Archive for the ‘Children’s song’ Category
Gudiya Chidiya chaand chakori
Posted on: September 18, 2022
- In: Asha Bhonsle songs | Blog Ten Year Challenge (2012-2022) | Children's song | Guest posts | Jagjit Kaur songs | Kids song | Lyrics by Prakashchandra | Lyrics contributed by readers | Post by Peevesie's mom | Song sung by three or more singers | Songs of 1980s (1981 to 1990) | Songs of 1984 | Songs picturised at well known locations | Songs picturised in cities | Yearwise breakup of songs
- Leave a Comment
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
5175 | Post No. : | 17148 |
———————————————–—————————————
Blog 10-Year Challenge (2012-2022) – Song No. 95
————————————————————————————–
Hullo Atuldom
Today’s Blog 10-Year Challenge (2012-2022) – Song No. 94 is the trigger for this post. A movie listed therein has only one song posted in the blog. Today is a good enough date/ day to have one more.
The list of songs that were published on this date ten years ago are:-
| Blog post number | Song | Movie (Year) | Remarks |
|---|---|---|---|
| 6662 | Chhuk chhuk chhainyyaan chhaiyyaan | Shehnaayi (1947) | Movie YIPPEED by now |
| 6663 | Ek baar phir se aaja dil mein mere samaa jaa | Elaan (1947) | Movie YIPPEED by now |
| 6664 | Ye thhandi hawaa rangeen fizaa | Son of Alibaba (1955) | 3 songs out of 8 covered. Fourth song covered today (18 september 2022) |
| 6665 | Pyaar beqaraar hai pyaar ki pukaar sun | Yahudi Ki Beti(1956) | 4 songs out of 8 covered by now |
| 6666 | Yaad jab aaye teri | Mohar (1959) | Movie YIPPEED by now |
| 6667 | Taash ke baawan patte | Tamanna(1969) | 3 songs covered out of 5 by now |
| 6668 | Naghma hamaara gaayega ye zamaana | Bundlebaaz (1976) | Movie YIPPEED by now |
| 6669 | Sajna ka kangna kangna mein heera | Sitaaraa (1980) | Movie YIPPEED by now |
| 6670 | Tumse hi roshan hai raat meri | Lorie (1984) | One song out of 4 covered by now |
I am bringing on-board a song from the 1984 release “Lorie”. In this post Atulji has listed the cast of “Lorie”, and an outline of the movie’s plot- courtesy Prakashchandraji.
Today’s song (I think) is one that shows Geeta Malhotra’s (Shabana Azmi) love for children. It is written by Bashar Nawaz and Khayyam is the music director. Asha Bhonsle, Jagjit Kaur and Pamela Chopra are the playback singers used for this song. It is shot around popular spots of Mumbai like Juhu Beach, Chota Kashmir & the picnic spot that are inside Mumbai’s Aarey Milk Colony (which used to be a preferred picnic destination for most schools during my schooldays). The lasst stanza is at Borivali National Park which has since 1996 been renamed Sanjay Gandhi National park.
I was reminded that today is Shabana’s birthday when I saw ‘Rangoli’ on Doordarshan this morning. Wishing her all the best as she turns 72 today.
Video
Audio
Song-Gudiya chidiya chaand chakori (Lorie)(1984) Singer-Asha Bhonsle,Lyrics-Bashar Nawaz, MD-Khayyam
Chorus
Pamela Chopra
Jagit Kaur
Lyrics (Provided by Prakashchandra)
gudiya chidiya chaand chakori
haathi ghoda doodh katori
atkal batkal khel tamaasha
bachpan jaise sapnon ki dori
gudiya chidiya chaand chakori
haathi ghoda doodh katori
atkal batkal khel tamasha
bachpan jaise sapnon ki dori
gudiya chidiya chaand chakori
lallalalla
lalalaalala
lallallalla
lallalalla
laalaalaalala
lallallalla
luk chhup luk chhup
pariyaan aayen aen aen
meethhe meethhe geet sunaayen
aa aa aa aa aa
luk chhup luk chhup
pariyaan aayen aen aen
meethhe meethhe geet sunaayen
pariyaan kaisi hoti hain didi
main batlaaun didi jaisi
hahahaha
nahin mere taaron
tum sab jaisi
gudiya chidiya chaand chakori
haathi ghoda doodh katori
atkal batkal khel tamaasha
bachpan jaise sapnon ki dori
gudiya chidiya chaand chakori
lallalalla
lalalalala
laallallaalala
gulshan gulshan rut matwaali ee ee
bachpan bagiya phoolon waali
aaa aaa
aa aa aa aa
gulshan gulshan rut matwaali ee ee
bachpan bagiya phoolon waali
phoolon ka raaja kaun hai didi
main batlaaun apni didi
chal deewaani apni
didi hai raani
achcha
gudiya chidiya chaand chakori
haathi ghoda doodh katori
atkal batkal khel tamasha
bachpan jaise sapnon ki dori
gudiya chidiya chaand chakori
udti udti titli boli ee ee
aao khelen aankh micholi
aaa aaa
aa aa aa aa
udti udti titli boli ee ee
aao khelen aankh micholi
didi titli ke rang kitne
didi ke aanchal mein jitne
hahahaha
na munni
tere sapne jitne
gudiya chidiya chaand chakori
haathi ghoda doodh katori
atkal batkal khel tamaasha
bachpan jaise sapnon ki dori
lalla lalla
lalla lalla
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.
|
Blog Day : |
5170 | Post No. : | 17139 |
Today’s song is from the film Naya Sansar-1941. The film was made by Bombay Talkies. It was directed by N.A.Acharya. The cast of the film was Ashok Kumar, Renuka Devi, Mubarak, Shah Nawaz, V.H.Desai, P.F.Pithawala, David and others. The music was given by Saraswati Devi (4 songs) and Ramchandra Pal (6 songs). The songs were written by Kavi Pradeep.
Though this was the 13th film of Ashok Kumar, it was only the 4th film of Renuka Devi. After working with Heroes like Jairaj, Kishore Sahiu and Pahadi Sanyal, it was her first film with the acclaimed Romantic hero Ashok Kumar. By now, Ashok Kumar had got used to acting, but his one problem was not yet solved. Like any new actor, Ashok kumar did not know what to do with his hands and he always felt very awkward and ill at ease while acting. He and his directors tried several ways, but this problem was not solved yet….at least till he acted in the film Naya Sansar-41.
In this film, his role was that of a radical news reporter of a Newspaper called “Sansaar “, run by Mubarak. This newspaper had become popular due to its forward and nationalistic thinking and the paper criticised the leaders, government and the administration for the wrongs they did to the people and the Nation. While doing this role. Ashok Kumar had to smoke. Not that he had never smoked, but he was an occasional smoker. While doing this role, he suddenly realised that this time he had not faced the problem of “what to do with the hands”. With smoking, this problem seemed to disappear automatically and his acting became very natural and more impressive. Even the director noticed this and encouraged Ashok Kumar. This was the beginning of not only the disappearance of his problem but also the beginning of his famous natural acting. He continued smoking till he breathed his last !
Mayanagri – Bombay – attracted people from all over the country. The film world of Bombay had the Glamour, fame and money. This appealed to people from every field- acting, singing, music direction etc. Film Industry mesmerised not only the ordinary, but even the experts in related fields. That is why Internationally famous Sitarist Ravi Shanker, Dancer Uday Shankar, Bade Ghulam ali khan and many other eminents tried their hands with films.
There were two types of Newcomers. One who came, whether successful or not, remained in the film line till their end and the second was Specialists who came , contributed their bit and went back to their comfort zones again. Some names in the second category are Pushpa Hans, Meera Mishra, Shakuntala Paranjpe, Madhusudan Bhatt, Bal Gandharva, G.N.Joshi etc-all actors,lyricists like Moti, B.A.( actually he was M.A.), Dr. Ramesh Shastry etc. Classical singers like Phiroz Dastur, Ram Marathe, Hirabai Badodekar, Manik Verma, Menaka Bai, Ira Nigam etc. and MDs like Kazi Nasrul Islam,Ali Akbar Khan, Allah Rakha, Mohanlal Aima, Pt. Amarnath Chawla etc etc. ( names are only indicative and not exhaustive.)
One name in this category stands out boldly and that is actress Renuka Devi. She came to films as a Hobby, acted only in 7 films, sang 20 songs in 4 films and happily returned to her married life again. A very strong mind and determination is required to forgo fame and money for something you love more in life.
Sometime back, I had bought one book and when I read this book – ” A woman of substance-Begum Khursheed Mirza”’ I was very much impressed.
Begum Khursheed Mirza is none other than the famous Heroine of the 30s and 40s-Renuka Devi. She was perhaps one of the most educated, upper class, sophisticated and highly cultured Muslim lady, who ever joined the film industry then. One more striking feature of Renuka Devi was that she was one of the very few actresses who joined films after their marriage. The other such examples I remember offhand are that of Meenakshi Shirodkar (Bramhachari-38 fame), Shobhana Samarth and actress Neena ( real name Shahida- first wife of Mohsin Abdulla, brother of Renuka Devi).
Renuka Devi had studied upto Masters degree in English Literature, from Aligarh Muslim University. The only other nearest example I remember offhand is that of actress Vanmala (real name Susheela Devi Pawar), who had done B.A and B.T. and was a Teacher in the college before joining films,at the behest of writer, journalist and Director P.K.Atre.
The story of Renuka Devi is quite interesting. Khursheed jehan was born in Aligarh on 4-3-1918, to Shaikh Abdulla and his wife Waheed jehan Beg. She was the 6th of 7 siblings. Her father Shaikh Abdulla (1874-1965) was originally a Hindu. He was the son of a rich jahagirdar and Landlord from Poonch,Kashmir. They were Kashmiri Brahmins. His name was Thakur Das. He embraced Islam in 1890, while studying in Aligarh. When his family learnt about it he was disowned by them. He took the name Shaikh Abdulla.
He became a leading Advocate of Aligarh. After he married Waheed Jehan Beg, they both- being of progressive thinking- decided to work for the Muslim womens’ education. They faced lot of resistance from the fundamentalists, but they established a Muslim women’s college in Aligarh. To provide students for this college, a school was also started for Muslim girls. Soon girls started joining the school and college. Shaikh Abdulla ensured that all his children were educated. One daughter became a Doctor, another Advocate and two daughters did master’s degrees and later on became Principals of the women’s college. Khursheed also studied upto masters but due to her marriage could not complete it. ( she completed her masters in English Litterateur in 1963, at the age of 45 years, later).
Khursheed jehan was married to Akbar Mirza, a Police Officer in Aligarh. Soon she gave birth to 2 sons. Her husband, Akbar Mirza, was a well-placed official in the colonial police force and she enjoyed playing the part of hostess and homemaker. At a women’s club fundraising event organized by her, a senior British official commented that she had a flair that would be perfect for a film career. This set the 21-year-old Khurshid thinking and when her brother, Mohsin Abdullah, told her about “the professional atmosphere at the [Bombay Talkies] studios and the charming Mr Himansu Rai and his wife Devika Rani”, she could not resist. She wrote to Rai enquiring about a job, even sending him a recent photograph. What ensued was a struggle between the claims of domestic life and the increasing attractions of an independent and lucrative career.
