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

Archive for the ‘Guest poster century song’ 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.

This article is his 1000th post in the blog.

Blog Day :

4779 Post No. : 16531

POST NO. 1000
——————————-

I had never imagined that in my life I would ever write 1000 articles on old films and music. When I retired from my regular service in 1998, I had many offers from the Pharma Industry, because of my 35 years’ successful track record. I had joined the Pharma giant – Glaxo Laboratories as a Medical Representative and retired as the General Manager – Marketing.

Instead of doing another job, I started my own Consultancy and ran it till 2008. Then I got fed up of doing the same thing for so many years and closed the consultancy. I spent 2 years travelling all over the country with my wife. In 2010, I decided to learn Computer. My enthusiastic grandchildren became my teachers and I learnt the basics soon. Initially I found fun downloading old film songs and making CDs. I had crossed my 70 years by that time.

Then one day while surfing the Net, I discovered atulsongaday.wordpress.com and I was very glad to see the way songs were discussed here. I became a regular visitor. At that time I remembered about several diaries and notebooks, in which I had written about the films I had seen from the 40’s to the 60’s. I opened those boxes and cleaned the notebooks. Some had been damaged by white ants and few were torn and had become old with faded ink.

With whatever was remaining, I started commenting on the posts of the Blog and soon I was a known person to other regulars. Even at that time, I did not think of writing posts myself. After about 2 years, once Atul ji suggested that i write posts and he himself posted my write up on a song of 1937 sent to him along with the song, so that it could be used for the Blog. The post was published the next day on my name and I was welcomed by all regulars. Enthused with the acceptance, I continued writing regularly from 1-10-2012 onwards and today I am at this stage, with 1000 posts here and some more on other Blogs and sites. I published interviews of relatives of old time actors and also wrote one book, which was published in July 2018.

My journey in this field has been unbelievable. From a Nobody to a person well known in the Cyberworld of old films and music, whose name is mentioned in several books by other authors, national and international. All these accolades and recognition is because of one person, who helped me from the beginning and continues to do so even now. That person is ATUL JI. I thank him wholeheartedly for supporting, encouraging and motivating me throughout. Thank you, ATUL JI.

I also thank all other ATULITES of our group here who have been very appreciative and helpful. Thanks to each one. ATUL JI is not very expressive about the good he does to people, so I express my feelings about him, whenever the occasion comes. I also wish, one day I meet him on one of his visits to Mumbai.

In the journey of the last 10 years, I have devoted a lot of effort to dig out information on the unknown and the less known artistes, films and songs of the yore. I think my best contribution to the history of old films is about the ” SAME NAME CONFUSIONS “. I had found that this was one problem which troubled every student of film history (like me) and no work has been specifically done on solving this problem. My tireless efforts have clarified the SNC cases of about 80 film personalities so far.

Digging up History is a continuous process. None of the writerson old films were present when things took place in the 30’s and the 40’s. At least no one was in the age of understanding matters of films or writing about films. So, all historians have to depend on existing documents like old books, old papers and magazines and similar materials to get credible information. Since old information keeps on cropping up at several intervals, the film history keeps on updating itself. In some cases, new information proves the existing old information wrong. So sometimes old statements are proven wrong in view of the new evidence. Thus you will find that no book on film history is without a mistake.A MISTAKE TODAY WAS THE TRUTH TILL NEW INFORMATION NULLIFIED IT. It does not and should not reduce the credibility of the author in any way. Some of my own comments made in 2011 and 2012 were found to be wrong when new information became available. It happens to all. The readers must understand this.

In my last 9 years, i have written about hundreds of people, films and songs. In my Laptop, I have stored information of more than 1600 people and films. In the last 1000 psots here, i have never written a post without giving some information. I feel the reader must gain something when he spends time reading my post. I don’t claim that my posts had no mistakes…they had, but never intentionally. I also make it a point to credit the source whenever I have taken information from somebody or somewhere. It is possible that I forgot sometimes but never knowingly. I do not feel ashamed to accept my mistakes. A mistake is a mistake, anyway. I never wrote on popular and well known artistes like Dilip, Raj , Dev, AB, Meenakumari etc etc. I hope I have always given something new to readers in my post.

So, what next ?

I can only repeat the verse of Robert Frost………..

The woods are lovely, dark and deep
But I have promises to keep
and miles to go before I sleep
and miles to go before I sleep……

Thank you Atul ji, Sudhir ji, my friends in the ATULITE group, my co-travellers in this journey and guides like Rajni Kumar Pandya ji, Dr Surjit Singh ji, Shishir Krishna Sharma ji, AK ji of Songs of yore,  Gopal Pillai ji and many others.

I can not end this without thanking wholeheartedly the help and encouragement given to me at every stage by Shri HARISH RAGHUWANSHI JI, without whom my work would be incomplete. Thank you Sir !

For today’s occasion, I have selected a song from a film which has music by my favourite MD- C. Ramchandra. Film Naghma E Sahra-1945 had a special importance in the lives of Master Bhagwaqn and C. Ramchandra. Master Vithal was the idol for both of them. Though Master Bhagwan himself worked in, produced and directed stunt films, he was keen that his idol Master Vithal should work in his film and that he should do the direction . By 1945, master Vithal was losing his popularity in Hindi films and he was also not getting many films, so he was thinking of concentrating on Marathi films and to go and settle in Kolhapur, where he had bought a big Chawl. So his income from its rent was also guaranteed.

When Bhagwan came to know this, he became panicky, thinking that his dream would remain incomplete. He gathered courage and contacted Master Vithal and offered him a role in his film. To Bhagwan’s delight Master Vithal almost readily accepted the offer. Until then Bhagwan had no idea about his film. He started work along with Ehsan Rizvi, his favourite writer, on the story of the new film. He also contacted C.Ramchandra to give the news. Untill then, C. Ramchandra gave music to Bhagwan’s films, but used other names than C.Ramchandra. For this film, he decided to use his real name. Thus their dream of working with master Vithal was fulfilled.

This way the film was made. As luck would have it, this film really became the last film Master Vithal did in Hindi in Bombay. He left Bombay and went away to Kolhapur. However, he regretted his hurried shift, later in life. I would have written more about Master Vithal, but the post has already become a long one. Maybe some other time.

Today’s song is a duet sung by Khan Mastana and Hamida Bano. Enjoy…..


Song-Bahaar hai Baahar (Naghma e Sahra)(1945) Singers- Chitalkar, Khan Mastana, Hamida Bano, Lyricist- Ehsaan Rizvi, MD- C Ramchandra
Both

Lyrics

bichhdi hui bahaar
galey daalti hai haar

aa aa aa aa aa
aa aa aa aa aa

ba..haar hai bahaar
ba..haar hai bahaar

hai raab e shokhiyaan
phoolon pe hai nikhaar
ba..haar hai bahaar
ba..haar hai bahaar

na husn ko hai guroor
na ishq ko hai nayaaz
mil ke gale se aa aa aa
karte hain donon naaz
ab baj rahe hain saaz
ab baj rahe hain saaz
ab mil gaye hain taar
aa aa aa aa aa aa
aa aa aa aa aa
ba..haar hai bahaar
ba..haar hai bahaar

aankhon mein hai sharaab
ehsaan mere gulaab
chhoo kar na ho bata
aa aa
ab jee apne hi kharaab
do do jiyen chiraa
do do jiyen chiraa
ab kiska intezaar
aa aa aa aa aa
aa aa aa aa aa
ba..haar hai bahaar
ba..haar hai bahaar

deewaana main tera
dil ko kiye hoon
tu mere liye hai
main tere liye hoon
aa ae dil ki aarzoo
armaan hain beqaraar
aa aa aa aa aa
aa aa aa aa aa
ba..haar hai bahaar
ba..haar hai bahaar

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

बिछड़ी हुई बहार
गले डालती है हार

आ आ आ आ आ
आ आ आ आ आ

बा..हार है बहार
बा..हार है बहार

है राब ए शोखियाँ
फूलों पे है निखार
बा..हार है बहार
बा..हार है बहार

ना हुस्न को है गुरूर
ना इश्क़ को है नयाज़
मिल के गले से आ आ आ
करते हैं दोनों नाज़
अब बज रहे हैं साज़
अब बज रहे हैं साज़
अब मिल गए हैं तार
आ आ आ आ आ
आ आ आ आ आ
बा..हार है बहार
बा..हार है बहार

आँखों में है शराब
एहसान मेरे गुलाब
छू कर ना हो बता
आ आ
अब जी अपने ही खराब
दो दो जीएं चिरा
दो दो जीएं चिरा
अब किसका इंतज़ार
आ आ आ आ आ
आ आ आ आ आ
बा..हार है बहार
बा..हार है बहार

दीवाना मैं तेरा
दिल को किए हूँ
तू मेरे लिए है
मैं तेरे लिए हूँ
आ ए दिल की आरज़ू
अरमां हैं बेक़रार
आ आ आ आ आ
आ आ आ आ आ
बा..हार है बहार
बा..हार है बहार


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

This article is the 4900th guest post overall in the blog and 400th guest post by Avinash Scrapwala in the blog.

Blog Day :

4727 Post No. : 16443

Today 27th June 2021 is the eighty-second birth anniversary (27.06.1939 – 04.01.1994) of music composer Rahul Dev Burman or Pancham Da as we fondly know him.

On this occasion we remember him and celebrate his birth anniversary by listening to songs composed by him. That way we pay our humble tributes to this great genius who ruled Hindi Film Music from the seventies to mid-eighties.

Though more than seven hundred R D Burman songs are already showcased in the blog, I was still confused about the song to be selected for today’s presentation, seeing that many of Pancham’s well known songs are still not yet covered on the blog. Nowadays I am listening to Vividh Bharati daily and I am regularly coming across many of his songs on the radio (not yet covered here). whenever I listen to them, I feel like sharing the lyrics of those songs in the blog. Out of 1755 songs estimated to be composed by him in HFM we have posted only 739 songs on the blog so far. So we have yet to reach the halfway mark as far as R D Burman songs in the blog is concerned.

(I have also noted couple of new topics about the songs composed by R.D. Burman and will try to bring them on the blog in future).

As observed above, we are still a long way off from enjoying the ‘music’ of the great genius Rahul Dev Burman fully in the blog.

A lot has already been written about Pancham Da’s music, his geniuses, his ‘era’ of ‘music’, his ‘rise’ in the Hindi Film Music and the days when he was ‘left alone’ by the people in the Film Industry. Few books have also been published about ‘the man and his music’ i.e., R.D. Burman. There have been many articles on him on our blog itself. So I ill not repeat the same details and I will straightway to today’s song now.

Today we will listen to one of the songs composed by R.D. Burman which is from the movie ‘Chalta Purza-1977’. It was produced and directed by Bhappi Sonie for his home productions. This movie had Rajesh Khanna, Parveen Babi, Rakesh Roshan, Ajit, Ranjeet, Asrani, Purnima, Baby Chintu, Sonia Sahni, Sudhir, Manmohan, V. Gopal, Leena Disuza, Kirti Kumar, Kuljit, Dhoomal, Aparna Chaudhary, Madan Keni, Bramha Bharadwaj, Shyam Kumar, Mumtaz Begam, Lalita Kumari, Manorama, Habib, Keshav Rana, Madhup Sharma, Kamal, Kamaldeep, Dilip Dutt, Jankidas and others. Bindu make a special appearance in this movie, while Murad, Raj Mehra, Komila Virk, Keti Mirza and Dev Kumar make a guest appearance in this movie.

Story and Screenplay of this movie was written by Sachin Bhaumick and dialogues were written by Kader Khan. Editing for this movie was done by M.S. Shinde.

This movie was passed by Censor Board on 16.06.1977, that is almost forty-four years back.

There were four songs in this movie composed by R.D. Burman and written by Anand Bakshi. Asha Bhonsle, Kishore Kumar, Lata Mangeshkar and Sushma Shreshtha gave their voices to the songs in this movie.

Following is the list of songs of this movie-

S.No. Song Title Singer Posted on the blog on
01 Ye raat ne rang jamaaya hai, nayaa khilaadi aaya hai Asha Bhonsle
02 Aa gaye ham dildaar teri gali mein dilbar yaar Kishore Kumar, Lata Mangeshkar Being presented today
03 Baby ghar chalo ghar tum bin hai soona Kishore Kumar, Sushma Shreshtha 29.12.2016
04 Aapne farz nibhaaya hai … band lifaafe mein jaise paighaam likha hota hai Kishore Kumar, Lata Mangeshkar 06.02.2013

As mentioned above two songs from this movie ‘Chalta Purza-1977’ have been posted on the blog. (We can also see that we are going in ascending order 😊 in posting of the songs of this movie).

Today’s song is the third song from this movie to be posted on the blog. Today’s song is
sung by Lata Mangeshkar and Kishore Kumar and on the screen Bindu and Rajesh Khanna have lip-synced for the voices of Lata Mangeshkar and Kishore Kumar, respectively. The song seems to be happening in a marriage ceremony in the movie, I guess its marriage ceremony of Rakesh Roshan who can be seen with Rajesh Khanna, Bindu, and many others in the picturization of this song.

