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

Archive for the ‘Bird songs’ Category


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

Hullo to all Atulwaasis

Yesterday, 16thJune 2017, was the 97th birth anniversary of singer- music director-producer-director Hemant Mukherjee alias Hemant Kumar. He started out his music journey in 1935 on All India Radio with “Amar Ganete Ele Nabarupi Chirantanii” under the influence of his friend Subhas Mukhopadhayay. Hemant Da’s music career was primarily mentored by the Bengali musician, Sailesh Duttagupta. In his early life Hemant Da used to follow the famous Bengali singer Pankaj Mullick. For this he was nicknamed as “Chhoto Pankaj”. In an interview on television in the early 1980s, Hemanta had mentioned that he had also received classical music training from Ustad Faiyaz Khan’s student Phanibhusan Banerjee.

Hemant Da’s first film song, as singer, was in the Bengali film ‘Nimai Sanyas’ released in 1941. Music was scored by Hariprasanna Das. Hemant Da’s first compositions for himself were the Bengali non-film songs “Katha Kayonako Shudhu Shono” and “Amar Biraha Akashe Priya” in 1944. Lyrics were by Amiya Bagchi. His first Hindi film songs were in ‘Irada’ (1944) under Pt. Amarnath’s music direction. Hemant Da is considered a foremost exponent of Rabindra Sangeet. His first recorded Rabindra Sangeet was in the Bengali film ‘Priya Bandhabi’ (1944). The song was “Pather Sesh Kothaye”.

His first movie as a music director was the Bengali film ‘Abhiyatri’ in 1947. Although many of the songs Hemant Da recorded during this time received critical acclaim, major commercial success eluded him until 1947. In the mid-1940s, Hemant became an active member of the Indian People’s Theatre Association (IPTA) and started an association with another active IPTA member — songwriter and composer Salil Chowdhury.

Hemant Da started receiving more assignments for music composition for Bengali films. Some were for director Hemen Gupta. When Hemen moved to Mumbai, he called upon Hemant Da to compose music for his first directorial venture in Hindi titled ‘Anand Math under the Filmistan banner. Responding to this call, Hemant Da migrated to Mumbai in 1951 and joined Filmistan Studios. The music of ‘Anand Math (1952) was a moderate success. The most notable songs from this movie is “Vande Mataram” sung by Lata Mangeshkar, which Hemant Da set to a marching tune. Following ‘Ananda Math’, Hemant Da scored music for a few Filmistan movies like ‘Shart ‘in subsequent years, the songs of which received moderate popularity. Simultaneously, Hemant Da gained popularity in Mumbai as a playback singer.His songs playbacked for actor Dev Anand under music director Sachin Dev Burman in movies like ‘Jaal (“Ye Raat, Ye Chandni Phir Kahaan“), ‘House No. 44’ (“Chup Hai Dharti, Chup Hain Chand Sitare” and “Teri Duniya Mein Jeene Se“), ‘Solva Saal’ (“Hai Apna Dil To Awara“), and ‘Baat Ek Raat Ki’ (“Na Tum Hamen Jaano“), became very popular and continue to be so. In the 1950s, he also play-backed for other heroes of Hindi films like Pradip Kumar (‘Nagin, ‘Detective) and Sunil Dutt (‘Duniya Jhukti Hai) and later in the 1960s for Biswajeet (‘Bees Saal Baad’, ‘Bin Badal Barsaat’, ‘Kohra’) and Dharmandra (‘Anupama’); he was the music composer for all these films.

In the latter part of the 1950s, Hemant Da composed music and sang for several Bengali and Hindi films, recorded several Rabindra Sangeet and Bengali non-film songs. Almost all of these, especially his Bengali songs, became very popular. This period can be seen as the zenith of his career and lasted for almost a decade. Some of the notable films Hemant Da himself composed music for during this period include ‘Harano Sur, ‘Marutirtha Hinglaj’, ‘Neel Akasher Neechey’, ‘Lukochuri’, ‘Swaralipi’, ‘Deep Jwele Jaai’, ‘Shesh Parjanta’, ‘Kuhak’, ‘Dui Bhai’, and ‘Saptapadi’ in Bengali, and, ‘Jagriti’ and ‘Ek Hi Raasta’ in Hindi.

The late 1950s, saw Hemant Da venture into movie production under his own banner: Hemanta-Bela productions. The first movie under this banner was a Bengali film directed by Mrinal Sen, titled ‘Neel Akasher Neechey (1959). The story was based on the travails of a Chinese street hawker in Calcutta in the backdrop of India’s freedom struggle. The movie went on to win the President’s Gold Medal — the highest honour for a movie from Government of India. In the next decade, Hemant Da’s production company was renamed Geetanjali productions and it produced several Hindi movies such as ‘Bees Saal Baad’, ‘Kohraa’, ‘Biwi Aur Makaan’, ‘Faraar’, ‘Raahgir’ and ‘Khamoshi’ — all of which had music by Hemant Da. Only ‘Bees Saal Baad’ and ‘Khamoshi’ were major commercial successes.

