came to Bombay he accompanied great singers like Saraswati Rane, Suresh Haldankar, Manik Verma etc. He used to make rounds of film studios and learnt to play Piano, Saxophone, trumpet, mandolin etc.

His career started as an assistant to music director H N Sharma.

Then he worked for Roshan in Bawre nain, wherein he played harmonium in all songs and Roshan was pleased. In Bheegi Raat-65 he played Guitar in the song ‘Dil jo na kah saka’

While doing Anokhi Raat he made use of Flute artistically in ‘oh re taal mile’. During this film Roshan died and he helped his wife to complete the recording of ‘Sapnon ka raja’ by Lata.

Chitralekha’s background music was liked by Hemant kumar very much.

After Roshan, Kamble worked for his son Rajesh Roshan also.

Kamble says,“Though my work was appreciated, my name never appeared in film credits till Jaidev and Sudhir Phadke insisted for it.”

From ‘Mujhe jeene do’-63 Kamble became Jaidev’s assistant. He says,’ Jaidev ji was a composer totally sold to indian classical music.’ For Reshma and Shera Kamble used Sarod effectively.

The producer director of Gharonda,Bheem Sen insisted its music to be like R D Burman. Kamble used the interludes in every song just like RDB and songs of Gharonda became very famous. Jaidev was so happy that he gave a 5 speaker gramophone to him as a Gift.

In the film ‘Tumhaare Liye’ Kamble wanted Hariprasad Chaurasiya to play Flute. He discussed it with Hari ji, but Hari ji did not come for any rehearsals, so Kamble called Sumant Raj and did the rehearsals. As luck would have it,on the day of recording Hariprasad came to play Flute. Kamble did not hesitate in making his decision. He used both the flutists for different pieces in the song.

Kamble also worked with Sudhir Phadke. when a producer wanted to make a remake of marathi film ‘Vahininchya Bangdya”, he took Sudhir Phadke for Bhabhi ki choodiyan as a composer, but put a condition that his Arranger will work with him. That person was a Goanese and Phadke did not like his arrangement with western instruments for this emotional film. He called Kamble and asked him to write notations for all the songs on the tunes decided already. Kamble did all this and left. Phadke gave the notations to the Goanese arranger and asked him to arrange orchestration accordingly. That is why all the songs of this film including ‘Jyoti kalash chamke” became popular.

Shyamrao Kamble did not attempt to become a film composer himself, as he knew his limitations. However,for “Bibal-My Brother”-1975, he shared the music with Prabhakar Jog.

Shamrao himself was a brilliant composer as well. He used to compose Bhajans and once on listening to the Bhajans he composed, music director Pyarelal asked him “Shamraoji if you can compose the tunes so nicely, why don’t you think to be a full-fledged music director for films ?” He just said “I am more interested in the Music Arrangements..” Pyarelal asked him jokingly, “so shall I use your compositions ?” smiling, within a second he said, “Pyareji, my all work is for you… you may use it whenever you wish..!” I am very much sure that if Shamraoji had taken music-direction as a career, he would have definitely achieved the position in the list of most talented and successful composers in the Indian music field,” said Pyarelal Ramprasad Sharma, the ace music director.
“His knowledge and devotion towards music was so deep, that he even used to guide or suggest the top artists like Rais Khan (sitar), Hariprasad Chaurasia (flute), Shivkumar Sharma (santoor) about the playing during the recordings. He also used to express that a particular music piece would be more effective if improvised in a different manner etc. And the greatness of those artists also, who used to sportingly accept Shamraoji’s suggestions and appreciate the same.. This was only because they were fully aware of Shamraoji’s knowledge and capacity. And also this was the reason that we had given total freedom to him in our work also,” said Pyarelal.

In his early career, Shamrao had worked as a notation-writer. He was the one who wrote down the notation for Dinanath Mangeshkar’s natya sangeet (Chandrika hi janu, Vilopale Madhu Meelanat ya, Yuwati Mana etc).

Though he retired and settled in Poona, Laxmikant Pyarelal always called him for work. He has toured several countries with Laxmikant Pyarelal’s orchestra as an Arranger. Shamrao kamble died on 17-10-2008, at Dombivali, due to Brain Haemorrhage, at the age of 83 years.

The tribe of Arrangers always worked behind the curtain, without any limelight on them and without appearing in film credits.

Truly, they are the brains behind good music in films !

(Thanks to Subhashchandra Jadhav and mrs. Suhasini Jadhav,copyright holders of ‘Voh bhooli Dastaan’ and Imprints and images, with thanks.)


Song- Prem ki maala meri kahin toot na jaaye(Devyani)(1952) Singer- Asha Bhonsle, Lyricist- Manohar Khanna, MD- S Purushottam

Lyrics

aa aa aa aa aaa

prem ki maala meri
kahin toot na jaaye
balam tum aa jaao
tum aa jao
pyaar ka madhuban mera
kahin toot na jaaye
balam tum aa jaao
tum aa jaao

tum huye aankhon se ojhal
deep saare bujh gaye ae
deep saare bujh gaye
meri jholi mein thhe jitne
phool angaare baney
phool angaare baney
bhagya ka tha ?? mera kahin doob na jaaye
balam tum aa jaao
tum aa jaao
prem ki maala meri ee
kahin toot na jaaye
balam tum aa jaao
tum aa jaao

kaisi yogan baawri tujhko pukaare har ghadi
tujhko pukaare har ghadi
man mein aasha ki ??
aankhon mein saawan ki jhadi
aankhon mein sawan ki jhadi
dolti naiyya meri kahin doob na jaaye
balam tum aa jaao
tum aa jaao
prem ki maala meri
kahin toot na jaaye
balam tum aa jaao
tum aa jaao


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

Blog Day :

4832 Post No. : 16612

#The Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 151 # Qawwalis – 14 #
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Qawwalis were common in Hindi films when I was growing up(1968-1983). As I grww watching them in the movies in my childhood, some qawwalis left lasting impression on my impressionable mind.

Qawwalis like ‘raaz ki baat kehdoon to’, ‘jhoom baraabar jhoom sharaabi’, ‘shirdiwaale sai baba’, ‘raat abhi baaki hai baat abhi baaki hai’, ‘mehangaayi maar gayi’, were the most heard qawwalis when I was growing.

‘Chadhhta sooraj dheere dheere dhalta hai dhal jaayega’ was a favourite of all ‘orchestras’ and one person from a Orchestra from Jalgaon used to sing it so well that always left the audience ‘spell-bound’. I remember this qawwali ever since.

All these qawwalisgrew up on me as I grew up in my life.

I have a special fascination for this genre of music. It always takes me to an entirely different ‘musical world’.

In the movies of ‘seventies’ qawwalis were a major attraction in the movies. Qawwalis like ‘ham to jhuk kar salaam karte hain’, ‘ham lootne aayen hain’, etc. were liked very much by the audience. There may be many more which I could have missed to mention here.

Jaani Babu Qawwal, Shakila Bano Bhopali and Aziz Nazan were the names I particularly remember whenever there was a discussion on qawwalis.
And as I had mentioned in my posts earlier that another name which I vaguely remembered was Shankar-Shambhu. At that age I could not understand the greatness of these peoples, and it is only after coming into the contact of this blog, that I got to read, learn, and know about these stalwarts in Qawwalis.

There was a phase when disco made an entry into HFM in mid-eighties to let us say till mid-nineties when Qawwalis took a little backseat (I think), otherwise they were always likened and had always been an integral part of HFM. In the recent years we have seen many Qawwalis in Hindi Films. The new digital age, technological advances in music instruments have enriched the presentation of Qawwalis. Movie makers have been experimenting by including ‘qawwali song’ or ‘fusion qawwali songs’ in their movies.

In Hindi movies qawwalis are woven with the story topic of the movie. So, we have ‘’romantic qawwalis’, ‘men vs women’, ‘husn aur ishq’, ‘celebrating a festival’, ‘devotional qawwalis’, ‘chor-police’, ‘marriage celebration’, ‘mujrim-munsif’, ‘scoring peanuts over each other’ (Atulogy), ‘nok-jhonk’, ‘teasing each other’, ‘musical competition’, and other types of qawwalis in our movies.

Or it may be a competition of poetry between two groups (read men and women mostly) where ‘qawwalis’ would perfectly fit into the plot of a movie.

In many movies they have been used to keep the suspense intact where actors, actresses would disguise themselves and enter the villain’s den to rescue their partners/friends caught by the villain. Or sometimes the villain will kidnap close relatives of the hero or heroine in the movie and ask for a ‘hefty’ ransom. And the hero/heroine would plan a song or disguise as a ‘musical-troupe’ to enter the ‘villain’s den’ to rescue a ‘child’, ‘relatives’ or a ‘famous scientist’ or a ‘police commissioner’ who would have been kidnaped by the villain or his associates.

To mis-lead the villain the hero/heroine or their friends and well-wishers would sing a qawwali and simultaneously free the innocent ones caught by the villain. Sometimes this would happen just before the climax of the movie.

In our movies we also have qawwalis where we see ‘lawful elements(police, CID) and the unlawful elements(goondas, or burglar, thieves)’ have a ‘qawwali muqaabla’ in “disguise”.

I am not a competent person to write or discuss about the technicalities of Qawwalis. But since I like them very much, I had undertaken this series and have presented some qawwalis from the ‘decade of seventies or 1971-to-1980’.

If we look on the statistics of the qawwalis already posted on the blog till today’s song, we get the following details (which could be of interest to music connoisseurs).