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

Let us now enjoy today’s song …

Video

Audio

Song-Arre aa gaye hum dildaar teri gali mein dilbar yaar(Chalta Purza)(1977) Singers-Kishore Kumar, Lata Mangeshkar, Lyrics-Anand Bakshi, MD-R D Burman

Lyrics

Are aa gaye ham dildaar
Teri gali mein
Dilbar yaar
Nakhre chhad ho ja tayyar
Gaadi chhoot jaayegi
Arre aa gaye hum dildaar
Teri gali mein
Dilbar yaar
Nakhre chhad ho ja tayyar
Gaadi chhoot jaayegi
O main nahin jana tere saath
Main nahin jana tere saath re
Main nahin jana tere saath
Leja waapas ye baaraat
Phir mat karna aisi baat
Yaari toot jaayegi
Main nahin jaana tere saath
Leja waapas ye baaraat
Phir mat karna aisi baat
Yaari toot jaayegi

Bade naseebon waali hai tu
Lagi hai hamko pyaari
Bade naseebon waali hai tu
Lagi hai hamko pyaari
Ham chal diye to
Reh jaayegi saari umr kunwaari
Are mere liye bahut hain ladke
Laga hua hai mela
Mere liye bahut hain ladke
Laga hua hai mela
Main na mili to reh jaayega
Saari umr akeyla

Taane mat maar
Jhagdaa mat kar beech bazaar
Nakhre chhad ho ja tayyar
Gaddi chhoot jaayegi
Main nahin jana tere saath
Leja waapas ye baarat
Phir mat karna aisi baat
Yaari toot jaayegi

Gali gali phirte hain tere jaise
Kayi deewaane
Mujhe to shaq hai bhool gaya hai
Rastaa tu anjaane

Mujhe kayi khat likhe toone
Gharwaalon se chori
Mujhe kayi khat likhe toone
Gharwaalon se chori
Chupke se mere haathon mein de de haath o gori
Maang na mera haath main na doon tujhko khairaat
Phir mat karna aisi baat
Yaari toot jaayegi

Are aa gaye hum dildaar
Teri gali mein
Dilbar yaar
Nakhre chhad ho ja tayyar
Gaadi
Are
Chhoot jaayegi ee

____________________________________________________________

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

अरे आ गए हम दिलदार
तेरी गली में
दिलबर यार
नखरे छड हो जा तैयार
गाडी छूट जायेगी
अरे आ गए हम दिलदार
तेरी गली में
दिलबर यार
नखरे छड हो जा तैयार
गाडी छूट जायेगी
ओ मैं नहीं जाना तेरे साथ
मैं नहीं जाना तेरे साथ रे
मैं नहीं जाना तेरे साथ
लेजा वापस ये बारात
फिर मत करना ऐसी बात
यारी टूट जायेगी
मैं नहीं जाना तेरे साथ
लेजा वापस ये बारात
फिर मत करना ऐसी बात
यारी टूट जायेगी

बड़े नसीबों वाली है तू
लगी है हमको प्यारी
बड़े नसीबों वाली है तू
लगी है हमको प्यारी
हम चल दिए तो
रह जायेगी सारी उम्र कुंवारी
अरे मेरे लिए बहुत हैं लड़के
लगा हुआ है मेला
मेरे लिए बहुत हैं लड़के
लगा हुआ है मेला
मैं ना मिली तो रह जाएगा
सारी उम्र अकेला

ताने मत मार
झगडा मत कर बीच बाज़ार
नखरे छड हो जा तय्यार
गाडी छूट जायेगी
मैं नहीं जाना तेरे साथ
लेजा वापस ये बारात
फिर मत करना ऐसी बात
यारी टूट जायेगी

गली गली फिरते हैं तेरे जैसे
कई दीवाने
मुझे तो शक है भूल गया हैं
रास्ता तू अनजाने

मुझे कई ख़त लिखे तूने
घरवालों से चोरी
मुझे कई ख़त लिखे तूने
घरवालों से चोरी
चुपके से मेरे हाथों में दे दे हाथ ओ गोरी
माँग ना मेरे हाथ मैं ना दूं तुझको खैरात
फिर मत करना ऐसी बात
यारी टूट जायेगी

अरे आ गए हम दिलदार
तेरी गली में
दिलबर यार
नखरे छड हो जा तैयार
गाडी
अरे
छूट जायेगी


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

This is the 1400th post by Sudhir.

Blog Day :

4693 Post No. : 16378

 

The Many Colors of Love #31 – Love Divine
– – – – – – – – – – – – – – – – – – – – – – –

And so wrote the scribe

खाक को बुत, और बुत को देवता करता है
इन्तहा ये है के बंदे को खुदा करता है इश्क़

Khaak Ko But, Aur But Ko Devta Karta Hai
Inteha Ye Hai Ke Bande Ko Khuda Karta Hai Ishq

Such a profound statement with a hugely significant implication – words are written by Sahir. Whether you read them in the flow of the entire set of lyrics, or just these two phrases, the import of these words cannot be diminished. And a more grand effect is achieved in rendition. Roshan Sb has put this to a melody that one cannot pulls oneself away from the flow, as line after line is being rendered by Rafi Sb. And finally, the effect of the rendition itself, as the continuous flow of singing gains momentum, the crescendo is rising, and Rafi Sb takes these two line progressively higher from octave to octave – to the most important message in this entire qawwali – “बंदे को खुदा करता है इश्क़ ” – “That Love Elevates Man to the Degrees of God”. This phrase is the ultimate climax – in all aspects – the rising crescendo of the music, the heightening pitch of the singer’s voice, the increasingly fervent clapping of the accompaniment singers, and the magnificent declaration about Love and God – all converging on the heights wherefrom one cannot go any further. For the message delivered is the ultimate statement to be made in this creation, in this existence – that Love Elevates.

All faiths, all beliefs, all creeds – have one thing in common. They all acknowledge something superior, a higher power that be – because none can otherwise explain the existence of these universes and the presence of the self on this planet. It is Voltaire who has said – “If God did not exist, it would be necessary to invent Him”. Yes, there is so much that we do not understand and so much that cannot be explained by the intellect, that finally even the non-believers cannot extract themselves out of the argument to explain existence.

Where is the story of creation? Every creed has its own, and in every such story there is a higher power that be, which is acknowledged as the authority responsible. The Humans being a visibly cognizant entity (चेतन) in this creation which is so manifestly non-cognizant (जड़) – this question indeed arises in the curious awareness of the self – why am I here? And the answer given by every system of belief is a variation of – “Man Must Return to His Maker”.
I remember another famous qawwali –

रस्ते अलग अलग हैं ठिकाना तो एक है
मंज़िल हरेक शख्स को पाना तो एक है

Raste Alag Alag Hain Thikaana To Ek Hai
Manzil Har Ek Shakhs Ko Paana To Ek Hai

“That paths may be many, yet the destination is the same.”
“And to the Divine must we return”

Theological systems have a life and existence of their own. Most people will follow one or the other that already exists. Once in a while, in a millennium, will come a person or a thought that will bring forth a new theology. Over the ages and across the history of mankind, one after another, newer and different belief systems have appeared, and each has its own existence, its own history, its thoughts, teachers and following.

And then, there is love. No, not as simply as it is just said. An emotional enigma, an anonymous obscurity, supposedly an inscrutable element that forms a significant constituent of what this larger conundrum of ‘creation’ is. An element yes, the basic, most primeval foundational piece. Tagore, in all his wisdom, was moved to write thus – “Love is an enduring mystery because it has nothing else to explain it“.

We can write and express it in a multitude ways, and indeed that has been done across the history. And yet, it remains universally undefined, and there always is yet another expression that attempts to. Through the history of mankind, this attempt has been made many millions of times. And as many millions of times poets, philosophers, lovers, thinkers, believers, and yes, the disbelievers too, have talked about it. And yet, in every age, in every culture, in every generation, every individual mind still continues to ask this question. The same minds continue to discover new definitions and new flavors. Adam and Eve wondered about it, as they looked upon the tree of the forbidden fruit. Brahma, the creator of the universe, was so enamored by his own creation of the feminine form, that he forsook his lotus seat as the creator God, and ran after Her. Lord Shiva was so captivated with the Mohini incarnation of Lord Vishnu, that he too left his abode in Kailash, and in pursuit of that vision. The renowned Sufi poet, Rumi thus wrote “Love is the astrolabe of God’s mysteries”.

Some say God is Love. Some others say Love is the link from Man to God. Yet others say Man who has realized Love, has realized God. Philosophers have written that Love is the basis of this Creation. Others have surmised that Love is the sustenance of this Creation. Another thought is that Love is the path to God. Such a multitude of concepts, ideologies and aesthetics thinkers have thought about and postulated. Some others say Love is an axiom. In the process of philosophical or logical differentiation, an axiom is a self evident truth that stands by itself. It cannot be further simplified or partitioned, or be established from more basic and elemental concepts. An axiom always just is. I recall the cover page of one of the most popular worldwide English editions of the Bible. The cover page simply says “The Greatest Is Love”. No other words, not even the word ‘Bible’ is printed on the cover page. It simply says “The Greatest Is Love“, and that’s it.

This is surely an axiom. A summary outcome of years and aeons of distillation of the human thought that has examined the emotions and expressions to bare bones, and then from the remnants of all that is stirred in the crucibles of the collective human psyche comes this extraction so short, so sweet and so sublime. And from this emerge some very stunning implications, the most significant of them being that Love is greater than God. And suddenly one has to pause, pull the brakes on this whirling carousel of thoughts and expressions and stare in wonder and amazement at this startling conclusion – “The Greatest Is Love, Even Greater Than God Himself”.

There is this play of Love that permeates every thought, every event, every concept, and everything that populates this universe at the physical as well as the non physical and the metaphysical levels of existence. The cycles of existence of the universe – the cause, the sustenance and the eventual assimilation – each one of these is an act of love. The cause of creation occurs when the alone Supreme Soul has a desire to share. That sharing is an expression of Love. The sustenance of the universe is the desire to maintain and keep well the creation – once again it is an act of Love. And the eventual assimilation – no, not the destruction, but more a dissolution of this game of universe, and the assimilation of all the souls back into the primal super soul. Once again, an act of love – an embrace that outweighs any level of proximity – the ultimate sharing of love. The ultimate conversation of love is the tête-à-tête of the souls – as they say, Soulmates. In our bhakti discourses, it is the ‘आत्म निवेदनम्’ (‘atma nivedanam’), the ultimate propinquity of love, the highest stage of meeting of the souls.

Love and God – the ultimate triumphs of realization in this mystery of existence, the magnum opus of individual endeavor and accomplishments. After propounding all the values of human existence, and teaching about all the good and bad in life, every faith, every religion finally talks about Love, about Love and God, about Love Divine, about the Divinity of Love.

This Divine Love is expressed and manifest in countless episodes that are scattered across the length and breadth of the scriptures of our Sanatan Dharm. In the Varaha Avatar – manifestation of Vishnu in the form of a tusked Boar, Vishnu battles with Hiranyaksh and vanquishes him. Then he dives into the waters of the Cosmic Ocean, into which Hiranyaksh had hidden Bhoodevi (Goddess Earth). He picks Her up on his tusks, and brings her out of the waters of the netherworld. In this episode there are brief shlokas wherein Vishnu in the form of Varaha tells Bhoodevi – “My Dear, it has been such a long time that you have cuddled as such in my arms, and I have carried you”.

During the episode of Sagar Manthan, Goddess Lakshmi appears as one of the outcomes of the churning of the Cosmic Ocean. There is an argument as to who would she belong to. Short of a battle, good sense prevails and all agree that Lakshmi should herself select her consort. And Lakshmi puts the flower garland on Vishnu.

In this same episode, Vishnu also appears as Mohini, the incarnation as a beautiful woman. And Shiva who is also present, is so enamored by Her beauty that He immediately has a charming attraction for Her and pursues Her. This affiliation recurs many more times as different episodes are narrated in different books.

When Vishnu appears in the avatar of Narsimhadev, and vanquishes Hiranyakashipu, His demeanor is so frightful, and He is so angry even as the inanimate body of Hiranyakashipu is lying in his lap, that none of the Gods and Sages present have the courage to approach Him. Not even Sage Narad who has the liberty to approach Vishnu whenever and wherever. Not even Goddess Lakshmi, His wife. Then Brahma and Narad request the child Prahlad to approach Narsimhadev. With his childlike innocence, Prahlad presents himself to the infuriated and ferocious half lion manifestation. And lo, in a moment, the anger of Narsimhadev evaporates and is immediately replaced by effusive love for his Bhakt.