1977 saw him give music to ‘Do Ladke Dono Kadke’ which was produced by his son Ritesh and had screenplay- dialogue-direction by Basu Chatterjee. It was certified on 19-10-1978 and released in 1979. The movie had a cast of Moushumi Chatterjee, Amol Palekar, Asrani, Navin Nischol and Ranjeet, Iftekar,Keshto Mukherjee, Ritu Kamal etc. Mithu Mukherjee (in a guest appearance) played Navin Nischol’s wife and Master Ravi’s mother. The songs were written by Yogesh. It had two playback singers- Yesudas and Asha Bhonsle.

Amol Palekar and Asrani are petty thieves. They enter a house to burgle at the same time as another gang that has earmarked for kidnapping the kid of the house. Both parties end up drinking all the liquor in the house just as the servants of the house return. But Amol and Asrani also happen to overhear Ranjeet (leader of the other gang) talk of his kidnap plans, so the two leave all the stolen stuff and take the kid away. What follows is chaos.  But why am I giving the screenplay of the movie here. Let us move on to the second and final song from “Do Ladke Dono Kadke”.

Remembering Hemant Kumar.

[Ed Note: With this song, we have yet one more Yippeee event. The film ‘Do Ladke Dono Kadke’ (1978) now has all its songs covered on our blog.]

Song – Chanda Ki Doli Mein Thi Ek Pariyon Ki Raani (Do Ladke Dono Kadke) (1978) Singers – Asha Bhosle, Lyrics – Yogesh, MD – Hemant Kumar
Asha Bhosle + Yesudas

Lyrics

chanda ki doli mein thi ek pariyo ki rani
heere ke the pankh jis ke hai usi ki ye kahani
chanda ki doli mein thi ek pariyo ki rani
heere ke the pankh jis ke hai usi ki ye kahani
chanda ki doli mein thi ek pariyo ki rani

ek din wo pari baawari si ho gayi
uske hothon ki hansi jaane kahaan thi kho gayi
ek din woh pari baawari si ho gayi
uske hothon ki hansi jaane kahaan thi kho gayi
uske mukh par thi udaasi aankhon mein tha paani
chanda ki doli mein thi ek pariyo ki rani

[yahaan tak toh thi pari ki hamaari
ek si kahani
lekin is ke baad
hum hum hain
aur pari . . .]

pairon me ghunguru tabhi baandh kar
kuchh mor nache jo us ke liye
pairon me ghunguru tabhi baandh kar
kuchh mor nache jo us ke liye
wo hans padi
usne heere sabhi
moron ke pankho pe jadva diye
wo hans padi
usne heere sabhi
moron ke pankho pe jadva diye
tab se yahaan
har mor ke pankho pe 
uski hai nishaani

chanda ki doli mein thi ek pariyo ki rani
heere ke the pankh jis ke
hai usiki ye kahani
chanda ki doli me thi ek pariyo ki rani
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-

चंदा की डोली में थी एक पारियों की रानी
हीरे के थे पंख जिसके
है उसी की ये कहानी
चंदा की डोली में थी एक पारियों की रानी
हीरे के थे पंख जिसके
है उसी की ये कहानी
चंदा की डोली में थी एक पारियों की रानी

एक दिन वो परी बावरी सी हो गई
उसके होठों की हंसी जाने कहाँ थी खो गई
एक दिन वो परी बावरी सी हो गई
उसके होठों की हंसी जाने कहाँ थी खो गई
उसके मुख पर थी उदासी आँखों में था पानी
चंदा की डोली में थी एक पारियों की रानी

[यहाँ तक तो थी
परी की हमारी एक सी कहानी
लेकिन इसके बाद
हम हम हैं
और परी॰ ॰ ॰]

पैरों में घुंघरू तभी बांध कर
कुछ मोर नाचे जो उस के लिए
पैरों में घुंघरू तभी बांध कर
कुछ मोर नाचे जो उस के लिए
वो हंस पड़ी
उसने हीरे सभी
मोरों के पंखों ओए जड़वा दिये
वो हंस पड़ी
उसने हीरे सभी
मोरों के पंखों ओए जड़वा दिये
तब से यहाँ
हर मोर के पंखों पर
है उसी की कहानी

चंदा की डोली में थी एक पारियों की रानी
हीरे के थे पंख जिसके
है उसी की ये कहानी
चंदा की डोली में थी एक पारियों की रानी

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

Hullo atuldom

Hope all fine here.

Today (8 june 2017) I am posting a song which falls right in the category of “How come this is not yet posted?!?!” But that is how this blog of ours (Atul’s) is. Even after 13300 songs we still have songs for the “How come” category.

