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

Archive for the ‘Children’s song’ Category


This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 :

4456 Post No. : 15934

Hullo Atuldom

Some songs keep playing in our mind as if on loop. This I had said in one of my previous posts. Today’s song is one such.
I saw it consciously a number of times in the last few years. Consciously means I may have seen it in the ’70s or ’80s when these movies were aired on the doordarshan but I was not old enough to appreciate them or the meaning of their lyrics. But now on repeat viewing of the movie I am getting wiser. I had filed away (mentally) that this needs to be on the blog. So here it is.

“Sadhu Aur Shaitaan” a 1968 release had 4 songs all written by Rajinder Krishan and Laxmi-Pyare were the music directors. Asha Bhonsle, Usha Mangeshkar, Manna Dey and Mohd. Rafi were the playback singers.

Only one song has been posted on the blog. That one had Mehmood replaying his “hum kale hain toh kya hua” character. We had Mehmood mouthing the initial part of “Chunia, ari kidhar hai ri tu? Mere dil ki rani. Mere nawaason ki naani. aa gaya hoon main. arre dekh le main aa gaya permission leko”.

Today’s song has him giving gyaan about the importance of knowing one’s mother tongue in addition to learning “A B C D”. We should remember that this was a movie which came at a time when we had enough students opting for schools which were not essentially English medium. We should also remember that all those who trained in non-English medium schools were no less intelligent and we have many pioneers in various fields from those students too. I know I will be stirring a hornet’s nest if I talk about which is a better language for educating the masses of the country.

My personal feeling is that education should be in a language where in the parents also understand what the child is learning so that they are able to clarify doubts that the child has as he is studying. People may feel that my thoughts are very old fashioned but…..

Today happens to be the birth anniversary of Mehmood who would have been 88. He knew how to bring a smile on the viewer’s face, how to tickle their funny bone. He was the son of actor/dancer Mumtaz Ali and brother of dancer Minu Mumtaz (about whom our Sadanandji has written in his this post). His brother Anwar Ali was also an actor who paired with Mehmood in “Bombay To Goa” as Rajesh to Mehmood’s Khanna.

Mehmood took up odd jobs at a rather young age to help look after his large family which had 7 siblings. He decided to try acting to support his family once he married and had his first son and had his first break in “C.I.D” with a small role of the killer. He had other small unnoticed roles in “Do Bigha Zameen” “Pyaasa” etc. His innings in Bollywood was peppered with comic roles that were an essential part of the story and we often saw him drill sense into older characters towards the end of the movie.

I saw a part of “Meri bhabhi” (1969) this morning where he was doing just that as Shambu. But he was a class apart when he turned to movie making and gave us classics like “Bhoot Bungla”, “Padosan”, “Bombay To Goa” and the most poignant, message carrying of them all “Kunwara Baap”. His last movie released in 1996 “Dushman Duniya Ka” which he directed and Jeetendra headed the cast. It is interesting to note that Shahrukh Khan and Salman Khan had special appearances in it.

Remembering the actor, producer, director Mehmood with this song sung by Manna Dey and Asha Bhonsle.


Song-A for apple B for baby (Saadhu aur Shaitaan)(1968) Singers-Asha Bhonsle, Manna Dey, Lyrics-Rajinder Krishan, MD-Laxmikant Pyarelal
Chorus
Unidentified child voice 1
Unidentified child voice 2
Asha Bhonsle + Manna Dey

Lyrics

a for apple,
b for baby,
c for camel,
d for daddy
a for apple,
b for baby,
c for camel,
d for daddy
a for apple,
b for baby,
c for camel,
d for daddy

d for daadhi
d for daddy
o d for daadhi
no
d for daddy

a for andha
b for behra,
c for cana
d for duffer

a for apple
b for baby
c for camel
d for daddy

la la laralara roo
la la laralara roo rooroo

aa haa

E se England hai
F se Finland hai
G se kaun land hai
bolo bolo bachchn
G se German hai, H se Holland hai
I se mera india
jaihind jaihind

chhodo bachcho a b c
aao seekho ka kha ga
arre chhodo bachcho a b c
aao seekho ka kha ga
raag videshi bhool ke
pyaaron gaao sa re ga ma pa
gaao sa re ga ma pa

ga ma pa ga ma pa
ga se gay ma se mata aa aa
ga se gay ma se mata,
pa se bolo kya

pita
chhodo bachchon a b c
aao seekho ka kha ga
aao seekho ka kha ga

ka kha ga ka kha ga
sa
sa
re
re
ga
ga
ma
ma
pa dha ni sa

aa aa aa
aa aa aa
aa aa aa

n se naarangi, o se om hari om, p se prem pat’r
yeh mera prem patr padhkar
ke tum naaraaz na hona
ye mera prem patr

p se prem patar toh q se,
q se queen
hukum ki
r se roti besan ki,
s se saag sarson ka

a b c d e f g h i j k
n o p q,
l m n o p q

ka kha ga
a b c
arre ka kha ga
no a b c

chhodo bachchon angrezi hindi urdu ka jhagda
chhodo bachchon angrezi hindi urdu ka jhagda
tamil bolo, bangla bolo
bolo desh ki har bhaasha
seekh sako toh seekho bachchon
seekh sako toh seekho bachchon
saari duniya ki vidya
chhodo bachcho angrezi hindi urdu ka jhagda
tamil bolo, bangla bolo
bolo desh ki har bhaasha

lala lala lala laa
lala lala lala laa
lala lala lala laa
lala lala lala laa
lala lala lala laa
lala lala lala laa


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 :

4444 Post No. : 15892

“Naag Mohini”(1963) was directed by Shantilal Soni for Dimple Films Bombay. This “pauraaanik” movie had Vijaya Chadhary, Mahipal, Sundar, Rajan Haksar, Bablu, Uma Dutt, Indira Bansal, Rajrani, Sood, Khursheed etc in it.

The movie had six songs in it. Four of these songs have been covered in the past.

Here is the fifth song from “Naag Mohini”(1963) to appear in the blog. the song is sung by Suman Kalyanpur. Bharat Vyas is the lyricist. Music is composed by Sardar Malik.

The song is picturised as an “inspirational” song, which to me sounds more like a “putting up a brave face” genre of song on a kid who could be Bablu going by the star cast. I request our knowledgeable readers to throw light on the identity of the kid.


Song-Hum hain baalak kal ke maalik (Naag Mohini)(1963) Singer-Suman Kalyanpur, Lyrics-Bharat Vyas, MD-Sardar Malik

Lyrics

hum hain baalak
kal ke maalik
hum hain baalak
kal ke maalik
samjho mat naadaan
aa jaayen gar hathh pe apni
jhukta hai bhagwaan
ho o
hum hain baalak
kal ke maalik

jungle ho ujaad ho
saamne pahaad ho
sheron ki dahaad ho
koi na sake re humen thhaamne
din ho ya raat ho
aandhi barsaat ho
koi bhi na saath ho
badhte hi jaayen hum saamne
hum hain bachche
dhun ke sachche
sheron ki santaa aan
aa jaayen gar hathh pe apni
jhukta hai bhagwaan
ho o
hum hai baalak
kal ke maalik

dikhne mein kamzor hum
shakti mein ghanghor hum
aandhiyon ka zor hum
pade na kisi ko hum se vaasta
chaahe jalti aag ho
bhaazlu cheeta baagh ho
fan uthaaye naag ho
koi na roke humaara raasta
hum hain ladke
hum jo bhadken
ban jaaye toofaa aan
aa jaayen gar hathh pe apni
jhukta hai bhagwaan
ho o
hum hain baalak
kal ke maalik
hum hain baalak
kal ke maalik
samjho na naadaan
aa jaayen gar hathh pe apni
jhukta hai bhagwan
ho o
hum hain baalak
kal ke maalik


This article is written by Sadanand Kamath, a fellow enthusaist 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 :

4343 Post No. : 15648 Movie Count :

4310

‘Sparsh’ (1980) was Sai Paranjpye’s first feature film. Besides directing it, she wrote the story, screen-play and dialogues.  At the time of making of the film, she faced enormous problems at every stage – from the selection of actors to the submission of the film’s final print to the Central Board of Film Certification and then to the Feature Film Jury of the National Film Awards on due date. And if I go by what the director of the film has revealed through her interviews in newspapers and periodicals and also in her Marathi book, ‘Sai – Maaza Kalapravaas’, the major obstacles came from the producer of the film – Basu Bhattacharya, who was known in Hindi film industry as a stingy producer.

Sometime in the later half the 1970s (the actual year is not known), Sai Paranjpye produced a 10-minute documentary film on the visually impaired for Delhi Doordarshan to be telecast on the World Handicap Day. For this purpose, Sai Paranjpye had to visit a blind school to get a feel of how the blind students study and do extra-curricular activities. She had gone to the blind school with the apprehension in her mind as to whether she will be able to emotionally cope up with when she would witness them in the school.  However, she was pleasantly surprised to observe that the blind students were playing on the ground with a lot of excitement as if they were normal students. She also met the principal of the school who was also blind and had done PhD from the University of Wisconsin (USA). He looked savvy and dynamic – same as how a normal person at his position would look. Then an idea occurred to her that visually impaired persons need to be treated like normal persons more than showering pity and sympathy. This idea was translated in her TV documentary.

Sai Paranjpye, however, felt that 10-minute TV documentary was too short to cover the important aspects of what she had witnessed in the blind school. So, she expanded the subject into a telefilm titled ‘Raina Beeti Jaaye’ with Kulbhushan Kharbanda and Sushma Seth which was telecast on Delhi Doordarshan (year is not known but it has to be sometime in the later 1970s.). The film was well received and there were demands for its re-run on Doordarshan. This encouraged her to make a full-length feature film with a story revolving around a couple – one handicapped with blindness and the other a normal person who is emotionally handicapped. She also covered in the script some day-to-day incidences of the blind students. Thus, the idea of ‘Sparsh’ (1980) was born.