Episodes and encounters of love are numerously present in the narration of Vishnu’s avatars as Ram and Krishna. The beauty of Ram is so divine that numerous Sages and village belles express their desire to serve Him as His wife. He declines, for in this avatar as Ram, He has a vow to be the husband of just one, and that is Seeta. But then He gives a boon to all such seekers that in his future incarnation as Krishna, He would accept their desires and betroth them. Therein lies the reason behind the Sixteen Thousand One Hundred and Eight wives of Krishna, as well as the occurrence of the phenomenal and Divine Raas Leela.

In the pageantry of the Sanatan Dharm theology, two entities are identified as beyond creation. They are Shiva and Vishnu. These are the only two for whom no stories of origin can be found, no details of parentage have ever been documented. In every episode, in every tale, the description of their physical appearance is always the same. There is no ageing across time. There is no dissolution at the time of Pralaya or Maha Pralaya. On the occasion of Maha Pralaya even Brahma completes his existence of 100 years (Brahma years, vastly different from the concept of earth years) and dissolves back, awaiting the next cycle of creation.

Vishnu and Shiva exist beyond the time and space, beyond the nothing and anything of this created universe. Their abodes are beyond time and they remain even when everything else disappears at the end of creation. It is nearly impossible for the human mind to even imagine what would be beyond the infinity of time and space as we comprehend it. In a manner of speaking, They represent the two basic forces, the two fundamental concepts that are the source of everything of any kind of nature that is, was, or will be, but They Themselves are apart from this creation. It is interesting to note that this concept of two basic forces pervades many other civilizations and many other theologies. The philosophies of further east have this representation as Yin and Yang, the two fundamental forces that are the basis of all creation. The Buddhist philosophy has the concept of Purush and Prakriti, and that everything else exists or is created through the interactions of these two. Even the scientists pursuing research on the theories of Modern Physics are making efforts towards what they call as the Grand Unified Theory of Physics, in which they propose that there exist only two basic forces in this physical universe and everything else in this visible measurable universe can be computed and extracted from the interplay of the equations of these two basic forces.

The scriptures of Sanatan Dharm abound with narrations of many flavors which describe the interplay between these two fundamental identities, and everything else that comes from them. There are narrations where Parvati, the Consort of Lord Shiva is represented as an incarnation of Vishnu. Then we have other narration where Radha ji is represented as an incarnation of Shiva.

The Ardhnaarishvar manifestation of Shiva, in which the left side of His being transforms into the female form, and He is blessed with being male and female form together in one presence. As per the narrations, Shiva got so smitten with the beauty of Mohini swaroop of Vishnu, that he continuously meditated on that beautiful form. As a result He earned the boon from Vishnu that Mohini would co-exist in the same physical body with Him. That is how the Ardhnaarishvar manifestation of Shiva came about.

Narrations abound in our scriptures of the purity of relationships of Love between Radha and Krishna, between Seeta and Ram, between Parvati and Shiva. However, in the most basic terms, it is all the interplay of the two basic forces of Vishnu and Shiva. And now I will touch upon one more aspect of Divine Love – the Love of Gopis of Vrindavan for the Child Krishna.

I have mentioned little earlier in this article, about the rationale behind the episode of Raas Lila during the appearance of Krishna on this earth, about the boon many learned Sages and women folk of villages received from Ram, when they approached Him with their desires to serve Him as His wives. Close to the end of Dwaapar Yug, when Krishna appeared on this land, these blessed souls all incarnated in Brij as Gopis, the milkmaids. The propensity of their earlier attraction to Ram, transformed in this life into an attachment of devotion to Child Krishna.

There are numerous narrations from many scriptures about the pastimes of Krishna in Gokul, Nandgaon and Vrindavan. Many of these episodes, including the Divine Raas Leela, are played out as interactions between Gopis and Child Krishna. The tales are endless. About Gopis craving for a view of Krishna, His pranks to trouble them as they go about their daily chores, about stealing butter and curd from their homes, about breaking the earthen pots (matkis) containing milk and butter, about the Gopis making Krishna dance just for getting some buttermilk and curd from them, even getting His face embellished with bits of cow dung to get more butter from them, and many many more.

There is a very interesting thread that weaves through all these episodes and pastimes, all the way up to the Raas Leela. And that thread is the flute that Krishna always carries with him, no matter what. This flute, made from a small stick of bamboo, is inseparable from Krishna. It is his eternal partner during the manifestation of all his pastimes while in Brij.

Krishna’s flute playing is remarkably Divine. At will, He can call for all the cows, or all the peacocks, or all the monkeys, or all his playmates and friends. And yes, when He plays the flute for that purpose, it is also to call all the Gopis. The ones so beckoned, are mesmerized by the music of the flute and as if a piece of iron is pulled by a magnet, so will the called ones respond to the call of the flute and in a trance just come to Him.

Gopis are attracted by His flute playing. Their attachment and their affectionate loyalty to Child Krishna is such that they would immediately give up whatever it is that they are doing, answer this call of devotion and converge wherever Krishna is. But when the music is over and the spell dissipates, they are also upset and annoyed that He has such power over them, that He will call them over whenever. There are small episodes of narration of such quarrels between Gopis and Krishna, and also complaints by Gopis to Yashoda.

Taking this narration further, we are also told that the Gopis are also cross with the flute itself. Just a small piece of bamboo and it has such a mesmerizing power over them. They even complain to the flute itself. Sometimes they slyly steal the flute and hide it. Then the little Kanhaiya is distraught, and he pleads with the Gopis to return it. There are some very beautiful bhajans and descriptions that depict this back and forth exchange between Kanha and the Gopis. And then, another step, the Gopis will go to Nand Baba’s home and lodge complaints with Yashoda. This exchange to is covered in many bhajans and episodes that are cute and heartening.

So what or Who is this flute? Some readers may know. Yes, as per narration given in some scriptures, this flute is none other than an incarnation of Shiva Himself. All I can say is that these matters are of the Divine, and are beyond our logic and comprehension. They need to be read and heard in wonder, and then to savor the multitude of sentimental flavors that are enmeshed in all this Grand Design. The more that we think and say about it, the more there remains to be thought and said about it.

The bhajan being introduced today is bringing up yet another flavor of the scores of sentiments that make up this wondrous pageantry. Gopis are even envious of the flute. And they begrudge it, that it always remains close to Kanha, and He so lovingly takes care of it, and He carries it everywhere with Him, even when He is asleep, it is with Him, and then He touches it by His lips, and creates the magic that disturbs their peace and comfort. After all the jealous complaints, they eventually end up praising the fortune of the flute. And they ask of it in wonder – Oh so what all penance and self-flagellation has it gone through, to be rewarded such a position of eminence, with the One that they all adore and covet.  And the words are

ए री बांस की बांसुरिया, तूने कौन कौन तप किन्हो री

Ae Ri Baans Ki Baansuria, Tu Ne Kaun Kaun Tap Kino Ri

Translations

bansi
bansi naam hai, kaahu dhareo sareer
taan taan ki dor su, khinchat hai mann mein

ari kshama kar muraliyaa, padi hain tere paayen
aur sukhi sun hot hain, maha dukhi hum hain

O Eminent Flute
Your name is ‘bansi
O why did you have to exist
With the power of the tones that emanate from you
The insides of our heart are pulled and wrenched

O please, please forgive us,
We fall at your feet in reverence
Others who may listen, may get pleasure from this music
But us. . . ?
Your sound makes us so unhappy and disturbed

 

tu hai brij ki muraliyaa
hum hain brij ki naar
teen lok mein gaayi’e
bansi aur brij naar

O Eminent Flute of Brij
You are the One who is so dear to Him
And we are the simple milkmaids of Brij
May these stories be sung in the three worlds
The tales of the flute and the milkmaids

There is a small personal incident associated with this bhajan that I would like to share. A senior patriarch (not in this world now) in the extended family was a very spiritual and learned person and I have had the good fortune of sitting and listening from him one on one, many times. Once I took this bhajan with me to play it for him. He had never heard this one before. As the play reached the second stanza and the words came “bansi aur brij naar “, he uttered the words “Jai Ho” three times, and I looked at him and his eyes were streaming. A little later I asked him about it, and he replied – “Bansi Aur Brij Naar – there is nothing higher than this in Krishna Bhakti”.

This is a non film bhajan that was recorded way back in 1961. That is all the information that I have been able to gather. No names are listed for the songwriter and the composer of this bhajan. The 78 rpm record is Columbia label GE 39008.

I have heard this song from the days of radio listening while still at school. But now this bhajan seems to have been forgotten by the radio waves. I tried searching for this on line and was really amazed to locate pages where netizens are waiting for this song to be located and uploaded.

A very rare song now, uploaded today. Listen to this baritone sound of CH Atma’s voice from sixty years ago.

[Author’s Note: This series – ‘The Many Colors of Love’ got initiated 20th May, 2013, eight years and 4 days ago. It continued on through 2013, 14 and 15, and 29 episodes were published, the 29th coming online on 9th March, 2015. And then there was complete silence on this topic. Six years – that is too long a gap by any standards. There was a rare blip in 2019 when the 30th episode of this series got published on 20th March, 2019. However, that post, although very much within the theme of this series, came about more towards getting the songs of film ‘Bobby’ completed and getting that film Yippeee’d. And then again, another long silence.

Readers and friends have probably come to the conclusion that the series was more or less complete. But the truth is far from that. In the sequence in which I had laid out the ‘Colors of Love’, after having done the 29th episode, the next topic I come to on the list is ‘Love Divine’. Telling you all the truth, it is this topic that tied up my grey cells in a bind and dried up the juices of creativity. Whenever I used to think to start writing this episode, my mind would just sputter and stop working, not knowing where to make a start. The article that you are reading today is probably the 4th revamped and revised version that I have attempted over the years. And another truth from the heart, I am still not fully satisfied with what I have written. There are many branch avenues that I wanted to explore and write about, but all are not coming together at once. And of course, the length of the article itself has become somewhat daunting.

The series still has three or four more songs to go, more like closing remarks on the ‘Colors of Love’. But yes, this post is the one that has taken the most energy. In a way I am glad that I am finally ahead of this milestone. But as I said before, getting this version of this episode completed still leaves me with a discontentment – that there is more to it. Well, maybe some other posts and other songs that may help fill the gaps within my mind, in the days to come.

So yes, we move forward, and hopefully conclude soon the list of flavors that I had originally planned.]

 

Song – Ae Ri Baans Ki Baansuriya (NFS – CH Atma) (1961) Singer – CH Atma, Lyrics – [Unattributed], MD – [Unattributed]

Lyrics

ae ri baans ki bansuriyaa

ae ri baans ki bansuriyaa
tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri
ae ri baans ki bansuriyaa
tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri

bansi
bansi naam hai
kaahu dhareo sareer
taan taan ki dor su
khinchat hai mann mein
ari kshama kar muraliyaa
padi hain tere paayen
aur sukhi sun hot hain
maha dukhi hum hain
tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri

ae ri baans ki bansuriyaa

tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri

tu hai brij ki muraliyaa
hum hain brij ki naar
teen lok mein gaayi’e
bansi aur brij naar
tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri

ae ri baans ki bansuriyaa

tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri

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

ए री बांस की बांसुरिया

ए री बांस की बांसुरिया
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री
अए री बांस की बांसुरिया
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री

बंसी
बंसी नाम है
काहू धरेयो सरीर
तान तान की डोर सूं
खींचत है मन में
अरी क्षमा कर मुरलिया
पड़ी हैं तेरे पाएँ
और सुखी सुन होत हैं
महा दुखी हम हा॰॰एं
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री

ए री बांस की बांसुरिया
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री

तू है ब्रिज की मुरलिया
हम हैं ब्रिज की नार
तीन लोक में गाइए
बंसी और ब्रिज नार
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री

ए री बांस की बांसुरिया
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री


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

This article marks the 3100th song post of Mohammad Rafi in the blog. This aticle is the 300th writeup of nahm in the blog

Blog Day :