This song features a girl/ lady/ actress/ heroine – call her by any name – who turns a year older today. She turns 60. Only 60!!!! But we get a feeling that she has been around for years. Why? Because she made her in 1973, meaning she was all of 16. Then what did she do? She just showed her back on the industry and went on to marry the reigning superstar of the times. As if that was not enough she went on to mother a beautiful baby when she was barely 17. And then one more baby later she decided to make a comeback into films and the audiences just received her with open arms, a full twelve years after her debut. And she won the filmfare award for best actress in both these films. I know I don’t need to tell that I am talking of Dimple Kapadia.

She was the eldest born to Betty and Chunnibhai Kapadia. She married superstar Rajesh Khanna six months before the release (28th September 1973) of Bobby her debut film. She returned to films in 1985 with Ramesh Sippy’s “Saagar” which had Rishi Kapoor as her co-star (once again, Bobby starred the two together.) She is an actress who has had opportunity to work with a few fathers and their sons. Vinod Khanna was her co-star in “Insaaf” in the 80s and Akshaye Khanna was her co-star in “Dil Chahta Hai” (2001); while Dharamendra was her co-star in “Batwara” and “Mast Kalandar” his son has acted with Dimple in umpteen movies like “Manzil Manzil”; “Arjun” & “Aag Ka Gola”.

She has had a few heroine centric roles in her career. I distinctly remember her introduction scene in “Bobby” – she opens the door to Raj (Rishi Kapoor) with batter flowing in her hands and streaking her forehead when she pushes an errant strand of hair away. It has been related in various interviews and writeups that Raj Kapoor was inspired for this from the way he himself saw Nargis for the first time ever way back in the 40s.

Today’s song is from “Bobby” which was a story of two teenagers from different classes who fall in love. The introduction scene happens when the rich man’s son Raj goes to meet his governess Mrs. Braganza (Durga Khote). Bobby is her granddaughter. Love blossoms between the two but the rich father resents this accuses the girls’s father-Prem Nath- of using his daughter to trap a rich Raj etc. The lovers then elope, try to commit suicide but are saved by Pran-the rich man; and Prem Nath. And all ends well. In the course of this simple love tory the movie had eight songs of which we have only three on this blog. Here is the 4th. It is written by Anand BakshiVithal Bhai Patel and Laxmi- Pyare were the music directors; playback was by Shailendra Singh and Lata Mangeshkar.


Song – Jhoothh bole kauwwa kaate (Bobby) (1973) Singers – Lata, Shailendra Singh, Lyrics – Vithalbhai Patel, MD-Laxmikant Pyarelal

Lyrics

jhoothh bole kauwa kaate
kaale kauve se dariyo
main maike chali jaaungi
tum dekhte rahiyo
main maike chali jaaungi
tum dekhte rahiyo
arre jhoothh bole
jhoothh bole kauwa kaate
kaale kauve se dariyo
main maike chali jaaungi
tum dekhte rahiyo
main maike chali jaaungi
tum dekhte rahiyo

tu maike chali jaayegi
main danda lekar aaunga
main danda lekar aaunga

tu danda lekar aayega
main kunwe mein gir jaaungi
main kunwe mein gir jaaungi
main rassi se khichwaaunga
main ped pe chadh jaaungi
main aari se katwaaunga
pyaar kare aari chalwaaye,
aise aashiq se dariyo
main maike chali jaaungi
tum dekhte rahiyo
main maike chali jaaungi
tum dekhte rahiyo
arre jhoothh bole kauwa kaate
kaale kauve se dariyo
main maike chali jaaungi
tum dekhte rahiyo
main maike chali jaaungi
tum dekhte rahiyo

tu maike chali jaayegi
main dooja byaah rachaaunga
main dooja byaah rachaaunga

tu dooja byaah rachaayega
haaye meri sautan laayega
main maike nahin jaaungi
main maike nahin jaaungi
main maike nahin jaaungi
re maike nahin jaaungi
arre tere sadke jaaungi re
maike nahin jaaungi
main saaton vachan nibhaaungi
re maike nahin jaaungi
arre maike nahi jaaungi
re maike nahi jaaungi

jhoothh bole kauwa kaate
kaale kauve se darriyo
main teri sautan laaunga
tum dekhti rahiyo
main teri sautan laaunga
tum dekhti rahiyo

jhoot bole kauwa kaate
kaale kauve se darriyo
main maike nahi jaaungi
tum dekhte rahiyo
main maike nahi jaaungi
tum dekhte rahiyo

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

झूठ बोले कौवा काटे
काले कौवे से डरिओ
मैं मैके चली जाऊँगी
तुम देखते रहिओ
मैं मैके चली जाऊँगी
तुम देखते रहिओ
अरे झूठ बोले कौवा काटे
काले कौवे से डरिओ
मैं मैके चली जाऊँगी
तुम देखते रहिओ
मैं मैके चली जाऊँगी
तुम देखते रहिओ

