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

Archive for the ‘Chandrani Mukherji Solo’ Category


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

Blog Day :

4396 Post No. : 15767 Movie Count :

4346

Today is the 31st of July.
A date that has an immediate connect with most HFM lovers, for it signifies to them the passing away of one of Hindi film industry’s biggest legends.

Mohammad Rafi, or, as many (including myself) refer to him with the greatest respect, Rafisaab.

Today is his 40th death anniversary – and all of us here on the blog, and I’m sure millions around the world, remember him with great love, affection and respect.

That I’m a big Rafisaab fan is no secret.
This is also why, despite any other constraints I might have, I always try to write a post on 24th Dec (his birthday) and 31st July (death anniversary) for this blog.
It is my very small way of paying respect to someone who has given me so much joy in my life from just listening to his voice. I already feel blessed to be able to listen to him. To then be able to write about him is such a pleasure, and yet a humbling experience.

In many of my previous posts on Rafisaab, I’ve discussed him not just as a singer par excellence but also as a very special human being. For me, it’s difficult to separate the artiste from the person.
And in Rafisaab, I find myself lost in admiration on both counts – his mastery of his art, and his character as a human being.

In life one comes across, or reads about, all sorts of people.
There’s a lot to learn from others, their conduct and experiences in life.
The other day I’d written about Rajesh Khanna and how his life, inspite of all the mistakes he made, is a lesson for others.
The same applies to Rafisaab too – although not due to his mistakes, but due to his elevated thinking.
Much to learn from it.

The industry, for all its seeming “biraadari” and bhai-chaara, can be a nasty place. Stories of egos, back-stabbing, credit-grabbing, politics abound. Many artistes themselves say it’s a dog-eats-dog industry.

And yet, in such an industry, there was also a Rafisaab.

Throughout his career, from the late 40s till he passed away in 1980, there wasn’t a single blemish on his character. No story of ego, or back-stabbing or politics, or anything of that sort.
It’s quite remarkable – but that was Rafisaab.
Others in the industry might have tried to throw their weight around, even manipulate or belittle Rafisaab, but he never reciprocated with any anger or vengeance. He was on a different plane altogether – an elevated one.
This is why though there were incidents with legends like BR Chopra, OP Nayyar and Lata Mangeshkar, they always patched up with him.
Such was Rafisaab’s personality – you just could not but respect him, inspite of any difference of opinion you have.

Stories of Rafisaab’s humility abound.
Whenever he’d be praised for a song, he’d point upwards to suggest it was all God’s doing.
Such was his humility that he would ask a composer after singing “Was it ok?” And if the composer had even the slightest doubt, Rafisaab would sing it again.
This, even with composers of far less stature than Rafisaab.
No ego, just thorough professionalism, and the desire to give the best he could.

Stories of Rafisaab’s generosity abound. How he would take just a one-rupee token fee from struggling composers. How he would support various poor and underprivileged people, without the slightest fuss or publicity.

It’s hard to imagine a person like this in today’s world. Such a soft-spoken, gentle person, ever-smiling, and with so much kindness in his heart.

Yes, there’s a lot to learn from Rafisaab, the person.

I’m no singer (ok, am just a bathroom singer) but am sure professional singers would have a lot to learn from Rafisaab’s professionalism, and sheer dedication to his profession. He always tried to give the very best he could – because that is what the composer, and the public, deserved. So no half-hearted measures or shortcuts.

Mind you, for a large part of his career, he was a superstar singer, so he could have got away without so much effort. But he wouldn’t be Rafisaab then. Right till the end, whether it was his riyaaz at home, or his rehearsals, or recordings, the effort and dedication was a hundred percent.

Like most artistes, Rafisaab also had ups and downs in his career.
One fine day, from being the most popular male voice for at least two generations, he found himself overshadowed by Kishore Kumar as the most popular voice of a new generation. It obviously hit him hard – his self-confidence apparently took a bit of a beating.

But, like they say, you can’t keep a good man down for long – and Rafisaab came back.
And how!
By 1976-77, with Laila Majnu, Amar Akbar Anthony and Hum Kisise Kam Nahin all featuring hit songs from him prominently, he was back with a bang.

From then on, till his death in 1980, he was very much back in business. That’s how you come back even when you seem to be down and out.

Yes, there’s a lot to learn from Rafisaab, the artiste.

No wonder I am such a big fan of Rafisaab.
And I know I’m in pretty good company.
Company of at least a few million others.

I haven’t talked about Rafisaab’s songs here – what can I say? Right from his very early days, with songs like “yahaan badla wafaa ka” and “ik dil ke tukde” to his last days, with songs like “tu is tarah”, Rafisaab’s voice was totally in a league of its own.
Divinity incarnate.