4542 Post No. : 16115

Mohammed Rafi – 96th birth anniversary

—– Waqt ——-

Yeh waqt kya hai
yeh kya hai aakhir ke jo musalsal guzar raha hai
yeh jab na guzra thha
tab kahan thha
guzar gayaa hai to ab kahan hai
kahin to hogaa
kahan se aaya kidhar gayaa hai
yeh kab se kab tak ka silsilaa hai
yeh waqt kya hai
yeh waqi’ye
haadse
tasaadum
harek gham
aur har ek masarrat
har ek azziyat
har ek lazzat
har ik tabassum
har ek aansoo
har ek naghma
har ek khushboo
woh zakhm ka dard ho
ko ho lams ka jaadoo
khud apni awaaz ho ki mahaul ki sadaayen
yeh zehan mein banti aur bigadti hui fazaayen
woh fikr mein aaye zalzale hon ki dil ki halchal
tamaam ehsaas
saare jazbe
ye jaise patte hain
behte paani ki sateh par
jaise tayrte hain
abhi yehaan hain
abhi wahaan hain
aur ab hain ojhal
dikhaayi detaa nahin hai lekin
yeh kuchh to hai
jo ki beh rahaa hai
yeh kaisa dariya hai
kin pahaadon se aa rahaa hai
yeh kis samandar ko jaa rahaa hai

yeh waqt kya hai
kabhi kabhi main yeh sochtaa hoon
ki chalti gaadi se ped dekho
to aisa lagtaa hai
doosri simt jaa rahe hain
magar haqueeqat mein
ped apni jagah khade hain
to kya yeh mumkin hai
saarisadiyaan
qataar-andar-qataar apni jagah khadi hon
yeh waqt saakit ho
aur ham hi guzar rahe hon
is ek lamhe mein
saare lamhe
tamaam sadiyaan chhupi hui hon
na koyi ‘aayinda
na guzishtaa
jo ho chukaa hai
jo ho rahaa hai
jo hone waala hai
ho rahaa hai
main sochtaa hoon
ki kya yeh mumkin hai
sach ye ho
ki safar mein ham hain
guzarte ham hain
jise samajhte hain ham
guzarta hai
wo thhamaa hai
guzarta hai ye thhamaa huaa hai
ik aayi hai ye bataa huaa hai
hai munjamid
yaa pighal rahaa hai
kise khabar hai
kise pataa hai
yeh waqt kya hai

yeh kaaynaat-e-azeem
lagtaa hai
apni azmat se
aaj bhi mutma’een nahin hai
ki lamha lamha woh
wasee’a-tar aur wasee’a-tar hoti jaa rahi hai
yeh apni baahen pasaarti hai
yeh kehkashaaon ki ungliyon se
nayi khalaaon ko chhoo rahi hai
agar yeh sach hai
to har tasavvur ki had se baahar
magar kahin par
yaqeenan aisa koyi khalaa hai
ki jis ko
in kehkashaaon ki ungliyon ne
ab tak chhuaa nahin hai
khalaa
jahaan kuchh huaa nahin hai
khalaa
ki jis ne kisi se bhi ‘kun’ sunaa nahin hai
jahaan abhi tak khudaa nahinhai
wahan
koyi waqt bhi na hogaa
ye kaayenaat-e-azeem
ik din
chhuegi
is an-chhuye khalaa ko
aur apne saare wajood se
jab pukaaregi
‘kun’
to waqt ko bhi janam milegaa
agar janam hai to maut bhi hai

main sochtaa hoon
yeh sach nahin hai
ki waqt ki koyi ibtidaa hai na intehaa hai
yeh dor lambi bahot hai
lekin
kahin to is dor ka siraa hai
abhi yeh insaan ulajh rahaa hai
ki waqt ke is qafas mein
paida huaa
yahin woh palaa badhaa hai
magar use ‘ilm ho gayaa hai
ke waqt ke iss qafas se baahar bhi ik fazaa hai
to sochtaa hai
vo puchhtaa hai
yeh waqt kya hai

– Javed Akhtar –

I had heard a part of the above poem and just decided to reproduce it in a post. But while typing the whole saga, it lost me on the way to the end. I am able to understand it word to word, but to understand what exactly Javedsahab is trying to say or ‘in ke kehne ka tatparya kya hai’, I will have to go deep. Or maybe not so deep and what he says is what he means.
______________________________________________

This terrible year is coming to an end. Human kind has endured a test of psychological strength this year. And has learned (hopefully) that even if places of worship are not open, the Almighty is reachable from anywhere, for the universe, the world and its occupants, owners and tenants, wheelers and dealers, the powerful and the poor, the destitute and the able bodied, are all His creations. The ‘khalaa’ that Javed Akhtar refers to in the poem above, is also the creation of the Almighty creator. So is the concept if ‘waqt’. Whether it is running away from you or towards you. The time is allotted to us, to live on this earth peacefully with other creations. Before I move on, ‘khalaa’ is space, in worldly terms is means ‘empty space’ and in celestial terms it is infinite.

Its Mohammed Rafi Sahab’s 96th birth anniversary on 24/12/2020. Usually for Rafi sahab’s anniversary posts, or for the century posts, Raja ji is invited to do the honors of writing a special post. But I am seizing the opportunity, this time round. It is Rafi Sahab birth anniversary post as well as the 3100th songs post by Rafi sahib on the blog. This post is also my 300th song post, so a special Rafi song is called for this occasion.

Two months ago, I was looking for a song by Usha Timothy to post for her birthday on 8th October. I found a song by her, but it turned out to be a group song. The audio clip was 11 minutes long. The song itself is more than 9 minutes. Myswar.com listed this as a two part song one by Suman Kalyanpur and Usha Timothy and another by Mohammad Rafi and Manna Dey. It is from the 1966 film “Sunehre Kadam” and is composed by Bulo C. Rani. The lyricist is Nyay Sharma.

This is a very special song I have come to realize it while writing the lyrics. I will have to list them so that I don’t miss any points:

1. It has the longest solo rally, for a group song by Rafi sahab and large part of this rally is with minimal music.
2. This must be the only song with these four singers together.
3. The way the repetition of lines is done throughout the song, with singing of the same line in a different way. This is especially true of Rafi sahab’s repeated lines and also Manna De’s. In Rafi sahab’s songs, invariably it can be taken for granted, that the repetition of lines will have variations.
4. The song is a like a relay race, and the one starting it is doing the winner’s lap, with the trophy.

Actually Manna De has a small part to sing but Usha Timothy is having very few lines to sing. Seeing the video was a surprise again. It is a competition sort of song with two artists performing on stage and singing is done by Agha in Rafi’s voice and Shashi Kala in Suman Kalyanpur’s voice. Rehman is seen standing next to Agha and enjoying his singing, so is a female standing next to Shashi Kala similarly amused by the song. The expressions of quite enjoyment on Rehman’s face can be described perfectly in one word, i. e. “Mehzooz”.

A comment on youtube said that this song based on raag zhinjhoti/maanjhkhamaj. Whether it is true or not, the song does sound unique and stand out as a song to be savoured.

These are the songs from the movie already posted in the blog :

Song Date of posting Remarks
Na baaz aayaa muqadaar mujhe mitaane se 24 June 2011 MD-Bulo C Rani
Naazuk hoon albeli hoon 2 August 2011 MD- S Mohinder
Maangne se jo maut mil jaati 5 October 2011 MD-Bulo C Rani
Ye ghar aapkaa hai chale aayiye jee 25 October 2011 MD-Bulo C Rani
Na to inkaar kiya na to iqraar kiya 29 October 2020 MD-Bulo C Rani

The song is like a gorgeous long meal, a smorgasbord. Mohammed Rafi sahab is singing different portions of this song, with relish. And we listeners are mesmerised. The bass of Manna Dey’s parts is in tune with Rafi sahab’s sometimes sweet, sometimes mischievous, nasheeli, some with smooth softness. We can’t actually eat this, but we consume it and our senses absorb the nuances of the song. I just wish the parts where Suman Kalyanpure and Usha Timothy are singing, could be softened a little. They bring a mesmerised person back to earth, but Rafi sahab is back again in the last part of the song, in tandem with Manna Dey and they both bring it to a level field so we are not too sorry the song has ended, and there is no more of it to be heard for the first time.

I actually looked far and wide, to find if there is still more left to be found of this song. Lyrics by Nyay Sharma are equally good and make the most of the tune of the song. But for the large parts of the song, the words were redundant I felt, it was the raag and the rhythm and soft vocal voice singing the words which became paramount. This is a rarity, as it happens only with classical raagaa’s. The only other time I can recall this happening with me, was when I heard Kumar Gandharv here .
Is this what is known as a sum total greater than its parts?

Video :

Audio:

Song-Taqdeer ne kya angdaai li (Sunahre Qadam)(1966) Singers-Rafi, Manna Dey, Suman Kalyanpur, Usha Timothy, Lyrics-Nyay Sharma, MD-Bulo C Rani

Lyrics

Maah e nau ki ee
naav par
nikli sawaari raat ki
neel ke dariyaa mein basti
dhundh ki
jazbaat ki
husnwaalon ke ae
saron par
phool barsaati hui
gudgudaati
muskuraati
chhedti ee ee
gaati hui
jab kabhi patwaar se ae
yoonhi
ishaare ho gaye
kuchh ude
qatre hawaaa aa aa aa aa aa
mein
aur sitaare ho gaye

waqt ko taareeki – ye –shab ne
meherbaan kar diyaa
do jawaan roohon
ke mil jaane ka
saamaan kar diya
re taqdeer ne kya angdaai li
jeene ki fizaa namkeen hui
kuchh ishq badhaa
kuchh husn badhaa
kuchh ishq badhaa aa
kuchh husn badhaa
aur dil ki duniyaa aa
o o o
o o o
aur dil ki duniyaa
haseen hui
aur dil ki duniyaa
haseen hui ee
aur dil ki duniyaa
haseen hui

sitaaron dhale
ek khandar ke tale
do dil yoon mile
yoon mile
yoon mile
taare lehraa gaye
har kali khil gayi
bekali dhul gayi
apne hi aap par
apne hi aap par
apne hi aap par
phool sharmaa gaye
waqt ke saaz par
husn ke naaz par
ehl e dil mar mite
o o o
aarzuen to kya aa
aahen tak phoonk din
aarzuen to kya
aahen tak phoonk din
manzil e husn par
qaafile yoon lute
qaafile yoon lute ae
o o
qaafile yoon lute ae
qaafile yoon lute ae ae
jab khoon bahaa apne dil se
jab khoon bahaa apne dil se
mehfil unn ki rangeen huyi
kuchh ishq badhaa
kuchh husn badhaa
kuchh ishq badhaa
kuchh husn badhaa

aur dil ki duniyaa
o o o
o o o
aur dil ki duniyaa
haseen hui
aur dil ki duniyaa
haseen hui
aur dil ki duniyaa
haseen hui

taqdeer ne kyaa angdaai li
jeene ki fizaa sangeen hui

jab pyaar ki baaten ishq ne ki
jab pyaar ki baaten ishq ne ki

tab husn ki rooh
ho o ho o
tab husn ki rooh
ghamgeen huyi
tab husn ki rooh
ghamgeen huyi ee
tab husn ki rooh
ghamgeen huyi

ik ?? gul jabeen
shaakh par ho haseen
iss ko chhedo
haan chhedo
haan chhedo
nahin ee
maili ho jaayegi

gird to ghoom lo
dekhkar jhoom lo
nigaah se choom lo
warna kho jaayegi
ham vashinde nahin
apnaa saahil nahin
jis ka ye dil nahin
rooh so jaayegi

ho o o o
ari jadoo gayaa

o o o o o
jism keqadardaan

are jadoo gayaa
jism ke qadardaan
pyaar ki daastaan
pyaar ki daastaan
ruswaa ho jaayegi

pyaar ki daastaan
aa aa aa
ruswaa ho jaayegi
ruswaa ho jaayegi ee ee
tum aag ko raag samajh baithhe
tum aag ko raag samajh baithhe
angaaron se hi taskeen huyi

jab pyaar ki baaten
ishq ne ki
jab pyaar ki baaten
ishq ne ki

tab husn ki rooh
o o o o
tab husn ki rooh
ghamgeen huyi
tab husn ki rooh
ghamgeen huyi
tab husn ki rooh
ghamgeen huyi

taqdeer ne kya angdai li
jeene ki fizaa namkeen hui
kuchh ishq badhaa
kuchh husn badhaa aa
kuchh ishq badhaa aa
kuchh husn badhaa

aur dil ki duniyaa
o o o o
aur dil ki duniyaa
haseen hui
aur dil ki duniyaa
haseen hui ee
aur dil ki duniyaa
haseen hui

ho ooo
o o o o o o
o o o o o o
o o o o o o
ho o o o
o o o o

shaakh par ki kali
ho wo kitni bhali
jo na dil se lagi
jo na dil se lagi
umr dhal jaayegi

hawas aur pyaar ka
qissa takraar ka
farq bekaar ka
farq bekaar ka
jawaani
dhal jaayegi
ho ooo
jadoo ye dam ba dam

ho oo o
oooooo
naghmon ke taal o samm
jadoo ye dam ba dam
naghmon ke taal o samm

ye sunehre qadam
ye sunehre qadam
mai ubal jaayegi ee
khud ko awaaz do
waqt ko saaz do

ishq ka naaz do
raat tal jaayegi

o jaaneman
yoon na ghabraayiye
paas to aayiye
har adaaa apki
dil nasheen huyi
kuchh ishq badhaa
kuchh husn badhaa
kuchh ishq badhaa aa
kuchh husn badhaa

aur dil ki duniyaa
ooooo
oooooo
aur dil ki duniyaa
haseen hui
aur dil ki duniyaa
haseen hui ee
aur dil ki duniyaa
haseen hui


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

This article is the 400th writeup of Peevesie’s mom in the blog.