तू मैके चली जाएगी
मैं डंडा लेकर आऊँगा
मैं डंडा लेकर आऊँगा
तू डंडा लेकर आएगा
मैं कूँए में गिर जाऊँगी
मैं कूँए में गिर जाऊँगी
मैं रस्सी से खिचवाऊंगा
मैं पेड़ पे चढ़ जाऊँगी
मैं आरी से कटवाऊंगा
प्यार करे आरी चलवाये
ऐसे आशिक से डरिओ
मैं मैके चली जाऊँगी
तुम देखते रहिओ
मैं मैके चली जाऊँगी
तुम देखते रहिओ
अरे झूठ बोले कौवा काटे
काले कौवे से डरिओ
मैं मैके चली जाऊँगी
तुम देखते रहिओ
मैं मैके चली जाऊँगी
तुम देखते रहिओ

तू मैके चली जाएगी
मैं दूजा ब्याह रचाऊंगा
मैं दूजा ब्याह रचाऊंगा
तू दूजा ब्याह रचाएगा
हाए मेरी सौतन लाएगा
मैं मैके नहीं जाऊँगी
मैं मैके नहीं जाऊँगी
मैं मैके नहीं जाऊँगी
रे मैके नहीं जाऊँगी
अरे तेरे सदक़े जाऊँगी
रे मैके नहीं जाऊँगी
मैं सातों वचन निभाऊँगी
रे मैके नहीं जाऊँगी
मैं मैके नहीं जाऊँगी
मैं मैके नहीं जाऊँगी

झूठ बोले कौवा काटे
काले कौवे से डरिओ
मैं तेरी सौतन लाऊँगा
तुम देखती रहियो
मैं तेरी सौतन लाऊँगा
तुम देखती रहियो
झूठ बोले कौवा काटे
काले कौवे से डरिओ
मैं मैके नहीं जाऊँगी
तुम देखते रहिओ
मैं मैके नहीं जाऊँगी
तुम देखते रहिओ


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

The first time I saw this film, it was on Doordarshan, and the only song that I could appreciate (given my age) was “Bibi Mendaki Ri Tu To Paani Mein Ki Raani”. Rest of the film, its emotional and familial nuances were all lost on me. Those were the days, when watching television was a privilege bestowed upon oneself by a friendly neighbor. One would go to watch television at a neighbor’s home, or hang on to the windows, if entry was not permitted. And so, the opportunity that one gets to watch a movie was in itself a treat, and an accomplishment. And one always wanted to make the most of such opportunities. Getting bored was not only not an option, but it was a thought furthest from the mind. I have this placement in front of a TV screen, and I will watch it for as long as I am allowed, whatever may be the content. The serious stuff was mostly OHT (Overhead Transmission), and the mind would remember and register the fun parts like Balraj Sahni having poori and lassi at a halwai shop in the morning before reaching his office, or singing this above mentioned song with his children on the Sunday when he is at home. But as far as watching time is concerned, it was to be religiously spent, to watch the entire film, whether I could make out more of it or not.

In later years, small memories of the films, snatches of screen shots, would replay randomly in the mind – Jayant taking Rashid Khan to task very onerously, or Balraj Sahni with a bundle of mail in his hand, standing in front of the sorting dockets, trying to quickly put the mail items into the correct dockets, Balraj Sahni admiring a new coat hanging in the display window of a tailor’s shop. Mind you, the names of the characters and the words to describe the scene are all being currently generated. In the mind’s eye, it is just the images themselves that are very familiar, without any labels, without any words.

Many years on, just on a memory recall, I started to search for this film. For quite a long time this film was not available. A friend once got a version of it, but that was just about an hour long. So one can imagine what would have remained after such merciless cutting. That version seemed to have gone around, and a rumor followed it – the songs of this film are lost forever. Then, when the Geet Kosh volume three was released, it also carried a footnote to this film which says that except for one song, all songs were deleted from this film, and the film was truncated to half its length, and renamed as ‘The Clerk & The Coat’. This further strengthened the fears of the lost songs and lost film.  However, in all probability, this was just a version created from the original, for consumption in the foreign markets, or for participation in foreign film festivals. Thankfully, none of these prophecies proved to be true eventually. Once the VCD binge started, and more and more films started landing in the market, the original of this film also finally appeared in a near complete state. And then, I got to see it once again.

‘Garam Coat’ is a very poignant film. It deals with the everyday problems in the lives of lower middle income strata of society in a newly independent and developing India. Balraj Sahni is a lowly paid postal clerk, with a monthly salary of one hundred rupees, and a family of five. In the hands of Rajendra Singh Bedi and performance lead Balraj Sahni, both stalwarts of the IPTA movement, the film has descended to the practical levels of realism, and to pragmatic heights of credibility. The home of this clerk is a bare bones home. The kitchen is frugally stocked. The children are not well dressed. The housewife is very simply presented. The protagonist himself wears an old and ragged coat throughout the entire film. The name of the banner is Cine Co-operative Ltd, Bombay. In all probability, this was yet another joint effort of social conscience of IPTA.