And add to this divine voice, his control over pitch, his intonations, the “thehraav” in his voice. No wonder he could sing “o duniya ke rakhwaale” and “meri duniya mein tum aayi”, two songs on two totally opposite ends of the spectrum, with equal aplomb. Such was his mastery that he could easily adapt his voice to blend with any mood or moment.
Happy, teasing or sad.
Ghazal, qawwali or bhajan.
One moment, the despair of “ye mehlon ye takhton”. The next, the fun and frolic of “sar jo tera chakraaye”. Listen to this, and you feel it IS Johnny Walker’s voice.

Yes, that was another Rafisaab skill. To seamlessly adapt his voice to the actor on screen.

The “thehraav” in Rafisaab’s voice is something that I can never get enough of. I’ve listened to the title song of “Mere Mehboob” so many times, just to marvel at the “thehraav”.

Listening to Rafisaab’s voice is therapeutic for me. Whatever be my frame of mind, I just have to close my eyes and listen to “pukaarta chala hoon main”, and I suddenly feel better. 🙂

I could go on and on, but let me now move on to the song for today.

A few days ago, I was on youtube listening to some Rafisaab songs. But this time, instead of listening to his popular songs, I thought I’d look for lesser-known ones. There’s a special joy in discovering songs you’ve never heard before. True of any singer, but for me, especially true of Rafisaab.

I came across a few, shared them with Avinashji too, because he’s an even bigger Rafisaab fan than I am. 🙂

It was an enriching experience, since there were some songs with a decent spattering of Urdu – always a delight for me. 🙂

Today’s song isn’t one in this category. But I loved it the first time I heard it a few days ago, so I decided it would be the song for today.

Actually, I’m somewhat surprised I hadn’t heard this song before. Surprised because it’s from a 1982 film, Raakh Aur Chingaari. Starring Vinod Mehra, Vidya Sinha and Anil Dhawan. 1982 was still within my “active consciousness” of films and songs, and these actors are prominent actors – but somehow this film and song seem to have passed me by.

I also noticed that this film doesn’t figure on the blog yet – another surprise. So it’s making its debut here today.

Then the lyricist & composer. Lyrics by Tajdar Taj, music by Ratandeep Hemraj. Both new names for me.

I see that this combo is already on the blog in Sudhirji’s post.

But what is surprising is that this was MY era, and yet these names are new to me. It’s a very humbling realization. 🙂

I like the lyrics and the music – and of course, Rafisaab’s voice.

This happens to be a multiple-version song. The female version is sung by Chandrani Mukherjee.

So here it is “ye anjaan raahen”. Hope you like the song too.

And Rafisaab, you will always remain in our hearts.
Always.
There’s a very special place for you in all our hearts.
Thank you for making life that much more worth living. 🙂

Mohammad Rafi

Chandrani Mukherjee

Song-Ye anjaan raahen ye manzil paraayi (Raakh aur Chingaari)(1982) Singers-Rafi/ Chandrani Mukherjee, Lyrics-Tajdar Taj, MD-Ratandeep Hemraj

——————————
Rafi version
——————————

Ye anjaan raahen
Ye manzil paraayi
Mujhe zindagi tu
Kahaan leke aayi
Kahaan leke aayi
Ye anjaan raahen
Ye manzil paraayi
Mujhe zindagi tu
Kahaan leke aayi
Kahaan leke aayi
Ye anjaan raahen

Kismat ne wo thokar maari
Dil ka sheesha toot gaya
Pyaar ki mehfil raas na aayi
Yaar ka daaman chhoot gaya
Kismat ne wo thokar maari
Dil ka sheesha toot gaya
Pyaar ki mehfil raas na aayi
Yaar ka daaman chhoot gaya
Saaya bankar
Saath chalegi
Jeevan bhar
Ye tanhaai
Ye anjaan raahen
Ye manzil paraayi
Mujhe zindagi tu
Kahaan leke aayi
Kahaan leke aayi
Ye anjaan raahen

Aaj meri majboor wafaa
Khud mere liye ilzaam hui
Roothh gaye hain geet milan ke
Dard mein doobi shaam hui
Aaj meri majboor wafaa
Khud mere liye ilzaam hui
Roothh gaye hain geet milan ke
Dard mein doobi shaam hui
Jaane kis din tootegi ab
Saanson ki ye shehnaai
Ye anjaan raahen
Ye manzil paraayi
Mujhe zindagi tu
Kahaan leke aayi
Kahaan leke aayi
Ye anjaan raahen

—————————-
Chandrani Mukherjee version
—————————-

Ye anjaan raahen
Ye manzil paraayi
Mujhe zindagi tu
Kahaan leke aayi
Kahaan leke aayi
Ye anjaan raahen

Aaj meri majboor wafaa
Khud mere liye ilzaam hui
Roothh gaye hain geet milan ke
Dard mein doobi shaam hui
Aaj meri majboor wafaa
Khud mere liye ilzaam hui
Rooth gaye hain geet milan ke
Dard mein doobi shaam hui
Jaane kis din tootegi ab
Saanson ki ye shehnaai
Ye anjaan raahen
Ye manzil paraayi
Mujhe zindagi tu
Kahaan leke aayi
Kahaan leke aayi
Ye anjaan raahen


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.