Blog Day :

4521 Post No. : 16080

Hullo Atuldom

I have been getting reminders and ‘pokes’ (a term from Facebook) in the form of personal messages from a few Atulites who are asking me why the sudden slump on my part. Now I know what Atulji goes through when all of us question him on “Blank days”. I also am feeling like the first-follower of the blog ‘Rajaji’ who took a few weeks to reach his 200th post with ghodi pe hoke sawaar.

This slump can be attributed to the festival season and having my Mom-in-law for company. I would like to copy-paste a thought that Rajaji has written in his 200th post (sorry for not taking your permission Rajaji)

“No excuses though – if Atul can write up and post songs every single day, I just cannot have an excuse for taking five weeks for one post. :-)”.

In spite of the mentioned reasons I managed to sneak in my post number 399 and that was only 10 days back.

December 3rd is one of those days in the calendar, followed by ASAD, which has two occasions to have special posts. To start of let me wish the “Raunaq-e-blog” a very happy birthday. This was a title bestowed on the recipient in a post three years ago on this date. May she have a healthy, peaceful, musical and joyful day. May her appearances on the blog and WA group be more regular. Wishing our Ben Katie a very happy birthday. On this day I present you a song of the forever PACHCHEES romantic hero of the 50s, 60s, 70s, and the better part of the 80s. May you be as Evergreen and Hyperactive as him.

I went through the filmography of the forever Pachchees Dev Anand and found a few songs of his first decade in the film industry yet to be posted here on the blog. I had almost made up my mind about the song too. One such song was from the movie “Ham Bhi Insaan Hain” (1948) of which the blog has only four from a possible nine songs. But the hurdle for me was the name of the music director “H P Das”. A name new to me; as also the names Amir Banu, Ramola Devi, German, Niharika, Pal, G. Das etc. I decided that this movie and its songs should be handled by the more knowledgeable stalwarts of ASAD. I decided that I shall tread on safe territory and have chosen a song from a movie of the 70s.

I have seen this movie ages ago on Doordarshan and recall that it had something to do with the construction of a bridge to connect India’s North East with the rest of the country. The favoured villain of those times- Pran- played a chieftain of that region who is against the bridge construction as this will lead to the betterment of the locals whom he has kept under his bondage. Sharmila Tagore played the local girl who is ready to take up arms at her Chief’s behest and goes on a mission to sabotage the bridge. Dev Anand played the engineer in-charge of the Bridge Project and also the reason for Sharmila Tagore’s change of opinion about the bridge, its construction, and her chief ‘Deng Do Rani’ (Pran). Johnny Walker, Lalita Pawar, Sujit Kumar, Kanan Kaushal, Jayshree T., Keshto Mukherjee, Asrani, Iftikaar etc played supporting characters. The movie had music by S. D. Burman and Anand Bakshi was the lyricist. The movie’s title was picked up from Allama Iqbal’s patriotic song “Saare Jahaan se Achcha”. In fact “saare jahaan se achcha” features in the movie too in the voice of Sushma Shrestha and chorus.

Gori gori gaaon ki gori re was the first song to be posted. Mera naam yaao mere paas aao was next. Then came this song Naina soyi soyi raina jaage jaage by our in-house encyclopedia who has made some interesting observations about Lata singing with Uncommon Singers. There was another uniqueness about that song- it was possibly the only time when Lata, SD Burman and RD Burman featured together.
The last song to be posted has been Ho tushima ree tushima aa gaya toofaan by Sadanand Kamathji and it was a tribute to Burmanda on his anniversary.

There are three more songs left of which the film version of “Saare Jahaan se Achcha” is one.

Before we get on to the song I must thank Atulji for allowing us as contributors on his blog and posting my mail to him giving details of the song as my first post ever as lyrics- contributor. That prompted me to send a few more lyrics as farmaishes and then the writing bug bit me and the number of days between my posts have been steadily reducing. I know my contributions are not masterpieces but my own thoughts and feelings. How I wish I had the patience of Sadanandji to write well-researched posts. Or the knowledge of Arunkumarji whom I call Guruji or even the resources (read HFGK) of people like Sudhri, Avinashji etc. I must also mention the love of Nahmji’s love for poetry and poets and her posts have been enlightening.

Today’s song is filmed on Dev Anand and a bunch of kids something on the lines wallah kya nazaara hai mausam bada pyaara hai, galiyon galiyon khaak bahut din humne chhaani; hans tu hardam khushiyaan ya-gham etc. These were the songs that followed “Ye Gulsitaan Hamaara” but all were feel-good songs where Dev Anand is trying to cheer the crowd. It is in the voice of Kishore Kumar. It is nine years since Devsaab passed away and it feels like yesterday. Thinking of the fabulously stylish and charming actor who entertained us for decades.

Once again wishing our Ben Katie on her birthday. Let us have all the birthday songs on loop for her.


Song-Hey suno meri baat chalo mere saath (Ye Gulistaan Hamaara)(1972) Singer-Kishore Kumar, Lyrics-Anand Bakshi, MD-S D Burman
Unknown child’s voice
Chorus

Lyrics

hey
hey ae ae
hey kareeto
ae pareeto
he teeno kheya rukka
arre o denga
ae mummun
hahahahahaah
hahahahahaaha

hey suno meri baat
chalo mere saath
hey ae ae
rakh do ye teer
chhodo ye kamaan
tum kitne pyaare
nyaare nyaare
jaise ambar ke taare
saare
aage peeche khade ho jaao
aao khelo ye naya khel
chhuk chhuk chalti hai aise
dekho kaise chalti hai rail
arre aage peechhe khade ho jao
aao khelo ye naya khel
chhuk chhuk chalti hai aise
dekho kaise chalti hai rail

aao

hey ahey
is ped par meethhe meethhe phal
hey ae ae
is ped par meethe meethe phal
kitne hain pakke kitne kache
bolo gin kar sab bacche acche
aye munmun tu zara gin to
ek do teen chaar
ek do teen char panch chhah saat

shaabaash
ek ke baad hai do phir teen
phir chaar phir paanch chheh saat

seekh lo ginte hain kaise
dekho aise gino mere saath
he he
ho ho

hey ae ae
kya hai sansaar
kya hai sarkaar
hey ae ae
kya hai sansaar
kya hai sarkaar
tumko bataaun main sikhaaun
jag neeti samjhaaun
gaaun
dekho tum chor ho
haan
tumne chori ki
arre baap re
tum sipaahi
achcha
main thaanedaar
hey
tum bhaago
tum pakdo
jhoomo naacho gaao khelo chor sipaahi aaj
duniya mein chalta hai kaise
dekho aise chalta hai raaj
aage peechhe khade ho jaao
aao khelo ye naya khel

arre waah re denga
chhuk chhuk chalti hai aise
dekho kaise chalti hai rail

ek baar phir se
lalalalalala
lalalalalala
lalalalalala
lalalalalala

ek baar aur
lalalalalala
lalalalalala

haha
lalalalalala
lalalalalala


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

This article marks the 400th song as a playback singer for Suman Kalyanpur and 300th article as a guest contributor for Avinash Scrapwala in the blog.

Blog Day :

4500 Post No. : 16037

Welcome all to this post, which should have come yesterday. But as they say ‘it is better late than never’ and as we on the blog say ‘it is never too late (even if the post comes after a long gap (ranging from a week to a month) of a particular special day).
😊
In any case we will be having a song to enjoy, a look-back (or glance? 😊) on the yesteryears or a brief journey ‘down memory lane’ …

I will directly come to the point now and clear the suspense that yesterday 11th November’2020 was the eighty-fourth (born on 11.11.1936) birthday of the gorgeous, beautiful, (plus sober, decent?), cheerful, ever smiling and ‘chulbuli’ actress Mala Sinha.

On the blog we today belatedly wish her a very happy birthday and a healthy and peaceful life ahead.

I got to watch many of her movies from the ‘golden era’ or ‘black & white’ era and later many of her movies from the ‘colored’ era too. I am not going to list them all here because it will be a long list. I would only like to say that I do not remember any single movie of her ‘where I have not liked her performance’. I always like her screen presence and also her appearances in the songs or song sequences.

When I was looking for information about her initial career, I got to learn that she was an approved singer of ‘All India Radio’ but never got to playback singing in movies.
Ot of the twentythree Bangla movies she acted in, she was paired with Uttam Kumar in seven movies. Interested readers can visit for more interesting information on her on ‘wiki’ here.

On the occasion of her birthday I am going to present a song picturized on her from the movie ‘Rivaaj-1972’ which I came across recently. After listening to the song I totally fall in love with this song.

‘Rivaaj-1972’ was directed by T. Prakash Rao for ‘Sona Films, Madras’. (This movie was dedicated to the memory of the great K. Asif)

It was presented by H. Prasann Chand Nahar. K.C. Bokadia was the producer of this movie.

It had Mala Sinha, Sanjeev Kumar (the sub title for Sanjeev Kumar mentions ‘President award winner), Shatrughan Sinha, Farida Jalal, Jr Mehmood, Baby Gauri and Zeb Rehman.
They were supported by Nazir Hussain, Sulochana, Jayshree T., Pandri Bai, Mukri, Mrs. Shaukat Kaifi Azmi, Raj Kishore, Swaraj Kumar, Subrato and others.

The story of this movie was written by R. Venkatachalam. Its dialogues were written by Kaifi Azmi.
Editing of this movie was done by R. Bhaskaran.

This movie was passed by Censor Board on 19.08.1972.

The movie had eights songs (including a multiple version song) written by Kaifi Azmi, Indeevar, Hasrat Jaipuri, Anjaan, S.H. Bihari and Neeraj. Lata Mangeshkar, Mohd Rafi, Kishore Kumar, Asha Bhonsle, Manna Dey and Suman Kalyanpur were the playback singers for this movie.

Here is the list of the eight songs of this movie and the songs already posted have been added with their link;

Song Lyricist Posted On
Main teri prem deewaani meera Neeraj Being covered in this post
Tujh mein hoon main mujh mein hai tu S.H. Bihari 09.07.2013
Pyaara pyaara sabse nyaara aanewaala hai koyi hamaara Indeevar
Tujh jaisi laadli laakhon mein ek (male version) Hasrat Jaipuri
Tujh jaisi laadli laakhon mein ek (female version) Hasrat Jaipuri
Lagey koi lottery yaa jackpot lagey Anjaan 30.01.2015
Jalaa do jalaa do jaalaa do duniya ko jalaa do Kaifi Azmi 06.11.2020
Phoolon sa mahka huaa ye reshmi tan mera Anjaan

Music for this movie was composed by Shankar-Jaikishan.

Today’s song is picturized on Mala Sinha where she is lip-syncing in Suman Kalyanpur’s voice. Sanjeev Kumar and many others are also seen in the picturization of the song which happens in a temple (the famous Meera temple of Udaipur, as mentioned in the ‘wiki’ page of this movie ‘Rivaaj-1972).

The beautiful lyrics for today’s song are by Neeraj ji.

When I listened to the song for first time around a week or ten days back, I was totally taken up by this song and fall in love with it. It grows upon us if we listen to it again and again.
This beautiful composition of Shankar-Jaikishan is sung by Suman Kalyanpur and I must say what I mentioned for Mala Sinha that I have never came across a single Suman Kalyanpur song which I had not liked and enjoyed.

With the song Suman Kalyanpur has now four hundred song on the blog. Still a long to go to cover her remaining songs. It is still below half way mark if we consider the total 857 songs sung by her in Hindi movies. Today happens to be the 4500th day for the blog. Suman Kalyanpur completing her 400th song in the blog on the 4500th day for the blog sounds quite a befitting occasion.

Let us now enjoy this wonderful song …
Ed note:-Moreover, this article is the 300th article for Avinash Scrapwala as a guest contributor in the blog.