This she did without informing her husband. She received a letter from Devika Rani,inviting her to Bombay for an interview. Now she confided in her husband and he wholeheartedly supported her. Akbar stood by his wife in the face of stiff opposition from both their families. Precisely because she had anticipated controversy, Khurshid had adopted the screen name “Renuka Devi” but it could not protect her identity. In her autobiography she says, “My mother wrote asking me not to visit Aligarh until the hue and cry had died down. As a result, I did not meet my family for nearly two years.”
Thus started her acting career. She was 21 years old, married and had 2 children too. Her first film was “Jeewan Prabhat”-37. She was given the name RENUKA DEVI. This was the Debut film for Kishore Sahu as well. Bombay Talkies bosses were very happy with her performance and she was offered the Heroine’s role opposite Jairaj in the film ” Bhabhi”-1939. Jairaj was also from a rich background, cultured and highly educated. Their tuning was excellent and the film was a grand success. Renuka also sang a few songs in Bhabhi-39. When the news of her acting in films reached Aligarh,there was a hue and cry. Her mother wrote to Renuka,’not to visit Aligarh for now’. Renuka did not go to Aligarh for the next 2 years.
She was invited to Calcutta By New Theatres to act in the film, Dadi Didi-39. Her other films were Naya Sansar-41 (Ashok Kumar), Sahara-43 (S D Narang), Ghulami-45 ( Masood Parvez) and Samrat Chandragupta-45 ( Ishwarlal ). Her film career was very short. She announced her retirement from films in February 1944, while shooting for her last films.
After partition, her family migrated to Pakistan. In Pakistan, though in demand, she refused to do any films. Instead, she decided to devote her time for women’s uplift, education, welfare and social work. She also did some work on Pakistan Radio.
When TV came to Pakistan, she became very active and she was a popular figure on Pak TV for the next 15-20 years. She completed her master’s degree in 1963, at the age of 45 years. She published 9 instalments of her autobiography in the popular magazine ” Herald ” from August 1982 to April 1983, under the title ” The uprooted sapling”. This was later on edited and published by her daughter Lubna as a Book in 2004, titled- ” A woman of substance- the memoirs of Begum Khursheed Mirza “.
Renuka Devi died on 8-2-1989 at Lahore after a prolonged illness.
In her book she included a chapter of 24 pages ” Renuka Devi-my celluloid identity”, in which she has described many interesting anecdotes. Her detailed description of the times of the 30s and 40s is a lovely chronicle of the history of Bombay film industry. Here are some excerpts from her book…
1) Back in the Thirties, acting in films was not considered an honourable profession for anybody. And for a married woman from a well-educated and respectable upper-middle class Muslim family, it was forbidden to even think about it. But Khurshid Mirza, the daughter of the founders of the Aligarh Women’s College, the wife of a police officer and already a mother of two, was too free-spirited to be tied down by any social norm. She took the plunge and soon a star named Renuka Devi was born.
2) In 1939, Shanta Apte wrote that she received four or five letters each day from young girls wanting to join the movies “due perhaps to this monetary attraction”. Actresses themselves acknowledged in interviews that the money was substantial and more than one actress claimed that her salary rivalled that of the Governor of Bombay! But aside from several myth-building exercises, it is now apparent that film acting was a uniquely high-paying profession for women. According to Filmindia, Shobhana Samarth’s approximate total income in 1942 was Rs 36,000 while Sardar Akhtar, Naseem Banu, and Madhuri earned about Rs 30,000 each. These figures indicate that leading heroines of the day averaged an income of Rs 3,000-4,000 per month (some actresses were freelancers and did not work through the year) at a time when a French chiffon sari cost Rs 9, and a brand new imported Studebaker cost Rs 6,000. It is hardly surprising then, that Khursheed would want to make “a little dough”.
3) ” Akbar stood by me in the face of stiff opposition from both our families. Nevertheless, he maintained a strange attitude towards my work. He enjoyed the benefits the money brought us, such as a new car, expensive game-hunts, and pleasure trips to fashionable Mussoorie in summer and excellent schooling for our children. And, yet, he treated my work as a hobby, instead of giving it its due importance.”
( My thanks to the book, ”A woman of substance “, some information from ” Free Library”,Cineplot and my own notes).
I have not seen this film, but from today’s song, it seems to have been shot on Renuka Devi while playing a game with a child and his friends. Renuka Devi sang 5 songs in this film – 3 songs under the MD-Ramchandra Pal and only 2 songs composed by Saraswati Devi. Today’s song is by these two Devis together. ( In the early era of films, girls coming from educated and well to do families used to use the suffix of Devi to their name- like Sabita Devi, Molina Devi, Meera Devi etc. Girls coming from Tawaif families and singing families used to put the suffix of Bai to their names, like Jaddan Bai, Amir Bai, Waheedan Bai, Kalyani bai, Menaka Bai etc.) Enjoy this song.
Song- Chalo Chalo bhool bhulaiyya khelen (Naya Sansaar)(1941) Singer- Renuka devi, Lyricist- Pradeep, MD- Saraswati Devi
Chorus
unknown child voice
Lyrics
chalo chalo bhool bhulaiyya khelen
chalo chalo bhool bhulaiyya khelen
haan haan haan haan
paas ki phool bagiya mein
haan haan haan haan
paas ki phool bagiya mein
chalo chalo bhool bhulaiyya khelen
chalo chalo bhool bhulaiyya khelen
kya karogi bolo jab ud jaayengi
haan haan
joban ki chiraiyya
kya karogi bolo jab ud jaayengi
haan haan
joban ki chiraiyya
main tum donon ki khoj karoongi
main tum donon ki khok karoongi
ban pawan purwaiyya aa aa
ban pawan purwaiyya aa aa
chalo chalo bhool bhulaiyya khelen
chalo chalo bhool bhulaiyya khelen
phoolon ke van mein tum chhup jaana
ban ke ek papaiyya
phoolon ke van mein tum chhup jaana
ban ke ek papaiyya
phool phool se hum poochhenge
phool phool se hum poochhenge
kahaan hai humra bhaiyya
kaho kaho
kahaan hai humra bhaiyya
chalo chalo bhool bhulaiyya khelen
chalo chalo bhool bhulaiyya khelen
aasha didi
aasha didi
main bhi kheloonga
raaja bhaiyya khelega
raaja bhaiya khelega
haan haan haan
ban jaana ek bilaav
chhup jaana patton ki chhaanv
aankh bacha kar karna miyaaun miyaaun
miyaaun miyaaun
donon bahnen dar kar bhaagen
aisi bhaagen aise bhaagen
donon bahnen dar kar bhaagen
aisi bhaagen aise bhaagen
jaise van ki bilaiyya aa aa
jaise van ki bilaiyya aa aa
chalo chalo bhool bhulaiyya khelen
haan haan haan haan
paas ki phool bagiya mein
chalo chalo bhool bhulaiyya khelen
chalo chalo bhool bhulaiyya khelen
Daddy Tum Auntie Se Pyaar Karte Ho
Posted on: June 20, 2022
This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
5085 | Post No. : | 17009 | Movie Count : |
4607 |
Hullo Atuldom
3rd Sunday of June is celebrated as Father’s Day and yesterday (19th June) was Father’s Day this year. The day is meant to honor Fatherhood and Paternal Bonds as well as the influence of fathers in society. In the USA, father’s day was founded by Sonora Smart Dodd, and celebrated on the third Sunday of June, for the first time, in 1910. The day is held across the world on various dates and different regions have their own traditions of honoring Fatherhood.
Here I would like to mention that Sonora Smart Dodd was the daughter of American Civil War veteran William Jackson Smart whom she held in very high esteem. Along with her father, she shared the raising of her five siblings, after the death of her mother. While hearing a church sermon about the newly recognized Mother’s Day, Sonora felt strongly that fatherhood needed recognition as well and suggested June 5th (her own fathers’ birthday) as a possible date for father’s day. The Ministerial Alliance of the Spokane County (the county where they lived) chose the third Sunday instead.
That is how Father’s Day came about to be on third Sunday of June and complements similar celebrations honoring family members such as Mother’s Day, Siblings’ Day and Grandparents’ Day.
Today we shall have a Father-Son song and continue with the celebration of Father’s Day here on our blog. We have a song from the film ‘Aamne Saamne’ (1982). The star cast of the film is Mithun Chakravarthy, Bindiya Goswami, Aarti Gupta, Tarun Ghosh, Dinesh Thakur, Leela Mishra, Kamal Kapoor etc. The film was released in January 1982 – 40 years already, wow!!! (Now I realize why I didn’t get to see it in the cinema hall back then. I was in the middle of preparing for my class 10 boards).
‘Aamne Saamne’ (not to be confused with the 1967 film with the same name, starring Sharmila Tagore and Shashi Kapoor, which has already been Yippeee’d on the blog) was produced by Shakti Samanta and directed by his son Ashim Samanta. Madan Joshi was the dialogue writer, KK Shukla wrote the story and screenplay. The songs of this film were written by Anjaan and (our very own) Panchamda was the music director. Kishore Kumar, Amit Kumar, Asha Bhonsle, RD Burman were the playback singers used. I think it is the voice of Vanita Mishra for the young boy in today’s song in duet with Panchamda for Mithun. This song may remind some people of “Papa Ko Mummy Se Pyaar Hai” from film ‘Andaz’ (1971).
The movie had a plot similar to the Rajesh Khanna starrer ‘Sachcha Jhootha’ (1970). Mithun has a double role where the simpleton Gopi from the village is spotted by Johnny, who is a stage-singer by day and a criminal by night. Johnny trains Gopi to take his place on stage so that he has an alibi if caught by the cops – age old formula, I am sure repeated later in ‘Dhoom 3’ (2013). Then there is a tiny angle of a child, who is on the lookout for his father, and has a photo of his parents to help him. Madhu Malhotra is the mother in the photo. This was Ashim Samanta’s debut as director, and Aarti Gupta’s first lead role.
With today’s post we are wishing (rather belatedly) Mithun Chakravarthy on turning 72 on 16th. May he continue to be busy with whatever his heart is after. May we get to see more of him.
The agenda closer to home of this post is to wish the Father of this blog, our very own fearless leader- Atul ji on his birthday today. Last year we had a wonderful post with the song “Main Nikla O Gaddi Le Ke” by Avinash ji on the same date. In that post Avinash ji has called the Blog a ‘gaddi’ which is driven by ‘engine’ Atul ji and all of team members and followers ‘wagons’ of this BANDWAGON. I fully endorse his thoughts.