Blog Day :

4364 Post No. : 15691 Movie Count :

4324

#the Decade of Seventies – 1971 – 1980 #
———————————————————–—-
#Bhoole-Bisre Geet # 93 # Remembering Lyricist Gauhar Kanpuri
—————————————–—————————————–
(#Music Composer-Singer-Bappi Lahiri # 3)

In one of my posts on the blog I had mentioned that the month of ‘June’ had many important days or anniversaries of film personalities (and the team members of this blog too).

Today 29th June is the ‘Remembrance Day’ of lyricist Gauhar Kanpuri. He passed away in the year 2002. He was active during the decade of seventies and thereafter till his death in 2002.

As per information available online he wrote lyrics for many songs of Hindi movies (more than one hundred fifty songs for around fifty-six movies). The detailed information about his filmography needs to be compiled. Also, I could not find much detailed information about his biography. (I would request knowledgeable readers to throw more light on the information available on him).

He wrote the famous title song of ‘Saawan Ko Aane Do-1979’, then songs for the movies like ‘Zakhmee-1975’, ‘Do Khiladi-1976’, ‘Phir Janam Lenge Ham-1977’, ‘Haiwaan-1977’, ‘Dada-1978’, ‘Dulha Bikta Hai-1982’, ‘Woh Jo Haseena-1983’, and many others, and including ‘Baazigar-1993’ of the nineties.

I may have missed some of his movies where the songs were popular, but then, as I said above, the list of his filmography needs to be compiled from authentic sources.

Today’s song is from the movie “Shikshaa-1978”. All songs for this movie were written by him. Music was composed by Bappi Lahiri.

I have mentioned it in my earlier post here that there are many Bappi Lahiri compositions before early eighties or his ‘pre-Himmatwaala period which are very nice and needs to be discussed here. And in this case like in this movie ‘Shikshaa-1978’ we have the frequently heard ‘yaari hai phoolon se meri yaari hai’ sung by Bappi Lahiri and the gem ‘teri chhotisi ek bhool ne’ sung by Yesudas and other songs.

But, for today’s presentation I have selected this beautiful ‘Raam ‘Bhajan’ sung by Chandrani Mukherjee which I think was a lesser heard song from this movie. I was also not aware of this song till few weeks before and had not heard it earlier. And when I listened to it first time and second time and more it keeps growing on and I liked this song very much.

Gauhar Kanpuri has a long association with Bappi Lahiri and most of his works have compositions by Bappi Lahiri.

For this post I have compiled his list of movies with Bappi Lahiri in the decade of 1971 to 1980 where they had nine movies together;

Sno. Title Year Date Lyricist BLOG
1 Nanha Shikari 1973 16.04.1973 S.H. Bihari, Yogesh, Gauhar Kanpuri Y
2 Zakhmee 1975 15.05.1975 Gauhar Kanpuri Y
3 Sangraam 1976 21.12.1976 Gauhar Kanpuri, Hasan Puri Y
4 Haiwaan 1977 03.10.1977 Gauhar Kanpuri, Hasrat Jaipuri, Pradeep Roychaudhari, Amit Khanna, Dada Ji Y
5 Phir Janam Lenge Ham 1977 23.06.1977 Gauhar Kanpuri Y
6 Pratima Aur Paayal 1977 03.09.1977 Rajkavi Tulsi, Shivkumar Saroj, Indeevar, Gauhar Kanpuri
7 Khoon Ki Pukaar 1978 29.05.1978 Hasrat Jaipuri, Gauhar Kanpuri Y
8 Shikshaa 1978 28.12.1978 Gauhar Kanpuri
9 Jaan E Bahaar 1979 10.08.1979 Gauhar Kanpuri Y

“Shikshaa-1978” was directed by S. Ramnathan for ‘New Horizon Films, Bombay’. It had Rajkiran, Benjamin Gilani, Shashi Saxena, Jagdeep, Iftekhar, Urmila Bhatt, Pinchoo Kapoor, Krishna Dhawan, Surendra Kumar, Vikrant Taneja, Viju Khote, Brijen Mohan, Babbanlal and others. This movie introduced Sushma Verma, Master Sandeep and Bina Banerjee.
Bhagwan, Mukri, Jairaj, Shobha Khote, Pilu Wadia and Ritu Kamal made a guest appearance in this movie.

This movie had total five songs plus one music track as mentioned in HFGK Vol-V (1971-1980). The lyrics for the songs (all songs) were penned by Gauhar Kanpuri.

As mentioned above music was composed by Bappi Lahiri (assisted by Bansari Lahiri, Anil & Arun).

Arti Mukherjee, Anuradha Paudwal, Bappi Lahiri, Chandrani Mukherjee, Shailendra Singh and Yesudas had given their voices to the songs in this movie.

This movie was passed by Censor Board on 28.12.1978.

Let us now enjoy today’s song – a soulful rendition by Chandrani Mukherjee and lip synced on screen by Bina Banerjee. Also seen in picturization of this song are Benjamin Gilani, Rajkiran, Master Sandeep and others.