Video

Audio (Longer)

Song-Main teri prem deewaani Meera (Rivaaj)(1972) Singer-Suman Kalyanpur, Lyrics-Neeraj, MD-Shankar Jaikishan

Lyrics

main teri prem deewaani meera
meera aa

main teri prem deewaani
meera
main teri prem deewaani
aao chhaliyaa
aao naa aa
aao chhaliyaa
aao naa aa
ab to preet nibhaao naa aa
main teri prem deewaani meera
meera
meera aa
meera aa

angin tere roop saanwre ae
angin tere roop saanwre
dekh ke naina huye baawre
o behroopiyaa
ab to pal bhar
ek roop ho jaao naa
main teri prem deewaani meera
main teri prem deewaani

jeewan mera dhyaan hai teraa aa
jeewan mera dhyaan hai teraa
bol bol re kaun hai tera
har ek raah tere ghar jaaye
jaaun kidhar bataao naa
main teri prem deewaani meera
main teri prem deewaani
aao chhaliyaa
aao naa aa
ab to preet nibhaao naa aa
main teri prem deewaani meera
meera
meera aa
meera aa

tu sabke sang raas rachaaye
tu sabke sang raas rachaaye
saare jag ko naach nachaaye
ek baar mujhko bhi apni
murli shyaam banaao naa aa
main teri prem deewaani meera
main teri prem deewaani ee
aao chhaliyaa
aao naa aa
ab to preet nibhaao naa aa
main teri prem deewaani meera
meera
meera aa
meera aa
meera aa
meera aa

—————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————–
मैं तेरी प्रेम दीवानी मीरा
मीरा आ
मैं तेरी प्रेम दीवानी मीरा
मैं तेरी प्रेम दीवानी
आओ छलिया
आओ ना आ
आओ छलिया
आओ ना आ
अब तो प्रीत निभाओ ना आ
मैं तेरी प्रेम दीवानी मीरा
मीरा
मीरा आ
मीरा आ

अनगिन तेरे रूप सांवरे ए
अनगिन तेरे रूप सांवरे
देख के नैना हुए बाँवरे
ओ बहरूपिया
अब तो पल भर एक रूप हो जाओ ना
मैं तेरी प्रेम दीवानी मीरा
मैं तेरी प्रेम दीवानी

जीवन मेरा ध्यान है तेरा आ
जीवन मेरा ध्यान है तेरा
बोल बोल रे कौन है तेरा
हर एक राह तेरे घर जाए
जाऊं किधर बताओ ना
मैं तेरी प्रेम दीवानी मीरा
मैं तेरी प्रेम दीवानी
आओ छलिया
आओ ना आ
अब तो प्रीत निभाओ ना आ
मैं तेरी प्रेम दीवानी मीरा
मीरा
मीरा आ
मीरा आ

तू सबके संग रास रचाए
तू सबके संग रास रचाए
सारे जग को नाच नचाये
एक बार मुझको भी अपनी
मुरली श्याम बनाओ ना आ
मैं तेरी प्रेम दीवानी मीरा
मैं तेरी प्रेम दीवानी
आओ छलिया
आओ ना आ
अब तो प्रीत निभाओ ना आ
मैं तेरी प्रेम दीवानी मीरा
मीरा
मीरा आ
मीरा आ
मीरा आ
मीरा आ


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

This is his 900th write-up in the blog.

Blog Day :

4442 Post No. : 15887

My God ! This is my 900th post on the Blog !

I just can’t believe it. I feel like having written my First post just the other day. How time flies !

But this also means that I have enjoyed writing posts on this Blog. It has been exactly 8 years that I have been writing posts, primarily on old time films, songs and the people connected with them. My first post appeared here on 1-10-2012, when I was 72 year old. At the end of the 8 years period, I have 900 articles on my name and I am 80 years old.

When my first post appeared here on 1-10-2012, I had already posted 400 comments, film reviews and information tit bits on old films on the Blog. With so much of information, it was expected by Atulites that someday I will write posts. Personally. I had never thought of that. There is a story behind how my posts started appearing on this Blog.

At the end of September 2012, one of my friends sent me a song from the film Savitri-1937. I was quite excited to get such a rare song. Savitri-37 was the first Mythological film by Bombay Talkies and also their popular Hero Ashok Kumar ( later he acted in one more Mythological film ” Uttara Abhimanyu”-46. Thank God he never acted in another Mythological film ! He was a perfect misfit in them.). I wrote to Atul ji that I had that song and suggested that he should post it. I volunteered to provide the necessary details of the film etc. He wrote back asking me to send him the information on that song. Enthusiastically, I wrote a long essay-like post about the film, song, story etc. and sent it to him, so that he should post the rare song.

Next day i.e. on 1-10-2012, I got an email from Atul ji that he has posted the write up on film Savitri song, as my Post. I was pleasantly surprised. Honestly, I was thrilled too ! My post and on this Blog ? How sweet ! By evening, there were 36 comments on the post. Most Atulites welcomed my step of becoming a post contributor. I was really overwhelmed. Then I decided, anyway I was in the Swimming Pool, so why not enjoy swimming ?

Thus started my journey of 900 posts. All the credit goes to our Leader- ATUL JI. His encouragement, motivation and help from time to time was an asset for me. Atul ji is not expressive about the good deeds he does, but I am indebted to him. I learnt using the Computer when I was past my 70 years of age. So, there used to be many mistakes in my typing the articles like in using the upper/lower cases, use of Capitals, Punctuation marks, construction of sentences etc etc. But Atul ji and Sudhir ji stretched their tolerance limits to maximum and accepted me as I was. Since 2018 onwards, I conscientiously made changes in my writing, checking the article for mistakes, doing corrections before sending it etc. I also changed the type of the script Font that I was using, for more clarity of reading and today, I feel, my writings are far better than earlier times. Sudhir ji’s help has been particularly useful in the last 8 years. Thank you, ATUL JI and SUDHIR JI, for making me what I am today in the Blogosphere and amongst the like minded people of the Internet, Facebook etc.

My 800th post was on 29-9-2019. The 900th post too is in September. Thanks to all my readers, friends, Group Atulites and well wishers.

Today’s song is from the film Malati Madhav-1955. This is a story from the Sanskrit play ‘Malti Madhav’ written by Bhavbhuti. Wikipedia has this to say about Bhavbhuti and the story of Malati Madhav….

Bhavabhuti was an 8th-century scholar of India noted for his plays and poetry, written in Sanskrit. His plays are considered the equal of the works of Kalidasa. Bhavabhuti was born in Padampura, Vidarbha, in Gondia district, on the Maharashtra and Madhya Pradesh border. His real name was Srikantha Nilakantha, and he was the son of Nilakantha and Jatukarni. He received his education at ‘Padmapawaya’, a place some 42 km South-West of Gwalior. Dayananidhi Paramahansa is known to be his guru. He composed his historical plays at ‘Kalpi’, a place on the banks of river Yamuna.

He is believed to have been the court poet of king Yashovarman of Kannauj. Kalhana, the 12th-century historian, places him in the entourage of the king, who was defeated by Lalitaditya Muktapida, king of Kashmir, in 736 AD.

The play is set in the city of Padmavati. The king desires that his minister’s daughter Malati marry a youth called Nandana. Malati has been in love with Madhava ever since she saw him and drew his portrait. Madhava reciprocates, and draws a portrait of her in turn. Malati suspects her father’s motives in falling in with the King’s plans for her. A side plot involves the lovers’ friends Makaranda and Madayantika. The latter is attacked by a tiger, and Makaranda rescues her, getting wounded in the process. After numerous travails, all ends well, with the two couples uniting. According to the renowned Sanskritist Daniel H.H. Ingalls, the Malatimadhava is a work that combines love and horror with a felicity never again equaled in Sanskrit literature.

Today’s song is sung by Malati Pande and chorus. Malati Pande is one of my most favourite marathi singers. Her Bhavgeets in the 50’s decade were extremely popular in Maharashtra and with all the Marathi people wherever they were in the world. Malati Pande was also a Classical singer and has sung very few songs in Hindi films, but excelled in Classical and Marathi songs. Her songs like ” tya tithe, palikade, tikde, maziya priyeche zopde” or ” kunihi paay naka vajavu” are evergreen. She is one of those Marathi singers like Manik Verma, Jyotsna Bhole, Hirabai Badodekar, Saraswati Rane, Shobha Gurtu, Nalini Mulgaonkar, Ram Marathe, Bhimsen Joshi, D.V.Paluskar etc, who just visited Hindi films out of curiosity, but returned to their comfort zones immediately.

Malati was born on 19-4-1930 at Poona, She was attracted to music from her childhood. She was trained by several teachers like Bhaskarrao Ghodke, Trivedi Master, Vilayat Hussain Khan, Vinayak buwa Patwardhan, Bholanath Ghatt and also her husband Pt. Padmakar Barve. At the age of 15 years, she was invited to sing on A.I.R. Poona. She did her Ph.D in Music.

When Sudhir Phadke brought her to Prabhat for audition, for songs of Marathi version of ‘ Aagey Badho ‘-47, Fattelal was very happy with her style of singing and thanked Phadke. Malati Pande’s first lori song “kunihi Paay Naka vajavoo…” was with Singer & Music Director Gajanan Watve and poet Shrinivas Kharkar. It is said that afterwards, many singers and music directors recorded lori songs, but Malati Pande’s this lori song is the best and is still remembered by the Marathi listeners.

Malati Pande sang many Marathi songs under the music direction of Gajanan Watve, Sudhir Phadke, Ram Phatak, Shrinivas Khale, Datta Dawjekar, Madhukar Pathak etc.

Malati Pande sang some 15 Hindi songs under the music direction of K. Bhole, Avinash Vyas, Sudhir Phadke in the following Hindi films – Seeta Swayamvar-48, Maya Bazar-49, Shrikrishna Satyabhama-51, Shri Vishnu Bhagwan-51 and Malati Madhav-55.

Malati married classical singer Pt. Padmakar Barve. They have a son Rajiv Barve who is a singer. His daughter Priyanka Barve is also a famous singer in Marathi and Hindi films. Malati Pande died on 27-12-1997.

Let us now enjoy her last song in Hindi films…


Song-Motiyon se maang bhare sundari suhhaaye re (Maalti Madhav)(1951) Singer- Malti Pande, Lyricist- Pt.Narendra Sharma, MD- Sudhir Phadke
Chorus

Lyrics

Motiyon se maang bhare sundari suhhaaye re
sundari suhhaaye re
Motiyon se maang bhare sundari suhhaaye re
sundari suhhaaye re
aarsi na dekho
kahin drishti lag jaaye re
drishti lag jaaye re
sundari suhhaaye re
sundari suhhaaye re
Motiyon se maang bhare sundari suhhaaye re
sundari suhhaaye re

nakh range hain laadli ke
choomti usha charan
nakh range hain laadli ke
choomti usha charan
jaise laal laal kamal
khil rahe hain man haran
jaise laal laal kamal
khil rahe hain man haran
ye charan ki jodi kahin
door chali jaaye re
door chali jaaye re
sundari suhhaaye re
sundari suhhaaye re
Motiyon se maang bhare sundari suhhaaye re
sundari suhhaaye re
Motiyon se maang bhare sundari suhhaaye re
sundari suhhaaye re

mukh hai jaise chandr chaandni si roop mohani
mukh hai jaise chandr chaandni si roop mohani
apni aaj kal paraayi hogi sakhi sohini

dekho kaali naagin si veni lehraaye re
veni lehraaye re
sundari suhhaaye re
sundari suhhaaye re
Motiyon se maang bhare sundari suhhaaye re
sundari suhhaaye re
aarsi na dekho
kahin drishti lag jaaye re
drishti lag jaaye re
sundari suhhaaye re
sundari suhhaaye re
Motiyon se maang bhare sundari suhhaaye re
sundari suhhaaye re


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

This is his 600th writeup in the blog.

Blog Day:

4327 Post No. : 15618

—————————————————————–
Blog 10-Year Challenge (2010-2020) – Song No. 31
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Agha Jaani Kashmiri (16/10/1908 – 27/03/1998) was perhaps the first story/screen-play/dialogue writer who was the ‘king maker’ in the Hindi film industry. Some of the producers/directors like Mehboob Khan, Shashidhar Mukherjee, Sunil Dutt used to consult him while taking up their new film projects. It is said that though he would be officially engaged for writing screen-play and dialogues, in realities, he would be their adviser in almost all the aspects of the film-making. Some of the actors themselves used to get trained from him about the correct pronunciations of their dialogues in Hindustani. Ashok Kumar, Devika Rani, Nargis, Joy Mukherjee, Sadhna, Saira Bano were some of the actors who sought his advice on their Urdu diction.

During his nearly 4 decades of filmy career in Hindi film industry, Aghajaani Kashmiri directed only one film, ‘Tohfaa’ (1947). The star cast included Nawab Kashmiri, Veera, Rehman, Anuradha, Shah Nawaz Shakuntala, Agha Miraz, Kanta, T N Charlie etc. There were 6 lyricists for 10 songs which were set to music by M A Rauf Osmania, the ghazal singer at the court of Nizam of Hyderabad and on Nizam Radio. Rafique Ghaznavi provided the background music. The theme of the film was Hindu-Muslim unity.

Nawab Kashmiri. a favourite actor of New Theater’s Boss, B N Sarkar, was a cousin of Agha Jaani Kashmiri and was the same actor who removed all his teeth for the realism of his role in ‘Yahudi Ki Ladki’(1933).[Ref: ‘Stars From Another Sky’ (2010)]. In ‘Tohfaa’ (1947), he probably did the role of an Ustad whose daughter (Veera) is in one-sided love with Ustad’s disciple (Rehman). The disciple takes it to be a sisterly love of her devotion. The daughter is devasted when the disciple falls in love with a city-bread damsel (probably, Anuradha) whom he introduces to his ‘sister’ to fulfil his long overdue promise to present her with a gift (tohfaa). It is a tragic story of misinterpretation of love between the Ustad’s daughter and his disciple and also of the misinterpretation of the gift (tohfaa) the daughter was expecting. [I have interpreted the story of the film based on the review of the film in May 1948 issue of ‘Filmindia’].