Sai Paranjpye had written the script of ‘Sparsh’ keeping in mind Sanjeev Kumar and Tanuja in the lead roles. However, after agreeing to work in the film, at the last moment, Sanjeev Kumar got himself out of the project when he came to know that the film was to be produced by Basu Bhattacharya. Probably, Sanjeev Kumar had a bad experience in working with Basu Bhattacharya in ‘Anubhav’ (1971) and ‘Girha Pravesh’ (1979). In his place, Naseeruddin Shah was roped in. Since the director was not sure about the working chemistry between Naseeruddin Shah and Tanuja, the latter was replaced by Shabana Azmi who had earlier worked with Naseeruddin Shah. When no one was ready to produce the film, Basu Bhattacharya offered to produce the film under his banner, Aarohi Films. The music direction was entrusted to Kanu Roy, the ‘darbaari’ musician of Basu Bhattacharya as Sai Paranjpye calls him. For lyrics, she selected her favourite, Indu Jain.

The film was to be majorly shot at Blind School Relief Association (BSRA) at Delhi. For the first time, Sai Paranjpye personally realised that Basu Bhattacharya, the producer was a stingy person. He had asked all the actors in the film to come for the shooting in their own dresses. Sai Paranjpye had to arrange for the uniform of the blind students in the film with a donation of cloth from a reputed cloth mill of Mumbai. The producer had arranged the free accommodation to all the actors and the technical staff in the hostel of BSRA which were barely comfortable. There are many more interesting anecdotes while making the film which have been described in Sai Paranjpye’s Marathi book referred to above in her own witty style.

Because of the subject of the film, a couple of philanthropists had given the donations for making the film which was naturally passed on to the producer of the film. In addition, there were many others who have contributed in the making of the film. In the credit title of the film, the list of such persons is bigger  than the list of the main and supporting actors. In short, my guess is that Basu Bhattacharya did not have to shell out much for the financing of the film as a producer.

It is worth noting that when ‘Sparsh’ (1980) was being made, Basu Bhattacharya was already working on his home production, ‘Griha Pravesh’ (1979). Aspersions were cast on the Aarohi Films that a part of the finance meant of ‘Sparsh’ (1980) was diverted for financing ‘Griha Parvesh’ (1979). So, the finance from the producer was not forthcoming on time for ‘Sparsh’ (1980). By the time the  film’s shooting was completed, Sai Paranjpye realised that she was not only the director but also a de facto production controller.

The film’s shooting was completed and was sent for processing at Bombay lab. But the prints had not come back for a long time. In fact, the Lab had not taken the processing of the film since Basu Bhattacharya had not cleared his dues to the lab on his earlier films. Since Sai Paranjpye wanted to send the film for participating in the National Film Awards, there was an urgency to complete the work on time. The producer of the film was not in a hurry to complete the process. Sai Paranjpye met the owner of Bombay lab and requested to take the processing of the film. She also assured him that  she would  arrange to pay for the processing out of her own resources. Thus, the film was processed, dubbed and a print of the film was sent in time as an entry for National Film Awards, 1980. The film won 3 National Film Awards – the best film, Sai Paranjpye for the best screen-play and Naseeruddin Shah for the best actor. The irony was that Basu Bhattacharya as a producer received the best film award for ‘Sparsh’ (1980) in the hands of the President with a cash prize.

It took another 4 years for ‘Sparsh’ (1980) to get a theatrical release in 1984. The premier of the film was held at Eros theatre in Mumbai. In 1985, the film won 3 Filmfare Awards – The best film and two awards for Sai Paranjpye for best director and the best dialogue. On the one side, the film was critically acclaimed not only in India but also in International film festivals held at London, Cairo, Beijing and Sydney. On the other side, barring Naseeruddin Shah who got all his dues from Basu Bhattacharya after putting much pressure on Basu Bhattacharya, no one including Sai Paranjpye, Shabana Azmi, Kanu Roy, Indu Jain, playback singer Sulakshna Pandit etc. got their dues from the producer for the film. For music director, Kanu Roy, it was his last film who died of cancer few months after the completion of the film.

Incidentally, Sai Paranjpye, in her film ‘Katha’ (1982) named Farooq Shaikh as Basu who was doing a negative character in the film. Is it symbolic or just a co-incidence?

The star cast of ‘Sparsh’ (1980) includes Naseeruddin Shah and Shabana Azmi in lead roles supported by Om Puri, Sudha Chopra, Mohan Gokhale, Arun Joglekar etc with scores of blind students.  Ustad Amjad Ali Khan made a guest appearance in the film as a sarod player.  The film was certified by the Censor Board on January 30, 1980. The film is now available for watching on a video sharing platform with English sub-titles and it is in HD. The gist of the story of the film is as under:

The story centres around the two main characters. Anirudh (Naseeruddin Shah) is the principal of a blind school who is handicapped by his blindness. Kavita (Shabana Azmi), a young widow is emotionally handicapped due to death of her husband. She has become reclusive and shuns the society. Her only hobby is the gardening and singing. Her close friend, Manju (Sudha Chopra) tries to bring Kavita out of her shell and suggests to work for the blind school of which her husband is one of the patrons. But she  does not succeed much.

On a party arranged by Manju on the occasion of her marriage anniversary, she invites Kavita who reluctantly agrees to attend. In the party, Kavita sees Anirudh whom she had briefly met near her house. She meets him and gets formally introduced as a principal of a blind school. After getting to know her background, Anirudh requests her to join his blind school as he finds it difficult to get the required sighted personals for the school. After much persuasion by Manju, Kavita joins the blind school.

After joining the blind school, children are happy with Kavita as they get the motherly treatment which was not there earlier. She makes them participate in extra-curricular activities like handicrafts, sports, plays, music etc. Anirudh is happy that the children have been kept busy in constructive activities. Over a period of time, both Anirudh and Kavita come closer and start liking each other’s company. They get engaged.

However, Anirudh starts developing complex of being visually handicapped. He feels that after marriage Kavita would get projected having made a great sacrifice in marrying a handicapped person. He would always feel low in front of Kavita. He may have to depend upon her after the marriage. So, he decides to call-off the engagement. Kavita is shocked by his decision but she diverts her mind by continuing her work among the blind students of the school. She learns Braille, (the language in which blind students read the books) and translate many books in Braille.

One day, Anirudh comes to Kavita’s house and request her to leave the blind school as according to him, it is creating the resentments among the other visually impaired staff and teachers. Actually, this is an excuse. The real reason is that Anirudh finds himself uncomfortable ever since he called off his engagement with Kavita. This time, Kavita tells him that she would not leave the school as it is her need to be with the 200 students of blind school. And if Anirudh forces her to leave, she would revolt against the order. After the few days of this incidence, Kavita, while in the school comes to know that Anirudh has been transferred to another blind school out of Delhi. Kavita tenders her resignation sighting the reason that the school needs Anirudh more than her.

When Manju comes to know about these developments, she goes to meet Anirudh in his office and tells him point blank that he has been seeing the imaginary issues in his marriage out of his complex and ego without giving any consideration the impact of his decision on Kavita’s life who has once again been emotionally shattered with his decision. After Manju’s friendly banter, the realisation comes to Anirudh’s mind. The film ends with a scene showing Anirudh slowly walking towards Kavita’s house.

The highlight of the film is Sai Paranjpye’s crisp screen-play and dialogues which I feel has made the film more interesting to watch with no melodramatic scenes. Naseeruddin Shah’s restrained performance as a blind principal of the school is one of his bests among his acting in the middle-of-the-road films. Before the shooting, he had spent about a fortnight with the blind principal of BSRA, Delhi to observe his mannerism and conduct. One can observe in the film that Sai Paranjpye has not shown him as blind man in a conventional way which we are used to see in Hindi films. He looks like a normal sighted man. It is only his mannerism in talking, walking, picking up of things etc which gives an impression of a blind man.

The title of the film ‘Sparsh’ is very apt which literally mean ‘touch’. But in a broader sense, it means ‘feeling’ which is the essence of the film. I will highly recommend the readers of this Blog to watch the film, preferably in one seating if not already seen.

‘Sparsh’ (1980) has 3 songs, all written by Indu Jain and sung by Sulakshna Pandit. The songs have been set to music by Kanu Roy. I am presenting the first song ‘Geeton Ki Duniya Mein Sargam Hain Hum’ sung by Sulakshna Pandit and chorus. In audio clip, there is an additional stanza. Overall, it is an inspirational song.

With this song, ‘Sparsh’ (1980) make a debut in the Blog.

Notes and Acknowledgements:

  1. Some of the information about the background for making the film ‘Sparsh’ (1980) is based on an interview conducted by Sridhar Rangayan and Saagar Gupta titled ‘Queen of Humour: A Candid Interview with Award-Winning Director and Writer Sai Paranjpye,’ South Asianist, Vol 2, No.3 (2010).
  2. The anecdotes and trivia included in the article are based on the Marathi book, ‘Sai – Maaza Kalapravaas’ (2016) written by Sai Paranjpye.