Year wise Qawwalis Lyricist wise qawwalis on the blog Composer wise qawwalis on the blog
Year No of Songs Lyricist No of Songs Composer No of Songs
1945 1 Sahir Ludhianvi 26 Roshan 12
1946 1 Shakeel Badayuni 12 Kalyanji-Anandji 9
1948 1 Rajinder Krishan 11 Madan Mohan 8
1949 3 Anand Bakshi 10 Ravi 8
1950 5 Majrooh Sultanpuri 10 Laxmikant-Pyarelal 8
1950 1 Shewan Rizvi 8 Iqbal Qureshi 7
1951 3 Qamar Jalalabadi 6 N. Datta 7
1953 3 Raja Mehdi Ali Khan 5 R.D. Burman 7
1954 5 Asad Bhopali 4 S. Mohinder 6
1955 7 Farooque Qaiser 4 C. Ramchandra 5
1956 7 Kaifi Azmi 4 Jaidev 5
1957 4 Verma Malik 4 Chitragupt 5
1958 6 Not attributed(+Unattributed) 4 Naushad 5
1959 5 Hasrat Jaipuri 3 Ghulam Mohammad 4
1960 10 Ravindra Jain 3 Iqbal 4
1961 11 Anjum Jaipuri 2 Hemant Kumar 3
1962 7 Aziz Ghazi 2 Husnlal Bhagatram 3
1963 15 Gauhar Kanpuri 2 S.D. Burman 3
1964 9 Khumar Barabankvi 2 Shyam Sundar 3
1965 7 Nakshab 2 Jaani Babu Qawwal 3
1966 5 Saba Afghani 2 Ravindra Jain 3
1967 4 Zafar Gorakhpuri 2 Anil Biswas 2
1968 2 A.H. Rizvi 1 Aziz Nazaan 2
1969 1 A. Karim 1 Baabul/Babul 2
1970 3 A. Shamsheer 1 Dattaram 2
1971 3 Aarzoo Lucknowi 1 Hansraj Bahl 2
1972 1 Akhtar Lucknowi 1 Jimmy 2
1973 6 Akhtar Romani 1 Khayyam 2
1974 2 Allama Iqbal 1 Shankar Jaikishan 2
1975 2 Anjaan/Jeet 1 Sonik Omi 2
1976 9 Anjum Rehmani 1 Usha Khanna 2
1977 3 Anwar Farrukhabadi 1 Bulo C. Rani 2
1978 1 Aziz Kashmiri 1 Nashad 1
1979 6 Bharat Vyas 1 A.R. Qureshi 1
1980 3 Dil Lakhnavi 1 A.R. Rehman 1
1981 2 Gulshan Bawra 1 Aziz Ahmed Khan Warsi 1
1982 3 Indeewar 1 B.N. Bali 1
1983 1 Jaan Nisar Akhtar 1 B.T. Singh 1
1990 1 K.L. Pardesi 1 Babloo Dheeraj 1
1991 1 Kaiser Ratnagirvi 1 Bappi Lahiri 1
1999 1 Kidar Sharma 1 Bipin Mehboob 1
2009 1 Mohan (Bihar) 1 C. Arjun 1
2013 1 Mohsin Nawab 1 Chaand Pardesi 1
Momin 1 Damodar Sharma 1
Naqsh Lyallpuri 1 Hafeez Khan 1
Nazaan Sholapuri 1 Harbans 1
Niaz Usmani 1 Jay Kumar 1
Niranjan Iyengar 1 Khemchand Prakash 1
Nusrat Fateh Al1i Khan 1 Lala Sattar 1
Nyay Sharma 1 Nirmal Kumar (S.D. Batish) 1
P.L. Santoshi 1 Nisar Bazmi 1
Parvez Shamshi 1 Nusrat Fateh Ali Khan 1
Prasoon Joshi 1 Peter Nawab 1
Prem Dhawan 1 Rashid Atre 1
Ramesh Pant 1 Ravindran 1
Roopbani 1 Robin Bannerji 1
S.H. Bihari 1 S. Kishan 1
Saba Rampuri 1 S.N. Tripathi 1
Sardar Aah Sitapuri 1 Sajjad Hussain 1
Shailendra 1 Shankar Ehsaan Loy 1
Shakeela Bano Bhopali 1 Shankar Shambhu 1
Shor Niyazi 1 Snehal Bhatkar 1
Surjeet Sethi 1 Sudipta Bhattacharya 1
Tanvir Naqvi 1 Vasant Ramchandra 1
Vishwamitra Adil 1 Vinod 1
Anjum 1
Ramesh Chandra Pandey 1

(The above details are so far compiled for the 173 qawwalis already posted on the blog. There might be some songs which might be missing in absence of the tag ‘Qawwalis’ on their post.
We will revisit the details in the future as and when possible, so till then … 😊)

In this series we have so far listened to the following qawwalis.

SN Qawwaali
1) Bada lutf thha jab kunwaare thhe ham tum
2) Hashr mein unka jab saamna ho gaya
3) Ham lootne aaye hain ham loot ke jaayenge
4) Is mulaaqaat ka bas mazaa leejiye
5) Yaar dagaa de gaya dulhan ko le gaya
6) Na tum hato na ham haten
7) Us jaan e do aalam ka jalwaa
8) Kaun hai mujrim kaun hai munsif
9) Mehfil mein aaye ho aao muqaabil jaan jaayenge
10) Dil ki lagi bujhaa de Ajmer waale Khwaaja
11) Tumhaara pehlaa number Nabi ke tum ho dilbar
12) Nizamuddin Aulia banaa do bigde kaam hamaare
13) Tere chaahnewaale aaye hain

For now, we are concluding this series with the today’s qawwali from the ‘1980’ movie ‘Be-reham’.

This is another movie of which the dedication is to ‘All policemen known and unknown who lived for discipline and died for discipline’. That would also be sufficient for all to guess what the movie is all about.

“Be-reham-1980” was directed by R. Jhalani for ‘K.D.S. Films’.

It was produced by K.D. Shorey who also wrote the story of this movie.

Its star cast included Sanjeev Kumar, Mala Sinha, Shatrughan Sinha, Reena Roy, I.S. Johar, Kadar Khan, Urmila Bhatt, Keshto Mukherjee, Manmohan, Shetty, Raj Mehra, Rinku Jaiswal, Komila Virk, Viju Khote, Ashok Nag, Gurubachan, C.S. Dubey, Sheel Kumar, Amarjeet, R.S. Chopra, Madhup Sharma, Sudarshan Sethi, Sehgal, Uma Khosla, Vimal Chopra, and Helen in special appearance.

Moushumi Chatterjee, Kamal, Sujata and Dev Kumar make a friendly appearance in this movie.

This movie was passed by Censor Board on 01.08.1980.

Lyrics of the songs of this movie were written by Verma Malik and Jigar Muradabadi.
Music for this movie was composed by Laxmikant-Pyarelal.
Here is the list of songs this movie had.

SNo Song Title Singer/s Lyricist
01 Ik lafz e mohabbat ka adnaa sa fasaana hai Asha Bhonsle, Anup Jalota Jigar Moradabadi
02 Ye saal ki aakhri raat hai Shailendra Singh, Anuradha Paudwal, Chandrani Mukherjee Verma Malik
03 Haseenon ki duniya khudgarz hai Lata Mangeshkar Verma Malik
04 Milne ko aate ho, phir bhi mulqaat nahin karte ho Asha Bhonsle Verma Malik
05 Taqdeer ke kalam se koyi bach naa paayega Mohd Rafi Verma Malik/td>
06 Ham aaj ye kissaa khatm karen Asha Bhonsle, Mahendra Kapoor Verma Malik

Today’s qawwali happens when the movie is already having some interesting ‘twists and turn’ in its story. I am not going to detail it more to keep intact the interest of those who would like to or have to watch this interesting movie.

I remember when the movie was released one of my classmates had watched it soon after its release and he was full praise for Sanjeev Kumar and others’ performances in this movie.

Sanjeev Kumar was common favourite of all us friends. And in our circle of juniors and seniors we often discussed about his roles, and everybody would have likened his performance in each of his movies then.
We now move to the today’s song.

It is picturised on Moushumi Chatterjee and the actor whom I am unable to identify.

We can see Keshto Mukherjee, Shatrughan Sinha and Reena Roy with many others present in the picturisation of this song.
Today’s song is sung by Asha Bhonsle and Mahendra Kapoor and chorus. Lyrics are by Verma Malik and music is composed by

Let us now enjoy today’s qawwali watching Moushumi Chatterjee’s charming performance and Keshto Mukherjee’s special antics. 😊


Song-Ham aaj ye kissa khatm karen (Beraham)(1980) Singers-Mahendra Kapoor, Asha Bhonsle, Lyrics-Verma Malik, MD-Laxmikant Pyarelal
Male chorus
Female chorus

Lyrics

ho o o o o o o o
o o o o

ho o o o o o o o
o o o o

aa aa aa aa
aa aa aa aa
ho o o o o o o o
ho o o o o

dha pa dha ga ga ga ga ga ga
ga dha pa re re re re re
ga re ga ni ni ni ni ni ni
ni re saa

husn ek ulti raah hai
husn ek jhoothhi chaah hai
husn to ek gunaah hai ae
husn karta aa tabaah hai

is husn ke nakhre
naaz o nazaaqat
husn ke nakhre
naaz o nazaaqat

is husn ke nakhre
o nakhre
husn ke nakhre
naaz o nazaaqat
roz roz ab kaun sahe
ham aaj ye kissa khatm karen
ham
aaj ye kissa khatm karen
yaa husn rahe
yaa ishq rahe
ham aaj ye kissa khatm karen/em>

khud dhokha dagaa fareb karen
khud dhokha dagaa fareb karen
khud dhokha dagaa fareb karen
ilzaam ye husn pe deta rahe
ham aaj ye kissa khatm karen
ham

aaj ye kissa khatm karen

ik din dekha
ho o ik din dekha
dard ka maaraa
ik aashiq mastaanaa
jungle jungle maaraa maaraa
phirtaa thha deewaanaa
phirtaa thha deewaanaa
mujhko dekh ke kehne lagaa
ho o
mujhko dekh ke kehne lagaa
arey sun le meraa fasaanaa aa
har ashiq ke ghar ghar mein
paighaam mera pahunchaanaa
ke husn ko itnaa looto maaro
o o o
ke husn ko itnaa looto maaro
saari umr hi rotaa rahe
ham aaj ye kissa khatm karen
ham
aaj ye kissa khatm karen

hamaari bhi suno
hamaari bhi suno
Laila ki jab qabr pe chal kar
Ik haseenaa aa aayee
Ro ke lipat ke kehne lagi

Aa he
Ro ke lipat ke kehne lagi

Aa he
Ro ke lipat ke kehne lagi
Aye lailaa teri duhaayee
Kaise badlaa loon inse

Aa he
Kaise badlaa loon inse

Har aashiq hai harjaayee ee
To qabr se lailaa ki rooh ne
Yahi aawaaaaz lagaayi
Nikal pado ab taan ke seenaa
Donon mein se ek rahe
ham aaj ye kissa khatm karen ae
ham

aaj ye kissa khatm karen ae
yaa husn rahe
yaa ishq rahe
ham aaj ye kissa khatm karen
ham

aaj ye kissa khatm karen

inkaa har daur dekha
inkaa har taur dekha
aa he
inkaa har daur dekha
inkaa har taur dekha

ho salmaa
ya sulekha
hai sab dhokha hi dhokha
inkaa har daur dekha
inkaa har taur dekha

yahaan se aur wahaan se
poochh lo tum jahaan se
Wafaa ke de ke jhaanse
Palat dete hain paase

tarannum inke jhoothhe
tabassum inke jhoothhe
takallum inke jhoothhe
maraasim inke jhoothhe
aahe
chhalaawa hai chhalaawa
bhulaawa hai bhulaawa
inki ulfat ka daawaa
dikhaawaa hai dikhaawaa

tum ban thhan ke na niklo o
to ye dil naa phisley
ik baar marammat hogi
to phir dil naa machle
ishq husn ka dushman hai ae ae
ishq husn ka dushman hai
koyi iske bharose naa rahe
ham aaj ye kissa khatm karen
ham

aaj ye kissa khatm karen
rahe
ya husn rahe ya ishq
ham aaj ye kissa khatm karen
ham
aaj ye kissa khatm karen


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

Blog Day :

4827 Post No. : 16606

‘Sipahsalar’ (1956) was produced by F C Mehra under his banner, Eagle Films and was directed by Mohammed Hussain. The star cast included Shammi Kapoor and Nadira in lead roles supported by Kamal Kapoor, Sham Kumar, Samson, S Nazir, Cuckoo, Helen, Kumkum, Uma Dutt, Jagdish Kanwal, Rajan Kapoor etc. It is apparent from what I have seen from a few photographs of the films on the internet that the film belongs to the genre of costume drama.