The review in ‘Filmindia’ had blamed the inapt handling of the direction by Agha Jaani Kashmiri. The film flopped miserably at the box office. My guess for one of the reasons for the failure of the film is its timing of the release. This film was due for release at a time when the partition of the country was to take place. Hindu-Muslim riots on the eve of the partition forced the film to be released post-partition. The film was released in April 1948 by which time the prospective audience had already seen the impact of the partition. Probably, they were not in a mood to watch the serious film with the rhetoric of Hindu-Muslim unity theme. But most of the songs in the film became popular.

Exactly 10 years ago, i.e. on May 23, 2010, our Blog had covered 3 songs of which one song, kahaan tak jafaa husn waalon ke sahte, was from ‘Tohfaa’ (1947).

So far, 7 out of 10 songs from ‘Tohfaa’ (1947) have been covered in the Blog as under:

No. Songs Posted on
1. kahaan tak jaffa husn waalon ke sahte 23/05/2010
2. jeene ki soorat ho gayee 28/07/2012
3. kisne chheda man ka taar 14/10/2012
4. ik aisa geet sunaavo 23/06/2013
5. hamne tumne kiyaa thha jo aabaad 03/07/2013
6. mohabbat kar mohabbat kar 07/07/2013
7. bhole sajan tujhe kaise bataaun 01/02/2015
8. wo dil gaya wo dil ke sahaare chale gaye Being covered in this writeup
9. gunche sharminda na ho Yet to be covered
10. kabhi tarsi huyi aankhon ki hasrat Yet to be covered

It would be observed that out of 10 songs, 3 songs are yet to be covered. There has been no addition to the song already covered in the Blog for the last 5 years. I checked on the video sharing platforms on the internet and found that out of these 3 songs only one song, wo dil gaya wo dil ke sahaare chale gaye is available as of date which I am presenting here. The song is rendered by Geeta Dutt. The song is written by Rafique Ghaznavi which is set to music by M A Rauf Osmania.

Audio Clip:

Song-Wo dil gaya wo dil ke sahaare chale gaye (Tohfa)(1947) Singer-Geeta Dutt, Lyrics-Rafiq Ghaznavi, MD-M A Rauf Osmania

Lyrics

wo dil gaya wo dil ke
wo dil gaya wo dil ke
sahaare chale gaye
sahaare chale gaye
sahaare chale gaye
wo dil gaya wo dil ke
sahaare chale gaye
jinse thha hamko pyaar
jinse thha hamko pyaar
jinse thha hamko pyaar
wo pyaare chale gaye
jinse thha hamko pyaar

tum the har ek cheez thhi ee ee ee
mere naseeb mein aen aen
tum kya gaye naseeb
tum kya gaye naseeb
hamaare chale gaye
jinse thha hamko pyaar
wo pyaare chale gaye

raushan thha jinke dam se mera
aa aa aa aa
dil mera khayaal
wo chaand bhi gaya
wo sitaare chale gaye
sitaare chale gaye
sitaare chale gaye
jinse thha hamko pyaar
wo pyaare chale gaye

jab band aankh karte hain
aen aen aen aen
ye dekhte hain hum m m m m
jaise ki hum bhi saath
jaise ki hum bhi saath
tumhaare chale gaye
jaise ki hum bhi saath
tumhaare chale gaye
jaise ki hum bhi saath
tummhaare chale gaye
chale gaye


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

This article is his 800th article in the blog.

Blog Day :

4087 Post No. : 15227 Movie Count :

4184

This is my 800th post on this Blog ! Simply unbelievable !! Seems like, I had just started writing about old films yesterday only !!!

When I look back on my journey of last few years, I see me, learning operating computers at the age of 71 years and then start writing posts from the 72nd year. In last 7 years, almost precisely, I wrote more than 800 articles on various Blogs and sites and even published one book ! Can all this be true ? God has been very kind to me, I would say.

The credit for my 800 posts here, goes to Atul ji, who was the one who motivated me to start writing. He is not very expressive in these matters, but his constant encouragement, help and facilitation in various ways, kept up my enthusiasm in writing. Our own Sudhir ji has also been very helpful consistently. Initially, my speed of posting articles was very noteworthy. Later on it slowed down. The reasons were many.

One reason was, as the time went by, besides increase in the contributors, many available songs were getting posted and so to get a song of choice for writing was becoming difficult. Initially the field was open, but as the songs’ availability decreased, the speed of posting also slowed down. It is certainly not because the ‘ contents have dried up ‘ . There is still so much to write about and the scope is still very wide enough to last for a long time.

Here are the details of my centuries:

Here are the details of my centuries:

article Number Song Blog post number Date (blog day) Period taken
First article Surya wahi chandra wahi (Saavitri)(1937) 6760 1-10-2012 (1536)
100th article Aa ri sakhi main tohe preet sikha doon (Mahageet)(1937) 7870 11-4-2013 (1728 ) 192 days
200th article Jaago hey jaago jaago hey mahaakaal (Jagadguru Shankaracharya)(1955) 9003 14-11-2013 (1945) 217 days
300th article Hey Satyanaraya swaami (Maha Pooja)(1954) 9895 10-6-2014 (2153) 208 days
400th article Tu mi piaci caara(Bewaqoof)(1960) 11082 21-4-2015 (2468) 315 days
500th article Bedard tujhko pyaar kiya (Tajmahal)(1941) 11976 6-4-2016 (2819) 351 days
600th article Main patton mein chhupi kali hoon (Aandhi)(1940) 13564 4-9-2017 (3335) 516 days
700th article Shehron mein se sheher suna thha(Heer Ranjha)(1948) 14773 2-12-2018 (3789) 454 days
800th article Pooranmaasi aayi hansaati (Paraaya Dhan)(1943) 15227 26-09-2019 (4087) 298 days

I thank all my well wishers and those who commented on the posts to convey their appreciations. That actually motivated me further to continue writing.

Today’s song is from film Paraya Dhan-43. this was a bilingual film in Hindi and Bangla (Bichar-43), directed by Nitin Bose.

After a spat with B N Sircar, Nitin Bose came to Bombay with his group of artistes. He had a contract with Chunnibhai Desai’s ” Shree Films” for 3 films. This Chunnibhai was the elder brother of Chimanlal Desai of Sagar Movietone (later of National studios and then Amar Pictures). His first film was a Bilingual in Bangle/Hindi- Paraya Dhan-1943. This was a flop. Then came ‘Mujrim’-44. This too was a flop. the third film was ‘Mazdoor’-45. For this film, Nitin Bose had advertised for a Hero. One day, 4 candidates were interviewed. First was Dev Anand, second was Rehman, third was Chetan Anand and the fourth was Nasir Khan. Nitin Bose rejected the first 3 and selected Dilip kumar’s brother Nasir Khan. Most unfortunately,this film also became a flop. Luckily,he was invited by Bombay Talkies to make a film in Bangla/Hindi,based on Tagore’s story ‘Nauka Doobi’. Hindi version was ‘Milan’,with Dilip Kumar and Meera Mishra and Ranjana etc. This film was a Hit and Nitin Bose firmed up his position in Bombay.

Film Paraya Dhan had music by Pt. Gyan Prakash Ghosh. While shifting from Calcutta to Bombay, Nitin Bose had brought few people with him. Pt. Ghosh was also one of them. He was a very big and highly respected name in Bengal. While in Bombay he gave music to 2 Hindi films, namely Paraya Dhan-43 and Mujrim-44, both directed by Nitin Bose. Unfortunately, both the films proved flops and Gyan Prakash Ghosh returned to Calcutta. He had done a small role in film Mujrim-44 also. Not much is known about Pt. Ghosh, outside of Bengal, so here is some information about him.

Jnan Prakash Ghosh (8 May 1909 – 18 February 1997) often known as ‘Guru’ Jnan Prakash Ghosh was an Indian harmonium and tabla player from Farukhabad gharana of Hindustani classical music and musicologist.

Born in a Hindu family with musical background in Kolkata. He was the grandson of Dwarkanath Ghosh (1847–1928), who founded Dwarkin in 1875 and invented the “Dwarkin harmonium”, popular in West Bengal, India. He graduated from the Scottish Church College of the University of Calcutta. He was keen in sports (he played soccer, hockey, polo and billiards). He also practised painting, but had to discontinue these due to an eye injury in a soccer match.
Then he turned to music. He was trained in vocals by Girija Shankar, Mohammed Sagir Khan and Mohammed Dabir Khan. He took tabla lessons from Ustad Masit Khan of the Farukhabad gharana and became his senior disciple and later from Ustad Feroze Khan of the Punjab gharana.

He worked for 15 years in All India Radio as a producer of music. He wrote pieces in classical music, light music, modern, orchestral, choral, and percussion styles.

He was the founder of Sourav Academy of Music and closely associated with the ‘Sangeet Research Academy’. He scored music for many Bengali films, Jadubhatta, Andhare Alo and Rajlakshmi o Srikanta (1958) are worth mentioning. One of his compositions was called Chaturang – involving tabla, pakhawaj, kathak and tarana. He would instruct disciples staying with him to practice late into the evenings and it is said that he would correct any errors that reached his ears.

He also gave music to 2 Hindi films,namely Paraya Dhan-43 and Mujrim-44. Both were directed by Nitin Bose, who had shifted to Bombay after his spat with New Theatres.

Amongst his notable students are tabla players Kanai Dutta, Shyamal Bose, Shankar Ghosh, Abhijit Banerjee, Anindo Chatterjee, and Nikhil Ghosh, Rajkumar Misra, singers Prasun Banerjee, Ajoy Chakrabarty, Suman Ghosh and Arun Bhaduri and instrumentalist Paul Grant. His birth centenary was celebrated on 7 May 2012, in Kolkata, with screening of documentary of him and performances by noted singers.

In 1974, he was awarded the Sangeet Natak Akademi Fellowship the highest honour conferred by the Sangeet Natak Akademi, India’s National Academy of Music, Dance & Drama. This was followed by the Padma Bhushan in 1984, given by the Government of India.(adapted from wiki, with thanks.)

The cast of the film was Leela Desai, Balwant Singh, Radha Rani, Maya Banerji, Sunalini Devi, Jagdish Sethi, Rajkumari Shukla, Baby Madhuri (Madhubala), Krishnakant – for whom this was his Debut film, and many others.

Today’s song is rather unique, in the sense that the singer is the most unexpected – Deena Sanghvi….she is none other than the famous and popular character artiste of Hindi films, Deena Pathak. Deena did not act in this film, but sang 1 solo and 1 duet. This is the only time she ever sang in Hindi films. That way, this is a rare song. Harish Raghuwanshi ji has confirmed that Deena Sanghvi and Deena Pathak are same. Before marriage she was Deena Gandhi. Her 2 sisters are Shanta Gandhi and Tarla Mehta. Deena’s first husband was Ramesh Sanghvi, but they separated soon. Later she married Baldev Pathak. They have 2 daughters.

Dina Pathak (née Gandhi; 4 March 1922 – 11 October 2002) was an Indian actor and director of Gujarati theatre and also a film actor. She also was an activist and remained the President of the “National Federation of Indian Women” (NIFW).

A doyenne of Hindi and Gujarati films as well as theatre, Dina Pathak acted in over 120 films in a career spanning over six decades. Her production Mena Gurjari in Bhavai folk theatre style, ran successfully for many years, and is now a part of its repertoire.

She is best known for her memorable roles in the Hindi films Gol Maal and Khubsoorat. She was a favourite of the Art Cinema in India where she played powerful roles in films like Koshish, Umrao Jaan, Mirch Masala and Mohan Joshi Hazir Ho!.

Her notable Gujarati films were Moti Ba, Malela Jeev and Bhavni Bhavai, while her well-known plays include Dinglegar, Doll’s House, Vijan Sheni and Girish Karnad’s Hayavadana, directed by Satyadev Dubey.

Dina Pathak was born in Amreli, Gujarat on 4 March 1922. She was enamoured of fashion and films, and while a teenager, started acting in plays and won acclaim from critics. She attended and graduated from a college affiliated to the University of Bombay (Mumbai). Rasiklal Parikh trained her in acting while Shanti Bardhan taught her dancing.

At a young age, she joined the Indian National Theatre as an actress. She became known for her student activism, where Bhavai theatre, a folk theatre form from Gujarat, was used extensively to create awareness about the British rule, in the pre-independence era; this led to her close association with Indian People’s Theatre Association (IPTA), along with her elder sister Shanta Gandhi and younger sister Tarla Mehta; while in Mumbai, she had an important hand in reviving the Gujarati theatre there, along with fellow Gujarati actors like Kailash Pandya and Damini Mehta.