Video

Audio

Song – Geeton Ki Duniya Mein Sargam Hain Hum (Sparsh) (1980) Singer – Sulakshana Pandit, Lyrics – Indu Jain, MD – Kanu Roy
Chorus

Lyrics

geeton ki duniya mein sargam hain hum
phoolon mein khushboo ke parcham hain hum
gaao bachcho
geeton ki duniya mein sargam hain hum
phoolon mein khushboo ke parcham hain hum
phir se gaao
geeton ki duniya mein sargam hain hum
phoolon mein khushboo ke parcham hain hum
 
chalte hain kadmon mein manzil bhare
mutthi mein khushiyon ki kunji dhare
chalte hain kadmon mein manzil bhare
muthi mein khushiyon ki kunji dhare
toofaan mein ghir jaayen kashti hain hum
taazi hawaaon ke jhonkhe hain hum
shabaash
geeton ki duniya mein sargam hain hum

phoolon mein khushboo ke parcham hain hum
geeton ki duniya mein sargam hain hum
phoolon mein khushboo ke parcham hain hum
 
nannhe dilon mein ummeeden hazaar
beejon mein jaise chhupi ho bahaar
nannhe dilon mein ummeeden hazaar
beejon mein jaise chhupi ho bahaar
kismat ki bagiya ke maali hain hum
kal ke karishme dikhaayenge hum
aa ha
geeton ki duniya mein sargam hain hum
phoolon mein khushboo ke parcham hain hum
geeton ki duniya mein sargam hain hum
phoolon mein khushboo ke parcham hain hum

chhote umar mein  akal se badhe
himmat ki mitti mein khele badhe
bolo
chhote umar mein akal se bade
himmat ki mitti mein khele badhe
taaron ko choo aayen itna hai dam
sir chadh jo bole ko jadoo hain hum
geeton ki duniya mein sargam hain hum
phoolon mein khushboo ke parcham hain hum
phir se gaao
geeton ki duniya mein sargam hain hum
phoolon mein khushboo ke parcham hain hum

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

गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं हम
गाओ बच्चो
गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं हम
फिर से गाओ
गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं ह

चलते हैं कदमों में मंज़िल भरे
मुट्ठी में खुशियों की पूंजी धरे
चलते हैं कदमों में मंज़िल भरे
मुट्ठी में खुशियों की पूंजी धरे
तूफाँ में घिर जाएँ कश्ती हैं हम
ताज़ी हवाओं के झोंके हैं हम
शाबाश
गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं हम
गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं हम

नन्हें दिलों में उम्मीदें हज़ार
बीजों में जैसे छुपी हो बहार
नन्हें दिलों में उम्मीदें हज़ार
बीजों में जैसे छुपी हो बहार
किस्मत की बगिया के माली हैं हम
कल के करिश्मे दिखाएंगे हम
आ हा
गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं हम
गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं हम

छोटे उमर में अकल से बड़े
हिम्मत की मिट्टी में खेले बढ़े
बोलो
छोटे उमर में अकल से बड़े
हिम्मत की मिट्टी में खेले बढ़े
तारों को छू आयें इतना है दम
सर चढ़ जो बोले वो जादू हैं हम
गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं हम
फिर से गाओ
गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं हम


This article is written by Avinash Scrapwala, a fellow enthusaist 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 :

4281 Post No. : 15526 Movie Count :

4281

If there was a category like ‘post inspired by fellow Atulite’ or ‘post inspired by Atulite WA group chat’, this post would have been included under that category. This past Sunday there was a discussion between me and Peevesie’s Mom ji regarding the theme of the ‘Rangoli’ this week, which was Jaya Bhaduri/Bachchan, and so I messaged to her that I was expecting a post from her. Instead, she asked me that even I can do a post. And she also pointed out the birth anniversary of actor Jeetendra (and so if there was a song of Jaya Bachchan and Jeetendra, it would have been suitable for the post).

But then, few days back I myself had sent a song to Atul ji requesting to post it on the birth anniversary of another Jaya i.e. Jayaprada whose birth anniversary was on 3rd April. And that thought inspired (? 😊) me – Yes, I can do this post combining the anniversaries of both Jayaprada and Jeetendra – and yes, this song, which I liked, was already there and the film has not made a debut on the blog. And one more purpose was getting achieved i.e. to introduce ‘movie with the same title’ on the blog. So here is a song from ‘Tohfa’ (1984). One movie with the same title ‘Tohfa’ was released in 1947 and this movie has already been represented on the blog with seven songs covered out of total ten songs in it.

The 1984 film ‘Tohfa’ was directed by K Raghavendra Rao for Suresh Productions, Madras. It was produced by D Rama Naidu. The star cast includes Jeetendra, Sridevi, Jayaprada, Kader Khan, Shakti Kapoor, Mohan Choti, Urmila Bhatt, Leela Mishra, Jagdeep, Aruna Irani, Jayshree T, Master Rinku and others. Asrani makes a friendly appearance in this movie.

Dialogues for this movie are written by Kader Khan and editing of this movie was done by KA Marthand. The movie was passed by Censor Board on 21.01.1984.

The film has five songs (including one two-part song). Lyrics are written by Indeevar. Music of this movie is composed by Bappi Lahiri. Asha Bhonsle, Kishore Kumar, Lata Mangeshkar and SP Balasubramaniam have given their voices to the songs in this movie.

Today’s song is sung by Kishore Kumar and Lata Mangeshkar and lip syncing it on screen are Jeetendra and Jayaprada respectively.  Also seen in the picturization of this song is Master Rinku who gets to lip sync few lines in between the song in the voice not credited in the movie titles and also not mentioned in HFGK Vol-VI (1981-1985).

3rd April was actress Jayaprada’s fifty eighth (born on 03.04.1962) birth anniversary and here on the blog we are wishing her a belated Happy Birthday and a happy, healthy and peaceful life ahead.

Also, Jeetendra celebrates his seventy-eighth birth anniversary today on 7th April (born on 07.04.1942) and we wish him too a very Happy Birthday today and a happy, healthy and peaceful life ahead.

Now coming back to 1984. This year, Jeetendra and Jayaprada were seen together in the following movies;

S No Movie Name Music Director Passed by Censor Board
1 Haisiyat Bappi Lahiri 10.08.1984
2 Maqsad Bappi Lahiri 30.04.1984
3 Tohfaa Bappi Lahiri 21.01.1984

If we consider the annual ‘Binaca Geetmala’ list of 1984 as many as four songs from the movie ‘Tohfa’ were represented there. Today’s song ranked at number twenty-seven, while other songs ranked at number 3 – “Pyar Ka Tohfa Tera, Bana Hai Jeevan Mera” (title song), number 4 was “Ek Aankh Maaroon To”, and number twenty-six was “Gori Tere Ang Ang Mein’.

And if we consider movies with music composed by Bappi Lahiri, the annual list Binaca Geetmala of 1984, contained as many as eight movies – ‘Sharaabi’, ‘Tohfaa’, ‘Mawaali (1983)’, ‘Maqsad’, ‘Haisiyat’, ‘Wanted’, ‘Kaamyaab’, and ‘Qaidi’.

Let us now enjoy the today’s song, which I like most from this movie. In the movie, the second stanza of the song is repeated when Jayaprada dies, leaving a child behind to Sridevi and Jeetendra also present there.

With this song ‘Tohfa’ (1984) makes its debut on the blog.

Editor’s note:- This song happens to be the 200th duet of Lata and Kishore Kumar in the blog.

Video

Audio

Song – Albela Mausam, Kehta Hai Swagatam (Tohfa)(1984) Singers – Lata Mangeshkar, Kishore Kumar, Lyrics – Indeewar, MD – Bhappi Lahiri
Unidentified Voice
Lata Mangeshkar + Kishore Kumar
Lata Mangeshkar + Kishore Kumar + Unidentified Voice

 

Lyrics (Based on audio link)

o ho o ho o
ho ho ho o

o ho ho o
o ho o ho o

mehki kyun gali gali
khili kyun kali kali
kya kehti hai hawa

mehki kyun gali gali
khili kyun kali kali
kya kehti hai hawa

tujhe har khushi miley
lambi zindagi miley
deti hai ye dua

albela mausam
kehta hai swaagatam

albela mausam
kehta hai swaagatam

ringa ringa roses
pocket full of posies
hai sha
bu sha
all fall down

ha ha ha
ha ha ha

kaun sa hai wo phool
ke jis’se aangan banta hai gulshan
jab aanchal mein laal hansega
ghar ban jaayega madhuban
kaun se hain wo deep ke jin se
darte hain andhiyaare
ghar mein ujaala. . .
bhar dete hai

sundar nain tumhaare
sundar nain tumhaare

albela mausam
kehta hai swaagatam
albela mausam
kehta hai swaagatam

johnny johnny
yes pappa
eating sugar
no pappa
telling lie
no pappa
open your mouth
ha ha ha

ha ha ha ha

kyun pooja ke baad hi bolo
maang bhara karte hain
lambi umar sindoor ki ho
ham ye maanga karte hai
ye to kaho jeevan ke safar ki
aakhri aarzoo kya hai
tujh se pehle main utth jaaun
maine ye socha hai
agley janam mein, , ,
donon milenge. . .
apnaa ye waada hai
apnaa ye waada hai
albela mausam
kehta hai swaagatam
albela mausam
kehta hai swaagatam

mehki kyun gali gali
khili kyun kali kali
kya kehti hai hawa

tujhe har khushi miley
lambi zindagi miley
deti hai ye dua

albela mausam
kahta hai swaagatam
albela mausam
kahta hai swaagatam

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

ओ हो ओ हो ओ
हो हो हो ओ

हो हो हो ओ
ओ हो ओ हो ओ

महकी क्यूँ गली गली
खिली क्यूँ कलि कलि
क्या कहती है हवा

महकी क्यूँ गली गली
खिली क्यूँ कलि कलि
क्या कहती है हवा

तुझे हर ख़ुशी मिले
लम्बी ज़िन्दगी मिले
देती है ये दुआ

अलबेला मौसम
कहता है स्वागतम
अलबेला मौसम
कहता है स्वागतम

रिंगा रिंगा रोज़ेस
पाकेट फुल ऑफ पोज़ीस
हू शा
बू शा
औल फॉल डाउन

हा हा हा
हा हा हा

कौन सा है वो फूल
के जिससे आँगन बनता है गुलशन
जब आँचल में लाल हंसेगा
घर बन जाएगा मधुबन
कौन से हैं वो दीप के जिनसे
डरते हैं अंधियारे
घर में उजाला. . .
भर देते है
सुन्दर नैन तुम्हारे
सुन्दर नैन तुम्हारे