Thanking Atul ji for taking us along with him on this grand journey of music and knowledge sharing. Thanking him also for giving us this platform and encouraging novices like me into writing out our thoughts. As always, I wish he gets more time with his family, pets, friends, music and the blog.
With this song, ‘Aamne Saamne’ (1982) makes its debut on the blog.
Audio
Song – Daddy Tum Auntie Se Pyaar Karte Ho (Aamne Saamne) (1982) Singer – Vanita Misra, RD Burman, Lyrics – Anjaan, MD – RD Burman
Mithun Chakravarty
Bindiya Goswami
Lyrics (Provided by Sudhir)
daddy
tum chup kyon ho
hmm,
nahin to
auntie
tum chup kyon ho
main
nahin to
main sab jaanta hoon
kya jaante ho
daddy
tum auntie se pyaar karte ho
o daddy tum auntie se pyaar karte ho
o daddy tum auntie se pyaar karte ho
lekin mujhse darte ho
chup shaitaan kahin ka
auntie tum daddy se pyaar karti ho
o auntie tum daddy se pyaar karti ho
lekin mujhse darti ho
a a bura mat maan’na
bachcha hai
kehne do na
achcha hai
lallall la
lallall la
la lallall la
lallall la
lallall la
la lallall la
o daddy ki nazar
jhukti nahin
auntie ki nazar
uth’ti nahin
peechhe reh gaya
saara shehar
gaadi ye kahin
rukti nahin
arre
chalo utro
utro neeche
aage tum chalo
main peechhe peechhe
o chori se tum aankhen chaar karte ho
daddy tum auntie se pyaar karte ho
hutt tere ki
jhonka bhi diya
doli nahin
mauka bhi diya
boli nahin
daana to bahut
daala magar
chidiyon ne munh kholi nahin
arre
lo ye choclate
aur chup ho jaao
achcha
tum mujhe rishwat dete ho
o yaani ke
tum iqraar karte ho
o daddy tum auntie se pyaar karte ho
khel khel mein
baat kya hui
aansoo nikle
khoyi hansi
auntie ne mujhe
pappi jo di
mummy ki mujhe
yaad aa gayi
auntie ko daddy meri mummy bana do
mujhse agar tum pyaar karte ho
o daddy tum auntie se pyaar karte ho
lekin mujhse darte ho
ha ha ha ha
ha ha ha ha
lallall la
lallall la
la lallall la
o ho ho ho
lallall la
lallall la
la lallall la
lallall la
lallall la
la lallall la
lallall la
lallall la
la lallall la
Ghar Jaanam, Ghar Jaanam
Posted on: June 5, 2022
- In: "Fantasy" song | Children's song | Fun lyrics song | fun timepass song | Guest posts | Kavitha Krishnamurthy Songs | Post by Avinash Scrapwala | Shailendra Singh songs | Song sung by three or more singers | Songs of 1990s (1991 to 2000) | Songs of 1991 | Suresh Wadkar songs | Yearwise breakup of songs
- 3 Comments
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 : |
5070 | Post No. : | 16991 |
In one of my earlier articles here, I had mentioned that the month of June is one of my most favorite months. There are several important days in this month and different anniversaries of our close ones too (including me 🙂 ).
Today 5th June is one such important day. It is the ‘World Environment Day’ today.
Here again I will repeat what I have mentioned in my post for the short song “Ye Hanste Huye Phool, Ye Mehka Hua Gulshan” from film ‘Pyaasa’ (1957) written for ‘Environment Day – 2017’ and posted on the blog on 08.06.2017 (instead of 05.06.2017).
I am approaching today’s post in a different manner. Instead of going into the details of the environmental agencies, their history and purpose, the significant environmental issues being faced by humanity on this planet, etc. I am thinking of our Hindi films and their music. The nature is so intimately connected herein. We cannot imagine our Hindi Film Music without ‘connecting with nature.
Well, for today I would like to make a little correction in the above lines. That year 2017 the theme of the ‘WED (World Environment Day) was ‘Connecting with Nature’ and I had tried to connect the same with the songs, lyrics and music of our Hindi movies.
This year ‘2022’ the theme of the ‘WED’ is “Only One Earth – Living Sustainably in Harmony with Nature”. So I would like to add here that I am thinking of those Hindi Films which carried a ‘message’ related to environment and our planet ‘the earth’. And since this is the blog of songs we need a song to connect this celebration today.
The movie of today ‘Aasmaan Se Gira’ (1991) has a message for all of us in its climax. Today’s song, though doesn’t exactly match the theme of today, it connects to the ‘philosophy of life’ and alerts us that ultimately our destination is ‘one’ and we have leave everything here. So let us leave everything in a good shape, better prospects, and in compassion to the humanity and nature. Leave the ‘shad-ripus’ (kaam, krodh, lobh, moh, mad, matsar) to attain ‘moksh’. I have listened and watch this song several times and it is an enlightening song woven in comical situation in the movie. The movie also needs to be watched even though it’s a movie for children.
In today’s post I am not going into the details of this movie which I had mentioned in my earlier article with other song of this movie earlier on the blog – “Ghar Jaana Hai Mujhe, Ghar Jaana Hai“. A brief about this movie is given below.
A young prince is being trained for a time when he will grow up to become king. The lonely boy is frustrated at being kept secluded while being taught the art of statesmanship by great scholars. One day while frustrated he is crying for help ‘a strange little man’ arrives in his room.
This ‘little man’ is from another planet. His name is Trishanku. Trishanku was travelling to attend the wedding of his friend, but since the ‘rays of sorrow’ from the little prince caught him on the way he lands there to help the little prince.
The prince and Trishanku exchange views about their own worlds. Trishankhu is homesick and wishes to return back to his planet. He has his three friends from his planet who had earlier lost their way after coming to earth and then stayed back on the planet earth thereafter. Each one of the three knows the ‘part of the mantra’ that will allow Trishanku to go back to his home planet.
The two-escape trying to find ways for Trishankhu to go back. On their journey they develop a deep bonding and it is hard for Trishankhu to let go.
When Trishanku meets each of his three friends, each one gives him one part of the mantra which is presented in the form of a song and that is our song for today. It is picturised in three parts on Anil Kapoor, Sheeba, Sridevi, and Anupam Kher. The forth part of the song is picturised on Trishanku i.e. Raghuveer Yadav who is singing it at the ‘Jantar Mantar’ from where he is supposed to find his way to his planet after singing the ‘mantras’. In all the four parts of the song the little prince i.e. Master Abhishek is present in the picturisation of this song.
Finally Trishanku lands on his planet and he enters the ‘darbaar’ of his master (God of Outer Planet) i.e. ‘Baadshaah-e-Kahkashaan’ played by Amjad Khan. And, there we have the following conversation between ‘Baadshaah-e-Kahkashaan’ and Trishanku, where the master has a message for all on this ‘Planet – The Earth’.
Trishanku – takai t takai t takai t … main aa gaya ‘baadshaah-e-kahkashaan’,
andar aane ki ijaazat hai?Baadshaah – aao … der lagaa di tumne, chuk gaye shaadi, yaad karte rahe sab
Trishanku – main kya karta, ve tinon itni door door thhe ek yahaan, doosra
wahaan , teesra jaane kahaan, badi mushqil huyiBaadshaah – kya dekha tinon ne, pataa nahin … nahin laute… manaa kiya maine,
nahin maane
moorkh
bewaqoof
prithvi ke log
nahin samajhte
itni achchhi prithvi achaanak nahin bani… mehnat lagi.. koshish..
tum to thhe… yaad hain?Trishanku – haan yaad hain
Baadshaah – barbaad kar diya prithvi ko… tahas nahas… jung golaa barood
hathiyaar ladaayi … ped tod todkar nangaa kar diya prithvi ko
paani mein zehar … hawaa mein zehar …
mutthibhar log, hukumat karte karodon par
anaaj hain, bhookhe rehte hain laakhon… anaaj bechkar hathiyaar
kharidte hain
moorkh! moorkh!! moorkh!!!Trishanku theek kehte hain …lekin sabhi wahaan aise nahin hai …ek bachchaa hai
kautuk …main uski madad karna chaahtaa hoonBaadshaah nahin, nahin, nahin, hamaara kaanoon hai, rishta mat banana
prithvi ke logon ke saath… madad mat karna un murkhon ki
koshish ki thhi pehle kabhi, gayi bekaar… bhool jaao…bhool jaao oTrishanku – theek hai prithviwaale dusht hain, lobhi hain, moorkh hain …ek doosre ka khoon choosnewaale hain, ek jhande ke pichhe aapas mein lad mar jaate hain, anaaj bechkar hathiyaar kharidte hain, lekin sabhi aise nahin hain..kautuk jaise log bhi hai wahaan, usne yahaan aane mein meri madad ki … main bhi uski madad karna chaahta haoon…
(After this Trishanku tells Baadshaah how good and friendly Kautuk is and what consequences he may be facing after being alone now.)
Kautuk wants to play , wants to fly kite, wants to eat mango.. but Maasheela is such a cruel queen who has prohibited everything for Kautuk and he cannot even go out of his palace… saying this Trishanku breaks into tears and Baadshaah surprisingly asks him what is flowing from his eyes and why. Trishanku explains him that this is the ‘gift’ he got from the ‘people of prithvi’.
Baadshaah orders to bring Maasheela to his darbaar. And when Maasheela (Kalpana Aiyer) threatens Baadshaah of his life, the Baadshaah wants to kill her but Kautuk intervene and request Baadshaah to forgive her and he begs him for her life.
Trishanku – dekha kitne zulm kiye hain is aurat ne is par, phir bhi ye uske praanon ki bheekh maang rahaa hai…ise kehte hain kshamaa, prem, kautuk jaise aur bhi log hain prithvi par, jab tak aise log hain hamen prithvi se naa-umeed nahin hona chahiye
(Maasheela hugs kautuk and is emotional. She asks kautuk to forgive her misdeeds. She showers her love on kautuk.)
This incident brings tears to the Baadshaah and he forgives all and with the following message…
jaao kautuk jaao… jab tak tum jaise log prithvi par rahenge …prithvi rahegi
jaao aur apne duniya ke logon ko samjhaa do…
aapsi prem khatm ho jaayega kuchh nahin bachega sab kuchh khatm ho jaayegaaKautuk returns to prithvi after taking a promise from Trishanku to visit him on his birthday every year.
This heart-warming film by popular TV and film director Pankaj Parashar stars a galaxy of Bollywood stars in guest appearances including Sridevi, Amjad Khan, Anil Kapoor and Anupam Kher.
Before we enjoy today’s entertaining song I just wish that may there be many such movies and may such songs which I can present for occasions like today. We need to have more movies to bring the awareness on issues of environment and pollution.
Yesterday, it was there in the news that people are throwing dead animals into canals… Many must have seen the dumping sites where every day garbage heap is dumped and which are slowly turning into big mountains …
And last but not the least … keep watching children’s movies in between … not necessary that all children’s movies are for children only. People can learn a lot from them.