The producer of the film, Faqir Chand Mehra (29/08/1923 – 29/07/2008) was born in Peshawar. The family shifted to Bombay (Mumbai) in early 1940s when he got a job in Royal Indian Air Force on the ground duties. However, after some time, he got suspended from the Air Force for in-subordination. With a big family to be looked after, he started dabbling in various types of small businesses. Eventually, he got success in the small business of film distributions in Afghanistan. It all started with F C Mehra taking some cans of films to Kabul and showing in a theatre. With good responses from the local population, he started earning good money. So, this was the beginning of F C Mehra’s tryst with Hindi films.

F C Mehra expanded his business of film distributions in Mumbai. He even started buying rights for the distribution of films under productions. One of such films where he had bought the distribution rights was struck up. He took over the production of that film and completed the film. So, F C Mehra accidentally turned film producer with this film and his banner, Eagle Films was born. (I guess, the film was ‘Sakhi Lutera’, 1955).

‘Sipahsalar’ (1956) was F C Mehra’s first planned film as a producer. In this film, he repeated the director, Mohammed Hussain and most of the supporting cast from ‘Sakhi Lutera’ (1955) and also lyricist, Farooq Qaiser and music director, Iqbal. Hereafter, F C Mehra produced and released films on a regular basis covering the genres of costume, suspense, thriller, comedy, social drama etc. Some of his prominent films included ‘Mujrim’ (1958), ‘Ajee Bas Shukriya’ (1958), Ujaala’ (1959), ‘Singapore’ (1960), ‘Professor’ (1962), ‘Shikaari; (1963), ‘Amrapali’ (1966), ‘Prince’ (1969), ‘Laal Pathar’ (1971), ‘Manoranjan’ (1974), ‘Hamaare Tumaare’ (1977), ‘Sohni Mahiwal’ (1984), ‘Aakhri Adaalat’ (1988) etc.

According to his son, Umesh Mehra, his father used to get the daily shoot of his film processed on the same evening after the pack-up well before the digital era came when the film’s shoots are available to watch online. The rushes would be seen by him in the next day morning and will be discussed with the director, If need be, some parts of the shoots would be reshot. He was also probably first to compensate his film distributors when his films resulted in the losses to them. He had done so when ‘Amrapali’ (1965) did not perform well on the box office.

Besides, Eagle Films, the film production unit which was a partnership among his family members, F C Mehra had a stake in Natraj Studios, Andheri along with film producers, Shakti Samanta, Promod Chakravarty, Atmaram and others. He also owned Minerva theatre in Mumbai and Plaza theatre in Delhi in partnership with Shammi Kapoor and others.

Sometime in 2000, F C Mehra develops some medical problem which was diagnosed as dementia. Doctors had certified that F C Mehra was incapable of taking financial and legal decisions. The last 8 years of his life were spent in the midst of dementia and amnesia without being aware of what was happening around him. In 2006, a dispute arose between the elder son, Parvesh Mehra and three younger sons led by Umesh Mehra about their father’s property, a part of which was sold by Umesh Mehra by virtue of holding the power of attorney on behalf of his father. The matter went to the court which dragged on for a long time. In the meanwhile, F C Mehra died of massive heart attack on July 29, 2008 and his eldest son, Parvesh Mehra, the complainant in the court case, died in December 2020.

Coming back to ‘Sipahsalar’ (1956), Shri Arunkumar Deshmukh who had seen the film in the theatre, had written a synopsis of the film in the article covering one of the songs of the film on the Blog. The film has the usual story of a good king being overthrown by his evil prime minister. The story again runs on the usual pattern with the ousted king who has escaped to a neighbouring country, regrouping his forces to fight the evil prime minister. From his loyal forces, the king selects Shammi Kapoor as his Sipahsalar. He conducts raids with his troops in which he is captured. But Nadira saves him and they run away to the forest. From the photographs which I have seen, it appears that the film has all the required ingredients for box office success like romance, dances, stunts, fights, comical situations etc, Finally, the Sipahsalar successfully carries the campaign to regain the lost kingdom for his king at the cost of sacrificing his life.

‘Sipahsalar’ (1956) had five songs written by Farooq Qaiser and set to music by Iqbal. Four songs from the film have already been covered on the Blog as under:

Songs Date of Post Singer/s
aankhon mein aankhen daal ke 07/08/2012 Asha Bhosle-Rafi
dil ne chheda hai taraana 01/07/2013 Asha Bhosle-Talat Mehmood
madr e watan madr e watan 15/08/2017 Rafi
ajee o jee tumehn dekh jiya jale 13/09/2018 Geeta Dutt

I am presenting the fifth and the last and final song of the film, ‘ek anaar aur sau beemaar’, sung by Asha Bhosle and chorus. The song was not available on any video sharing platforms. I have made and uploaded the video clip of the song on a video sharing platform. From the lyrics as well as the garba beats, it would appear that the song was picturised on a group of dancers (led by either Cuckoo or Helen).

With this song, all the songs of the film have been covered on the Blog.

Acknowledgements: Some of the information about F C Mehra is sourced from an article written by Keyur Seta which appeared in Cinestaan. The references in the article about the court cases is sourced from indiankanoon.

Audio Clip:

Song-Ek anaar aur sau beemaar (Sipahsalar)(1956) Singer-Asha Bhonsle, Lyrics-Farooque Kaiser MD-Iqbal
Chorus

Lyrics

ek anaar aur sau beemaar
ek anaar aur sau beemaar
mushkil mein hai mera pyaar
o saajna
mushkil mein hai mera pyaar
kis’se churaaun main apni nazren
kis’se churaaun main apni nazren
kis se karoon aankhen chaar
o saajna
mushkil mein hain mera pyaar

shaam suhaani ritu mastaani
haan ritu mastaani
main hoon akeli dagar anjaani
dagar anjaani
jaaun mein kaise uss paar
o saajna
mushkil mein hai mera pyaar
ek anaar aur sau beemaar
mushkil mein hai mera pyaar
o saajna
mushkil mein hai mera pyaar

tirchhi nazar hai jee baanki adaa hai
jee baanki adaa hai
meri adaaon pe duniya fida hai
jee duniya fida hai
lootoon main kiska qaraar
o saajna
mushkil mein hai mera pyaar
ek anaar aur sau beemaar
mushkil mein hai mera pyaar
o saajna
mushkil mein hai mera pyaar

ghaayal karoon main jiya tirchhi nazar se
haan tirchhi nazar se
?? zamaana main guzroon kidhar se
guzroon kidhar se
kiski sunoon main pukaar
o saajna
mushkil mein hai mera pyaar
ek anaar aur sau beemaar
ek anaar aur sau beemaar
mushkil mein hai mera pyaar
o saajna
mushkil mein hai mera pyaar


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

Blog Day :

4815 Post No. : 16586 Movie Count :

4520

Hullo Atuldom

I am super charged as I sit to write this post. I don’t know how to express my SURPRISE that the songs of this movie are yet to appear on the blog. I made a quick call to Atulji to confirm that this movie has not yet made its debut. I was making sure that it doesn’t appear under any other spelling. Atulji said that he is aware that it is yet to debut, so let us have it.

This 1980 release is a fantasy film based on a story from the Arabian Nights. Something that every child would have grown up reading, hence I am refraining from giving the story/ synopsis. I shall just say that this film had a generous dose of romance and romantic songs along with good quality action scenes. The film was an Indo-Soviet joint venture with the Uzbek director Latif Faiziyev and Indian director Umesh Mehra directing a set of Bollywood stars/actors and some Russian, Caucasian and Central Asian actors. Anand Bakshi and RD Burman were in charge of the songs that are popular till today and only three singers were used- Asha Bhonsle, Kishore Kumar and Lata Mangeshkar.

Before I present the song I would like to go into flashback with this song. That was to wish the actor Prem Chopra on his birthday. In there I had mentioned how his pairing with Rajesh Khanna was sure formula for success in the early 70s- he appeared in 19 movies as a co-actor of Rajesh Khanna.

Another actor with whom he was acceptable to the audiences was Dharmendra with whom he has appeared in around 30 films.

There are other actors with whom he has been regularly appreciated with and has done sizeable number of films – like 16 with Manoj Kumar, 24 with Amitabh Bachchan. I would like to know the count of films that Prem Chopra appeared, with respect to other prominent actors like Dev Anand, Jeetendra, Feroz Khan, Sunil Dutt, Rishi Kapoor etc. I know for sure that he has acted in 4 movies with his idol Dilip Kumar.

In my post of the 23rd September 2018, I had also mentioned how there were numerous songs where the heroines will sing love songs with the characters played by Chopra in order to get a response from the hero. Today’s song is similar to Kitna mazaa aa raha hai(Raja Jani)(1972) with a minor difference. Here we have the heroine dancing to the tunes of the hero. The ultimate aim being to rescue the girl from her predicament and an unwanted marriage with the wily Shamsher (Prem Chopra). Here the hero Alibaba (Dharmendra) has come as a Jadugar and has promised Shamsher that he will do some ‘mumbo-jumbo’ and get Marjina (Hema Malini) agree to his marriage proposal. For starters, the Jadugar gets Shamsher to dance and Marjina stands like a statue. But when she sees her lost ‘paayal’ (called ‘ghungroo’ in the song) she recognizes the Jadugar and joins him in the song-n-dance routine.