अलबेला मौसम
कहता है स्वागतम
अलबेला मौसम
कहता है स्वागतम

जॉनी जॉनी
येस पाप्पा
ईटिंग शुगर
नो पाप्पा
टेल्लिंग ए लाई
नो पाप्पा
ओपन योर माउथ
हा हा हा

हा हा हा हा

क्यूँ पूजा के बाद ही बोलो
माँग भरा करते है
लम्बी उम्र सिन्दूर की हो
हम ये मांगा करते है
ये तो कहो जीवन के सफ़र की
आखरी आरज़ू क्या है
तुझसे पहले मैं उठ जाऊं
मैंने ये सोचा है
अगले जनम में॰ ॰ ॰
दोनों मिलेंगे॰ ॰ ॰
अपना ये वादा है
अपना ये वादा है
अलबेला मौसम
कहता है स्वागतम
अलबेला मौसम
कहता है स्वागतम

महकी क्यूँ गली गली
खिली क्यूँ कलि कलि
क्या कहती है हवा

तुझे हर ख़ुशी मिले
लम्बी ज़िन्दगी मिले
देती है ये दुआ

अलबेला मौसम
कहता है स्वागतम
अलबेला मौसम
कहता है स्वागतम


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 :

4136 Post No. : 15295 Movie Count :

4213

Happy Children’s Day to Atuldom

“Makdee” means spider. This was also the title of a movie in 2002 which was directed by Vishal Bharadwaj who was also the music director. This was one of the movies in recent times that portrayed children the way they actually should be – as bright, intelligent, naughty and playful. I am put-off when children are portrayed as miniature adults and made to mouth huge sentimental dialogues which I am 100% sure kids from normal upbringing would not even dream of. My definition of kids from a normal upbringing is where the only thing that a child has to do is finish their school, come home -play in the ground or backyard, do their studies for the next day, help around the family as per necessity, play mischief and be active through the day so that they sleep peacefully and wake up fresh to have their routines all over again. In between all this they should have time to read comics, novels, have memorable time with their grandparents and friends which will stay with them for their life as pleasant memories. ‘Makdee’ was one such movie.

It had Shweta Prasad play 10-year-old twin sisters – Chunni and Munni. Chunni who was a prankster and Munni the timid, studious kind. Chunni keeps fooling around the village and constantly gets into trouble with the local butcher Kallu along with her friend ‘Mughal-e-azam’ and on one occasion Kallu chases them around the village and in the melee Munni runs into a mansion which is famous around the village as to being haunted. Then what follows is Chunni’s struggle to find her sister, save her from the clutches of the witch who resides in the haunted mansion, and in the process solve the case of all the persons from the village, who went missing, when they ventured into the mansion. She also is felicitated by the collector of the district as she finds the reason for the witch (Shabana Azmi) making the mansion her home- a hidden treasure.

‘Makdee’ had all the elements that would was needed in a children’s film- fun/ fantasy and a moral – which is the essential of any story telling session with kids. The moral being that “you cannot cry wolf always, as a time will come when people will stop believing you.”

14th November is celebrated as children’s day in India in memory of Pandit Jawaharlal Nehru. He was fondly called chacha Nehru and it is said that he was fond of children. I remember my father used to tell me about his school trip to Delhi when he was in class 8 or 9 and they were fortunate to have an audience with the then Prime Minister Pandit Nehru and what an experience it was – today’s youngsters would use the word AWESOME. My father was also proud about nearly sharing birth dates- his birthdate was 15th November. In fact, he used to say that it was not difficult to remember chacha Nehru’s death anniversary as that was the date he landed in Mumbai from Ahmedabad for his job and found all available forms of transport had stopped as a mark of respect to the departed leader. But that is not the purpose of this post.

Let us move on and enjoy this lively song which shows the exact emotion a child will have when it is a holiday from school or vacation or there is an unexpected holiday declared due to rains, bharat bandh, or death of some trustee or anyone remotely important. Here I will confess that I see myself as Chunni, Munni, Mughal-e-azam and all the kids in this movie. I identified with them.


Song-Kukdoo koon chhutti hai (Makdee)(2002) Singer-Upagna Pandya, Lyrics-Gulzar, MD-Vishal Bhardwaj
Chorus

Lyrics

kukdu koon oo
kukdu koon oo
chhutti hai
he chhutti hai
he chhutti hai
kukdu koon oo

ghanti bajaao paape
ghanti bajaao re
bastaa uthhaao paape
bastaa uthhaao bhaago re
hai kitaabon se kutti
chhutti hai
arre chhutti hai chhutti
chhutti hai
hai kitaabon se kutti
kutti hai
arre chhutti hai chhutti
chhutti hai
he chhutti hai
he chhutti hai
kukdu koon oo

jhum tanakum tanakum
jhum tanakum tanakum
tara tara tara
la la la lala

somwaar susti mein katataa hai
mangal ko mood kahaan banta hai
arre somwaar susti mein katataa hai
mangal ko mood kahaan banta hai

budh ki chintaa mein veer ki fikar
shukkar ka tambu shani ke ghar
monday ko sunday ki chhutti hai
hai kitaabon se kutti
chhutti hai
are chhutti hai chhutti
chhutti hai

arre monday ko sunday ki
arre chhutti hai chhutti
chhutti hai
he chhutti hai
kukdu koon oo

ghanti bajaao paape
ghanti bajaao re (he he he he)
bastaa uthaao paape
bastaa uthaao bhaago re
da da daa da da
pom pom pom
da da daa da da
pom pom pom
da da daa da da
pom pom pom
da da daa da da
pom pom pom
master jee
bhaago


This article is written by Nahm, 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 :

3990 Post No. : 15083

I have so many things to write about that sometimes they (those things crowding my thoughts) don’t let me sleep at night. Wish I had the habit of writing the diary. . . those “dear diary“, outpourings would have helped as a sounding board, more effectively than this blog.

Once upon a time I did start a daily diary, but that did not develop to the level of habit. Then many years ago a colleague advised in all seriousness that I should write down the daily thoughts, clearly impressed with the way I was able to warm to any topic and give a one minute lecture to an assorted audience or whoever was around me. I wasn’t really enamoured by that particular lady and I have never used her as a sounding board or even a ‘complaint register’. I tried to avoid talking about much of anything with her or say only as much as necessary, but she has a knack of introducing topics into conversation and getting people to open up.

I am not too choosy about whom I befriend, but if I develop a dislike of someone, then it gets fixed in my attitude for all times. I have tried very hard to get rid of this fallacy, and try to give second, third chances to people for redeeming themselves. I do this sort of exercise of finding excuses for people, whom I consider my friends, whenever they don’t behave as expected, on regular basis. This positivity of trying to always look at the brighter side, is good within a limit.

Till recently, I used to get very irritated with my parents same habit. So much so that I wrote in one of the posts, that my Mom looks at all things with her colour tinted glasses or ‘rangeen chashma’. This way she can see others in whichever colour she wants. Unn ko duniya bahut rangeen dikhaayi deti hai. In the sense that they live by the maxim that “hum achche to duniya achchi”.

I know the colleague who advised me to write down the thoughts etc., meant well. But I am unable to warm towards her till date, despite her being very close to a very close friend. With her natural ability and curiosity I suspect that she is able to gather all the information. Good for her, if she is happy then I don’t mind. We do meet occasionally as colleagues and also in common friend circles, but maybe I will be able to think of her also as a friend in future.

This lady also had some more well meaning advice to offer, on the topic of improving my daughter s complexion. This was many years ago. I was able to take in that advice from one ear, and throw it out of the other. Really she was simpleton, like my own mother and others. I hope that by now she has learnt differently.

Last week , Sudhir sir posted the song “Hum Kaale Hain To Kya Hua Dilwaale Hain”, in the repeat songs series. Some of the comments in the ‘Gumnaam’ song posts asked to know the meaning of those words of the mukhda. “Hum Kaale Hain To Kya Hua Dilwaale Hain” expresses an appeal against a deep rooted malice/prejudice in the society, which is blatant in the belief that only white is beautiful and black is not. Obviously the same malice is still prevalent if one goes by the no. of products available in the market for skin fairness. Nothing wrong if people want to make their skin fairer by these products, but the fact remains, this improvement or whatever, will only be skin deep. Nothing to do with core of the soul inside the skin. Food for thought.

Here is a song from the film ‘Minoo’ (1977), dealing with the same contrast of gora and kaala. The ‘Gumnaam’ song, took a funny route and this song in the voice of Antara Chaudhary is riding on a child’s innocence and a black goat named Kaali. Salil Chaudhari is the music director, and the lyrics are written by Yogesh. There was also a popular song in this film “Teri Galiyon Mein Hum Aaye”, which is already posted.

Today’s song used to play a lot on the radio when the movie was new. My younger brother was born in 1976, and my elder sister used to sing this carrying our baby brother along.

Oh. . . there are many such stories and happenings, some related and others not related to film songs. I just hope I am able to pen them down and share with all my fellow bloggers and fans of Hindi Film music.