Also I would like to request the film-makers that ‘meaningful movies’ on the issues around us can be made for adult audiences too and they should not limit this for the children only.
It is good to see that in recent years there have been movies coming on ‘environmental issues’ too. We will keep presenting songs from such movies in the future on the blog.
Song – Ghar Jaanam, Ghar Jaanam (Aasmaan Se Gira) (1991) Singer – Shailendra Singh, Suresh Wadkar, Kavita Krishnamurthy, Raghuveer Yadav, Master Abhishek, Lyrics – Kamlesh Pandey, MD – Louis Banks
Lyrics
Part 1
Shailendra Singh, Suresh Wadkar, Both
ghar jaanam
ghar jaanam
om
ghar jaanam
ghar jaanam
om ghar jaanam
prithvi tyaagam
ghar jaanam
om ghar jaanam
ghar jaanam
ghar jaanam
om
ghar jaanam
ghar jaanam
om ghar jaanam
prithvi tyaagam
ghar jaanam
om ghar jaanam
lobh, krodh, mad
maaya
matsar
sar sar sar sar
tum tar tar tar
lobh, krodh, mad
maaya
matsar
sar sar sar sar
tum tar tar tar
tum sar sar sar
tum tum sar sar
sar sar tum tum
tumsar tumsar
sarvas tyaagam
ghar jaanam
sarvas tyaagam
ghar jaanam
lobh, krodh, mad
maaya
matsar
sarvas tyaagam
ghar jaanam
ghar jaanam
om
ghar jaanam
ghar jaanam
om ghar jaanam
prithvi tyaagam
ghar jaanam
om ghar jaanam
——————————————————————–
Part 2
Suresh Wadkar, Kavita Krishnamurthy, Both
saans baansuri
sari sari dha dhadkan
dha dha dhina dha
saans baansuri
sari sari dha dhadkan
dha dha dhin dha
dha
tirkit dhoom tirkit dhoom dha dha
tirkit dhoom tirkit dhoom dha dha
[classical notations not deciphered]
dha tir dha tir dha dha
taa tir taa tir dha dha
dha tir kit dha dha
taa tir kit dha dha
dha tir dha tir dha dha dha
dha tir dha tir dha dha dha
dha tir dha tir dha dha dha
tatvamasi dha
shoonyam tha
shoonyam poornam
ghar jaanam
tatvamasi dha
shoonyam tha
shoonyam poornam
ghar jaanam
ghar jaanam
ghar jaanam
om
ghar jaanam
ghar jaanam
om ghar jaanam
ghar jaanam
ghar jaanam
om
ghar jaanam
ghar jaanam
om ghar jaanam
saans baansuri
tatvamasi dha
shoonyam poornam
ghar jaanam
ghar jaanam
ghar jaanam
om
ghar jaanam
ghar jaanam
om ghar jaanam
ghar jaanam
ghar jaanam
om
ghar jaanam
ghar jaanam
om ghar jaanam …
——————————————————————
Part 3
Anupam Kher, Suresh Wadkar, Chorus
Anupam Kher + Suresh Wadkar
ghar jaanam
ghar jaanam
om ghar jaanam
ghar jaanam
ghar jaanam
om ghar jaanam
hmm hmm hmm
ghar jaanam
ghar jaanam
om ghar jaanam
ghar jaanam
ghar jaanam
om ghar jaanam
dhobi aaya
kapde laaya
kapde maaya aa
daag lagaaya
dhobi aaya
kapde laaya
kapde maaya aa
daag lagaaya
chintaa bikhri
dhoor pataas kar
khonch khonch kar
daag chhudaaya
dhobi aaya aa
chintaa bikhri
dhoor pataas kar
khonch khonch kar
daag chhudaaya
dhobi aaya aa
tv video
baingan aaloo
sab kuchh tyaagam
ghar jaanam
tv video
baingan aaloo
sab kuchh tyaagam
ghar jaanam
hi hi hi hi
chaadar maili
chalo utaaram
ghar jaanam
chaadar maili
chalo utaaram
ghar jaanam
ghar jaanam
ghar jaanam
om ghar jaanam
ghar jaanam
ghar jaanam
om ghar jaanam
ghar jaanam
ghar jaanam
om ghar jaanam
ghar jaanam
ghar jaanam
om ghar jaanam
dhobi aaya
kapde laaya
maya utaaram
ghar jaanam
ghar jaanam
ghar jaanam
om ghar jaanam
ghar jaanam
ghar jaanam
om ghar jaanam
ghar jaanam
ghar jaanam
om ghar jaanam
ghar jaanam
ghar jaanam
om ghar jaanam
————————————————————————
Part 4
Suresh Wadkar, Chorus
ghar jaanam
ghar jaanam
om ghar jaanam
ghar jaanam
ghar jaanam
om ghar jaanam
prithvi tyaagam
ghar jaanam
om ghar jaanam
ghar jaanam
ghar jaanam
om
ghar jaanam
ghar jaanam
om ghar jaanam
prithvi tyaagam
ghar jaanam
om ghar jaanam
aa aa aa aa
aa aa aa aa
lobh, krodh, mad
maaya
matsar
sarvas tyaagam
ghar jaanam
om ghar jaanam
prithvi tyaagam
ghar jaanam
om ghar jaanam
aa aa aa aa
aa aa aa aa
saans baansuri
tatvamasi dha
shoonyam poornam
ghar jaanam
om ghar jaanam
prithvi tyaagam
dhobi aaya
kapde laaya
mail utaaram
ghar jaanam
om ghar jaanam
prithvi tyaagam
om ghar jaanam
Ye bade sahab ka topaa hai
Posted on: April 22, 2022
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.
|
Blog Day : |
5026 | Post No. : | 16934 |
Today’s song is from the film Diwali-1940.
Going through the Film Index book, listing all Hindi films from 1931 to 2012, I was surprised to see that only one film was made with the title of Diwali. One more film was Diwali ki Raat-56. Similarly, only one film was made with the title Dussehra-1956. There are 2 films on Holi-1940 and 1984 while another was Holi ayee re of 1970. This is the end of Indian Festival films. 2 Films were made on Eid ka chaand in 1933 and 1964, Idd ka salaam-1976 and finally Idd Mubarak-1988.
I fail to understand, when so many films are made on Mythological stories, Gods, Arabian Night stories and Mughal Kings, why were the filmmakers disinterested in making films on Indian festivals ? It is ofcourse most unlikely, rather impossible, that any Indian producer will read my question and give a convincing answer. Likewise there are not many songs on Diwali or other festivals either. I found many songs on Holi and Rakhi, though. I don’t expect any explanation for this either !
I am not aware of the storyline or any other matter concerning today’s film. The film was made by Ranjit Movietone and was directed by Jayant Desai. Music was given by the inhouse MD- Khemchand Prakash. This was his first film with Ranjit. Before him Gyan Dutt was the resident MD who worked from 1937 to 1940. After Khemchand prakash left Ranjit, it was Bulo C Rani from 1945 onwards.
In the early era, Ranjit was one of the most powerful and famous filmmaking companies in India, boasting of famous and popular artistes on its payroll. owned by Chandulal Shah, Ranjit Movietone made,in all, 175 films during its existence. Calcutta’s New Theatres, however, stands tall at No.1 with 177 films to its credit.
Film Diwali-1940 had 13 songs, written by D N Madhok, Pt. Sudarshan and P L Santoshi, but HFGK does not credit any song to any Lyricist. The cast of the film was Motilal, Madhuri, Ishwarlal, Keshavrao Datey, Dikshit, Indubala, Suresh, Vasanti etc.etc. The name of Indubala is a misfit. She was a Bengali and did Hindi films mainly made by Calcutta producers in Calcutta and she acted during a period from 1932 to 1949. She sang 30 Hindi songs in 14 films She acted in 33 Hindi films. In most films, she did comic roles. Even in this film she is paired with comedian Dikshit ( of the Ghori-Dikshit pair of the 1930s films). Here is Indubala’s Biodata based on an article by Dr, J.P.Guha, with thanks to him.
Indubala’s mother was Rajabala, who along with sister Matibala and brother Tinkary worked in Motilal Bose’s The Great Bengal Circus, also known as Bose’s Circus or Professor Bose’s Circus. Harimati was the eldest sister of Rajabala and had a different life. Rajabala performed mainly as a trapeze artiste and got married to Motilal Bose at a temple in Ujjain, India. At the time he was then in his forties while Rajabala was still a teenager. The marriage was never accepted as legal by Motilal’s family. Motilal Bose’s first wife was Mrs. Annadamohini Devi.
Indubala was born in November, 1899 at Amritsar, where the circus party had gone for performance. Indu was born premature and Dr. Bidhumukhi Basu was taken to Amritsar from Calcutta to attend Rajbala. Such was the affection and concern of the husband for his young wife. Motilal’s interest in Rajbala dwindled later, supposedly because Rajbala showed no interest in going back to the circus after Indu’s birth and soon she was left to fend for herself. She came to Calcutta with her daughter and was given shelter by a Jiban Krishna Ghosh, who remained loyal to her till his death and also played a major role in establishing Indubala in her life as a performer. Once in Calcutta, Rajabala trained herself as a singer and Indubala’s first training in music was from her mother. The initial plan was to train Indu as a nurse and she was admitted as a trainee in a hospital in the Pataldanga locality of Calcutta. Indu did not take fancy in the job and ran away from the hospital, much to the disappointment of her mother, who never wanted her only daughter to be forced into a life of indignity.
After this incident Indubala’s musical training started. Although her father ignored wife Rajabala completely, he remained fond of his daughter and kept in touch with her and often invited her to his ancestral home where he lived during his brief visits to Calcutta and sent her a monthly pocket money of Rupees twenty till his death. Indubala’s first performance was at a gathering of distinguished guests where her mother was the chief entertainer. Each one of the guests appreciated Indu’s singing and thus began her formal training from Gouri Shankar Mishraji. Indu was only about twelve then. This also marked the entry of Indubala into the red light world. Amongst her trainers were Kali Prasad Mishra, Elaahi Bux and Miss Gauhar Jaan. Apart from music, Miss Gauhar Jaan, credited as Prima Donna of India, Indu also learned etiquette from the elder artiste and developed a close friendship with her. This association provided Indu with valuable musical knowledge and experience.