With this song the movie “Shikshaa-1978” makes its debut on the blog…

Audio

Video

Song-Jehi vidhi raakhe Raam tehi vidhi rahiye (Shiksha)(1978) Singer-Chandrani Mukherjee, Lyrics-Gauhar Kanpuri, MD-Bappi Lahiri
Chorus

Lyrics

jehi vidhi raakhe raam
tehi vidhi rahiye
jehi vidhi raakhe raam
tehi vidhi rahiye
sukhon ko jo apnaa kahiye
dukhon ko bhi sahiye
raamaa aa
jehi vidhi raakhe raam
tehi vidhi rahiye

ham to khilaune maati ke hain
nirbal aur kamzor
ho ho ho o o o o o
ho o ho o
ham to khilaune maati ke hain
nirbal aur kamzor
haare koyi maane yaa naa maane ae ae
uske haathon hai sabki dor
honi hoke rehti hai
koyi laakh machaaye shor
raaamaa
jehi vidhi raakhe raam
tehi vidhi rahiye
sukhon ko jo apnaa kahiye
dukhon ko bhi sahiye
raamaa aa
jehi vidhi raakhe raam
tehi vidhi rahiye

tan ki ye doori hai majboori
tum to ho man ke saans
o ho ho o
o o o o o
ho o ho o
tan ki ye doori hai majboori
tum to ho man ke saans
swaami saanson ke har taar mein tum ho o
jeewan ke saathi tum hamaar
aanaa jaana
milnaa bichhadnaa
hai daataa ke haath
raamaa
jehi vidhi raakhe ae raam
tehi vidhi rahiye
sukhon ko jo apnaa kahiye
dukhon ko bhi sahiye
raamaa aa
jehi vidhi raakhe raam
tehi vidhi rahiye

raam siyaa raam
raaja raam
jai jai raam
raam siyaa raam
raaja raam
jai jai raam
raam siyaa raam
raaja raam
jai jai raam
raam siyaa raam
raaja raam
jai jai raam
raam siyaa raam
raaja raam
jai jai raam

—————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————-
जेहि विधि राखे राम
तेहि विधि रहिये
जेहि विधि राखे राम
तेहि विधि रहिये
सुखों को जो अपना कहिये
दुखों को भी सहिये
रामा आ
जेहि विधि राखे राम
तेहि विधि रहिये

हम तो खिलौने माटी के है
निर्बल और कमज़ोर
ओ हो ओ
ओ ओ ओ ओ
ओ ओ ओ ओ ओ ओ
हम तो खिलौने माटी के है
निर्बल और कमज़ोर
हारे कोई माने या ना माने ए
उसके हाथों है सबकी डोर
होनी होके रहती है
कोई लाख मचाये शोर
रामा
जेहि विधि राखे राम
तेहि विधि रहिये
सुखों को जो अपना कहिये
दुखों को भी सहिये
रामा आ
जेहि विधि राखे राम
तेहि विधि रहिये

तन की ये दूरी है मजबूरी
तुम तो हो मन के साँस
ओ हो ओ
ओ ओ ओ ओ
ओ ओ ओ ओ
तन की ये दूरी है मजबूरी
तुम तो हो मन के साँस
स्वामी साँसों के हर तार में तुम हो ओ
जीवन के साथी तुम हमार
आना जाना
मिलना बिछड़ना
है दाता के हाथ
रामा
जेहि विधि राखे राम
तेहि विधि रहिये
सुखों को जो अपना कहिये
दुखों को भी सहिये
रामा आ
जेहि विधि राखे राम
तेहि विधि रहिये

राम सिया राम
राजा राम
जय जय राम
राम सिया राम
राजा राम
जय जय राम
राम सिया राम
राजा राम
जय जय राम
राम सिया राम
राजा राम
जय जय राम
राम सिया राम
राजा राम
जय जय राम


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4336 Post No. : 15633 Movie Count :

4306

Today (1 june 2020) is pehli taareekh. And it turns out that today is World Milk Day. In India, National Milk Day falls on a different day, namely 26 November, which is the birthday of Verghese Kurien, who brought White revolution( Milk revolution) in India.

When I was growing up, India was a desperately poor country. It was deficient in foodgrains and also milk. Our history books wistfully recalled those days in distant past when India was a prosperous country where “दूध की नदियाँ बहा करती थीं” ( “doodh ki nadiyan baha karti thi). Indians wistfully sighed and felt envious of countries like Netherlands that they were the nation that had doodh ki nadi flowing in their country.

A few days ago, I was watching videos that showed progress of various countries over the years in graphical forms in various fields. In most areas, the graph started showing USA and USSR at top and ended showing China, USA and India at the top. It was heartwarming as a Indian to witness the progress of India in all these fields.

One field that really made me proud and came as a pleasant surprise to me was the fact that India had become the number one milk producing country in the world ! And it has been number one since 1998 !