At age 44, she made a comeback into films, with Basu Bhattacharya’s Uski Kahani (1966), for which she won the Bengal Journalists Association Award. She made four films in the 1960s, including Hrishikesh Mukherjee’s classic Satyakam (1969), Saat Hindustani (1969), starring Amitabh Bachchan in his debut role and the Merchant Ivory Productions, The Guru (1969). By the 1970s, she had become a favourite of art and commercial films alike, playing powerful motherly and grandmotherly roles. It was in these films that she became recognised as the Grand-Old-Mother of Hindi films.

Films that stand out in this era are Gulzar’s Mausam (1975), Kinara (1977) and Kitaab (1977), and sweet comedies like Basu Chatterjee’s Chitchor (1976), Gharaonda (1977) and also in an art cinema classic, Shyam Benegal’s Bhumika (1977), which saw her standing tall alongside another acting legend, Smita Patil, in her career’s best performance.

Just as the 1970s ended, she was seen in the comedy classic, Hrishikesh Mukherjee’s Gol Maal (1979), where she essayed the role of Kamala Shrivastava, a middle-aged woman who sportingly plays mother to Amol Palekar, who went on to direct her in his 1985 film, Ankahee. The next decade began with another career best, as a stern disciplinarian matriarch in Hrishikesh Mukherjee’s Khoobsurat in (1980), closely followed by Bhavni Bhavai (1980). In 1980, she was also awarded the Sangeet Natak Akademi Award. In all, she acted in 150 Hindi films.

Her first marriage was with Ramesh Sanghvi, but they separated soon. It was at this stage , she sang two songs in her first Hindi film Paraya Dhan-43, as Dina Sanghvi. Later she married Baldev Pathak and had two daughters, actresses Supriya Pathak (b. 1961) and Ratna Pathak (b. 1957 ). She completed her last film, Pinjar (2003), but died before its release, of heart attack, following a prolonged illness, on 11 October 2002 in Bandra, Bombay. (adapted from wiki, with thanks.)

Today’s song is very melodious. It is less than 3 minutes long. The duet is sung by Deena Sanghvi and Balwant Singh, with chorus. With this song, Music Director Gyan prakash Ghosh, singer Deena Sanghvi and film Paraya Dhan-43 make their Debut on the Blog.

(I thank shri Harish Raghuwanshi ji for providing me a Gujarati article on Deena Pathak and for confirming that Deena Sanghvi and Deena Pathak are same ).


Song- Pooranmaasi aayee hansaati (Paraaya Dhan)(1943) Singer- Deena Sanghavi, Balwant Singh, Lyricist- Aarzoo Lucknowi, MD- Gyan Prakash Ghosh
chorus

Lyrics

aayi
lalalalalalala
aayi
aayi
lalala
laallala
lalaala
lalala
pooranmaasi aayi hansaati
pooranmaasi aayi hansaati
raakhi haathon haath bandhaati
raakhi haathon haath bandhaati
mel milaati
prem badhaati
mel milaati
prem badhaati
lalalalaalla
lalala
pooranmaasi aayi hansaati

?? chanchal bela
laga hua phoolon ka mela
dilon ka sauda kya albela
dilon ka sauda kya albela
lalalalalalala
pooranmaasi aayi hansaati

kho baitha man aas ki maala
gum ho jaise chaand ka haala
kho baitha man aas ki maala
baag mein to hai phool kahaan se
goonth li maala jaise chaahe
kisne mere dil ko churaaya
ab tak koi bhed na paaya
soone ban mein pyaasa hokar
phirte phirte thhak jaaoge
ek hi maala goonth ke laao
dono baand ke ek banaao
ek hi maala goonth ke laao
dono baandh ke ek banaao
?? phir donon ko lagaao
?? phir donon ko lagaao
lalaala
laalalalala
laalalalal
lalala
pooranmaasi aayi hansaati
pooranmaasi aayi
aayeee


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

This article is the 300th article written by Peevesie’s mom in the blog.

Blog Day :

4034 Post No. : 15157 Movie Count :

4162

Happy Friendship day to all in Atuldom

As I have said in my post last year, the first Sunday of August is celebrated in many parts of the world as Friendship day. All the proverbs or sayings connected with Friends and Friendship come rushing to the mind viz. “a friend in need is a friend indeed”; “a real friend is one who walks in when the rest of the world walks out”; “every gift from your friend is a wish for your happiness”; “a friends’ eye is like a good mirror”; etc.

At the same time I can recollect numerous songs from Bollywood connected with friendship and friends like “doston se pyaar kiya dushmanon se badle liya” (which subsequently Usha Uthup used to sing as “doston se pyaar kiya dushmano se bahut pyaar kiya” in all her concerts); “ae yaar sun yaari teri mujhe zindagi se bhi pyaari hai”; and the most popular of them all- “ye dosti hum nahin todenge”.

It is really fortunate to have friends on whom one can rely. It is an experience where in, one can just pick up the phone and begin talking as if there was no break in the one-to-one interaction, or any lapse of time in between one meeting or chat and another. And I must say I experienced it. So much so, that around the beginning of June a few friends of mine from my college days decided to meet up at the place of one amongst us and spend a few days together.

Much like the gangout that I had with my blog friends in April end. That gangout was decided at short notice, even the venue changed from Guruji’s place to Kamathji’s place as Guruji had to urgently rush out of Mumbai. It was a hangout that fell in place as Sudhirji intimated that he will be in Mumbai at that time with Bakshishji for company, for almost a week. And I didn’t want to miss the opportunity of meeting the two of them, and made it aware that I will have only a few hours at my disposal before catching my return bus to Bangalore. And the hangout happened with Bharatji, Sudhirji, Bakshishji and Nitinji.

We had a very gracious and efficient host in Kamathji and his family. I simply loved the attention they gave us. Nitinji and Bharatji had already arrived when I reached the venue and then the bell rang. We all expected it to be the Dilliwales but it turned to be our ever-smiling IN-HOUSE ENCYCLOPAEDIA. That was the best surprise that could have been sprung on the gang as we were without information about his location. And the sweet/ cute person that he is, he decided to meet us as soon as he landed in Mumbai – just that morning. Then the Dilliwales walked in and we had quorum so to speak. We managed to spend a joyful time where Sudhirji and Bakshishji spoke of their time well-spent over the last two days doing what we all enjoy- listening to music.

So, when birds of the same feather flock together there is a whole lot of Music, Masti And Magic. (this last 3 Ms is the slogan of one of the many music channels on satellite television). Like it happened when I met my gang of college friends in the heart of summer and the country reeling under temperatures of 40-49 degrees Celsius. But that didn’t stop us from getting out into the sun and seeing a part of the country which we had never visited. And when it got too hot, we just whiled away the time in the comfort of the air-conditioned room, talking of old times and catching up on 30 years of gossip, with platefuls of snacks and mugs full of tea/ coffee. Yes, I had met a particular friend after that many years but we never felt that it was that long back. There was no awkwardness. That is what friends and friendship is about I suppose.

We have numerous Hindi film songs where gangs of girl friends pick up their cycles and go about singing like Saira Banu did in Padosan or Nutan did in Anaari and Chhaliya. Heroes are no different and we have seen Rajendra Kumar in Aas Ka Panchchi; Rishi Kapoor and Rakesh Roshan with their group of friends in Aap Ke Deewane etc. But our movie stars also sing along with their friends in open topped cars and jeeps and we end up having songs like “chaahe koi khush ho chaahe gaaliyan hazaar de”; “Manubhai motor chale pom pom pom”.

Now there is a similarity in the two open topped car songs that I have mentioned. Though the two songs are 24 years apart, and they show the heroes frolicking about they are singing in the same voice. That of Kishore Kumar.

Kishore Kumar who would have been 90 today. Unbelievable!!! But then we are not fortunate to have him amongst us. We are fortunate that we have his songs- songs that tickle us into laughter, bring a smile to our lips, nudge us out of bad moods. And we are grateful to lord almighty for this singer, actor, producer, director and music composer who lived amongst us mortals. Whose friendship with Dev Anand, RD Burman, Rajesh Khanna etc is well known. His voice was instrumental in shaping the careers of many actors till Anil Kapoor, Sunjay Dutt, Kumar Gaurav etc.

Today’s song is from the 1978 Surinder Kapoor produced, Sikandar Khanna directed “Phool Khile Hain Gulshan Gulshan” which starred Rishi Kapoor and Moushumi Chatterjee in lead roles with Ashok Kumar, Amjad Khan, Asrani, Ranjeet, Helen, Paintal Mukri, Dr. Shreeram Lagoo etc. Mithun Chakravarthy played one of Rishi Kapoor’s many friends in the movie. The songs were written by Rajinder Krishan and Laxmikant- Pyarelal were the music composers.

I have seen this movie years ago but the story of the movie as given on IMDB.com is as follows (and is accurate I must say) —
Aware that his grandson has acquired all the bad habits of a rich and spoiled brat, including womanizing and alcohol, Lala Ganpat Rai, instructs his lawyers to make it conditional that he, Vishal, shall not receive any money or property from his estate unless he fulfills either of two conditions. One: That he marries a woman of Rai’s choice, Shalini, who shall inherit half of the property; and in order for Vishal to inherit all of the property he must re-locate to their farmhouse in a village, cultivate a piece of land, and grow some crops on it within one year. Needless to say, Vishal is enraged at this, and neither of the two conditions are acceptable to him. However, he reconsiders this, and he and half a dozen friends travel to the village, set a comfortable albeit accommodations, and attempt to cultivate the land. Things do not go as planned, as Vishal and his friends are accused of molesting and raping a village belle, which leads to her suicide. His friends, noticing the changed atmosphere, disappear, leaving Vishal alone to carry out the mammoth task of cultivating the land on his own, without help or support, and angry villagers who may expel him from their village. It looks like Vishal is on his way of losing everything he had ever hoped, prayed, and taken for granted.

From the above story it is evident that friends can make or break one’s life. There is a line in the other song that I have mentioned above

“chaahe koi khush ho chaahe gaaliyan hazaar de” which is how friendships should be

“baant kar jo khaaye us pe apne jaan-o-dil lutaa
jo bachaaye maal us ko jooti’on ka haar de”

Let your heart and your life be beholden
For a buddy who shares his food with you
But for him, who scrimps and keeps safe his things
Be sure to present him with a garland of shoes”

-this I have copy pasted from the post that Sudhirji had written for the song.

Happy Birthday to our Kishore Kumar
Audio

Video

Song-Mannu bhai motor chali pam pam pam (Phool Khile Hain Gulshan Gulshan)(1978) Singer-Kishore Kumar, Lyrics-Rajinder Krishan, MD-Laxmikant Pyarelal
Asrani
Chorus

Lyrics

ae mannu bhai motor chali pam pam pam
hey mannu bhai motor chali pam pam pam
hey mannu bhai motar chali pam pam pam
hey mannu bhai motor chali pam pam pam
chowpatty jaayenge na bhelpuri khaayenge
chowpatty jaayenge na bhelpuri khaayenge
achhi achhi sooraton se aankhen ladaayenge
halla machaayenge
gulla machaayenge
band baaja baajega dhum dhum dhum
hey mannu bhai motar chali pam pam pam
manu bhai motor chali pam pam pam
chowpatty jaayenge na bhel puri khaayenge
achhi achhi surto se aankhen ladaayenge
halla machaayenge
gulla machaayenge
band baaja baajega dhum dhum dhum
ae mannu bhai motor chali pam pam pam
hey manu bhai motar chali pam pam pam

yeh kal ki baat hai
la la la laa la la
aankh meri fadki
la la la laa la la
kal ki baat hai aankh meri fadki
jaldi se god mein phir aayi ek ladki
ladki
arre kaun thhi wo ladki

maine jab poochha
la la la laa la la
bol tera naam kya
la la la laa la la
toh hans ke woh boli
naam se hai kaam kya
aayi thhi woh dham se
aayi thhi wo dhum se gayi chham chham chham
ae manu bhai motor chale pam pam pam
hey mannu bhai motor chali pam pam pam
hey manu bhai motor chali pam pam pam
hey mannu bhai motor chali pam pam pam

ae eeee
saamne wo dekh re
ae eeee
ek truck aa raha
arre jhoothh mat bol
aa nahin jaa raha

dekho ankh maare laal laal signal
signal ko tod do
baat badi simple

dekho bell bottom gaalon pe dimple
halka sa gaalon pe hai ek pimple
mannu bhai pyaara
bada achcha bhaiyya
chokari ki ?? mein
karega ta tha thaiyya

ta ta trak trak dhun dhunn
ji bi ka ta tha thurain
dhun trak thun dhun
?? tirkit dhaam
dhaam
hey mannu bhai motor chali pam pam pam
hey mannu bhai motor chali pam pam pam
chowpatty jaayenge na bhel puri khaayenge
achchi achchi soorton se aankhen ladaayenge
halla machaayenge
gulla machaayenge
band baaja baajega dhum dhum dhum
ae mannu bhai motor chali pam pam pam
hey mannu bhai motor chali pam pam pam


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 16500 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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(© 2008 - 2021) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

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