In later years she took training from Girin Chakraborty, Kamal Dasgupta, Subal Dasgupta, Jamiruddin Khan and Kazi Nazrul Islam. In time she came to be one of the major exponents of Nazrul songs and her songs along with those of Miss Angurbala and Kamala Jharia are still referred to for authenticity of lyrics and tunes of Nazrul songs. In 1916, Indubala recorded her first songs. She was brought into the record circle by Bhagabati Charan Bhattacharya and Mr. Manindra Nath Ghosh, alias Mantababu, himself a gramophone singer of repute. The first songs published as a record were Asha Phuraye Gelo, Sindhu Khambaj and Aar Mukhey Boley Ki Hobey, Kedara. The record number was P 4306. In the beginning she did not take any money from the Gramophone Company and as such was credited in the records as Miss Indubala (Amateur). She was not the first amateur artiste of the company but enjoyed the privilege of announcing her name at the end of each song saying “My name is Indubala”. The amateur status continued for a fairly long period. Later on she received Rupees two hundred per record and also received a royalty of five per cent over the sales. Her first songs of Nazrul on the disc were “Cheyona Sunayana” and “Rumjhum Rumjhum Ke Eley Nupur Paye”. The record number was P 11661. To Indubala also goes the credit of being the first Bengali artiste to record Hindustani songs for the Gramophone Company. For the Indian State Broadcasting Center, later named All India Radio, Indubala first sang on the second day of the radio company’s broadcasting in 1927 in Calcutta and went on singing in this medium for nearly fifty years. Over the radio, Indubala sang not only from Calcutta but from several other stations by special invitation all over India. Apart from discs and the radio, Indubala was well established by the thirties in cultural functions all over India. Frequent invitations used to come from Shahjahanpur, Pakur, Madras, Bangalore, Palanpur, Nagpur, Hyderabad, Oudh, Trivandrum, Vizagapattam, Ajmer, Coimbatore, Dacca and several other places.
In 1936 she was appointed court musician to His Highness, The Maharajah of Mysore. She received a monthly salary of Rupees two hundred and fifty and this continued till the time when the native princes faced withdrawal of privy purse. In all Indubala had recorded some two hundred and eighty songs, including about two hundred forty basic songs, the rest being from films. Indubala’s first stage appearance was in The Rambagan Female Kali Theatre, established by her mother Rajabala in 1922. Both mother and daughter took part in the plays and Indubala appeared in about twelve plays in this short-lived company which lasted for only two years and in 1924 she joined Calcutta’s most prestigious stage, The Star Theatre. She continued to appear on the stage mainly in singing roles and her songs were a major attraction in each of the plays. By rotation she acted in all the public theaters of Calcutta and even took part in the Hindi Parsee Theatre in 1945 and 1946, the plays being Ghar Ki Laaj and Jasoos. Her last appearance in the public stage was in the play Prithviraj in the role of Mehga at Star Theatre in 1950. Thereafter she worked in call shows till almost 1958.
Jamuna Puliney (1933) has been credited as her first film. This is probably because this was her first film contract although Ankh Ka Tara (1932) released before Jamuna Puliney. In all she acted in about forty eight films in Bengali, Hindi, Urdu, Punjabi, Tamil languages. In most of them, she had songs as a major attraction or else did comic roles as in Bengali Indira (1937) and Hindi Diwali (1940) to name a few. She did the role of Dhai Ma in both the versions of Swayamsiddha (1947). Thereafter she was not seen on the screen. As a playback singer she lent her voice in films like Alibaba (1937), Chandragupt (1934) in Hindi, Ab E Hayat (1933) in Urdu and Dil Ki Pyaas (1935) also in Urdu. She did not act in these four films. Indubala did not receive any major award apart from the Gold Disc given on behalf of His Master’s Voice. The government of India never considered her name for any award. The Sangeet Natak Academy however honoured her with a lifetime achievement award in 1975. The government of West Bengal, India however did arrange for a pension for which a lot of running about had to be done.
In personal life, Indubala was most humble and polite and bold in her behavior and was never ashamed to admit or discuss her origin. Even when established as a major singing artiste with an all India fame, she refused to move out to a respectable place leaving her residence in Rambagan, a notorious red light area of Calcutta. Indubala got herself involved in voluntary work for the uplift of fallen women and worked actively for their rights in society through various organizations, which were patronized by top political leaders of the time. She had some interesting hobbies like writing poetry and collecting perfumes.
Even at old age all the empty perfume bottles were kept within her view. She was fond of jewelry too and had a great collection, either purchased or gifted by admirers. These valuables vanished when she was too unwell to keep track of them. Her contemporary artiste Miss Angurbala was a close friend with whom she confided and shared the joys and sorrows of life and this friendship lasted till the very end. Indubala adopted a nephew of her mother’s friend Jiban Krishna Ghosh. The boy’s name was Pranab Ghosh. This foster son did not look after her mother very much when in old age Indubala suffered from conditions like cataract and then paralytic strokes. It was Dr. Badan Sengupta who made necessary arrangements for her treatment. She could not afford nursing homes and therefore was treated at state government hospitals in all occasions of illness.
The end came on the thirtieth day of November, 1984 after a prolonged illness during which again Dr. Badhan Sengupta looked after her as his own mother. Perhaps by coincidence her friend Angurbala died the same year.
Today’s song is sung by Vasanti and Suresh. Vasanti was a very well known and popular Child star. So was Suresh. However Suresh became an adult star in later years. I know of only 2 child artistes, who left the film world, though they were in great demand. First was Vasant, who got married at an appropriate age and left films. The second was Shashi Kapoor Sr. who quit a quite flourishing film career to pursue higher education. He spent his life as a Professor in an US University.
Let us now listen to the duet of Vasanti and Suresh.
Song- Ye bade sahab ka topa hai (Diwali)(1940) Singer- Vasanti, Suresh, Lyricist- Not known, MD- Khemchand Prakash
Lyrics
Ye bade sahab ka topa hai
ye memsaab ka baja
Ye bade sahab ka topa hai
ye memsaab ka baja
ye dholak Natthu dhobi ki
ye Kalkatte ka Raja
ye dholak Natthu dhobi ki
ye Kalkatte ka Raja
Ye bade sahab ka topa hai
ye memsaab ka baja
Ye bade sahab ka topa hai
ye memsaab ka baja
ye dholak Natthu dhobi ki
ye Kalkatte ka Raja
ye dholak Natthu dhobi ki
ye Kalkatte ka Raja
Raja ke ghar saab aaya
gitpit gitpit boley
Raja ke ghar saab aaya
gitpit gitpit boley
Raja Rani pade soch mein
kaun kiwaade kholey
Raja Rani pade soch mein
kaun kiwaade kholey
Natthu dhobi aaya re
Natthu dhobi aaya re
sang mein dholak laaya re
sang mein dholak laaya re
dhanak dhanak dhan dhanak dhanak dhan
dholak baaje re
dhanak dhanak dhan dhanak dhanak dhan
dholak baaje re
raja ke ghar topey waala
saath biraaje re
raja ke ghar topey waala
saath biraaje re
maange sodawater
oye
maange sodawater
Raja ?? baaje
Raja ?? baaje
maange sodawater
maange sodawater
Raja ?? baaje
Raja ?? baaje
haa aa ha ha ha ha aha
aah ha ha ha h ah
haa aa ha ha ha ha aha
aah ha ha ha h ah
haa aa ha ha ha ha aha
aah ha ha ha h ah
haa aa ha ha ha ha aha
aah ha ha ha h ah
hey
Chaand mama ne amrood churaaya re
Posted on: March 27, 2022
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 16900th post in the blog on its 5000th day.
|
Blog Day : |
5000 | Post No. : | 16900 |
Today (27 March 2022) is one of those days that arrives regularly in the blog. It is the century post day. Moreover, it is an even more special day for the blog. Today is the 5000th day of the blog !
The fact that today is the 5000th day of the blog was known for quite some time. The idea that this day should coincide with the century post germinated a few days ago, even though it meant that we needed to go at a slower rate than even the already slow rate for the blog.
Sudhir Jee, who floated this idea was under the impression till the last moment that today we were on to 17000th post. It was only at the last moment that he realised that we were onto just the 16900th post. 🙂
Sudhir Jee had identified a special post for the occasion of 17000th post and so that song had to be held back.
We did not have any backup song for the occasion.
Most of our century posts get posted on week days when the blog gets more visits. Today is perhaps the first time in many years when the century post was getting covered on a Sunday. The previous such occasion that I can think of was 20 July 2014, which was a Sunday too and that was the day when the 10000th post was covered on the blog. That day which saw 8 articles being posted was a memorable day for the blog, as the regulars of the blog remember even to this day.
Today is Sunday. A few years ago, I had discovered a rare and remarkable old song of 1940s that celebrated Sunday. I vaguely remembered that I had noted it down and I had even downloaded that song. That song would have been a perfect century song for today. But I could not locate that song, despite searching hard in my portable hard disks and elsewhere. It could well have been hiding in some laptop that I am no longer using.
I informed Sudhir Jee about this song and he too searched for it. But that song could not be located.
During my searches, I came across some other rare songs and I considered using one of them, in case our “Sunday” song could not be located. So here is that song.
This song, quite an interesting and rare song, is from ‘Phulwaari’ (1946).
‘Phulwaari’ (1946) was directed by Chaturbhuj Doshi. The movie had Motilal, Khursheed, Madhubala, Ramayan Tiwari etc in it. This obscure movie had 9 obscure songs in it. Two songs from the movie have been covered in the blog.
This song, third from the movie and 16900th song in the blog is a children’s song. It is sung by Baby Anu and chorus. Pt Indra is the lyricist. Music is composed by Hansraj Bahl.
The song is a take on Chanda Mama from her point of view. It is quite a fun song, quite an interesting song indeed. The song , like its movie ended up becoming obscure.
I request our knowledgeable readers to help throw light on the movie as well as on the picturisation of the song.
I have no idea who this singer Baby Anu was. She may have been a small child while recording this song, but today she would be in her 70s. I request our knowledgeable readers to throw light on her. She makes her debut as a playback singer in the blog.
16900 songs on the 5000th day for the blog ! It has been quite a marathon run for this musical blog where songs have been covered at a rate of 3.4 songs everyday. These figures demonstrate the fact that if one can be consistent and disciplined that it is possible to achieve such high figures, even if our daily rate of posts may be seemingly low.
The blog now has 16900 songs from nearly 4600 movies, and around 1300 of these movies have already been Yippeee’d. These figures may not appear too daunting to the uninitiated, but these figures are big figures. We realize their size only when we try to list them or try to go through the list, or try to take a print out.
The next century mark is the big mark of 17000th song. Who thought, 14 years ago during 2008, that this blog would still be around in 2022 and people here would talk of 17000 songs in it. We are here and that target is just 100 songs away from us.
I take this opportunity to thank one and all. And as always, let us hope that this musical bandwagon keeps rolling on and on and we keep discovering many musical gems in our journey.