The Milk revolution in India started in Kaira District of Gujrat. The Kaira District Co-operative Milk Producers’ Union was organized in 1946 with the blessings of late Sardar Vallabhai Patel. It started with two village milk producers’ societies and began pasteurizing milk for the Bombay Milk Scheme in June 1948. At that time, only 250 liters of milk per day was being handled. by 1960s, 378 village milk producers’ co-operative societies became affiliated to the main union. These societies in turn had about 65,000 farmers as their members. In these villages, there were about 1, 25,000 adult buffaloes of the Surti Breed. During the year 63-64 about 60,000 tonnes of milk was collected by the union. The cost of the milk and milk products sold in that year was over Rs.6 crores. The Union marketed milk in Gujarat and Maharashtra States and milk products on all-India basis. Its trade name “Amul” had become a household word all over India. The union had established an excellent reputation in the dairy industry and had evoked the admiration of experts from many parts of the world.

Verghese Kurien was the the General Manager of Kaira District Co-operative Milk Producers’ Union Ltd (Amul) at that time. Mr Lal Bahadur Shashtri, the second PM of India, who had taken over charge just a few months back, visited Anand on 31 october 1964. He was very impressed with amul model and he decided to replicate this model all over India. Accordingly, he wrote a letter to all the states. NDDB (National Dairy Development Board) was set up with its HQ at Anand. It began plans called Opweration Flood. It had three phases -phase I , II and III. OF I (from 1 july 1970 to 31 march 1981) sought to establish 18 “Anands” linked to the four urban markets – Mumbai, Delhi, Kolkata and Chennai. OF-II (2 october 1979 to 31 march 1985) aimed to establish a modern and self sustaining dairy industry, building on the foundation of OF-I to meet the nations’s needs in milk and milk products. Of III (1 april 1985 to 30 apr 1996) focused on consolidating the milk procurement, processing and marketing infrastructure created under OF-I & OF-II.

By the time OF III ended, India was already number one milk producing nation in the world, a position it holds to this date. Today India produces 22 % of all milk produced in the world. Indian per capita milk production (394 ml) is higher than the world average. The per capita availability of milk is the highest in Punjab (1181 ml),followed by Haryana (1087 ml), Rajasthan (870 ml), Gujarat (626), MP (538 ml), Andhra (623 ml), Himachal (565) etc. There are states that have surprisingly low milk availability viz Delhi (35 ml), Goa (71 ml), Assam (71 ml),Chandigarh (90 ml) etc. I am sure these milk deficient states get their milk supply from milk surplus states. India produces 22% of world production, followed by USA, China, Pakistan and Brazil.

When India became independent, per capita availability of milk was 130 ml, which reduced to an all time low of 110 ml by 1970 before it picked up. In other words, milk availability in Indian picked up only after operation flood project began.

I grew up in Bihar (now it is Jharkhand) in 1960s. Even today Jharkhand per capita milk availability is only 177 ml. Those days it was far lower. I can honestly say that my pets have had more milk in their earlier lives that I ever had ! 🙂 Today my sole pet Bhhole consumes bulk of the milk that I get every morning, and that is more than what an average human gets to drink in a day. 🙂 It has been made possible because to the pioneers and foot soldiers of operation flood. This, alongwith self sufficiency in the fields of other foodstuff has ensured that India does not have to rely on imports and it is secure as far as food security is concerned. That has made India a confident nation. None of Indian neighbours, including China, has this kind of food security.

I wondered if there was any Hindi movie songs on milk. One song from “Manthan” (1977) has already been covered, and there were no other songs. Then it struck me that milk products too qualify, and that we have so many maakhan (butter) songs in Hindi movies, mostly associated with Lord Krishna. One can say that Lord Krishna, serving as a cowherd in Gokul, was a brand ambassador for milk products in general and maakhan (butter ) in particular. 🙂

A few songs of this genre have already been covered in the blog. While searching for other songs, I came across this song from “Gopal Krishna”(1979) which fits the bill perfectly. This movie was produced by Tarachand Barjatya and directed by Vijay Sharma for Rajshree Productions. The movie had Sachin, Zarina Wahab, Reeta Bhaduri, Manhar Desai, Master Sandip, Jeevan etc in it.

The movie had six songs in it.

Here is the first song from “Gopal Krishna”(1979) to appear in the blog. This song is sung by Chandrani Mukherjee which is lip synced by an actor playing young Lord Krishna . I guess that he is master Sandip, with Reeta Bhaaduri playing Maa Yashoda. Lyrics and music is by Ravindra Jain.

The situation is quite familiar to most of us. Some lady complains that Kanhaiyya has stolen maakhan from har matki. An irate Maaa Yashoda is out to punish Kanhaiyya. Kanhaiyya sings this song where he denies the charge. My own home has abundant quantity of Makhan, why would I go elsewhere for it, he explains. As for the maakhan smeared on his lips, he accused Ahir ki chhori of deliberately framing him by smearing maakhan on his lips. He then plays the emotional card- I do your chaakri for the whole day by tending to the cows in the meadows, but instead of believing me, you believe the words of others. 🙂

Very cute and sweet song, picturised nicely. This song is a hidden gem that I became aware of only today.