I have read in one of Prem Chopra’s interviews in the past, that he is scared of snakes and that he was petrified to shoot this song as the last stanza has a snake appearing out of nowhere. So possibly the priceless expression that he has given was not acting.

Prem Chopra has been a great supporting actor for almost 61 years. He began his career with a Punjabi film in 1960, followed by brief roles in ‘Hum Hindustani’, ‘Woh Kaun Thi’ etc. ‘Shaheed’ along side Manoj Kumar can be said to be his breakthrough film. ‘Upkaar’ and ‘Do Raaste’ also need to be mentioned as they presented him with different types of characters in spite of being Gray-shaded.It is well-known that he is connected to the Kapoor Khandaan as his wife and Raj Kapoor’s wife were sisters so that also makes him a brother-in-law to Prem Nath, Rajendra Nath and Narendra Nath.
Here is wishing this Tall and Handsome actor on his 86th birthday good health and lots of happiness.

Presenting ‘Alibaba aur 40 Chor’ (1980) on the blog, with this song, which I have written without hearing the video. After writing the lyrics I heard the song and found one error in what I had noted. I found that in all these years (41 years) I was singing this one line bas hadd kar di o bedardi wrong.


Song-Jaadugar jaadoo kar jaayega(Alibaba Aur 40 Chor)(1980) Singers-Kishore Kumar, Asha Bhonsle, Lyrics-Anand Bakshi, MD-R D Burman
Both

Lyrics

jaadugar jaadoo kar jaayega
kisi ko samajh nahin aayega
o marjina naach haseena
mushkil kar de sab ka jeena
nahin toh
nahin toh
jaadugar jaadoo kar jaayega
kisi ko samajh nahin aayega
o marjina naach haseena
mushkil kar de sab ka jeena
nahin toh
nahin toh
jaadugar jaadoo kar jaayega
kisi ko samajh nahin aayega

naachegi teri jawaani
dekhegi duniya deewaani
har cheez hai mere bas mein
kya aag hai kya hai paani
o naachegi teri jawaani
dekhegi duniya deewaani
har cheez hai mere bas mein
kya aag hai kya hai paani
arre chhoomantar chhoo
dekh idhar tu
pehen le inko
le yeh ghunghroo
warna ghazab ho jaayega
ae jaadugar jaadoo kar jaayega
kisi ko samajh nahin aayega

maana tujhe maine maana
tu jaadugar hai deewaana
bebas mujhe kar diya yoon
thhehra hai saara zamaana
ho o o
maana tujhe maine maana
tu jaadugar hai deewaana
bebas mujhe kar diya yoon
thhehra hai saara zamaana
bas hadd kar di o bedardi
batla kya hai teri marzi
kab tak mujhe tadpaayega
u u u u

ae jaadugar jaadoo kar jaayega
kisi ko samajh nahin aayega

kismat kaa chamka sitaara
toone mujhe jab pukaara

chup-chaap tu naachti ja
jab tak karoon main ishaara
oooo
kismat kaa chamka sitaara
toone mujhe jab pukaara

chup-chaap tu naachti ja
jab tak karoon main ishaara
o o
tere kadmon mein ye sar hai
tu hai toh phir kis ka darr hai
jo hoga dekha jaayega
oooo ooo

aye jaadugar jadoo kar jaayega
kisi ko samajh nahin aayega
o marjina naach haseena
mushkil kar de sab ka jeena
nahin toh
nahin toh
jaadugar jaadoo kar jaayega
kisi ko samajh nahin aayega


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

Blog Day :

4811 Post No. : 16580

In recent days the ‘Yippeeee’ activity has taken a backseat on the blog. The ‘Yippeeee’ project too has been slowed down, and it is almost one year now when our ‘Yippeeee Guru’ had appeared last giving his darshan to ‘Yippeeee members like me’. 😊

I wished we should be ‘Yippeeee’ing’ at least one movie in a week if not daily. The last Yippeeee moment on the blog was on 27th July’2021 when the final song of movie ‘Jai Santoshi Maa-1975’ got covered and the movie got YIPPEED.

There are quite a few movies waiting for their final song to be covered in the blog and thus getting admitted to the club of YIPPEED movies.

Today we induct one more movie to the hall of fame of YIPPEELAND. This movie is ‘Saudagar-1973’.

I had watched this movie years back on a TV channel. But until I had not watched this movie, I mainly associated this movie with its songs ‘Har haseen cheez ka main talabgaar hoon’ and ‘Sajna hai mujhe sajna ke liye’ . I think these two songs were the well-known songs from this movie. But after watching the movie I do like other couple of songs from this movie and mainly the ‘majhi song’ – ‘door hai kinaaraa’ which grows up on us as we listen to it more and more. I like the movie and story content and presentation too.

This movie debuted on the blog on 04.04.2009 with its first song Har haseen cheez ka main talabgaar hoon. After that within a gap of less than two weeks the second song of this movie was posted on the blog and this was ‘Sajna hai mujhe sajna ke liye’ which got posted on 15.04.2009.

One more known song from this movie i.e., Tera mera saath rahe followed the second song just after a gap of one day and this was posted on 17.04.2009. The fourth song of this movie followed the third song and was posted on next day i.e., on 18.04.2009. The fourth song posted on the blog was ‘Door hai kinaaraa, gehri nadi ki dhaaraa’.

After this fourth song the movie had to wait the next ten years when its fifth song was posted on the blog. This song was presented by Shri. Sudhir ji. He discussed the story and other details of this movie in his post. This fifth song was ‘champa nahin, chameli nahin, main genda nahin, gulaab nahin… main hoon phool baano’. I would request our readers to visit this post to read about the movie in detail. This song was posted in ‘Blog Ten Years Challenge’ on 04.04.2019. This was the fifth song from this movie posted on the blog.

The sixth song of this movie then appeared after a gap of more than a year and was posted on the blog on 09.10.2019. This song was ‘Husn hai ya koi qayaamat hai’. This song-post was presented by Peevesie’s Mom ji as tribute to the music director Ravindra Jain on his Remembrance Day. Peevesie’s Mom ji had also discussed about the story and other details of the movie in her post. I will not repeat them all again here.

Today’s song is the seventh and final song of this movie to be posted on the blog. This song is sung by Asha Bhonsle. Padma Khanna lip-syncs the song on the screen. Amitabh Bachchan is also seen in the picturization.

“Saudagar-1973” was a ‘Rajshri Pictures Pvt Ltd, Bombay’ ‘s presentation. It was directed by Sudhendu Roy. It had Nutan, Amitabh Bachchan, Padma Khanna, Trilok Kapoor, Murad, Dev Kishan, V. Gopal, C.S. Dubey, Pardesi, Narbada Shankar, Santosh Ghosh, Nadir, Rasraj, Paritosh Chaudhary, Ashok Mitra, Samar Roy, Jugnu, Chandu Ilaahabadi, Ramesh Verma, Shriram Shastri, Chaturvedi, Bihari, Leela Mishra, Paro, Habiba, Salma, Sitara, Suraiyya, Master Saka, Master Firdaus, Baby Shameena and many others.

This movie had seven songs. All songs of this movie were written and composed by Ravindra Jain.

Here is the list of songs of ‘Saudagar-1973’ as mentioned in HFGK-Vol-V (1971-1980).

SNo Song Title Singer/s Posted On
01 Har haseen cheez ka main talabgaar hoon Kishore Kumar 04.04.2009
02 Husn hai ya koi qayaamat hai Mohd Rafi, Aarti Mukherjee 09.10.2020
03 Main hoon phoolbaano, champa nahin Lata Mangeshkar 04.04.2019
04 Tera mera saath rahe Lata Mangeshkar 17.04.2009
05 Kyon laayo sainyyaa paan Asha Bhonsle Being discussed in this post
06 Door hai kinaaraa, gehri nadi ki dhaaraa Manna Dey 18.04.2009
07 Sajna hai mujhe sajna ke liye Asha Bhonsle 15.04.2009

Six songs from this movie have already been posted on the blog as mentioned above. Today’s song is the seventh and final song of this movie.

Let us now listen to today’s song …

With today’s song, all songs of the movie ‘Saudagar-1973’ get covered on the blog and the movie joins the ‘Yippeeee-club’. 😊

Audio

Video

Song-Kyun laayo sainyya paan (Saudaagar)(1973) Singer-Asha Bhonsle, Lyrics-Ravindra Jain, MD-Ravindra Jain

Lyrics

kyun laayo sainyyaa paan
mere honthh to yoonhi laal
kyun laayo sainyyaa paan
mere honthh to yoonhi laal
piya honthh hain tere kaale
le tu hi ye paan chabaa le
piya honthh hain tere kaale kaale
tu hi ye paan chabaa le
aur apni badhaa le shaan
mere honthh to yoonhi laal
kyun laayo sainyyaa paan
mere honthh to yoonhi laal

kaajar bindi
mahaavar mehendi
kangnaa jhumkaa saadi ee
sabse achchhi sabse mehengi
sainyyaa preet tumhaari ee
sabse achchhi sabse mehengi
sainyyaa preet tumhaari
kiya tan man tere hawaale
din din ye preet badhaa le
kudrat ne kiya ehsaan
mere honthh to yoonhi laal
kyun laayo sainyyaa paan
mere honthh to yoonhi laal

main to thhi aazaad pari
aakaash pe udne waali
tere indarjaal mein phans gayi
haaye main bholi bhaali
tere indarjaal mein phans gayi
haaye main bholi bhaali
toone aise dorey daale
dil sambhlaa nahin sambhaale ae
tu maan bhale naa maan
mere honthh to yoonhi laal
kyun laayo sainyyaa paan
mere honthh to yoonhi laal

jaan gayi main tere man ki
kyun tu paan khilaawe
honthhon ka ras paan ke ras mein
ghol ke peenaa chaahe ae
honthhon ka ras paan ke ras mein
ghol ke peenaa chaahe
tere pyaar ke dhang niraale
o albele matwaale
tu to hai badaa naadaan
mere honthh to yoonhi laal laal
kyun laayo sainyyaa paan
mere honthh to yoonhi laal
piya honthh hain tere kaale
le tu hi ye paan chabaa le
piya honthh hain tere kaale kaale
tu hi ye paan chabaa le
aur apni badhaa le shaan
mere honthh to yoonhi laal
kyun laayo sainyyaa paan
mere honthh to yoonhi laal


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

Blog Day :

4800 Post No. : 16565

Hullo Atuldom

The song with this post is from “Zameen Ke Taare” (1960) not to be confused with the modern day “Taare Zameen Par” (2007). Both the movies had children as center of the movies. But that is where the similarities end.