Song-Chaand mama ne amrood churaaya re (Phulwaari)(1946) Singer-Baby Anu, Lyrics-Pt Indra, MD-Hansraj Bahl
Chorus
Lyrics
chaand mama ne
chaand mama ne ho
chaand mama ne amrood churaaya re
chaand mama ne amrood churaaya re
chori chori
ho chori chori
chori chori akele hi khaaya re
chori chori akele hi khaaya re
chaand mama chaand mama
chaand mama rakhiya bandhaane ko aaya
ho o o o
ho o o o
chaand mama rakhiya bandhaane ko aaya
jholi mein kitne khilaune wo laaya
jholi mein
jholi mein kitne khilaune wo laaya
munni munne ke man bhaaya re
munni munne ke man bhaaya re
chaand mama ne amrood churaaya re
chaand mama ne amrood churaaya re
chaand mama chaand mama
chaand mama chaand mama
baaghon mein aana
chaand mama chaand mama
baaghon mein aana
munni ko kirnon ka jhoola jhulaana
munni ko
munni ko kirnon ka jhoola jhulaana
jhoolan ka mausam aaya re
jhoolan ka mausam aaya re
chaand mama ne amrood churaaya re
chaand mama ne amrood churaaya re
chaand mama chaand mama
chaand mama chaand mama
school jaana
chaand mama chaand mama
school jaana
master jee se chhutti dilaana
chhutti dilaana
master jee se chhutti dilaana
mera janm din aaya re
mera janm din aaya re
chaand mama ne amrood churaaya re
chaand mama ne amrood churaaya re
chori chori
ho chori chori
chori chori akele hi khaaya re
chori chori akele hi khaaya re
chaand mama ne
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 : |
4963 | Post No. : | 16834 |
“Shola Aur Shanam-1961” was directed by Ramesh Saigal for ‘Parijaat Pictures, Bombay’. It was a social drama movie.
This movie had Tarla, Dharmendra, Abhi Bhattacharya, M. Rajan, Mubarak, Vijaylakshami, Jeevankala, Sulochana, Leela Mishra, Dhoomal, Johny Whisky, B.N. Shukla, B. Parera, Baby Chandrakala, Master Akashdeep, and others.
This movie had ten songs as mentioned in HFGK Vol-IV (1961-1970). As many as five lyricists wrote the songs for this movie. Music for this movie was composed by Khayyam.
The list of the songs this movie has is as given below.
| SNo | Song Title | Singer/s | Lyricist | Posted On |
|---|---|---|---|---|
| 01 | Mummy aur daddy mein ladaayi ho gayi | Asha Bhonsle | Raja Mehndi Ali Khan | Being discussed today |
| 02 | Jeet hi lenge baazi hum tum | Lata, Rafi | Kaifi Azmi | 25.08.2009 |
| 03 | Phir wohi saawan aaya, saajan aaye naa | Jagjit Kaur | Prem Dhawan | 21.05.2012 |
| 04 | Kaun aata hai idhar, koyi nahin | Jagjit Kaur, Rafi* | Jaan Nisar Akhtar | |
| 05 | Agar dil se takraaye to afsaana bataa daalen | Rafi, Manna Dey, Jagjit Kaur* | Jaan Nisar Akhtar* | |
| 06 | Mathura shyam chaley saawan ghan sa umad padaa brij | Manna Dey, Geeta Dutt, Kaumudi Munshi,chorus | Ram Murti | 22.10.2014 |
| 07 | Ladi re ladi tujhse aankh jo ladi | Jagjit Kaur | Prem Dhawan | 11.01.2011 |
| 08 | Jaane kya dhhoondhhti rehti hai ye aankhen mujhme | Mohd Rafi | Kaifi Azmi | 10.05.2009 |
| 09 | Phir nahin aane waali pyaare aisi milan ki raat | Asha Bhonsle, Manna Dey, chorus | Prem Dhawan* | |
| 10 | Pehle to aankh milaanaa | Rafi, Jagjit Kaur | Kaifi Azmi | 11.01.2021 |
From the above table we can see that six songs out of ten songs of this movie have been posted on the blog so far.
Today 18th February’2022 is the ninety-fifth birth anniversary of music director Khayyam (18.02.1927 – 19.08.2019). As a tribute to him on this occasion, I am presenting a song from this movie ‘Shola Aur Shabnam-1961’. This movie made its debut on the blog on 10.05.2009 and still waiting for its all songs to be covered on the blog.
Today’s song is sung by Asha Bhonsle, and it is picturised on Baby Chandrakala and Master Akashdeep. Also seen in the picturisation of this song is Leela Mishra and other artists. (I could not identify the man playing Leela Mishra’s husband.)
Today’s song, though a children song, is a description of fighting and patch-up between the parents.
I think this must be one of the very few songs that Khayyam Saab composed as a ‘children song’. I do not remember any other song. I would request knowledgeable readers to throw more light on this movie and its songs.
Let us now enjoy today’s song sung by Asha Bhonsle. Lyrics are by Raja Mehndi Ali Khan. Music is composed by Khayyam Saab.
Lyrics of this song were sent by Prakashchandra.
Audio
Video
Song-Mummy aur daddy mein ladaai ho gayi (Shola Aur Shabnam)(1961) Singer-Asha Bhonsle, Lyrics-Raja Mehdi Ali Khan, MD-Khayyam
Lyrics(Provided by Prakashchandra)
mummy aur daddy mein
mummy mein daddy mein
mummy aur daddy mein aen aen aen
mummy aur daddy mein ladaayi ho gayi
cheen pe japaan ki chadhhaayee ho gayi
mummy aur daddy mein ladaayi ho gayi ee ee ee ee ee
daddy ne gussey mein aake de dee gaaliyaan
anpadh
bewaqoof kahin ki
daddy ne gussey mein aake de dee gaaliyaan
mummy ne gussey mein aake todi thaaliyaan aan
todi thaaliyaan
maine jo donon se kahaa peace peace peace
maine jo donon se kahaa peace peace peace
donon ne tamaache mujhe maarey bees bees
maarey bees bees
apni to muft mein thukaayee ho gayi
apni to muft mein thukaayee ho gayi
mummy aur daddy mein ladaayi ho gayi
cheen pe japaan ki chadhhaayee ho gayi
mummy aur daddy mein ladaayi ho gayi ee ee ee ee
daddy ne inkaar kiya khaane ke liye
mummy ne saamaan baandhaa jaane ke liye
hunh hunh jab dekho gaali dete ho
sambhaalo apna ghar
main jaati hoon apne maaike
haan
main to samjhaa donon mein judaai ho gayi ee
main to samjhaa donon mein judaai ho gayi
mummy aur daddy mein ladaayi ho gayi
cheen pe japaan ki chadhhaayee ho gayi
mummy aur daddy mein ladaayi ho gayi ee ee ee
thhodi der baad donon thhande ho gaye
down down gussey ke wo thhande ho gaye
thhodi der baad donon thhande ho gaye
down down gussey ke wo thhande ho gaye
dheere dheere sulah aur safaayi ho gayi ee ee
dheere dheere sulah aur safaayi ho gayi
mummy aur daddy mein ladaayi ho gayi
cheen pe japaan ki chadhhaayee ho gayin
mummy aur daddy mein ladaayi ho gayi ee ee ee ee
daaddy’on ko mummy’on sataayaa naa karo
mummy’on ko daaddy’on rulaaya naa karo
chhoti chhoti baat ko badhhaayaa naa karo
bhaloo ka tamaashaa aa
bhaaloo ka tamaashaa
ye dikhaayaa na karo oo oo oo oo
baat nikli munh se to paraayi ho gayi ee
baat nikli munh se to paraayi ho gayi
mummy aur daddy mein ladaayi ho gayi
haan cheen pe japaan ki chadhhaayee ho gayin
mummy aur daddy mein ladaayi ho gayi ee ee ee
Dim Dim Dim Dim Digo
Posted on: November 14, 2021
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
4867 | Post No. : | 16661 | Movie Count : |
4540 |
Missing Films of 1960s – 118
– – – – – – – – – – – – – – –
All changes with time. Does everything? There is a counter quote to this one – the more things change, the more they remain the same.
Do dreams change with time, across generations? Maybe some do. Does love change with time? I feel not. The basic understanding of emotions probably remains the same across generations, and maybe across geographies too.
Does life change? Yes, in a context, life does change with passage of time and as per the changing social and economic environment. But do the passages of life change? I believe not. Birth, growth, old age and death – all these passages visit everyone invariably.
And so does childhood – visits everyone invariably. Childhood, and its dreams – that is an experience that visits all of us immediately as we arrive in this creation. Of course the duration of this experience varies from person to person. And not to discount the fact that for some strange souls, this experience lasts a lifetime.
14th November today. Birth anniversary of Pt. Jawaharlal Nehru, the first Prime Minister of independent India. Traditionally, this day is designated as and has been celebrated as the day of Children for decades. With changing political and administrative priorities, the celebration associated with this day seems to have disappeared from our calendars. Sad to see that a child’s fun and happiness is overshadowed by political idiosyncrasies.
I cannot speak of the digital media – I do not watch TV, period. I get three newspapers at home. Today morning I felt good in my heart that two of them carry special sections of four pages each, devoted to Children’s Day. These pages carry short stories and other material for children. I feel happy that all is not changed, all is not forgotten.
Looking back into our blog, for this date of 14th November across the 13+ years of our musical journey, I find the following about this celebration.
In 2008, there was no mention of Children’s Day on the blog, on this date. In 2009 this day was a dot day, no posts. 2010 saw 6 posts, but no mention of children. 2011 turned out to be a redeeming bonanza, with the entire set of 5 posts that day were assigned to children’s songs.
2012 was again a dot day. In 2013 there were seven posts, with one for this celebration. In 2014 we had 2 celebratory posts devoted to children, out of 5. In 2015 it was 1 out of 2 and 2016 saw 2 posts out of 6. This day in 2017 had only one post, not a children’s song. 2018 had one out of two posts, 2019 had just one post and it was a children’s song. Last year, we had two songs, one of which is the celebration for the day.
So a total of 14 posts in the past 13 years. In all fairness to the blog, I must state we otherwise have 115 children’s songs already posted + many more in other categories like ‘Lullabies’, ‘Parent Child Songs’ etc.
A friend sent a greeting today that carries these words,
“Childhood is all about being wild,”
“having fun and enjoying a carefree life”
“Enjoy your childhood till it lasts.”
“Happy Children’s Day”
I liked the phrase in here – “Enjoy your childhood till it lasts.”. Of course, till it lasts, but then making it last is in our own hands. One can grow up, and take care of everything in life that needs to be taken care of, and still continue to nourish and nurture a child within. You may think it is not feasible, but I do know some people who manage to do just this.
Coming to this song for today. I must share that this song has been sitting with me for over two years now, waiting to be written for. If I remember correctly, it is Sadanand ji who sent me the link to this rare song.
So let’s talk about the rarity factor of this song. The film ‘Rahul’ is a 1964 film by Children’s Film Society, Bombay. Although it is listed in the Geet Kosh, search by me and other friends had turned up a nought, and we had lost all hope that anything about this film will ever turn up. Scarce as they are, the films of Children Film Society are anyway a rarity, and more so the songs contained within. Geet Kosh lists two songs in the film, with the footnote that the film has just two songs.
About the film now. This is a film of devotional genre. The film is directed by Ram Gabaale. The songs are written by Madhukar Rajasthani. Music for this film is by the venerated Vasant Desai. The singing voice is of Asha Bhosle accompanied by chorus.