On the occasion of World Milk day, here is this lovely song from “Gopal Krishna”(1979).


Song-Tu man ki ati bhori o maiyya mori(Gopal Krishna)(1979) Singer-Chandrani Mukherjee, Lyrics-Ravindra Jain, MD-Ravindra Jain

Lyrics

tu man ki ati bhori o maiyya mori
tu man ki ati bhori
tu man ki aati bhori o maiyya mori
tu man ki ati bhori
jaako ghar bharyo dadhhi maakhan syon
jaako ghar bharyo dadhhi maakhan syon
vo kyon karan lago chori o maiyya mori
tu man ki ati bhori
tu man ki ati bhori o maiyya mori
tu man ki ati bhori

na kaaho ko maakhan khaayo
na koi matki phodi
na kaaho ko ka maakhan khaayo
na koi matki phodi
more mukh maakhan male tore sanmukh
more mukh maakhan male tore sanmukh
laayi aheer ki chhori o maiyya mori
tu man ki ati bhori
tu man ki ati bhori o maiyya mori
tu man ki ati bhori
jaako ghar bharyo dadhhi maakhan syo
jaako ghar bharyo dadhhi maakhan syo
vo kyun karan lagyo chori o maiyya mori
tu man ki ati bhori

din din bhar main to dhenu chaaravat karat chaakri tori
din din bhar main to dhenu chaaravat karat chaakri tori
yaahu par tu unki sunat hai
yaahu par tu unki sunat hai
jhoothi kahaani jori o maiyya mori
tu man ki ati bhori
tu man ki ati bhori o maiyya mori
tu man ki ati bhori
ja ko ghar bharyo dadhhi maakhan syo
ja ko ghar bharyo dadhhi makhan syo
vo kyun karan lagyo chori o maiyya mori
tu man ki ati bhori


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.

Blog Day: 4335 Post No.: 15631

The connoisseurs of Hindi film music of the 1960s and 1970s would recall the four melodious songs sung by Geeta Dutt in ‘Uski Kahaani’ (1966) and ‘Anubhav’ (1971). Fans of Gulzar would know that all these four songs have come from his pen. But I will not be surprised if only few of them would remember that all these four songs had been set to music by Kanu Roy. Among these few persons, most of them would not have known his real identity. In his case, it was not only of the confusion of same name but also the confusion with a wrong family tree.

Most of the websites including Wikipedia says that Kanu Roy was an actor and music director who started his acting career in 1940s and switched over to music direction from 1960 onwards. His filmography in IMDb shows him both as an actor and the music director. In some websites, Kanu Roy as a music director has been discussed with the photograph of the actor, Kanu Roy. He is also been wrongly associated with the family of Geeta Dutt as one of her brothers. The facts are:

1. Kanu Roy, the actor and Kanu Roy, the music director were different persons. Kanu Roy, the actor came to Bombay (Mumbai) in early 1940s to join Bombay Talkies. On the basis of Gulzar’s interview which appeared in a ‘Filmfare’ issue of 2012, Kanu Roy, the music director came to Bombay sometime in mid-1950s. (My guess is that he may have come with Basu Bhattacharya who was his close friend).

2. Kanu Roy, the actor was never a music director. Kanu Roy, the music director never acted in films.

3. Kanu Roy, the music director was not a brother of Geeta Dutt. I have seen a photograph of Geeta Dutt’s full family before her marriage. In this photograph, there is no Kanu Roy. The names of Geeta Dutt’s four brothers are Mihir Roy, Ranjit Roy, Mukul Roy and Milan Roy.

With multiple confusion about his name, even the basic profile of the music director, Kanu Roy is difficult to get. I could get some information from Gulzar’s interview published in one of the Filmfare issues of 2012 which is available on http://www.tanqeed.com . In this interview, Gulzar talked about his association as a lyricist with Kanu Roy which I have summarized below with my marginal inputs.

Kanu Roy had picked up the musical notes from Bengal. He began his career by assisting music director, Salil Choudhury who also had Kanu Ghosh as his Assistant Music Director. It seems Kanu Roy was a Welder by profession and had worked on the upkeeping of the Howrah Bridge. He was an introvert by nature and had in him a mix of timid and humble nature.

Basu Bhattacharya and Kanu Roy were great friends. It was Basu Bhattacharya who gave Kanu Roy his first break as a music director in ‘Uski Kahaani’ (1966) which he produced and directed at shoestring budget. Subsequently, he worked in another five films of Basu Bhattacharya. Because of the low budget films, Basu Bhattacharya would never allow Kanu Roy to have more than 6-8 musicians (as against 50-100 musicians the music directors like Shankar-Jaikishan, Naushad, O P Nayyar etc would have in their orchestra). Also, Kanu Roy would not get the regular shifts in the recording studios for rehearsals of the songs. He had to manage in the early morning hours of the recording studio. He did not have a bargaining power with Basu Bhattacharya to ask for more musicians. (Probably for the same reason, he may not have got the playback singers of his choice). It is remarkable that with these constraints, Kanu Roy could composed melodious songs in Basu Bhattacharya’s films.