Song – Kaali Re Kaali Re Tu To Kaali Kaali Hai (Minoo) (1977) Singer – Antara Chaudhry, Lyrics – Yogesh, MD – Salil Chaudhry

Lyrics (Provided by Prakashchandra)

kaali. . .

kaali. . .

o oo
kaali re kaali re
tu to kaali kaali hai 
gora sa ek bhaiyya 
maa ab laanewali hai
laanewaali hai
oo kaali re kaali re
tu to kaali kaali hai 
gora sa ek bhaiyya 
maa ab laanewali hai
laanewaali hai

bhaiyya hoga pyaara pyaara
chaand sareekha 
par dekh usey chaand bhi
ho jaayega pheeka 
bhaiyya hoga pyaara pyaara
chaand sareekha 
par dekh usey chaand bhi
ho jaayega pheeka 
main gaal pe kaajal ka 
lagaa doongi re teeka 
main gaal pe kaajal ka 
lagaa doongi re teeka 
lagaa doongi re teeka 
oo
kaali re kaali re
tu to kaali kaali hai 
gora sa ek bhaiyya 
maa ab laanewali hai
laanewaali hai

din raat usey dekha karoongi 
main sajaa ke
main khelungi bhaiyya ko 
godi mein uttha ke 
din raat usey dekha karoongi 
main sajaa ke
main khelungi bhaiyya ko 
godi mein uttha ke 
main roz sulaaungi 
usey loriyaan gaa ke
main roz sulaaungi 
usey loriyaan gaa ke
usey loriyaan gaa ke

ooo
kaali re kaali re
tu to kaali kaali hai 
gora sa ek bhaiyya 
maa ab laanewali hai
laanewaali hai
ho oo
kaali re kaali re
tu to kaali kaali hai 
gora sa ek bhaiyya 
maa ab laanewali hai
laanewaali hai

———————————————————-
Hindi script lyrics (Provided by Nahm)
———————————————————-

काली॰ ॰ ॰

काली॰ ॰ ॰

ओ ओ
काली रे काली रे
तू तो काली काली है
गोरा सा एक भैया
माँ अब लानेवाली है
ओ काली रे काली रे
तू तो काली काली है
गोरा सा एक भैया
माँ अब लानेवाली है

भैया होगा प्यारा प्यारा
चाँद सरीखा
पर देख उसे चाँद भी
हो जाएगा फीका
भैया होगा प्यारा प्यारा
चाँद सरीखा
पर देख उसे चाँद भी
हो जाएगा फीका
मैं गाल पे काजल का
लगा दूँगी रे टीका
मैं गाल पे काजल का
लगा दूँगी रे टीका
लगा दूँगी रे टीका

काली रे काली रे
तू तो काली काली है
गोरा सा एक भैया
माँ अब लानेवाली है

दिन रात उसे देखा करूंगी
मैं सजा के
मैं खेलूँगी भैया को
गोदी में उठा के
दिन रात उसे देखा करूंगी
मैं सजा के
मैं खेलूँगी भैया को
गोदी में उठा के
मैं रोज़ सुलाऊँगी
उसे लोरीयाँ गा के
मैं रोज़ सुलाऊँगी
उसे लोरीयाँ गा के


काली रे काली रे
तू तो काली काली है
गोरा सा एक भैया
माँ अब लानेवाली है
हो ओ काली रे काली रे
तू तो काली काली है
गोरा सा एक भैया
माँ अब लानेवाली है


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

Blog Day : 3979 Post No. : 15066

Songs Repeated in Hindi Films – 3
– – – – – – – – – – – – – – – – – –

Okay, okay, just before you sit up and ask again – “ये क्या हो रहा है”, a quick reminder that we are into this series of repeat songs. This is the third episode today.

There are well known, as well as obscure, instances existing in which the reused songs appear in the list of the songs of the latter film. The reuse listing of the song can appear as it is – a few examples being,

  • “Gori Zulm Karey Zulf Ka Bikhar Jaana” – this song appears in the listings for the film ‘Main Aur Mera Bhai’ (1961) and the film ‘Pyaar Banaa Afsaana’, an unreleased film from 1960s.
  • The four songs of the film ‘Ram Rajya’ of 1943 are reused in the film ‘Ramayan’ of 1954
    “Beena Madhur-Madhur Kachhu Bol…”
    “Ajab Vidhi Ka lekh Kisi Se Padha Nahi Jaaye…”
    “Jhoole Mein Jhool Laal, Jhool Tu Jhool…”
    “Tyagmayi Tu Gayi, Teri Amar Bhaawna…”
    Note: The music director for both films is same – Shankar Rao Vyas; and the lyricist of these four songs is also the same – Ramesh Gupta.
  • “Beeti Jaat Barkha Ritu Saajan Nahin Aaye” – this song appears in the listings for the film ‘Muraad’ (1939) and the film ‘Dharam Bandhan’ (1940).
  • Four songs of an unreleased film ‘Parda’ from late 1940s are reused in the film ‘Achhaa ji’ of 1950
    ‘Taqraar Ko Badal Do Pyaar Mein, Na Karo Chhed Bekaar Mein…’
    ‘Bhool Hai Kisi Ko Apnana, Vichaaron Mein Basana…’
    ‘Kisi Ke Bholepan Ne… Mere Mann Ko Kheencha…’
    ‘Bhar Jaaye Aasmaan To Aahon Ki Kya Khata…’
    Note: The lyricist (Indiwar) and music director (Shyam Babu Pathak) are the same. The film director (SH Thirani) is also the same.
  • Six songs of the 1957 film ‘Pawanputra Hanuman’ have been reused in the 1969 film ‘Hanuman Chalisa’.
  • Strange occurrence – two films of the same year, 1958 – ‘Rifle Girl’ and ‘Miss Toofaan Mail’ share the song – “Bheegi Hawa Mausam Jawaan, Masti Mein Dooba Saara Jahaan…”.
  • Rare occurrence, the same song is used in three films. The song is “Bhiksha De De Maiya Pingla, Jogi Khada Hai Dwaar…”. The films are ‘Bharthari’ (1944), ‘Raajyogi Bharthari’ (1954), and ‘Gopichand Bharthari’ (1965). Lyricist identified for these songs is Pandit Indra.
  • The song “Bolo Jaywantrao Ek Naam Prem Bhara. . .” appears in ‘Mera Imaan’ (1934) and ‘Swadesh Dewa’ (1946).
  • Interesting re-use – the song “Phool Chun Le Mere Baalam Ki Jaane Kab Daal Jhuke” appears in ‘Naubahaar’ of 1952 and then again in ‘Firdaus’ of 1953. Artist combination is the same – Sahir, Roshan, Lata.
  • Another one – “Baat Chalat Nai Chunari Rang Daali” – appears in film ‘Ladki’ of 1953 and then again in ‘Rani Roopmati’ of 1959.

Then there are films with the same list of songs.

  • ‘Satyanarayan’ of 1948 and ‘Bhikhaari’ of 1949
  • ‘Sushila’ of 1966 and ‘Subah Zaroor Aayegi’ of 1977
  • ‘Amar Kahaani’ of 1949 and ‘Kanchan’ of 1955
  • ‘Sipaahi’ of 1941 and ‘Jangi Jawaani’ of 1943
  • ‘Suhaana Geet’ of 1941 and ‘Toote Dil’ of 1947
  • ‘Ram Bhakti’ of 1958 and ‘Bhakt Raaj’ of 1950
  • ‘Paanch Dushman’ of 1973 and ‘Daulat Ke Dushman’ of 1987

Although not specifically confirmed, in most cases, the above list of film pairs with all songs the same, the situation is that the latter film is a somewhat modified, re-certified and re-released version of the earlier film.

The above sampling is in no way exhaustive. More such instances may be discovered by a more meticulous review of the song lists in Geet Kosh.

But then, this observation has also to be annotated by saying that there are exceptions. There are many known cases where the repeat songs do not appear in the official list of songs of the film. The song may have been used as is without any modifications. The song may be used as an abridged version i.e. the stanzas used in repeat form are less than the original version. Or even when the song may be used quite differently.

These repeat instances of songs do not appear in the list of songs of the latter film. This is confirmed by a quick review of the Geet Kosh listings, which are primarily based on the information from the film booklets, and/or information printed on the gramophone records – 78 rpm records or LPs/EPs. Casual reuse, we may call it. Of course, ownership / copyright / permissions etc. are things that have to be taken care of. But it is always fun to be watching a film (especially when watching for the first time), and one is suddenly confronted with an unexpected song. The song already has a life and existence of its own. And it has its own popularity and following. All of a sudden out of the blue, the song will make a surprise appearance in another film, in another time. And one is simply – wow, एसा भी होता है – such things happen too.

The first song in this series – “Aa Ja Re Pardesi. . .” belongs to this category. As does this fun song that I bring to your notice today. An iconic song – a very typical and very strongly a Mehmood song, from the earlier film ‘Gumnaam’ from 1965, makes an unexpected and surprise appearance in the 1968 film ‘Brahmchaari’. This time around, the song is performed by the Junior incarnation of Mehmood, and he has done a superlative job of presenting this song. This song does not appear in the list of songs of the film ‘Brahmchaari’, and hence, when it appears in the film, the mind takes a double take – okay wow, this song, here.

The situation can be labeled as a ‘male-child item song’ 🙂 . It is just there, does not really add to the storyline content of the film. The children of Shammi Kapoor’s private orphanage are together, along with Mohan Choti, the handy man around the house, and Rajshri, who has descended on to this ‘family’ as a distraught outsider with no place to go. The song is heard on a gramophone player, on which the 78 rpm record is playing.