The star cast of this film is listed as Sandeep, Achla Sachdev, Arun, Ratnamala, Jagdish Sethi, Chaman Puri, Daya Devi, Leela Chaukhaani.
This is a very interesting fun song. The accompanying image on the YouTube clip appears to be of this song itself. It seems to be a song performed by children plus a main lady dancer, all dressed as tribal folk. The song is full of animal sounds and animal references, indicating a forest ambiance having been created for this song. And the singing by Asha Bhosle is just superb. A really enjoyable children’s song.
For the child inside all of us – “Dim Dim Dim Dim Digo”.
Song – Dim Dim Dim Dim Digo (Rahul) (1964) Singer – Asha Bhosle, Lyrics – Madhukar Rajasthani, MD – Vasant Desai
Chorus
Lyrics
[animal sounds]
aha ha ha aha
aha ha ha aha
aaa haaa
aaaa aaaa aaaa aaaa
aaaa aaaaa
aaaa aaaa aaaa aaaa
aaaa aaaaa
dim dim dim dim digo
aha ha ha ha
dim dim dim dim digo
o ooo
khamba sa gabru igo
ooo oooo
oo oooo
dim dim dim dim digo
aaaa aaaa
dim dim dim dim digo
aaha ha haa haa haa
ha haa haa haa
ho ho ho
aaha ha haa haa haa
ha haa haa haa
ho ho ho
log kahen chaahe junglee
junglee
log kahen chaahe junglee
dafli pe pade jab ungli
dafli pe pade jab ungli
sher dabaa ke
dum ko bhaage
sher dabaa ke
dum ko bhaage
apne aage chigo
ha ha ha ha ha haaa
haaaa
dim dim dim dim digo
o ho oo
dim dim dim dim digo
hum parvat parvat ghoomen
aaa aaaa
aaaaaaaaaaa aaaa aa
hum parvat parvat ghoomen
mushqil ka daaman choomen
mushqil ka daaman choomen
ho sardi garmi
barkha jhelen
sardi garmi
barkha jhelen
maut se khelen pico
aa haa haa haa
oo oo oooo
o oo o
dim dim digo
ha ha ha ha haaa
dim dim digo
bade ajab hain apne saathi
apne saathi
bade ajab hain apne saathi
bhaalu
(bear sound)
geedad
(jackal sound)
bandar
(monkey sound)
haathi
(elephant sound)
bade ajab hain apne saathi
bhaalu geedad bandar haathi
kab ye ladaai hum se thaanen
kab ye ladaai hum se thaanen
koi na jaane jhigo
oo oo oo oooo
oooo ooooo
ho oo oo
dim dim digo
ho ho oo
dim dim digo
hoo oo
khamba sa gabru igo
oooo
ooooo
oooo
dim dim digo
ha ha ha ha haaa
dim dim digo
[animal sounds]
Chunnu patang ko kehta hai kite
Posted on: September 8, 2021
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
4800 | Post No. : | 16565 |
Hullo Atuldom
The song with this post is from “Zameen Ke Taare” (1960) not to be confused with the modern day “Taare Zameen Par” (2007). Both the movies had children as center of the movies. But that is where the similarities end.
“Zameen Ke Taare” had a cast of Daisy Irani, Honey Irani, Motilal, Achala Sachdev, Prem Kumar, Kiran Kumari, Anwar Hussain, Kumud Tripathi, Tun Tun, etc. I think Mumtaz and Jayshree T. too were in the movie as child actors. It was directed by Chandulal Shah and produced by Navinchandra Shah for Chandra Movies. It had music by S. Mohinder and songs were written by Tanveer Naqvi, Pandit Indra and Anand Bakshi. The movie had Asha Bhonsle, Sudha Malhotra, Manna Dey and Mohd Rafi as playback singers. It had eight songs of which the blog has the following three.
| Song | Date of posting |
|---|---|
| Tinke pe tinka chhutti ke din ka | 2 June 2011 |
| Deep gagan ke tum ho | 29 November 2016 |
| O mere pyaaron zameen ke taaron | 8 september 2020 |
The last song posted (O mere pyaaron zameen ke taaron) had a post by Nahmji. It was an attempt to combine the birthdays of the singing legend Asha Bhonsle and music director of yesteryears S. Mohinder. Almost like what I am attempting with this post. And just like Nahmji, I also realized that the composer of the ’50s and ’60s passed away last September on the 6th, two days before he would have turned 95. I read through this news item which was written by Kushal Gopalka. It gave me a lot of knowledge about the music director of such popular songs as ‘Guzara hua zamaana aata nahi dobaara’ from the 1956 release ‘Shirin Farhad’. If I had not read that article I would not have known that I have heard songs tuned by him and enjoyed them.
Today’s song has the child actors Daisy Irani (Mangoo) and Honey Irani (Tingu) lip-syncing to Asha Bhonsle and Sudha Malhotra. This sweet and cute sounding song is penned by Anand Bakshi. The kids Mangoo and Tingu are on a trip in quest of Bhagwan because they have been told that their mothers have gone to “Bhagwan ka ghar”. In the course of their travels they come in contact with a number of people who provide them with diverse answers about where to find Bhagwan. The songs of the movie are set around these incidents. Rather interesting movie, I managed to see part of it in my quest of locating the actors mentioned in the cast.
With this post I wish my favourite singer Asha Bhonsleji on turning a year older. May she have a healthy and lovely life and may we have the pleasure of hearing her for some more years.
Audio
Video
Song-Chunnu patang ko kehta hai kite (Zameen Ke Taare)(1960) Singer-Asha Bhonsle, Sudha Malhotra, Lyrics-Anand Bakshi, MD-S Mohinder
Lyrics
{whistling}
chunnu patang ko kehta hai kite
bolo beta tingu yeh wrong hai ya right
right right right
ram ke murge ki hai ek taang
bolo beta tingu yeh right hai ya wrong
wrong wrong wrong
lakdi ki khatiya pe haathi gaya let
hathni se kaha ke banao aamlet
lakdi ki khatiya pe haathi gaya let
hathni se kaha ke banao aamlet
football match mein jeeta hai maine cup
arre bolo beta tingu ye sachch hai ya gap
arre gap gap gap
{whistling}
oont ne chidiya ko kar liya catch
donon mein hua phir khushti ka match
oont ne chidiya ko kar liya catch
donon mein hua phir khushti ka match
chidiya se oont ki taang gayi toot
arre bolo beta tingu ye sachch hai ya jhoot
jhooth jhooth jhooth
ek tamasha maine dekha mere meet
paan khaake ek chooha gaa raha tha geet
ooohoo ooohoo
ek tamasha maine dekha mere meet
paan khaake ek chooha gaa raha tha geet
paas baithi billi tabla rahi thi peet
paas baithi billi tabla rahi thi peet
bolo beta tingu yeh galat hai ya theek
theek arre re re galat
{whistling}
Chanda Kaahe Ka Tera Maama
Posted on: March 8, 2021
- In: "appeasement" song | "chaand" song | Children's song | Chorus song | Devnagri script lyrics by Sudhir | Guest posts | Lyrics contributed by readers | Mahendra Kapoor songs | Manhar Udhas songs | Manna Dey songs | Post by Sudhir | Song sung by three or more singers | Songs of 1960s (1961 to 1970) | Songs of 1969 | Yearwise breakup of songs
- 7 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day: |
4616 | Post No. : | 16256 |
A celebration of 100 years of Sahir Ludhianvi – his 700th song being posted on our blog.
A hundred years today. Being celebrated by the 700th post on our blog.
Sahir Ludhianvi – the “. . . Pal Do Pal Ka Shaayar. . .“, who would be actually “. . . Har Ik Pal Ka Shaayar. . .“, being relevant for all times, and responsive to all the pitfalls and tragedies of the human experience. But then also, never to be discounted for romanticism a la “Ye Raat Ye Chaandni Phir Kahaan. . .” and “Yoon To Hamne Laakh Haseen Dekhe Hain“, or even as “Phir Na Keeje Meri Gustaakh Nigaahi Ka Gila“, or the upbeat strings of “Mere Labon Pe Dekho Aaj Bhi Taraane Hain. . .“, or even the most in depth portrayal of the bhakti (devotion) sentiment, as in “Aan Milo Aan Milo Shyaam Saanwre“, and “Tum Bansi Ho Main Taan, Ham Tum Do Nahin” and even more intense in “Aaj Sajan Mohey Ang Laga Lo. . .“.
Yes, it is the poet who is Har Ik Pal Ka Shaayar, touching all the facets of experiences of life, from the time when a child is pining for the moon as a toy, and all the way to the derelict conclusion of the human life as in “Lo Apna Jahaan Duniyawaalo, Hum Is Duniya Ko Chhod Chale“.
Sahir Sb seemed to have an affinity for the phrase ‘pal do pal’. We hear these words in ‘Railway Platform’ (1957) –
Pal Do Pal Ka Saath Hamaara, Pal Do Pal Ki Yaari
Aaj Ruke To Kal Karni Hai Chalne Ki Tayaari
Basti Basti Parvat Parvat. . .
Repeated in ‘Mehmaan’ (1974)
. . .
Pal Do Pal Dhoom Machha Ley
Yoon Mar Mat Mar Mat Yaaraa
In ‘Zameer’ (1975), he would write
Zindagi Hansne Gaane Ke Liye Hai Pal
Do Pal. . .
Then again in ‘Burning Train’ (1980), reminding us of the shades of ‘Railway Platform’
Pal Do Pal Ka Saath Hamaara
Pal Do Pal Ke Yaaraane Hain. . .
And yes, ‘Kabhi Kabhi’ (1976) of course,
Main Pal Do Pal Ka Shaayar Hoon
Pal Do Pal Meri Kahaani Hai
Pal Do Pal Meri Hasti Hai
Pal Do Pal Meri Jawaani Hai
In ‘Pyaasa’ of 1957, he had posed three very profound questions in the lines of poetry he wrote for that film. At a personal level, the query was “Jaane Wo Kaise Log The Jin Ke Pyaar Ko Pyaar Mila“. On the plane of social strife and stigma he had asked “Jinhen Naaz Hai Hind Par Wo Kahaan Hain“. And then, the ultimate question of life that he has posed is “Ye Duniya Agar Mil Bhi Jaaye To Kya Hai“. The film gains its depths, attempting to interpret and address these questions. And more than sixty years later, these questions continue to haunt the discerning mind. Timeless queries, one would say, but still, crystallized for once in words by Sahir.
There is this one incisive insight that the poet possesses, or maybe the other way round, this incisive insight possesses the poet. Each verse, each song that he has penned in his lifetime, goes well beyond the simple words that he wrote. His words, his lines offer you, nay they force you to take a pause and think – what profundity, in just this simple arrangement of 8, 10 or 15 words. And the thought will stay in the mind for much much longer that what it took to simply read the words for once.