“Zameen Ke Taare” had a cast of Daisy Irani, Honey Irani, Motilal, Achala Sachdev, Prem Kumar, Kiran Kumari, Anwar Hussain, Kumud Tripathi, Tun Tun, etc. I think Mumtaz and Jayshree T. too were in the movie as child actors. It was directed by Chandulal Shah and produced by Navinchandra Shah for Chandra Movies. It had music by S. Mohinder and songs were written by Tanveer Naqvi, Pandit Indra and Anand Bakshi. The movie had Asha Bhonsle, Sudha Malhotra, Manna Dey and Mohd Rafi as playback singers. It had eight songs of which the blog has the following three.

Song Date of posting
Tinke pe tinka chhutti ke din ka 2 June 2011
Deep gagan ke tum ho 29 November 2016
O mere pyaaron zameen ke taaron 8 september 2020

The last song posted (O mere pyaaron zameen ke taaron) had a post by Nahmji. It was an attempt to combine the birthdays of the singing legend Asha Bhonsle and music director of yesteryears S. Mohinder. Almost like what I am attempting with this post. And just like Nahmji, I also realized that the composer of the ’50s and ’60s passed away last September on the 6th, two days before he would have turned 95. I read through this news item which was written by Kushal Gopalka. It gave me a lot of knowledge about the music director of such popular songs as ‘Guzara hua zamaana aata nahi dobaara’ from the 1956 release ‘Shirin Farhad’. If I had not read that article I would not have known that I have heard songs tuned by him and enjoyed them.

Today’s song has the child actors Daisy Irani (Mangoo) and Honey Irani (Tingu) lip-syncing to Asha Bhonsle and Sudha Malhotra. This sweet and cute sounding song is penned by Anand Bakshi. The kids Mangoo and Tingu are on a trip in quest of Bhagwan because they have been told that their mothers have gone to “Bhagwan ka ghar”. In the course of their travels they come in contact with a number of people who provide them with diverse answers about where to find Bhagwan. The songs of the movie are set around these incidents. Rather interesting movie, I managed to see part of it in my quest of locating the actors mentioned in the cast.

With this post I wish my favourite singer Asha Bhonsleji on turning a year older. May she have a healthy and lovely life and may we have the pleasure of hearing her for some more years.


Song-Chunnu patang ko kehta hai kite (Zameen Ke Taare)(1960) Singer-Asha Bhonsle, Sudha Malhotra, Lyrics-Anand Bakshi, MD-S Mohinder

Lyrics

{whistling}
chunnu patang ko kehta hai kite
bolo beta tingu yeh wrong hai ya right
right right right
ram ke murge ki hai ek taang
bolo beta tingu yeh right hai ya wrong
wrong wrong wrong

lakdi ki khatiya pe haathi gaya let
hathni se kaha ke banao aamlet
lakdi ki khatiya pe haathi gaya let
hathni se kaha ke banao aamlet
football match mein jeeta hai maine cup
arre bolo beta tingu ye sachch hai ya gap
arre gap gap gap

{whistling}

oont ne chidiya ko kar liya catch
donon mein hua phir khushti ka match
oont ne chidiya ko kar liya catch
donon mein hua phir khushti ka match
chidiya se oont ki taang gayi toot
arre bolo beta tingu ye sachch hai ya jhoot
jhooth jhooth jhooth

ek tamasha maine dekha mere meet
paan khaake ek chooha gaa raha tha geet
ooohoo ooohoo
ek tamasha maine dekha mere meet
paan khaake ek chooha gaa raha tha geet
paas baithi billi tabla rahi thi peet
paas baithi billi tabla rahi thi peet
bolo beta tingu yeh galat hai ya theek
theek arre re re galat

{whistling}


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

Blog Day :

4798 Post No. : 16560

Today’s song is from the film Shiv Bhakta-1955.

Today (6-9-2021) is the last Monday of the Shrawan month in this part of India (Maharashtra, Gujarat, Karnataka, Kerala, Tamilnadu, Andhra pradesh, telangana,Assam, West Bengal and Tripura). Actually, today is also the last day of this month of shrawan. From tomorrow month of Bhadrapad starts and within few days, will be Ganesh Chaturthi- celebrations for the home coming of Lord Ganesh – the Vighna Harta i.e. संकट मोचक (remover of Obstacles).

Film Shiv Bhakt-55 was made by A.V.M. in Madras. By and large, in my opinion, South India has protected, followed and nurtured the Hindu Dharma and Indian traditions as compared to other parts. Culture is practically the same all over India, but in the south one can still see old traditions and cultural activities followed more. This is my personal observation. As a Marketing Professional I had the opportunity to travel throughout India-even smaller towns- for almost 25 years. In these years i have observed and made notes in my diaries from time to time about the specialties of each state and its people.

Mythological films are very popular in South India. Though the number is less now, still more such films are made in the south than any other part of India. As if a tradition, most of the famous and the well known actors from south began their film careers by first doing a Mythological film. M G Ramchandran-MGR, N T Rama Rao-NTR, A Nageshwar Rao-ANR, Anjali Devi, Sivaji ganeshan and many others began with a religious film. Even Dr. Rajkumar of kannada movies started with a film on a Shiv Bhakt – Bedara kannappa-54.

Today’s film Shiv Bhakta-55 is directed by one legend from the south- H L N Simha or H. Laxmi Nar Simha. His name is not known outside the south, but in the south, especially in the Kannada film world, he was a highly respected personality.

H L N Simha was born on 25-7-1904, at a village Madhalli, in Malavalli in Mandya district of Karnataka. Starting as an actor in Dramas, he soon established his own drama company-” Chandrakala Natak Mandali”,along with a fellow actor Mohd. Peer. His first film was Sanskara Nauka-36,in which he was an actor,writer, screenplay writer and its Director too. He is famous for locating and introducing Dr. Rajkumar into films. Raja Sulochana and Pandaribai are also his discoveries. He was credited for making Dr. Rajkumar work in a Telugu film, under his direction-” Kalahasti Mahatmyam”-54. This was Rajkumar’s only film outside Kannada language !

Mr.Simha served the stage and film industry for nearly half a century. His interest in stage began when he was a young lad and wrote his short play, ‘Destiny Rules Humanity’ and brought it on stage with Mohamed Peer, another renowned stage actor of yesteryears. Later he joined the famous Varadachar Drama Company and began playing minor roles.

Appreciating the stage talent of Mr.Simha, Gubbi Veeranna sent him to Bombay, present Mumbai, for training in film direction. After the training, Mr.Simha joined hands with Mr.Gubbi Veeranna as Assistant Director and produced a silent movie, “His Love Affair”. His major stage play, “Samsara Nouka” (the life’s boat) brought him rich encomiums as a top drama producer and director. It was brought on stage during 1933. Breaking tradition of Pouranic plays, “Samasara Nouke” tread a new path. It became the first social play in Kannada touching upon the prevailing social issues and conditions like dowry, unemployment and widow marriage. Simha played the leading role as Maadhu, while Peer Sab as Sundara in this play, which was staged in the neighbouring state of Tamil Nadu also, besides in several places in Karnataka.

His role as Shahajan in the same title play and as Chenna in ‘Gouthama Buddha’ play brought him more laurels. Then leading stage personalities like T.P.Kailasam, Pandit Taranath and Thirumale Thatacharya Sharma were among those who lauded the acting abilities of Mr.Simha, apart from his abilities as a director of Kannada plays.

Simha later set up his own troupe, “Simha’s Select Artistes” and produced dramas like “Abba Aa Hudugi”, “Bamgarada Bara”, “Madhakari Nayaka”. Those who acted in these dramas included Rathnakar and M.V.Narayana Rao (who spoke at the function on July 27), film script writer Sorot Aswath, and M.V.Rajamma.

The next phase in the life of Mr.Simha was that of a film producer. Then famous film producer of Madras, Mr. K.Rajagopala Chettiar invited Mr. Simha to produce his famous play “Samsara Nouka’ as a film. Taking up the challenge of producing a social Kannada film for the first time, Mr.Simha introduced to the film industry B.R.Panthulu, M.V.Rajamma, Dikki Madhava Rao, Tamash Madhava Rao, Hunsur Krishnamurthy and Hanumantha Rao, who later became leading personalities in the Kannada film world.

When Mr. Simha was looking for a suitable person for his ‘Bedara Kannappa’, he saw Mutthu Raju, now Dr. Rajkumar, who has now become a household name in the film industry, at Nanjangud and gave him the new name in the lead role. This film became a hit and brought Dr.Rajkumar to limelight. Apart from Dr.Rajkumar, Mr.Simha introduced several other famous personalities like G.V.Iyer, Narasimha Raju, Raja Sulochana, Honnappa Bhagavathar, Raja Shankar, B. Hanumanthachar to the film world.

Mr.Simha’s last film was “Anugraha” in 1970, had a song written by his son, Mr.Sheshachandra. But unfortunately, Mr.Simha was not alive to see the film, when it was released. He passed away on July 3, 1972, leaving a legend behind him, which, unfortunately very few remember today.

The cast of the film Shiv Bhakt-55 was Shahu Modak, Padmini, Ragini, Anant Marathe, Pandari bai,Ramachandra sastry and many others. Lyrics were by G S Nepali and the music was given by Chitragupt. One name in the cast is Pandaribai. She is one south indian actress who worked in many Hindi films Her first Hindi film was ‘Bahar’-51, in which evn Vaijayanti mala had debuted.

Pandari Bai (18-9-1928 to 29 January 2003) was an actress of South Indian languages films, mostly in Kannada language during the 1950s, 1960s and 1970s. She was born on 18-9-1928 at Bhatkal, Karnatak, to Kaveri Bai and Ranga Rao. She is considered Kannada cinema’s first successful heroine. She has acted as both heroine and mother to stalwarts such as Rajkumar, M. G. Ramachandran, Sivaji Ganesan. She was the heroine in Rajkumar’s debut movie Bedara Kannappa and also Sivaji’s debut movie Parasakthi. She has acted in over 1,000 films in Kannada, Tamil, Telugu and Hindi. Bai was honoured by Kalaimamani from the Tamil Nadu government.