As I said earlier, Junior Mehmood has done a remarkable job performing this song, at that age. Born in 1956, he was all of 12 years old when he performed this song. A little short in height for his age, this performance is really lovable.

This video clip contains two stanzas, one less from the original three. However, my hunch is that all three were initially included when ‘Brahmchaari’ was released. In this video clip also, as the action moves from the first to the second stanza, there is slight jump in the visual, indicating there might have been a cut made – and the middle stanza was deleted later, for whatever reason.

Avinash ji has been posting a mini series on Junior Mehmood performances in Hindi films, so I will skip getting into more details about this fun child artist. Somehow the natural transformation, as these child artists move from childhood to adolescence to adulthood, does not seem to happen. The success of what their performance is, and the kudos it has drawn, continues to overshadow this required transformation as one grows in years. Very few examples are where an artist of proven merit in child roles has also made a successful career once having grown up. But that discussion is maybe another article, or another series.

Meanwhile, enjoy this really likeable performance, which I am sure will prompt you to go and take a look at the original ‘Gumnaam’ song also. I myself sure did.

Song – Hum Kaale Hain To Kya Hua Dilwaale Hain  (Brahmchaari) (1968) Singers – Mohammed Rafi, Mehmood, Lyrics – Shailendra, MD – Shankar Jaikishan

Lyrics

khayaalon mein
khayaalon mein
khayaalon mein
khayaalon mein

jay hungaama
kahaan bhaag rahi tumen

kya hua. . .
kaale se darr gaye kya
hamay kaale hain to kya hua dilwaale hain
hamay kaale hain to kya hua dilwaale hain
hum tere tere tere chaahne waale hain
hamay kaale hain to kya hua dilwaale hain
hamay kaale hain to kya hua dilwaale hain
hum tere tere tere chaahne waale hain
hamay kaale hain to kya hua dilwaale hain

ye gore gaalaan tandaanaa
ye reshmi baalaan tandaanaa
ye solaa saalaan tandaanaa
haay tere khayaalaan tandaanaa
ye gore gaalaan tandaanaa
ye reshmi baalaan tandaanaa
ye solaa saalaan tandaanaa
haay tere khayaalaan tandaanaa
hum tere tere tere chaahne waale hain
hamay kaale hain to kya hua dilwaale hain
hamay kaale hain to kya hua dilwaale hain
hum tere tere tere chaahne waale hain
hamay kaale hain to kya hua dilwaale hain

hamay maanaa ghareeb hain tandaanaa
soorat se ajeeb hain tandaanaa
par phir bhi naseeb hai tandaanaa
ke tere khareeb hain tandaanaa
hamey maanaa ghareeb hain tandaanaa
soorat se ajeeb hain tandaanaa
par phir bhi naseeb hai tandaanaa
ke tere khareeb hain tandaanaa
hum tere tere tere chaahne waale hain
hamay kaale hain to kya hua dilwaale hain
hamay kaale hain to kya hua dilwaale hain
hum tere tere tere chaahne waale hain
hamay kaale hain to kya hua dilwaale hain
hamay kaale hain to kya hua dilwaale hain

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

ख़यालों में
ख़यालों में
ख़यालों में
ख़यालों में

जे हंगामा
कहाँ भाग रई तूमे

क्या हुआ॰ ॰ ॰
काले से डर गए क्या
हमे काले हइं तो क्या हुआ दिलवाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हम तेरे तेरे तेरे चाहने वाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हम तेरे तेरे तेरे चाहने वाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं

ये गोरे गालाँ तन्दाणा
ये रेशमी बालाँ तन्दाणा
ये सोला सालाँ तन्दाणा
हये तेरे ख्यालाँ तन्दाणा
ये गोरे गालाँ तन्दाणा
ये रेशमी बालाँ तन्दाणा
ये सोला सालाँ तन्दाणा
हये तेरे ख्यालाँ तन्दाणा
हम तेरे तेरे तेरे चाहने वाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हम तेरे तेरे तेरे चाहने वाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं

हमे माना ग़रीब हैं तन्दाणा
सूरत से अजीब हैं तन्दाणा
पर फिर भी नसीब है तन्दाणा
के तेरे क़रीब हैं तन्दाणा
हमे माना ग़रीब हैं तन्दाणा
सूरत से अजीब हैं तन्दाणा
पर फिर भी नसीब है तन्दाणा
के तेरे क़रीब हैं तन्दाणा
हम तेरे तेरे तेरे चाहने वाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हम तेरे तेरे तेरे चाहने वाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं


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 : 3820 Post No. : 14819

Hullo to all of Atuldom

Let me start by wishing all you readers a very Happy New Year. I hope you and your loved ones have a wonderful 2019, with a lot of happiness, good health and success in whatever you wish to achieve.

Today is the 2nd of January and our Anniversary Page tells me it is the birth anniversary of Sadashiv Amrapurkar, and the death anniversary of David.

But neither of these is the subject of my post today.

Absolutely no disrespect to them, but today’s post is about a couple of other persons who also happen to have their birthday today.

A few days ago, Avinashji contacted me and reminded me that the birthday of two Atulites was coming up. He had a song in mind, and asked me if I could do a post for the occasion.

Now every year around this time (end-Dec/early Jan) I get a bit busier than usual. I have family visiting me from overseas, as it is Christmas vacation in most places around the world. Besides, this year I have some family events also around New Year’s time, requiring me to plan and travel.

So I wasn’t absolutely sure I’d be able to write this post – so I told Avinashji I’d try.

So here I am.

I will not keep you in suspense any longer about the identity of the two Atulites involved.

First, Pradeepji. (I am taking them up one by one so that you don’t stop reading right here. And no, you’re not allowed to skip to the next part of the post. 🙂 )

If some more recent readers of this blog are not particularly familiar with Pradeepji, I can understand. In recent times, he has not been very active on the blog – but he has a long history with it. And when there is a mega occasion, like when the blog completed 10 years a few months ago, we can always expect him to write a post for the occasion.

I’ve known Pradeepji from the early days when he used to comment on the blog. Then we finally got to meet in October 2014, when we had our first Atulites’ gangout in Bangalore. Pradeepji came all the way from Chennai for the event.

It was just wonderful to meet him, as also all the other Atulites who I finally got to meet face-to-face. We had a fantastic time, discussing music (of course!) but also other stuff.

Pradeepji is multi-faceted, in that not only is he a keen lover of music in a passive sense, he also tries to use his tech-oriented mind to look for ways to propagate music. It was Pradeepji who first tried to get our blog onto mobile devices in a manner that could enhance its richness, using features of software like itunes.

Pradeepji was keen to exploit the richness of our blog beyond its existing framework. So, after discussion with Atul and others, he started a project where, when all songs of a film were covered on the blog, he would load that film’s songs onto another platform. This process would involve enriching the data by adding more tags, thus allowing for even more filtering possibilities. To provide an even more nostalgic experience, he would add a poster of the film wherever possible.

I will not discuss this project in more detail because I don’t want to expose my ignorance on it. 🙂 But some of us were happy to join in and help out. I was also involved for a brief period, but there were others who were involved for much longer.

Now, for a film to be eligible to be picked up by Pradeepji for his project, all its songs had to be posted on the blog. There’s no point in doing multiple iterations for the same film. So Pradeepji would wait for a film to be “complete”. And whenever that would happen, he would respond in the comments with a “Yippeeee”. 🙂

And that’s how the project got its name, that’s how the name stuck.

So much so, that when Atul would post the final song of a film here, he’d himself mention that the film is ready to be “Yippeeed”. In other words, ready to be taken over by Pradeepji and his team. 🙂

As a result, for many of us, if we had to represent Pradeepji with one word, it would be “Yippeeee”! 🙂

After that first Bangalore gangout, we had a couple of others too, but Pradeepji couldn’t attend. However I did get to meet him earlier this year on a visit to Chennai. Although it was only for a few minutes, not more than half an hour, it felt really good. We caught up with developments. Pradeepji, multi-faceted person that he is, is busy on multiple projects, developing websites for e-commerce. Mostly out of passion for trying out different things.

From my interactions with Pradeepji, whether face-to-face or otherwise (during the Yippeeee project), I noticed that he is not just a warm person and extremely down-to-earth, he also has a lot of energy and enthusiasm for things. I believe the term for this sort of enthusiastic persion is “zinda dil”?

Anyway, today, on his birthday, I wish him a very happy birthday on behalf of all Atulites.

Now, to our second Atulite birthday today.

If you’ve been sharp enough, you might have picked up a hint already from the way I started this post. It’s not my usual style.

There’s one Atulite who starts posts in this manner – “Hullo to all in Atuldom”.

And that is Peevisie’s Mom.

It’s her birthday also today, and it gives me great pleasure to be able to write this post to wish her on the occasion.

Now Peevisie’s Mom (PM) and I have met a few times more than Pradeepji and I. We live in the same city, so it’s easier to meet up for an occasion. We first met on that first Bangalore Gangout day in October 2014 (the same one that Pradeepji also attended). Thereafter, we met at the next one too, and also on other occasions like when Arunji and Avinashji visited Bangalore, or when Lalitha visited Bangalore (when I first got to meet Peevisie’s Dad too). Besides, we speak on the phone every now and then – usually discussing a post, or she reminds me of an anniversary coming up. 🙂

I talked about Pradeepji’s enthusiasm and his being “zinda dil” – that applies equally to PM too. She too is a very enthusiastic and cheerful person – so much so, that it even tends to rub off on an otherwise gloomy me. Everytime after a conversation with her, usually on the phone for a few minutes, I feel better. And I can’t say that for a lot of people. 🙂

She’s also one of the most active persons on our Atulite whatsapp group, participating in every discussion. But that’s the energy she brings with her – whether on the group, or in conversation or in a post. She’s a wonderfully friendly and warm person – and that warmth is infectious. Which also explains why I feel better after a conversation with her. 🙂

She’s also hugely passionate about HFM and movies – which is what brought us all together to this blog in the first place. But unlike me, her knowledge isn’t limited to any specific eras or genres. For example, I barely know 5 songs of this millennium, she would know almost every film released and its music. No wonder many of the post-2000 songs posted here are from her (and Peevisie herself, of course). And yet she also knows old songs – maybe partly because she also listens to radio or watches song programmes on TV. So her knowledge is definitely wide.