This life, ‘zindagi’ – the incisive insight brings out so many facets that the poet examined it. In 1954, he penned the following for ‘Taxi Driver’
Ae Meri Zindagi
Aaj Raat Jhoom Le, Aasmaan Ko Choom Le
Kis Ko Pata Hai Kal Aaye Ke Na Aaye. . .
For ‘Munim Ji’in 1955, he wrote
Ek Taraf Haseen Jalwe Hain
Ik Taraf Jawaani
Zindagi Hai Zinda. . .
In 1958, his words for ‘Light House’ are
Tang Aa Chuke Hain Kashmakash-e-Zindagi Se Hum
Thukra Na Den Jahaan Ko Kahin Be-dilee Se Hum
With 1960 came ‘Barsaat Ki Raat’ and the promising words are
Zindagi Bhar Nahin Bhoolegi Wo Barsaat Ki Raat. . .
1962, and it is ‘Hum Dono’, with the lines
Main Zindagi Ka Sath Nibhata Chala Gaya. . .
With ‘Aaj Aur Kal’, 1963, ‘Zindagi’ was a most depressing thought.
Maut Kitni Bhi Sangdil Ho Magar
Zindagi Se To Meharbaan Hogi
‘Chandi Ki Deewaar’ and 1964, another depressing sentiment
Kahin Qaraar Na Ho Aur Kahin Khushi Na Miley
Hamaare Baad Kisi Ko Ye Zindagi Na Mile
And then, a refreshing thought in 1965, with these lines in ‘Shagoon’,
Ham Hain Maayoos Magar Itne Bhi Maayoos Nahin
Ek Na Ek Din To Yah Ashqon Ki Ladi Tootegi
Ek Na Ek Din To Chhatenge Ye Ghamon Ke Baadal
Ek Na Ek Din To Ujaale Ki Kiran Phootegi
Zindagi Zulm Sahi Zabr Sahi Gham Hi Sahi
On to 1969, and the life is a happenstance – film is ‘Aadmi Aur Insaan’,
Zindagi Ittefaaq Hai
Kal Bhi Ittefaaq Thi Aaj Bhi Ittefaaq Hai
And in the same film, we have the sobering sentiment as,
Zindagi Ki Raah Mein Khushi Ke Phool Bhi
Zindagi Ki Raah Mein Ghamon Ki Dhool Bhi
Zindagi Kabhi Yaqeen Kabhi Gumaan Hai
Har Qadam Pe Teraa-Meraa Imtahaan Hai
Zindagi Ke Rang Kai Re Saathi Re. . .
Come 1975, and it is ‘Ek Mahal Ho Sapnon Ka’; the refrain once again is downbeat as in
Dekha Hai Zindagi Ko Kuchh Itna Qareeb Se
Chehre Tamaam Lagne Lage Hain Ajeeb Se
But then it is ‘Zameer’ in the same year that bounces back to say,
Zindagi Hansne Gaane Ke Liye Hai Pal Do Pal
Ise Khona Nahin Kho Ke Rona Nahin
Plus a more sobering thought, from the same film,
Tum Bhi Chalo Hum Bhi Chalen
Chalti Rahe Zindagi
Naa Zameen Manzil Naa Aasmaan
Zindagi Hai Zindagi
With ‘Kaala Pathar’ in 1979 came the motorcycling song that infused the bubbling spirit of freedom and hope.
Jaate Huye Qadmon Se
Aate Huye Qadmon Se
Bhari Rahegi Raahguzar
Jo Ham Gaye To Kuchh Nahin
Ik Raastaa Hai Zindagi
Jo Tham Gaye To Kuchh Nahin
Ye Qadam Kisi Muqaam Pe
Jo Jam Gaye To Kuchh Nahin
Coming to the song being presented today. It is a wonder that I thought of, as I listened to this song today after a very long time. Yes, a child pining for getting the moon to play with. And with the ‘बाल हठ’ (a child’s obduracy), it is an overwhelming experience to be able to convince the child and talk it out of its impossible wish. As I listened, I am reminded of the story from the Ramayan – the passage where Ram, as a toddler, one day gets into His mind that he wants the moon to play with. No amount of coaxing and appeasing and promises by the parents and others can talk Him out of His insistence. And the accompanying wailing and waving of arms is making Kaushalya and Dashrath very worried and uncomfortable. Rajguru, Vashishth ji is summoned for help. He arrives and says, well, if the child is wanting the moon, give Him the moon. The parents are confused, and ask Vashishth ji, as to how to make that happen.
Rajguru asks for a large dish (‘परात’) with raised edges. The dish is placed in front of the child, and is filled with water. Instantly, the likeness of the moon is reflected in the water in the dish. So Vashishth ji beckons the child and points to the reflection and says, here is the moon, now play. So the toddler Ram, seeing that the moon is now so close, puts His hands in water, but swish and splash as He may, He is not able to hold in hand, the reflection that can be seen with the eyes. But the splashing play pleases Him, and the wailing is forgotten.
Sahir Sb is addressing the same situation in this song, likely that the child is insisting on visiting ‘Chanda Mama’. And as is the rule in Hindi films – well, you have a song to for a three-minute-disposition-of-a-difficult-situation. The lines in the song are actually trying to reason with the child, based on some simple logic statements, that aim at convincing the child that they (the three bad men in the film) are much better suited to be ‘Mamma’ to the child than the distant moon.
So there is arguments like, hads ‘Chanda Mama’ ever visited you? Has ‘Chanda Mama’ ever invited you to his place. He just sits in the sky and creates a fake uproar. Where as we (the three bad men in the film) are with you every day. We play with you, we take care of you and bring you toys. And so, as is wont in Hindi films, all it takes is three minutes of music and song to change the mind of any individual in any situation. Start the song, and you can time the mind conversion almost exactly to 3 minutes (maybe plus a few more seconds).
The video of this song is not available, but it most certainly is picturized on Geeta (role played by Baby Rani) who plays the upset little child, wanting the moon, and the three bad men – Govind, Joseph and Nazir (roles played by Pran, Ajit and Anwar Hussain respectively). The singing voice for the three bad men are back played by Manna Dey, Mahendra Kapoor and Manhar. The singing voice is not identified for a few lines at the end of the song, which are apparently lip synced by the child.
The film is ‘Nanha Farishta’ from 1969. A film by T Prakash Rao, is a touching tale of three criminals whose lives are transformed by the love a small child girl they have kidnapped. The star cast of this film includes Pran, Ajit, Anwar Hussain, Baby Rani, Padmini, Pandharibai, Balraj Sahni, Johnny Walker, Suresh, Mukri, Raj Mehra, Sunder, Maruti, and Prem Kumar.
The film has four songs, all penned by Sahir Sb. The music is composed by Kalyanji Anandji. Two of the four songs are already showcased on our blog. This is the third song to find its place here, as the centenary celebration of this gifted poet. And we also add the celebration of adding the 700th song by Sahir Sb to our blog.
A very refreshingly joyful song – yes, Sahir Sb had the versatility to pen such gems also.
Listen and enjoy.
Song – Chanda Kaahe Ka Tera Maama (Nanha Farishta) (1969) Singer – Manna Dey, Mahendra Kapoor, Manhar, Unidentified Child Voice, Lyrics – Sahir Ludhianvi, MD – Kalyanji Anandji
Manna Dey + Mahendra Kapoor + Manhar
Lyrics
arre chanda kaahe ka tera mamma
mamma
chanda kaahe ka tera mamma
naabhe ke naama na jaama
jaama
mamma mamma mamma
arre hum hain tere mammaa
mamma mamma mamma
arre hum hain tere mammaa
chanda kaahe ka tera mamma
na tujh se milne dharti pe aaye
na tujh ko apni nagri dikhaaye
hum ko to chanda bilkul na bhaaye
bilkul na bhaaye
hamen bilkul na bhaaye
amber pe baitha chaahat jataaye
jhootha machaaye humgaama. . .
mamma mamma mamma
arre hum hain tere mammaa
mamma mamma mamma
arre hum hain tere mammaa
chanda kaahe ka tera mamma
hum tujh ko nit nit godi khelaayen
arre nehla dhula ke powder lagaayen
haathi dilaayen ghoda dilaayen
haathi dilaayen munni ghoda dilaayen
naach aur ga ke kartab dikhaayen
tak dhin tak dhin sa re ga ma. . .
mamma mamma mamma
arre hum hain tere mammaa
mamma mamma mamma
arre hum hain tere mammaa
chanda kaahe ka tera mamma
tu hai chaheti tu hai dulaari
mariam hamaari seeta hamaari
dil tujh pe sadqe
jaan tujh pe waari
donon jahaan se tu hum ko hai pyaari
hum ne tera haath thaama. . .
mamma mamma mamma
arre hum hain tere mammaa
mamma mamma mamma
arre tum ho mere mammaa
chanda kaahe ka tera mamma
chanda nahin hai mera mamma
mamma
mamma mamma mamma
arre hum hain tere mammaa
mamma mamma mamma
arre hum hain tere mammaa
————————————————————
Hindi Script Lyrics (Provided by Sudhir)
————————————————————
अरे चंदा काहे का तेरा मामा
मामा
चंदा काहे का तेरा मामा
नाभे के नामा ना जामा
जामा
मामा मामा मामा
अरे हम हैं तेरे मामा
मामा मामा मामा
अरे हम हैं तेरे मामा
चंदा काहे का तेरा मामा
ना तुझसे मिलने धरती पे आए
ना तुझको अपनी नागरी दिखाये
हमको तो चंदा बिलकुल ना भाए
बिलकुल ना भाए
हमें बिलकुल ना भाए
अंबर पे बैठा चाहत जताए
झूठा मचाये हंगामा॰ ॰ ॰
मामा मामा मामा
अरे हम हैं तेरे मामा
मामा मामा मामा
अरे हम हैं तेरे मामा
चंदा काहे का तेरा मामा
हम तुझको नित नित गोदी खिलाएँ
अरे नहला धुला के पाउडर लगाएँ
हाथी दिलाएँ घोड़ा दिलाएँ
हाथी दिलाएँ मुन्नी घोड़ा दिलाएँ
नाच और गा के करतब दिखाएँ
तक धिन तक धिन सा रे गा मा॰ ॰ ॰
मामा मामा मामा
अरे हम हैं तेरे मामा
मामा मामा मामा
अरे हम हैं तेरे मामा
चंदा काहे का तेरा मामा
तू है चहेती तू है दुलारी
मरियम हमारी सीता हमारी
दिल तुझपे सदक़े
जां तुझपे वारी
दोनों जहां से तू हमको है प्यारी
हमने तेरा हाथ थामा॰ ॰ ॰
मामा मामा मामा
अरे हम हैं तेरे मामा
मामा मामा मामा
अरे तुम हो मेरे मामा
चंदा काहे का तेरा मामा
चंदा नहीं है मेरा मामा
मामा
मामा मामा मामा
अरे हम हैं तेरे मामा
मामा मामा मामा
अरे हम हैं तेरे मामा
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
Recent comments