Pandaribai began her career in acting in plays based on mythological stories before making her film debut in 1943 with the Kannada language film, Vani. She appeared in the 1954 Kannada film Bedara Kannappa opposite Rajkumar. In the film, she played Neela, wife of Kanna (played by Rajkumar), a hunter. She established herself as a lead actress portraying a woman with a “progressive” image assuming the burdens of a feudal patriarchy in films such as Sant Sakhu (1955) and Rayara Sose (1957). In 1959, she appeared in Abba Aa Hudugi, with her sister Mynavathi. The film is considered a landmark in Kannada cinema.
Later in her career Pandari Bai played the mother of stars older than her, most of whom had played the lead with her in her earlier years. She worked in 27 Hindi films. Her first Hindi film was Bahar-52, in which Vaijayantimala made her Debut in Hindi films. Pandharibai’s Hindi pronunciation initially was typically south indian, but over a period, she improved her diction. Her last Hindi film was Time Bomb-1996. However, after her death on 29-1-2003, 3 more delayed Hindi films were released. She came to be known to Hindi audiences mainly due to her role in the film Bhabhi-57. Some of her famous Hindi films were Panchayat-58, Paigham-59, Rakhwala-71, Apna desh-72 and Sampoorna Ramayan-73.

The story of the film was – The story of the film was-
Manimant and Alka are a happy couple in Gandharva Lok. Due to a curse by Indra, they have to take birth on Earth. They are found in the jungle by a Hunter who adopts them and brings them up. When they are young, they are married as Deena and Neela. They live a happy life, but some bad elements in their tribe spread rumours about them and they are thrown out of the village. Deena is very angry and becomes a nastik (atheist) because, for no fault of theirs, god has punished them. Neela however has deep faith in God.

One day when Deena could not get any animal for hunting, tired he sits at a place, which happens to be a Shiva Temple. The priest Kashinath finds out about him and asks him to repeat the mantra “Om Namah Shivay” continuously till he gets an animal. Deena, without knowing anything about it, starts the Japa and after some time his heart is filled with bhakti Rasa and love for God.

The chief Priest Kailashnath is a bogus person. He steals God’s jewellery and gives it to his dancer girlfriend Rani. When the theft comes to light, Deena is accused of the theft as he was in the temple. For the second time he has to suffer for no fault. Deena and Neela continue the Japa of Om Namah shivay and are ready to give the supreme sacrifice with their lives, when Lord Shiva appears before them and takes them to Gandharvalok again.

Today’s song is sung by Asha Bhosle.


Song- Miley ameeri ya fakeeri mujh dar kya(Shiv Bhakt)(1955) Singer- Asha Bhosle, Lyricist- G.S.Nepali, MD- Chitragupt

Lyrics

o o o o
o o o o
o o o o o
miley ameeri ya fakeeri
mujhe darr kya
Shambhu karen rakhwaari re ae ae
miley ameeri ya fakeeri
mujhe darr kya
Shambhu karen rakhwaari re

aayenge saajan
man naache mera
aansoo ki aad mein chamka sawera
chamka sawera
aayenge saajan
man naache mera
aansoo ki aad mein chamka sawera
chamka sawera
ho o ho o
laakh andhera ho magar
sada bhor ho
chamke nayi ujiyaari re
ho o ho o
miley ameeri ya fakeeri
mujhe darr kya
Shambhu karen rakhwaari re

aaya ghata se chanda nikal ke
maare khushi ke do naina chhalke
do naina chhalke
aaya ghata se chanda nikal ke
maare khushi ke do naina chhalke
do naina chhalke
ho o ho o
bas mein na man
nas nas mein hai pyaar ki
meethhi meethhi chingaari re
ho o ho o
miley ameeri ya fakeeri
mujhe darr kya
Shambhu karen rakhwaari re

mausam ke jaisa sukh dukh ka aalam
phir kaahe ro ke moti lutaana
moti lutaana
mausam ke jaisa sukh dukh ka aalam
phir kaahe ro ke moti lutaana
moti lutaana
ho o ho o
aise hi rahe bin kahe Mahadev jee
meri ?? phulwaari re
ho o ho o
miley ameeri ya fakeeri
mujhe darr kya
Shambhu karen rakhwaari re


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

Blog Day :

4797 Post No. : 16559

Pancham’s Music – Eighties (1981-1990) -2 (1982)
——————————————————————–

In today’s post we move on to Pancham’s music in the year 1982 , viz the second year of the decade of 1981-1990.

Following movies released in 1982 had their music composed by R.D. Burman.

Sno Movie Title Director Lyricist Date of Censor Certificate Status on the blog
1 Aamne Saamne Aseem Samanta Anand Bakshi 07.01.1982 Yet to be introduced
2 Adhooraa Aadmi Amjad Khan Yogesh 21.09.1982 Yet to be introduced
3 Ashaanti Umesh Mehra Anand Bakshi 01.05.1982 2 of 5 songs posted
4 Bemisaal Hrishikesh Mukherjee Anand Bakshi 24.02.1982 Yippeeee’ed
5 Dard Kaa Rishtaa Sunil Dutt Anand Bakshi 31.12.1982 2 of 6 songs posted
6 Gangaa Meri Maa Shyam Ralhan Gulshan Bawra 27.08.1982 Yet to be introduced
7 Maasoom Shekhar Kapoor Gulzar 18.10.1982 Yippeeee’ed
8 Namkeen Gulzar Gulzar 30.01.1982 Yippeeee’ed
9 Sanam Teri Qasam Narendra Bedi Gulshan Bawra 06.05.1982 2 of 6 songs posted
10 Shakti Ramesh Sippy Anand Bakshi 22.09.1982 2 of 5 songs posted
11 Shauqeen Basu Chatterjee Yogesh 16.04.1982 Yippeeee’ed
12 Swaami Daadaa Dev Anand Anjaan 11.08.1982 2 of 6 songs posted
13 Teri Qasam A.C. Trilokchander Anand Bakshi 20.05.1982 1 of 6 songs posted
14 Yeh To Kamaal Ho Gayaa T. Ramarao Anand Bakshi 15.10.1982 Yet to be introduced
15 Yeh Vaadaa Rahaa Kapil Kapoor Gulshan Bawra 31.03.1982 2 of 6 songs posted

Pancham was still giving some of his very best music, just like the previous year 1981.

From the above movies I had watched ‘Aamne Saamne’, ‘Dard Ka Rishtaa’, ‘Maasoom’, ‘Sanam Teri Qasam’, ‘Teri Qasam’, ‘Ye To Kamaal Ho Gayaa’ and ‘Yeh Vaadaa Rahaa’.

I do not remember all of them now except ‘Maasoom’, ‘Ye Vaadaa Rahaa’ and ‘Dard Ka Rishtaa’. But I remember the music of most of these movies. I also remember some songs from ‘Bemisaal’, ‘Ashaanti’, ‘Aamne Saamne’, ‘Shakti’ and ‘Swaami Daada’. ‘Shauqeen’ and ‘Namkeen’. I think I did watch ‘Shauqeen’ and ‘Namkeen’ on ‘cable TV’.

The annual list of ‘Binaca Geetmala-1982’ had as many as ‘ten songs composed by R.D. Burman’ in the annual list. Out of them three songs also have the voice of R.D. Burman. However, this year too none of the R.D. Burman songs made it to the top three ranks in ‘Binaca Geetmala Annual List’.

These ten songs were as given below.

S No Song Movie
1) Kitne bhi tu karle sitam Sanam Teri Qasam
2) Bolo bolo kuchh to … Poocho na yaar kya hua Zamaane Ko Dikhaanaa Hai (1981)
3) Jaana o meri jaana Sanam Teri Qasam
4) Dil lena khel hai dildaar ka Zamaane Ko Dikhaanaa Hai (1981)
5) Dukki pe dukki ho Satte Pe Satta (1981)
6) Yeh din to aata hai Mahaan (1983)
7) Yeh zameen gaa rahi hai Teri Qasam
8) Pyar mein dil pe Mahaan (1983)
9) Jabse tumko dekha Kaaliya (1981)
10) Jahaañ teri yeh nazar hai Kaaliya (1981)

Two R.D. Burman songs were considered in the ‘shade’ list i.e.

1) ‘Kaun kisi ko baandh sakaa’ – from Kaaliya-1981 and
2) ‘Tu, tu hai wahi dil ne jise apna kahaa -’ from ‘Ye Vaadaa Rahaa-1982’.

For me the surprise omission in the above list was the songs of the movie ‘Ye Vaada Rahaa’. I personally think that this movie had some very good songs. One song from this movie made it to the ‘chhaaon’ list or shade list.

‘Ye Vaadaa Rahaa-1982’ was directed by Kapil Kapoor for ‘Rose Movies, Bombay’. It was produced by Ramesh Behl. It had Rishi Kapoor, Tina Munim, Poonam Dhillon, Sarika, Rakhi, Rakesh Bedi, Iftekhar, Agha, Sundar, Gulshan Bawra, Hari Shivdasani, Chandu Prakash, Madan Joshi, Shrimati Mistry, Prasad, Pappu, Geeta, Aditya, Shanta, Salma, Asha, Avinash Thakur and others.

Shammi Kapoor made a special appearance in this movie.

This movie was passed by Censor Board on 31.03.1982.

‘Ye Vaada Rahaa-1982’ had six songs penned by Gulshan Bawra and composed to music by Rahul Dev Burman.

The six songs from this movie are as listed below.

S. No Song Title Singer/s Posted On
01 Aisa kabhi huaa nahin Kishore Kumar, chorus
02 Jeene ko to jeete hain sabhi Kishore Kumar, Asha Bhonsle
03 Ho maine tujhe kabhi kuchh kahaa tha Kishore Kumar, Asha Bhonsle 17.12.2013
04 Tu, tu hai wahi dil ne jise apnaa kahaa Kishore Kumar, Asha Bhonsle
05 Ishq mera bandagi hai, ishq meri zindagi hai Kishore Kumar, Asha Bhonsle
06 Mil gayeen aaj do lehren kuchh is tarah Asha Bhonsle 24.12.2013

We can see from the above table that only two songs from this movie have been posted on the blog and that was in 2013. These two songs appear back-to-back in December 2013 on 17th and 24th.

Same is the case with another Pancham movie from the same year i.e., 1982 is ‘Sanam Teri Kasam’ which I was under the impression that it should have been Yippeeee’ed on the blog. But so far only two songs from this movie have been posted on the blog and that was on 21.04.2012 and 07.11.2013.

Let us now listen to the today’s song sung by Kishore Kumar and Asha Bhonsle where on screen it is lip-synced by Rishi Kapoor and Poonam Dhillon respectively. The picturisation of the songs shows it at a party occasion where Poonam Dhillon tries to sing but some of the persons from the audience starts raising slogans and hooting. At this point Rishi Kapoor enters and start singing and the audience welcomes him and listen the song.