The clerk fancies a new coat. On his way to work, he always pauses outside a tailor’s shop, admiring a new coat on display. The owner of the shop, sees him daily, and one day invites him into the shop, enquiring whether he plans to buys some new clothes. Unable to defend himself, and knowing that he is unable to afford the price of a new coat, he sheepishly tells about the qualities and the warmth of the coat that he is wearing, and that, no, he does not plan to buy a new one.

Come pay day, and the clerk returns home, happy with the load of a solitary one hundred rupee note in his pocket. Life is spring, and all is happiness in the household. Next morning, it is going to be a shopping spree for the month, and all expectations are high. The morning begins with the fun song “Bibi Mendaki Ri. . .”, and off goes the clerk to the market, with a list of shopping and hundred rupees in his pocket.

His first stop is a toy shop. He browses, he selects something for his children, almost pays for the items pulling out the hundred rupee note; but then thinks better of it, and saying he will return shortly, stuffs the note back into his coat pocket. His next stop is a halwaai shop where he has poori and lassi. He is in high moods, joking with the shopkeeper and other customers. As gets up to leave and pushes his hands in his coat pocket to pay for the breakfast – all the agonies of hell descend upon him. The note is missing. An impressive portrayal of a person who has lost everything in life – Balraj Sahni is insulted and kicked out of the halwaai shop. He runs back to the toy shop, tries to convince the shopkeeper that he might have dropped his money at his shop. Once again, he is insulted and made to leave the premises. Now, he simply has no place to go.

The remaining part of the movie is about his trials and tribulations on trying to survive without his salary through at least one more month till the next pay day. The movie is full of scenarios of what such a person will do – he tries to borrow, he tries to get advance, he tries to take up a part time job as a tutor, he goes without lunch, he contemplates suicide, even tries it. But the agonies simply do not cease. How he shares this calamity with his wife, and how does his wife respond, are all classic scenes to be visited again. The wife goes to the pansaari (grocery shop owner) and tried to get groceries on account, she and children start to make paper bags out of newspapers in an effort to raise some money. There are friends at office like Jayant who try their best to help him within his limited means. And there are unfriendly colleagues like Rashid Khan, who are completely unmoved by the troubles of their co-worker. There are scenes and performances that move me to tears as I watch the helplessness of an honest good man, trying to keep his wits together and to keep his family alive. The saving grace of the film is that the lost money is located at the end. And it is a very interesting way that it turns up.

In this sad and poignant film, this song is probably the saddest and the most pain filled song. Having come to know of the calamity that has befallen her husband, and the manner in which he is trying to fight these problems, there comes a point when the wife’s hopes probably break and she calls for help. The entire scenario and the get up of the film is so deeply entrenched into the simple values of our social system. She has no help at hand, she has no one with whom she can share her pain. For a woman in our culture, her last hope is her maternal family. But she is too afraid to inform them or talk to them. So she tells the bird to take her message to her parents and family, and let them know that she just a cheerless bundle of tears these days.

Then after telling this to the crows, she starts to make amendments to her request. First, she prohibits the crow from telling her mother, she will break down and cry. Then, thinking some more she prohibits the crow from telling her father also, he will cry into the cloth of his pugree (head dress) and not know what to do. She tells the crow to tell everyone, but not these two.

Then in the next stanza she makes some more amendments. She tells the crow not to tell her sister either, for she may give up her own food. Then she says, do not even tell my bhaabhi (sister-in-law, brother’s wife), for the fear that she might spread this in her own maternal family and make fun of it. She tells the crow to tell everyone, but not these two.

The embattled lady then ends the verses with telling the crow, to go an tell this tale of woes to her brother only. He will surely come to her aid, riding the blue steed.

The agony and the poignancy contained in these verses is so emphatic. She wants this message to be told to everyone in her family, and then slowly, one by one she decides not to tell this or that person, and finally, in conclusion she is ready to tell it to her brother only. The words, the composition and the rendition, brings tears to my eyes, as many times as I have heard this play. And it also underscores the vitality of the brother-sister relationship in our culture. When all seems to be lost and the lady is totally helpless, it is her brother that she thinks of, to go and share. (You may have noticed, I have tagged this song as a ‘brother-sister song’).

This low key, less heard of film, is one of my favorites – in and about the art of telling a poignant story through cinema. Although Lata ji has herself selected “Jogiya Se Preet Kiye Dukh Hoye” from this film, as one of her most favorite songs, in my humble opinion, I would rate this song even higher than “Jogiya Se . . .”.

Wonderful memories of an era of very simple living, of traditions and culture, of values – a touch of India that is very dear to me.