She’s very fond of this blog – we can see that she tries to post on as many anniversary occasions as possible. I remember there was a time when I had more posts here than she did. In fact at that time, I had even a few posts more than Avinashji. But clearly, they were both going to overtake me, because I was hardly posting at that time. She called me up and when this topic came up, she said “bade bhai se aage nikalne ka permission chaahiye”. 🙂 We had a good laugh about it. 🙂

All in all, she’s a wonderful friend to have – and I’m fortunate to have her as a friend.

I wish her too a very happy birthday on behalf of all Atulites.

Now, for the song for today.

It’s a song picked by Avinashji – a fitting birthday song for the occasion. I want to mention here that this post wouldn’t have happened if not for Avinashji’s initiative, so it must be seen as a joint effort by both of us.

The song is “Pam para rum pum” from Trishna (1978), a GP Sippy Productions film. It is sung by Kishore Kumar and the chorus (in which a very young Sadhana Sargam got a chance to sing).

I’ve seen this movie but I don’t recall too much of the story now. It had to do with relationships, a “murder”, suspicion etc, from what I vaguely remember. I need to watch the film again.

In any case, let’s enjoy the song, as we wish both Pradeepji and Peevisie’s Mom a very happy birthday.
Editor’s note-Today is the birthday of Sheela Ji, Avinash ji’s better half’s birthday as well. So happy birthday and many happy returns of the day to her as well.


Song-Pam para rum pum (Trishna)(1978) Singer-Kishore Kumar, Lyrics-Indeewar, MD-Kalyanji Anandji
Chorus

Lyrics

aa aa
Very good!
aa aa
Shaabaash!

Hey Pam para rum pum
Pum pum pum
Pum para rum pum
Pum pum pum
Bole bole
Jeevan ki sargam
Hey
Pam para rum pum
Pum pum pum
Pum para rum pum
Pum pum pum
Bole bole
Jeevan ki sargam

Har rang mein
Har roop mein
Har rang mein
Har roop mein
Tum hanste raho har dum
Bolo
Pam para rum pum
Pum pum pum
Pum para rum pum

Pum pum pum
Bole bole
Jeevan ki sargam

Shaabaash!
Pam para rum pum
Pum pum pum
Pum para rum pum

Pum pum pum
Bole bole
Jeevan ki sargam

Tum pyaare pyaare phoolon ko dekho
Dekho
Dekho
Hai na?
Haan
Tum pyaare pyaare phoolon ko dekho
Todey jaane se bhi hanste hain
Todey jaane se bhi hanste hain
Hanste hain jo bhi aisi adaa se
Sabke dil mein wohi baste hain
Sabke dil mein wohi baste hain
Kaisebhi haan haalaat apne bas mein ye baat
Kaise bhi haan haalaat apne bas mein ye baat
Dhoondhh sakte hain gham mein bhi khushi hum
Bolo
Pam para rum pum
Pum pum pum
Pum para rum pum

Pum pum pum
Bole bole
Jeevan ki sargam

shaabaash
Pam para rum pum
Pum pum pum
Pum para rum pum

Pum pum pum
Bole bole
Jeevan ki sargam

La la la
La la la la la
La la la
La la la la la

Kal jo aaya nahin uska gham kya
Kal jo aaya nahin uska gham kya
Kal jo beeta hai kya uska rona
Kal jo beeta hai kya uska rona
Aaj mein hi chhupa saara jeevan
Aaj ke din ko yunh hi na khona
Aaj ke din ko yunh hi na khona
Saare jeevan ka mol
Bas pyaar ke do bol
Saare jeevan ka mol
Bas pyaar ke do bol
Muskura do badal jaaye mausam
Bolo
Pam para rum pum
Pum pum pum
Pum para rum pum

Pum pum pum
Bole bole
Jeevan ki sargam

Har rang mein
Har roop mein
Har rang mein
Har roop mein
Tum hanste raho har dum

Bolo
Pam para rum pum
Pum pum pum
Pum para rum pum

Pum pum pum
Bole bole
Jeevan ki sargam

Phir se ek baar bolo
Pam para rum pum
shaabaash
Pum pum pum
Pum para rum pum
Pum pum pum

ye baat hai
Bole bole
Jeevan ki sargam

La la la
La la la la la
La la la
La la la la la

Aaiye aaiye
Aaiye
Gaaiye na
Oho come on please
La la la
La la la la la
La la la
La la la la la

———————————–
Devnagri script Lyrics (Provided by Avinash Scrapwala )
———————————–
व्हेरी गुड
शाबाश

हे तम तारा रम पम
पम पम पम
पम पारा पम पम
पम पम पम
बोले बोले जीवन की सरगम

हे तम तारा रम पम
पम पम पम
पम पारा पम पम

पम पम पम
बोले बोले जीवन की सरगम

हर रंग में
हर रूप में
हर रंग में
हर रूप में
तुम हँसते रहो हरदम
बोलो
तम तारा रम पम
पम पम पम
पम पारा पम पम

पम पम पम
बोले बोले जीवन की सरगम
शाबाश
तम तारा रम पम
पम पम पम
पम पारा पम पम

पम पम पम
बोले बोले जीवन की सरगम

तुम प्यारे प्यारे फूलों को देखो
देखो
देखो
हैं ना
हाँ
तुम प्यारे प्यारे फूलों को देखो
तोड़े जाने पे भी हँसते हैं
तोड़े जाने पे भी हँसते हैं
हँसते है जो भी ऐसी अदा से ए
सब के दिल में वही बसते है
सब के दिल में वही बसते है
कैसे भी हों हालात
अपने बस में ये बात
कैसे भी हों हालात
अपने बस में ये बात
ढूंढ सकते है
ग़म में ख़ुशी हम
बोलो
तम तारा रम पम
पम पम पम
पम पारा पम पम

पम पम पम
बोले बोले जीवन की सरगम
शाबाश
तम तारा रम पम
पम पम पम
पम पारा पम पम

पम पम पम
बोले बोले जीवन की सरगम

ला ल ला
ल ल ला ल ला
ला ल ला
ल ल ला ल ला

कल जो आया नहीं उसका ग़म क्या
कल जो आया नहीं उसका ग़म क्या
कल जो बीता है क्या उसका रोना
कल जो बीता है क्या उसका रोना
आज में ही छुपा सारा जीवन
आज के दिन को यूँही न खोना
आज के दिन को यूँही न खोना
सारे जीवन का मोल
बस प्यारे के दो बोल
सारे जीवन का मोल
बस प्यारे के दो बोल
मुस्कुरा दो
बदल जाए मौसम
बोलो
तम तारा रम पम
पम पम पम
पम पारा पम पम

पम पम पम
बोले बोले जीवन की सरगम

हर रंग में
हर रूप में
हर रंग में
हर रूप में
तुम हँसते रहो हरदम
बोलो
तम तारा रम पम
पम पम पम
पम पारा पम पम

पम पम पम
बोले बोले जीवन की सरगम
फिर से एक बार बोलो

तम तारा रम पम
पम पम पम

शाबाश
पम पारा पम पम
पम पम पम

ये बात है
बोले बोले जीवन की सरगम
ला ल ला
ल ल ला ल ला
ला ल ला
ल ल ला ल ला

ला ल ला
ल ल ला ल ला
ला ल ला
ल ल ला ल ला

आईये आईये
आईये
गाईये न
ओह ओ
कामे ऑन प्लीज …
हे ला ल ला
ल ल ला ल ला
ला ल ला
ल ल ला ल ला


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

Blog Day : 3771 Post No. : 14747

Aah haa haa, what fun – “हम भी अगर बच्चे होते॰ ॰ ॰” and all the rest of the exuberant pandemonium that is involved in being a child – does it not give you a high of the mischievous anarchy that we have always enjoyed; sometimes secretly and most of the time overtly – “ना नौकरी की चिंता, ना रोटी की फिकर”.

To the child in all of us, who never grows up. I am sure you all know such ’children’. And I am also sure we all are very well acquainted with the person we see every day in the mirror, no matter whether there is hair on the pate to comb or no. 🙂  I dearly remember one of the managers I have worked with in the US, completely bald but very energetic – he always introduced himself as – “. . . a five year old imprisoned in a sixty five year old body”. And then, of course, we have our dear Bakshish Singh ji, who proudly claims his age to be 22-and-a-half years, three months and a few days, whenever you may ask him. And he has a stay order from the Supreme Court to back his claim. Too sad that I met him ten years after he got his orders; my stay order (from the same Supreme Court) stands at 32. 😀 😀

Music, especially the evergreen HFM, surely does wonders – does is not?

Celebrating the Children’s Day today, 14th November, and greetings to all the ‘child’ readers and friends on this blog 🙂

Thinking about it puts a little dismay in my mind, that we have special days set aside to remind ourselves about things and facts and experiences, which actually are a matter of, rather a part and parcel of our everyday life. We have Mother’s Day, and Father’s Day, and then we have Children’s Day. For the matter of celebration and to highlight this connection, it is okay that we have one day earmarked. But then we should also be aware of, and be celebrating these concepts everyday in our lives.