Video

Audio

Song-Jeene ko to jeete hain sabhi (Ye Vaada Rahaa)(1982) Singers-Asha Bhonsle, Kishore Kumar, Lyrics-Gulshan Baawra, MD-R D Burman
Both

Lyrics

laa laa laa laa laa laa laa aa
laa laa laa laa laa laa laa aa
laa laa laa laa laa laa laa aa
laa laa laa laa laa laa laa aa
laa laa laa laa laa laa laa
laa laa laa laa laa laa
laa laa laa laa laa ….

(noise)

(Dialogues not included)

hey
hey
hey

jeene ko to jeete hain sabhi ee
pyaar binaa kaisi zindagi ee
jeene ko to jeete hain sabhi ee
pyaar binaa kaisi zindagi ee
aao mil jul ke dukh sukh baante
kyon ham rahen ajnabi ee ee
hamsafar hain sabhi

jeene ko to jeete hain sabhi ee
pyaar binaa kaisi zindagi ee
aao mil jul ke dukh sukh baante
kyon ham rahen ajnabi ee ee
hamsafar hain sabhi ee

(Clapping sound)

sur mein hamaare aa ke sur to milaa
pyaar bharey naghme zamaane ko sunaa
sur mein hamaare aa ke sur to milaa
pyaar bharey naghme zamaane ko sunaa
lootaa de
kisike
liye ae
tu
apni khushi
jeene ko to jeete hain sabhi
pyaar binaa kaisi zindagi
aao mil jul ke dukh sukh baante
kyon ham rahen ajnabi ee ee
hamsafar hain sabhi ee

laa aa laa laa laa
he he he ae
tum bhi gaao naa

laa laa la la la laa laa laa aa
haan
laa laa la la la laa laa laa aa
laa laa la la la laa laa laa aa
laa laa la la la laa laa laa aa
laa laa la la la laa laa laa aa

apne liye jo bhi jeete hain yahaan
unko bhulaa de ik pal mein jahaan
apne liye jo bhi jeete hain yahaan
unko bhulaa de ik pal mein jahaan
rahenge
dilon mein
jo baante
sab ko hansi ee
jeene ko to jeete hain sabhi ee
pyaar binaa kaisi zindagi ee
aao mil jul ke sukh dukh baanten
kyon ham rahen ajnabi ee ee
hamsafar hain sabhi ee
jeene ko to jeete hain sabhi ee

shikwe giley bhi hain
pyaar ki adaa aa
kyon naa bhulaa den
jo bhi huaa
shikwe giley bhi hain
pyaar ki adaa aa
kyon naa bhulaa den
jo bhi huaa
milenge
dilon mein
jalaa ke
lau pyaar ki ee
jeene ko to jeete hain sabhi ee
pyaar binaa kaisi zindagi ee
aao mil jul ke sukh dukh baanten
kyon ham rahen ajnabi ee ee
hamsafar hain sabhi ee

(Clapping sound)

————————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————————
ला ला ला ला ला ला ला आ
ला ला ला ला ला ला ला आ
ला ला ला ला ला ला ला आ
ला ला ला ला ला ला ला आ
ला ला ला ला ला ला ला
ला ला ला ला ला ला
ला ला ला ला ला

(लोगों के शोरगुल की आवाज़)

(संवाद जो शामिल नहीं किये गए)
हे
हे
हे

जीने को तो जीते हैं सभी ई
प्यार बिना कैसी ज़िन्दगी ई
जीने को तो जीते हैं सभी ई
प्यार बिना कैसी ज़िन्दगी ई
आओ मिल जुल के
दुःख सुख बाँटे
क्यों हम रहे अजनबी ई ई
हमसफ़र हैं सभी

जीने को तो जीते हैं सभी ई
प्यार बिना कैसी ज़िन्दगी ई
आओ मिल जुल के
दुःख सुख बाँटे
क्यों हम रहे अजनबी ई ई
हमसफ़र हैं सभी

(तालियों की गूँज की आवाज़)

सुर में हमारे आ के सुर तो मिला आ
प्यार भरे नगमें ज़माने को सूना
सुर में हमारे आ के सुर तो मिला आ
प्यार भरे नगमें ज़माने को सूना
लूटा दे
किसीके
लिए ए
तू
अपनी ख़ुशी ई
जीने को तो जीते हैं सभी
प्यार बिना कैसी ज़िन्दगी
आओ मिल जुल के दुःख सुख बाँटे
क्यों हम रहे अजनबी ई ई
हमसफ़र हैं सभी ई

ला आ ला ला ला
हे हे हे
तुम भी गाओ ना

ला ला ला ला ला ला ला आ
ला ला ल ल ल ला ला ला आ

हाँ
ला ला ल ल ला ला ला आ
ला ला ल ल ला ला ला आ
ला ला ल ल ला ला ला आ
ला ला ल ल ला ला ला आ

अपने लिए जो भी जीते हैं यहाँ
उनको भुला दे इक पल में जहाँ
अपने लिए जो भी जीते हैं यहाँ
उनको भुला दे इक पल में जहाँ
रहेंगे
दिलों में
जो बाँटे
सब को हंसी ई
जीने को तो जीते हैं सभी
प्यार बिना कैसी ज़िन्दगी
आओ मिलजुल के सुख दुःख बाँटे
क्यों हम रहें अजनबी ई ई
हमसफ़र हैं सभी ई
जीने को तो जीते हैं सभी ई

शिकवे गिले भी हैं
प्यार कीअदा आ
क्यों ना भुला दे
जो भी हुआ
शिकवे गिले भी हैं
प्यार की अदा आ
क्यों ना भुला दे
जो भी हुआ
मिलेंगे दिलों में
जला के
लौ
प्यार की ई
जीने को तो जीते हैं सभी
प्यार बिना कैसी ज़िन्दगी
आओ मिलजुल के
सुख दुःख बाँटे
क्यों हम रहें अजनबी ई ई
हमसफ़र हैं सभी ई

(तालियों की गूँज की आवाज़)


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

Blog Day :

4794 Post No. : 16554

Today’s song is from the film Toote khilone-1954. The film was made by Pragati Pictures, Bombay. Produced by N.Mehta, it was directed by Nanabhai Bhatt. Though this was a social film, Nanabhai Bhatt was known for Mythological and stunt films. His real name was Yeshwant and pet name was Batuk. he directed his first Hindi film-Muqabala-42, using his name-Batuk Bhatt. Nana and Batuk indicate the small one or the younger one. Obviously Nanabhai was the youngest sibling. Incidentally, he was the father of Mahesh Bhatt and Mukesh Bhatt, from his second wife-Shirin bai, one time actress.

The Music Director for this film was my favourite and the Melody maker-Chitragupta, with Dilip Dholakia as his usual assistant. Though he always, invariably, made melodious music, more than most other MDs, Lady Luck did not support him wholeheartedly and he remained an MD for generally B and C grade films. He did get a few films from A grade banners like AVM, but it was not enough to stabilise him in that slot.Toote khilone-54 was actually his almost the first Social film after he composed music from 27 earlier films of B and C grades.Lata mangeshkar was very close to Chitragupta. Initially when Lata increased her fees from 100 to 500 rupees per song, Chitragupta told her, ” Lataji, now I will not be able to afford your songs” To this Lata replied,” whenever you need me, just call me. For you this rate will not apply.” And true to her words, she sang for him and never ever charged him. She took whatever he gave her.

Like Chitragupt, his assistant Dilip Dholakia was also not very lucky as a MD. Chitragupta was a very homely and simple fun loving person.They had a group consisting of Lata, Meena, Usha, prem Dhavan and Dilip Dholakia. They used to have a lot of fun at Chitragupt’s home. Chitragupta was a Lalaji (Kayastha in Bihar). Their Non Veg food used to be very good and Lata relished it very much.

In the late 80’s I got introduced to Chitragupta personally, when my best friend’s daughter got married to his elder son. When Chitragupta came to know that I liked their ” Sattu ki Puree”, he invited me to his home for Lunch and we had Sattu Purees, Aloo saag and kheer to our heart’s content !

Today’s song is sung by Asha Bhosle and chorus. Just a few days back, in my write up for the 1000th post, I had said that the film history gets updated from time to time, whenever there is a New Evidence available. For a long time, it was believed that Asha’s first song was from the film Chunaria, under the baton of Master Hansraj Behl. But now it is proved that she sang her first song in the film ” Andhon ki Duniya”-1947, which was released on 10-1-1948. Chunaria -48 was released at the end of November 1948. Raju Bharatan has given this proof on page 287 of his book ” Asha Bhosle-A Musical Biography.”

The cast of the film Toote Khilone-54 was Shekhar (with the real unusual name of Indriya Daman), Purnima, Gulab, Ranjit Kumari, Master Romi, Ginger the Dog and other humans.

The guest artiste was Asha Mathur. She started her film career in a dramatic way. When she was studying in I.T.College in Lucknow, once Kishore Sahu came there as a Judge in their Beauty Contest. Bina Rai stood first, Asha Mathur was Second and one Indira Panchal was third. Kishore Sahu gave a break to all three in his film Kali Ghata-1951. Bina Rai became a well known actress. Indira Panchal chose to leave films and got married into the famous Mahindra family and Asha Mathur had a chequered career.

One of the few educated actresses of her times, Asha Mathur (Sohan Singh in real life) studied up to B.A. Both Asha Mathur and Bina Roy were introduced by Kishore Sahu in Kali Ghata (1951). While Bina Roy was relatively more successful among the two and did some memorable movies including Anarkali (1953) and Taj Mahal (1963), Asha Mathur was relegated to obscure mythical and costume films including Alif Laila (1953), Rajyogi Bharthari (1954), Malka-E-Alam Noorjehan (1954), Amar Kirtan (1954) etc because of her lackluster performances. Her most memorable role was in Poonam (1952), as a suffering wife of Ashok Kumar. She married famous director of her times Mohan Sehgal and left films. She acted only in 18 films. Her last film was Taqdeer-58.

Asha Mathur is a forgotten name today except for the few popular songs picturized on her – Humsai na poocho koi pyar kya hai (Kali Ghata, 1951) and Baanki adayein dekh na ji dekh na(Amanat, 1955).

Ranjeet Kumari’s name was Ranjit Kaur. She was a sikh from Punjab. She acted in only 8 films, from Matwali Meera-40 to her last film Toote Khilone-54. She got married to actor Ramsingh and moved with him to his village in U.P. to become and remain a housewife till her last day.

One of the beauties of old films was Gulab. The First actress from Kashmir to work as a Heroine in Hindi films was GULAB. Her real name was Saraswati Devi. She was born on 10-6-1908 at Jammu. She joined Krishna Film Company in 1924. Her first silent film ‘Krishna kumar’ came in 1925. She worked in 60 silent films. Her last silent film was ‘Dagabaz Dushman’-32, made by East India Film co.Bombay.