Kanu Roy’s career ended with his life on 20/12/1981. He lived in poverty and died in poverty.

During his musical journey from 1966-80, Kanu Roy composed 28 songs in 8 films, of which 6 films were of Basu Bhattacharya. Of the remaining two films, one film ‘Mayuri’ (1970s) remained unreleased. Though his contributions to Hindi film music in terms of numbers were low, many of his melodious songs still linger on. Unfortunately, his name may not ring bell for many who may still enjoy those melodious songs.

Although most of Kanu Roy’s melodious songs have been covered in the Blog, I found one song which I liked for its all-round excellence – lyrics, rendition, melody, composition and the picturization. The song is ‘pahchaan to thhi pahchaana nahi’ from ’Griha Pravesh’ (1979). The song is rendered by Chandrani Mukherjee on the words of Gulzar. Having watched the film, I feel that this song summarises the theme of the film.

Amar (Sanjeev Kumar) and Mansi (Sharmila Tagore) has been married for 10 years with 8-year old boy. During this period, some staleness in their relationship develops. Both are under the illusion that they are in love but in practice, they are just being together under one roof. Now their marriage is in the verge of collapse when Amar develops affairs with his office typist Sapna (Sarika). He is caught in a bind in that while he loves Sapna, in the back of his mind, he is also emotionally attached to his family.

Finally, Amar tells Mansi of his intention to divorce her to marry Sapna. After the initial shock, Mansi agrees for divorce on the condition that he should bring Sapna to the house to meet her. The reason is that Sapna has seen Amar in the office as an Accountant and develop the liking for him in an office environment. But she has not seen him in his house where the environment is different.

Before Sapna visit to her house, Mansi gets her house painted. She undergoes herself to a new make-over. While doing this, the song under discussion plays in the background. Sapna visits her house with Amar. After a brief meeting, Mansi takes Amar aside and tell him that she is ready to leave him for Sapna. After the meeting, Mansi tells Amar to drop Sapna to her house. However, when crossing the road, Sapna walks over to the other side of the road while Amar gets stranded on the opposite side because of a marriage procession on the road. In the midst of the orchestra in the marriage procession playing ‘tu Ganga ki mauj mein Jamuna ki dhara’, both Amar and Sapna take leave by waving hands at each other. The scene is symbolic of conveying the message that Amar has a change of heart. The film ends with Amar returning home having coffee with Mansi and his son with the replaying of the film’s song ‘zindagi phoolon ki nahi, phoolon ki tarah mehkti rahe’.

The lyrics of the song under discussion are simple and convey retrospection on the part of a housewife who forgets to give attention to herself. Instead, much of her time is spent in the kitchen, looking after husband and the child and upkeep of the house. In this milieu, she forgets her own identity.

In keeping with the low budget of the film, Kanu Roy has used only three main musical instruments in this song – Sarod, Sitar and what I believe to be Khol (Bangla Dholak) which one can hear in a low rhythm as the song is rendered. The song starts with a prelude of Sarod and Sitar and the same instruments are used in the interludes of the song. Chandrani Mukherjee, who is the sister-in-law of Bappi Lahiri, has rendered the song with poignant feeling in keeping with the mood of the situation. The Audio clip is longer with the same lyrics because it has the longer prelude music than in the video clip.

This song sums up the story of a housewife in a middle-class society.

Video Clip:

Audio Clip:

Song-Pehchaan to thhi pehchaana nahin(Grih Pravesh)(1979) Singer-Chandrani Mukherjee, Lyrics-Gulzar, MD-Kanu Roy

Lyrics

pehchaan to thhi pehchaana nahin
maine apne aap ko jaana nahin
pehchaan to thhi pehchaana nahin
maine apne aap ko jaana nahin
pehchaan to thhi

jab dhoop barasti hai sar pe to
paanv mein chhaanv khilti hai
main bhool gayi thhi chhaanv agar
milti hai to dhoop mein milti hai
is dhoop aur chhaanv ke khel mein kyun
jeene ka ishaara samjha nahin
pehchaan to thhi pehchaana nahin
maine apne aap ko jaana nahin
pehchaan to thhi

main jaagi rahi kuchh sapnon mein
aur jaagi huyi bhi soyi rahi
jaane kin bhool bhulaiyya mein kuchh
bhatki rahi kuchh khoyi rahi
jeene ke liye main marti rahi
jeene ka ishaara samjha nahin
pehchaan to thhi pehchaana nahin
maine apne aap ko jaana nahin
pehchaan to thhi pehchaana nahin
maine apne aap ko jaana nahin
pehchaan to thhi


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3530 Post No. : 14177

“Aag Aur Toofaan”(1975) was directed by Ahmad for R R Films. This movie, though released in 1975 was a black and white movie and it had a very young looking Mumtaz from her B grade movie days. So it means that this movie was picturised in 1960s but it got a delayed release in 1975 when Mumtaz was winding down her acting career in Hindi movies.