Song – Kahiyo Roye Dukhia Re, Ja Re Panchhi Tu Ja Re (Garam Coat) (1955) Singer – Lata MangeshkarLyrics – Majrooh Sultanpuri, MD – Pt Amarnath

Lyrics

kahiyo roye dukhia re
jaa re panchhi tu jaa re. . .
kaaga des hamaare
udd jaa re
kahiyo roye dukhia re
jaa re panchhi tu jaa re. . .
kaaga des hamaare
udd jaa re
kahiyo roye dukhia re

ek na kahiyo maa raani ko
royegi wo meri gudiyon ko dekh ke
ek na kahiyo maa raani ko
royegi wo meri gudiyon ko dekh ke
ek na kahiyo babul ji se
ek na kahiyo babul ji se
royenge pagdi ko munh se lapet ke
aur sab se kahiyo tu pyaare
jaa re panchhi tu jaa re. . .
kaaga des hamaare
udd jaa re
kahiyo roye dukhia re

ek na kahiyo behna meri se
haathon ki roti gira degi ro ke
haathon ki roti gira degi ro ke
ek na kahiyo bhabhi meri se
maike mein jaa ke hansegi wo munh pe
maike mein jaa ke hansegi wo munh pe
aur sab se kahiyo tu pyaare

kahiyo re dukh mera bhaiyya se jaa ke
kahiyo re dukh mera bhaiyya se jaa ke
aayega wo neela ghoda uda ke
utrega mere duaare
jaa re panchhi tu jaa re. . .
kaaga des hamaare
udd jaa re
kahiyo roye dukhia re
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
कहियो रोये दुखिया रे
जा रे पंछी तू जा रे॰॰॰
कागा देस हमारे
उड़ जा रे
कहियो रोये दुखिया रे
जा रे पंछी तू जा रे॰॰॰
कागा देस हमारे
उड़ जा रे
कहियो रोये दुखिया रे

एक ना कहियो माँ रानी से
रोएगी वो मेरी गुड़ियों को देख के
एक ना कहियो माँ रानी से
रोएगी वो मेरी गुड़ियों को देख के
एक ना कहियो बाबुल जी से
एक ना कहियो बाबुल जी से
रोएँगे पगड़ी मुंह से लपेट के
और सब से कहियो तू प्यारे
जा रे पंछी तू जा रे॰॰॰
कागा देस हमारे
उड़ जा रे
कहियो रोये दुखिया रे

एक ना कहियो बहना मेरी से
हाथों की रोटी गिरा देगी रो के
हाथों की रोटी गिरा देगी रो के
एक ना कहियो भाभी मेरी से
मायके में जाके हंसेगी वो मुंह पे
मायके में जाके हंसेगी वो मुंह पे
और सब से कहियो तू प्यारे

कहियो रे दुख मेरा भैया से जाके
कहियो रे दुख मेरा भैया से जाके
आएगा वो नीला घोडा उड़ा के
उतरेगा मेरे द्वारे
जा रे पंछी तू जा रे॰॰॰
कागा देस हमारे
उड़ जा रे
कहियो रोये दुखिया रे


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

A film by name ‘Shobha’ is already present on our blog. That film is from the year 1942. As I was checking the film lists in the 1950s, I find that there is another film by the same name in the year 1954. This latter film is still to open its account on the blog. Well, that was just before this post came online. Today’s debut film is ‘Shobha’ from 1954.

Checking the Geet Kosh, I find the following details for this film. This film is a social drama, directed by Niren Lahiri, for the production banner of SB Productions, Bombay. The star cast includes Usha Kiran, Abhi Bhattacharya, Chhabi Biswas, Manju De, Shikha Bagh, Purnendu Mukherji, Rani Bannerji, Rekha Chatterji, Trilochan Jha, amongst others. Viewing the list of actors, gives me a feeling that majority of artists associated with this film are of Bangla origin. And there is more to it. The films is based on a story written by Sarat Chandra Chatterjee. And yes, the music director is Robin Chatterjee 🙂 . And yes, surely enough, as I tried to look for more information, I found one comment that says this film was simultaneously made in Hindi and Bengali, and that the name of the Bangla version is ‘Shubhada’.

The film has eight songs which are shared amongst two lyricists – Kaif Irfani and Mahendra Pran. This song is from the pen of Mahendra Pran. The singing voice is that of Asha Bhosle.

The song is a story song – actually a tota-maina story. The audio clip that I can locate for this song starts with the line that are captioned in the title. However, when I reference the Geet Kosh, this song has a couple of lead in lines, the first one of which reads – “Maina Boli Sun Re Totey, Aaj Hai Teri Baari…”. And as we come to the end of the song, one of last lines is “Maina Hans Ke Boli Sun Re Totey. . .”. So it seems like a story telling session, probably a mother telling a story to put a child to sleep. And the tale is told as the traditional story telling conversation between a ‘tota’ and a ‘maina’. I am sure few more film songs will blink on in the mind, which also are presented as a ‘tota – maina’ exchange.

So enjoy this simple and short story being told, about a princess who is lonely and sad, but then the prince charming appears on the scene, and they live happily ever after – well, almost precisely to that effect. 🙂

And yes, the 1954 film ‘Shobha’ makes its debut on our blog today.