Her first Talkie film was Suryakumari-33, made by Vishnu Cinetone. It was directed by Dhirubhai Desai. She sang one song ‘more preetam jab ghar aaye’ composed bu Kikubhai Yagnik. Then came Baburao Patel’s ‘Bala Joban’-34, Sewa Sadan-34 and Nai Duniya-34 ( Debut film of Rajkumari and Jayant). In this film Gulab sang 2 songs.

Gulab was very beautiful and quite popular in the film industry. Some of her films were Bambai ki sethani-35, Challenge-37, Bharosa-40, Pyas-41, Ek Raat-42, Station master-42, Gaali-44, Rattan-44, Mann ki jeet-44, Mirza Sahibaan-47, Lahore-49, Badi Behan-49, stage-51, Post Box 999-58, Chhabili-60 etc etc. She acted in 160 films. Her last film seems to be Haqeeqat-64. She also sang 22 songs in 11 films.

The story of film Toote Khilone-54 , as I found on Cineplot, is…..Pragati Pictures’ “Toote Khilone,” premiered at the Roxy Theatre on March 19th, 1954 is pro­duced by N. Mehta and directed by Nanabhai Bhatt and it is a very good film based on a story-idea whose truth and simplicity invest it with an irresistible appeal.

The deeply moving and very human story, sensitively enacted by Shekhar, Purnima, Asha Mathur and little Romi, tells of a little child and his bewildered sorrow in the midst of do­mestic troubles. Written by Akhtar Mirza, the story centers on a young married couple and their little son who dotes on his mother’s cousin, Sheela. When the mother dies of cancer, Sheela stays on to look after the little boy and eventually marries his father. Trouble arrives in the shape of Sheela’s mother who moves into the happy household and builds up in her daughter a resentment against the child. The poisonous insinuations of the older woman turn Sheela into a confused and bitter foster-mother, but kindness and love triumph when the heart-broken child runs away. The film reaches a cleverly presented climax in which Sheela and her husband find the child safe and all three happily return home.

Playing his role with restraint and sym­pathy is Shekhar who puts on a fine perform­ance as the boy’s father. His portrayal of a man who marries a second time so that his child may have a mother is quite flawless. As the young wife, Purnima is superb. Hers is a natural and convincing performance, done with a fine understanding of the role.

A superb performance comes from Romi, as the little boy caught up in a web of circumst­ances he cannot understand. He is utterly lov­able and, together with the wonderful canine star, Ginger, he walks away with the picture’s honors. Gulab turns in another one of her brilliant cameos as the interfering mother-in-law, and Asha Mathur gives an appealing and warm in­terpretation of the tragic role of Shekhar’s first wife.


Song-Raat rangeelee chham chham naache aaj kisi ke pyaar mein (Toote Khailaune)(1954) Singer- Asha Bhonsle, Lyricist- Anjum Jaipuri, MD- Chitragupta
Chorus

Lyrics

o o o
o o o
o o o
o o o
o o o
o o o
o o o
o o o

o o o
o o o
o o o
o o o
(raat rangeeli chhamchham naache raat rangeeli
raat rangeeli chhamchham naache raat rangeeli
)

raat rangeeli chhamchham naache aaj kisi ke pyaar mein
aankh michauli khele chanda pariyon ke darbaar mein
hmm hmm hmm hmm
hmm mm hmm

raat rangeeli chhamchham naache aaj kisi ke pyaar mein
aankh michauli khele chanda pariyon ke darbaar mein
raat rangeeli chhamchham naache
raat rangeeli
raat rangeeli chhamchham naache
raat rangeeli

o o o o o
jhilmil jhilmil chaandni mein
jhoome taara taara
taaron ki baaraat laaya chanda pyaara pyaara
aa aa aa aa aa
aa aa aa aa aa

jhilmil jhilmil chaandni mein
jhoome taara taara
taaron ki baaraat laaya chanda pyaara pyaara
o o o o
o o o
chanda pyaara pyaara

gori gori kirnen naachen sapnon ke sansaar mein
aankh michauli khele chanda pariyon ke darbaar mein
raat rangeeli chhamchham naache
raat rangeeli
raat rangeeli chhamchham naache
raat rangeeli

o o o o o
neeli chunri odhh ke
pariyon ki raani aayi
jaise neele baadalon mein
bijli le angdaai
aa aa aa aa aa
aa aa aa aa aa

neeli chunri odhh ke
pariyon ki raani aayi
jaise neele baadalon mein
bijli le angdaai
o o o o
o o o
bijli le angdaai

meethhi meethhi raagini hai
paayal ki jhankaar mein
aankh michauli khele chanda pariyon ke darbaar mein
hmm hmm mm mm
hmm mm hmm

raat rangeeli chhamchham naache aaj kisi ke pyaar mein
aankh michauli khele chanda pariyon ke darbaar mein
raat rangeeli chhamchham naache
raat rangeeli
raat rangeeli chhamchham naache
raat rangeeli
raat rangeeli chhamchham naache
raat rangeeli
raat rangeeli chhamchham naache
raat rangeeli
(o o o o
o o o o


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

Blog Day :

4792 Post No. : 16552

Hullo Atuldom

Today’s song is from the 1982 release “Raaste Pyaar Ke”. It was directed and produced by V B Rajendra Prasad; essentially meaning it was a South Indian production house. It was a remake of a Telugu hit of the ’70s. It had music by Laxmi-Pyare and songs were written by Anand Bakshi. Lata Mangeshkar, Asha Bhonsle, Usha Mangeshkar, Anuradha Paudwal, SP Balasubramanyam, Kishore Kumar were the singers used.

The movie had six songs of which the folllowing two are on the blog:

Song Date of posting
Ye waqt na kho jaaye 4 June 2012
Tedhe medhe oonche neeche lambe laambe raaste pyaar ke 10 October 2020

The cast had Shabana Azmi-Rekha-Jeetendra as the main protagonists and Utpal Dutt, Shaukat Kaifi (mother of Shyama- Shabana Azmi), Parikshit Sahni, Ashalata (bhaiyya and bhabhi to Mohan- Jeetendra), Dr. Shreeram Lagoo, Nadira (uncle and aunt of Mohan and Sohan). Then we had Om Puri (playing a good friend to Gauri- Rekha), Yunus Parvez, Mazhar Khan, Baby Khusboo (niece to Mohan) also in the movie. The post by Nahmji gives a general idea about the film’s story.

The festival season has begun with the arrival of the months of Aashaada, Shraavan and Bhadrapada. We had Raksha Bandhan, Nariyal Purnima and a few other festivals last weekend. This week it is Gokulashtami/ Krishnashtami/ Janmashtami; call it by any name but we are celebrating the birth of Lord Krishna who is said to have been born on the night of Ashtami (eighth day) after the full moon.

Lord Krishna was born when his parents were held captive by his uncle in Mathura. But at the particular hour, when the Lord was born, the guards, miraculously, were fast asleep. This gave time to Vasudev (the lord’s father) time to transport the new-born across the river Yamuna to Gokul to foster parents Nanda and Yashoda. It was raining heavily that night. He is said to have been transported in a wicker basket with the multiheaded serpent- Vasuki shielding the baby from the rain. So the next day after Janmashtami can be described as Gokulashtami. There are many legends of the lord which are related with great relish by generations of devotees. Stories about how he loved to play pranks on the Gopikas of Brindavan and played Raas-Leela with them, ate freshly churned butter with relish, his friendship with Sudama etc. and many more were bed-time stories that grandparents told their grandkids.

Coming back to the celebrations associated with the festival, different regions of the country celebrate it differently. Even the prasad (offerings to the lord) differs region to region. But the offerings will definitely have preparations of Poha (beaten rice), butter and curds. It is said that these three are most loved by the lord. Then there are devotees who keep whole night vigil praying and singing bhajans and distribute prasad around midnight. They bathe and decorate their idols of the lord, dress him up and put the Balgopal in tiny cradles and pull the cradles with ropes of flower garland.

Today’s multi-singer (Asha- Usha- Kishore) song has Mohan playing a KRISHNA with Shyama, Gauri and their friends; there are ropes of flower garland, flute, mor-mukkut etc. That is the reason for me presenting this song today where the words are for lord Krishna and sung for Mohan the bachpan ka friend (childhood friend) of Shyama and Gauri.


Song-Gokul ki galiyon ka gwaalaa (Raaste Pyaar Ke)(1982) Singers-Asha Bhonsle, Usha Mangeshkar, Kishore Kumar, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Asha Bhonsle + Usha Mangeshkar

Lyrics

gokul ki galiyon ka gwaala aaa
natkhat bada nand lala aaa
gore se ho gaya kaala
gokul ki galiyon ka gwaala aa
natkhat bada nand laala aa
gore se ho gaya kaala

kaale ne sab ko ang lagaake
kaale rang mein rang dala aa aa

gokul ki galiyon ka gwala aaa
natkhat bada nand lala aa
gore se ho gaya kala

lo chandan ka tika lagaa do o o
lo chandan ka tika lagaa do
mohan ko manmohan bana..aa..do
mor mukut iss ko pehna do
haathon mein murli pakda do
murli bana loon
munh se lagaa loon
aa tohe o brij ba..aa..ala aa

gokul ki galiyon ka gwala
natkhat bada nand lala
gore se ho gaya kala

jamna kinaare apna thhikaana
jamna kinaare apna thhikaana
paniya bharan tu pangat pe aana
ghunghat mein phir yeh

ooi
mukhdha chhupaana
ooi
chhedega tujhko saara zamaana
dhamkee deta hai
bilkul/font>
deta hai dhamkee
todke matki
maakhan churaane waala aa
gokul ki galiyon ka gwaala aa
natkhat bada nand laala aa
gore se ho gaya kaala

pakda gaya chhaliya sab dekhe ae ae
bhaagega kaise ye ab dekhen
ho pakda gaya chhaliya sab dekhen
bhaagega kaise ye ab dekhen
mera dhang mera sab dekhen
aaj tamasha sab dekhen
kisi jatan se
nahin kisi ke
haath mein aane wa..aa..la aa

gokol ki galiyon ka gwala
natkhat bada nand laala
gore se ho gaya kaala

hey kaale ne sab ko ang lagaake
kaale rang mein rang daala aa

gokol ki galiyon ka gwaala aa
natkhat bada nand laala aa
gore se ho gaya kaala



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 THIRTEEN years. This blog has over 16600 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

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