The movie had Mumtaz, Robin Kumar, Anwar Hussain, Meenakshi, Mohan Choti, Keshto Mukherji, Junior Mehmood, Rajan Haksar, Rekha Chauhan, Amar, Tuntun, Rani, Uma Dutt, Sheikh, Uma Dhawan, Oscar, Kirti Kumar etc in it.

The movie had just three songs in it.

Here is the first song from “Aag Aur Toofaan”(1975) to appear in the blog. The song is sung by Chandrani Mukherji. Anjaan is the lyricist. Music is composed by N Datta.

The song is picturised as a seduction dance song on a female dancer accompanied by a male dancer. I request our knowledgeable readers to help identify them.

With this song, “Aag Aur Toofaan”(1975) makes its debut in the blog.


Song-Dil aaj bahut khush hai dildaar tujhe paa ke (Aag Aur Toofaan)(1975) Singer-Chandraani Mukherji, Lyrics-Anjaan, MD-N Datta

Lyrics

dil aaj bahut khush hai
dildaar tujhe paa ke
dil aaj bahut khush hai
dildaar tujhe paa ke
main aaj tujhe de doon
main aaj tujhe de doon
tu jo bhi khushi maange
dil aaj bahut khush hai
dildaar tujhe paa ke

mehfil mein jaan aayi
mausam badal gaya wo
dil mein thha khatakta jo
kaanta nikal gaya wo
mehfil mein jaan aayi
mausam badal gaya wo
dil mein thha khatakta jo
kaanta nikal gaya wo
ye raat jagmagaayi
kismat meri jagaa ke
main aaj tujhe de doon
main aaj tujhe de doon
tu jo bhi khushi maange
dil aaj bahut khush hai
dildaar tujhe paa ke

baaton mein dhal na jaayen
khushiyon ke pal nasheele
pyaalon se roz pi hai
aankhon se aaj pee le
baaton mein dhal na jaayen
khushiyon ke pal nasheele
pyaalon se roz pi hai
aankhon se aaj pee le
aa tujh se kah rahi hai
meri chaal dagmaga ke
main aaj tujhe de doon
main aaj tujhe de doon
tu jo bhi khushi maange
dil aaj bahut khush hai
dildaar tujhe paa ke

tujh par bikher doon main
zulfon ki ye ghataayen
kurbaan kar doon tujh par
masti bhari adaayen
tujh par bikher doon main
zulfon ki ye ghataayen
kurbaan kar doon tujh par
masti bhari adaayen
dil ki lagi bujhaa le
mujhko gale lagaa ke
main aaj tujhe de doon
main aaj tujhe de doon
tu jo bhi khushi maange
dil aaj bahut khush hai
dildaar tujhe paa ke
dil aaj bahut khush hai
dildaar tujhe paa ke


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today (26 august 2014) is the second death anniversary of A K Hangal (1 febraury 1914-26 august 2012). On this occasion, here is a song from “Hamkadam” (1980). This movie was directed by Anil Ganguly for Rajshree Productions. The movie had Rakhee Gulzar, Parikshat Sahni, A.K.Hangal, Dina Pathak, Ritu Kamal, Biswajeet, Iftekar, Madan Puri,Dinesh Hingoo ,Preetam, Pardesi, Partho Guha, Harish Mugan, Deepak, Chaturvedi, John Boland, Amol Sen, Anand Joshi, Pilloo Wadia, Nilu Arora, Komal Soni, Zubeda, Anita, Rajni Verma, Master Ashoo, Sameena Kashimiri, Baby Geeta Khanna etc in it.
Read more on this topic…


“Pyaari Behna” (1985) was directed by Bapu. The movie had Mithun Chakraborty, Padmini Kolhapure, Vinod Mehra, Tanvi Azmi, Shakti Kapoor etc.
Read more on this topic…


This article is written by nahm, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

I have heard this song after some 20 years or so today. A regular song on Vividh Bharati. They played both Rafi Sahab and Chandrani Mukherjee’s versions frequently. Like many of those Rafi and Lata solo version songs, this one too is in memory, with one line following the other in the mind. So typing the lyrics is fast work. I thought the female version must be Lata’s. But it turns out that the female singer is Chandrani Mukherjee, who is gamely trying to match Rafi sahab pitch for pitch. On radio she sounded a lot better than on the ear phones on which I heard it now. The ear phones have no heart and no mercy for even the greatest of singers, so none are spared.
Read more on this topic…


“Kitne Paas Kitne Door” (1976), though a recent movie by the standards of this blog, has ended up becoming quite an obscure movie by now. This movie, when it was released in 1976 went unnoticed.
Read more on this topic…


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 TWELVE years. This blog has over 15900 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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Total number of songs posts discussed

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Movies with all their songs covered =1221
Total Number of movies covered =4362

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