Song – Hothon Par Fariyaad Chhupaaye Nainon Mein Barsaat (Shobha) (1954) Singer – Asha BhosleLyrics – Mahendra Pran, MD – Robin Chatterjee

Lyrics

hothon mein fariyaad chhupaaye
nainon mein barsaat
neel gagan ki rajkumari
roti thi din raat
hothon mein fariyaad chhupaaye
nainon mein barsaat
neel gagan ki rajkumari
roti thi din raat

sapnon ke toote mahalon mein
ujaley mein andhiyaara
bindiya na kaajal ghar mein
soona jeevan saara
sapnon ke toote mahalon mein
ujaley mein andhiyaara
bindiya na kaajal ghar mein
soona jeevan saara

aankhon se paani bhi rootha
rooth gaya bhagwan
kood padi gehre paani mein
dene apni jaan
aankhon se paani bhi rootha
rooth gaya bhagwan
kood padi gehre paani mein
dene apni jaan

saagar roya
lehren royin
behti nadi royee
saagar roya
lehren royin
behti nadi royee
dukhiaari ke mann ki peeda
jaan na paaya koi

roopnagar se ek salona
rajkumar jo aaya
aaa aaa aaa
roopnagar se ek salona
rajkumar jo aaya
neel kamal ka phool ek
lehron mein paaya

koelen kookeen
bhanwaron ne kaliyon ko geet sunaaye
koelen kookeen
bhanwaron ne kaliyon ko geet sunaaye
raja ne raani ke nainon se
pyaar bhare nain milaaye

chaand hasaa taare muskaaye
maina hans ke boli
sun re totey
des ko phaunchi jaa un ki doli
sun re totey
des ko phaunchi jaa un ki doli

———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–
होठों में फरियाद छुपाए
नैनों में बरसात
नील गगन की राजकुमारी
रोती थी दिन रात
होठों में फरियाद छुपाए
नैनों में बरसात
नील गगन की राजकुमारी
रोती थी दिन रात

सपनों के टूटे महलों में
उजले में अँधियारा
बिंदिया ना काजल घर में
सूना जीवन सारा
सपनों के टूटे महलों में
उजले में अँधियारा
बिंदिया ना काजल घर में
सूना जीवन सारा

आँखों से पानी भी रूठा
रूठ गया भगवान
कूद पड़ी गहरे पानी में
देने अपनी जान
आँखों से पानी भी रूठा
रूठ गया भगवान
कूद पड़ी गहरे पानी में
देने अपनी जान

सागर रोया
लहरें रोईं
बहती नदिया रोई
सागर रोया
लहरें रोईं
बहती नदिया रोई
दुखियारी के मन की पीड़ा
जान ना पाया कोई

रूपनगर से एक सलोना
राजकुमार जो आया
आ आ आ
रूपनगर से एक सलोना
राजकुमार जो आया
नीलकमल का फूल एक
लहरों में पाया

कोएलें कूकीं
भँवरों ने कलियों को गीत सुनाए
कोएलें कूकीं
भँवरों ने कलियों को गीत सुनाए
राजा ने रानी के नैनों से
प्यार भरे नैन मिलाये

चाँद हसा तारे मुसकाए
मैना हंस के बोली
सुन रे तोते
देस को पहुंची जा उनकी डोली
सुन रे तोते
देस को पहुंची जा उनकी डोली


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.

“Mahasati Savitri”(1955) was produced by R N Mandloi and directed by Ramnik Vaidya for Shree Omkareshwar Productions, Bombay. This mythological movie had Nirup Roy, Mahipal S N tripathi, B M Vyas, Umakant, Charubala, Anjali Devi, Shree Bhagwan, Nimbalkar, Amirbai Karnataki, Babu Raje, Indira Bansal, Anand Prabhu etc, with Neeru in guest appearance.

This movie had nine songs in it.

Here is the first song from “Mahasati Savitri”(1955) to appear in the blog. This song is sung by Rafi and Asha Bhonsle. Gopal Singh Nepali is the lyricist. Music is composed by Chitragupta.

Only the audio of this song is available. My guess is that the song is picturised on the lead pair of Mahipal and Nirup Roy. I request our knowledgeable readers to throw light on the picturisation of this song.

With this song, “Mahasati Savitri”(1955) makes its debut in the blog.


Song-Chori chori chaandni mein chakori chali aaye (Mahasati Savitri)(1955) Singers-Rafi, Asha Bhonsle, Lyrics-Gopal Singh Nepali, MD-Chitragupta
Both

Lyrics

chori chori chaandni mein chakori chali aaye
chori chori chaandni mein
gora gora rang waala
chaand hi bula laaye
chori chori chaandni mein

chori chori chaandni mein
chakori chali aaye
chori chori chaandni mein

kehte hain pyaar jisko
man ki lagan hai ji
meethi jalan hai
kehte hain pyaar jisko, man ki lagan hai ji
meethi jalan hai

anjaane raahiyon ka hota milan hai ae
aisa chalan hai
o o o o o o
taaro bhari raat man ke taaron ko mila jaaye
chori chori chaandni mein

chori chori chaandni mein chakori chali aaye
chori chori chaandni mein

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

behti hain prem gangaa
tum bhi kinaara ji main bhi kinaara
behti hai prem gangaa
tum bhi kinaara ji
main bhi kinaara
lehren lagaati naata
tumse hamaara
o o
hamse tumhaara

o o o
pyaar hain to kisi ko bhi
koi na chhuda paaye
chori chori chaandni mein
chori chori chaandni mein chakori chali aaye
chori chori chaandni mein


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.

“Dilruba” (1950) was directed by Dwarka Khosla for Lotus Orient Films, Bombay. The movie had Rehana, Dev Anand, Yakoob, Cuckoo, Balam, Achala Sachdev, Gogia Pasha etc in it.

This movie had eleven songs in it which were penned by six lyricists. The breakup of lyricists is known for six songs. Lyricists for the remaining five songs are not known. P L Santoshi and D N Madhok are among the six lyricists and the songs penned by them are not known. So most likely these two lyricists had penned some/ most/all of these five songs.

Ten songs from “Dilruba” (1950) have been discussed in the past. Here is the eleventh and final song from the movie to appear in the blog. This song is sung by Pramodini Desai, G M Durrani and chorus. Gyan Dutt is the music director. This is one of those songs of the movie whose lyricist is not known.

The song is picturised on several female dancers who sing in chorus. It is Cuckkoo who lip syncs and dances in Pramodini Desai’s voice. I am unable to idenntify the actor who lip syncs in G M Durrani’s voice. I request our knowledgeable readers to help identify the actor.

I have not been able to get a few words right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.

With this song, “Dilruba” (1950) joins the list of movies that have all their songs covered in the blog.


Song-Chiraiyya udi jaaye re (Dilruba)(1950) Singers-Pramodini Desai, G M Durrani, MD-Gyan Dutt
Chorus

Lyrics

Chiraiyya udi jaaye re
Chiraiyya udi jaaye re
Chiraiyya udi jaaye re
Chiraiyya udi jaaye re

dil ka pinjra khaali
tu ismein aaja
tu ismein aaja
o bulbul matwaali
tu ismein aaja
arri tu ismein aaja

mahanga padega more raaja
o more raaja
mahanga padega more raaja

ye bulbul preet ke moti khaaye re
bulbul preet ke moti khaaye re
chiraiyya udi jaaye re
chiraiyya udi jaaye re
chiraiyya udi jaaye re
chiraiyya udi jaaye re
chiraiyya udi jaaye re
chiraiyya udi jaaye re

aankhon ka main jaal bichhaa loon
tujhko main chup-chaap phansa loon
dil mein bithhaa loon
aankhon ka main jaal bichhaa loon
tujhko main chupchaap phansa loon
dil mein bithhaa doon

phir to ?? na bin paani
banke ?? raani
phir to ?? na bin paani
banke ?? raani
har dam tere hi gun gaaye re
har dam tere hi gun gaaye re
chiraiyya udi jaaye re
chiraiyya udi jaaye re
chiraiyya udi jaaye re
chiraiyya udi jaaye re


This article is written by Srinivas Ganti, a fellow enthusiast of Hindi movie music and a new 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.

Atul ji’s 10K Song Milestone Celebrations – 2
——————————————————————–

mann panchhi albela
taaron ki nagri mein jaaye

If we replace the word ‘taaron’ with the word ‘gaanon’, it would be apt for this blog. Don’t we all freely wander in this cyber world of songs, lyrics and the stories behind them, as we browse the pages on Atul-Song-A-Day.

Coming to the song itself, this is one of the three Lata gems from ‘Mad Bhare Nain’ (1955). The other two are the romantic numbers “Aa Palkon Mein Aa” and the bhajan “Mo Se Saanchi Kaho Banwaari”.
Read more on this topic…


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.

“Kaneez”(1949) was directed by Krishn Kumar for Caravan Pictures, Bombay. The movie had Shyam, Munawwar Sultana, Urmila, Kuldeep, Cuckoo, Tiwari, Ramesh Sinha, Shyama etc in it.
Read more on this topic…


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.

“Tere Dwaar Khada Bhagwaan”(1964) was directed by Ravindra Dave for T J Films, Bombay. This movie had Sulochana, Maruti, Ramsingh, Durga Khote, Shahu Modak, Lalita Pawar etc in it.
Read more on this topic…


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.

“Ghar Ki Bahu”(1947) was directed by Narayan Rao and G K Devre for Kohinoor pictures, Bombay. This “social” movie had Paro Devi, Umakant, Ghulam Mohammad (actor), Pandey, Mehar Sultana, Manohar Ghatwai, Dhuliya, Babu Raje, Geeta Sardesai etc in it.
Read more on this topic…


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What is this blog all about

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

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

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

Total number of songs posts discussed

13351

Number of movies covered in the blog

Movies with all their songs covered =1012
Total Number of movies covered =3703

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