It is also the birth anniversary of the first Prime Minister of our country, after India became a free nation. Jawaharlal Nehru’s name got associated with this day, or rather the other way round – that his birthday was declared as the Children’s Day – for the recognition of his endearment to children, and his own professed acknowledgement that we need to celebrate the future leaders of this nation. Not to put any other twist on this thread, 🙂 I move on to the song being introduced with this post.

When you hear it, I am very sure the avid listeners of the radio will immediately recall this song. It used to be played often, especially on today’s day, and was a favorite. For a few months now, some of the regular visitor’s to my YT channel have been requesting for this song to be uploaded. This started after I uploaded another song from this film – ‘Hamaara Ghar’ from 1964 – “Chale Hawa Purvaai”. When I uploaded this song on 18th Jun last year, I got many requests to upload the song we are discussing today. Somehow, I just held on to those requests, wanting to bring this song online on this day. I missed the event of last year, and so the regular procrastination 😦  made me put it off for one full year.

The jingle that this song is, brings to mind many such jingles from the earlier days, when we had many group games which had songs attached to them. Here in north India, there are many such jingles part of the common folklore, such as “Kokila Chhupake Jumme Raat Aayi Hai. . .” (“कोकिला छुपाके जुम्मे रात आई है॰ ॰ ॰”), and “Aat Qila Bhai Baat Qila. . .” (“आटकिला भई बाटकिला, भई आमों वाली कोठरी॰ ॰ ॰”), and “Poshampa Bhai Poshampa, Daakuon Ne Kya Kiya. . .” (“पोशम्पा भई पोशम्पा, डाकुओं ने क्या किया॰ ॰ ॰”) etc. And ah yes, a very familiar one which we borrowed from the Britishers – “Ring a Ring o’ Roses, Pocket Full of Posies. . .”. Maybe some readers (five year olds struggling inside much older bodies) will recall these songs. And I am sure there are similar such game jingles popular in all regions in our vast sub continent. We used to sing these songs as we played the corresponding games – a group of 10 to 20 kids, all intent on having just fun. Sadly, the newer generation of youngsters hardly gets together to play such games, or make up such newer jingles. It surely is a lot of fun. 🙂

This particular jingle, apparently played as a child game, tells about one huffy-puffy arrogant royalty, who probably is not friendly with the people, and the people then teach him a lesson by putting a restriction on his food supply. And so the singers of this song tease this royalty and show him their thumbs (“ठेंगा॰ ॰ ॰”) while singing that now you go and eat your gold and diamonds, and that you are going to regret this arrogance; you will not be served bread (“रोटी”). In the second stanza, now the people are teasing that the royalty does not want to do any work, and so they will have to survive on dust and stones; they shall still not be served any bread. Then, in the third stanza, the people are singing that at last the royalty has come out of their palace, and are being remorseful and apologetic; so they are made to dance while holding their ears, and sing while holding their nose. And only then, having danced and sung as such, will they be given “रोटी” to eat.

Although presented as this delightful children’s song, this jingle surely is a stark comment on the social divide that exists in the society, telling about the arrogance of the so called ‘haves’, who in reality are not in a position to even feed themselves without the effort and assistance of the ‘have nots’, and the actual strength of the so called ‘have nots’ in being able to produce and provide that which is the most crucial thing required for survival – “रोटी”.

And to be so expected, given that this jingle is written by Ali Sardar Jafri. From his earliest days of creativity even as a student at Aligarh Muslim University, where he came under the influence of such progressive poets as Josh Malihabadi, Jigar Moradabadi and Firaaq Gorakhouri. He was also seriously influenced by the Communist ideology, and was expelled on account of being arrested by the British Govt., for writing anti-war poetry and being the secretary of the students wing of the Congress party. He later completed his studies from Zakir Hussain College, Delhi, and Lucknow University. He was a very active member of the Progressive Writers Movement and the IPTA (Indian People’s Theatre Association).

His works as a lyricist in Hindi films include ‘Naya Tarana’ (1943), ‘Dharti Ke Lal’ (1946), ‘Zalzala’ (1952), ‘Pardesi’ (1957), ‘Shehar Aur Sapna’ (1963), ‘Aasmaan Mahal’ (1965), and ‘Naxalite’ (1980). Between 1948 and 1978 he published eight poetry collections, which include, ‘Nai Duniya Ko Salaam’ (‘Salute to the New World’) (1948), ‘Khoon Ki Lakeer’ (‘A Line Of Blood’), ‘Amn Ka Sitara’ (‘Star Of Peace’), ‘Asia Jaag Utha’ (‘Asia Awakes’) (1951), ‘Patthar Ki Deewar’ (‘Wall Of Stone’) (1953), ‘Ek Khwab Aur’ (‘One More Dream’), ‘Pairahan e Sharar’ (‘The Robe of Sparks’) (1965) and ‘Lahu Pukarta Hai’ (‘The Blood Calls’) (1965). These were followed by ‘Awadh Ki Khae e Haseen’ (‘Beautiful Land of Awadh’), ‘Subhe Farda’ (‘Tomorrow Morning’), ‘Mera Safar’ (‘My Journey’) and his last anthology entitled ‘Sarhad’.

This last collection of poetry was carried by the then Prime Minister of India, Shri Atal Bihari Vajpayee, on his bus journey to Lahore in 1999. Atal ji had invited Jafri to accompany him on this trip but ill health prevented him from doing so. Shri Atal Bihari Vajpayee made history when he presented ‘Sarhad’, as a national gift, to the then prime minister of Pakistan, Janaab Nawaz Sharif, during the historic Lahore Summit, in February 1999. It was a milestone in Jafri’s life.
[Note: ‘Sarhad’ has also been produced as an audio album dedicated to Indo-Pakistan amity. It is produced by Squadron Leader Anil Sehgal and is composed and sung by ‘Bulbul e Kashmir’ Seema Anil Sehgal.]

In the course of his literary career spanning five decades, Jafri has also edited poetry anthologies of Sant Kabir, Mir Taqi Mir, Mirza Ghalib and Meera Bai with his own introductions. He also produced a documentary film ‘Kabir, Iqbal and Freedom’. In the 1990s, he produced two television serials, both of which were runaway successes – the 18-part ‘Kahkashaan’, based on the lives and works of seven Urdu poets of the 20th century he had known personally viz. Faiz Ahmead Faiz, Firaaq Gorakhpuri, Josh Malihabadi, Majaaz, Hasrat Mohani, Makhdoom Mohiuddin and Jigar Moradabadi; and ‘Mehfil e Yaaraan’ in which he interviewed people from different walks of life. Both serials had tremendous mass appeal. He was also the editor and publisher of ‘Guftagu’, one of the leading Urdu literary magazines of the Indian sub-continent. His works have been translated into many Indian and foreign languages.

In 1998, Jafri became the third Urdu poet to receive the Jnanpith Award (for 1997), after Firaq Gorakhpuri (in 1969) and Qurratulain Hyder (in 1989). He was also the recipient of several other significant awards and honours, including Padma Shri (1967), Jawaharlal Nehru Fellowship (1971), the Gold Medal for Iqbal Studies (in 1978, from the Pakistan Government), the Uttar Pradesh Urdu Academy Award for poetry, the Makhdoom Award, the Faiz Ahmad Faiz Award, the Iqbal Samman Award from the Madhya Pradesh government and the Sant Dyaneshwar Award from the Maharashtra government. Aligarh Muslim University (AMU) conferred a doctorate (D.Litt.) on him in 1986, fifty years after he was expelled from the university.

He passed away on Aug 1, 2000, in Mumbai.

As I was listening to this song in preparation for this article, the wording and the theme contained within took my mind back to a short story written by Leo Tolstoy. This story was part of our prose text book in probably the seventh or eighth grade. The story, titled ‘Ivan, the Fool’, tells the tale of an uneducated, unlettered farmer named Ivan, whom the local populace always referred to as ‘the Fool’. But in his ignorance of formal education and lack of erudition, lies the rustic wisdom of the land, and the nature. He has a sister named Martha, who is a mute. And there is a rule in their house. Only those who have done hard labor are allowed to sit at the table at mealtimes. Martha actually physically examines the hands of new visitors and guests, and if she finds no calluses on the hands of any person, that person will not be allowed to sit at the table and will not be given food. The story gets interesting when the Devil himself comes to the village, and tries to test Ivan and to sway him with promises of riches etc. The ignoramus that Ivan is, plays by the simple rules of his life, and the Devil has to depart, because he gets no food to eat while in the village, as per the rule of Martha.

This story, dated 1886, is a very interesting read. It highlights the concept of dignity of labor, and work is worship – a very striking reflection of the principles of communism which are enunciated in the ‘The Communist Manifesto’, authored by Karl Marx and Friedrich Engels in 1848. ‘The Manifesto’ has been acclaimed as the most influential political document in the 19th and 20th century time period, and it presents an analytical approach to the class struggle (historical and then-present) and the conflicts of capitalism and the capitalist mode of production. The industrial revolution was underway in Europe, and the exploitation of the masses as poor laborers by the rich industrialists, once again sparked into very sharp focus, the eternal divide between the ‘haves’ and the ‘have nots’.

Reading between the lines, this children’s song is quietly characterizing that very thought. Starting from ‘The Manifesto’, into the tale of ‘Ivan the Fool’, and then reaching into this jingle – the verses tell us of the ‘royalty’ that shirks any hard labor – “राजा जी पछताएंगे, काम से जान चुराएँगे” as a result of which, they will not get anything to eat – “सूखी मिट्टी फांकेंगे, कंकर पत्थर खाएँगे”. Then, when the royalty descends from their palaces, as expresses their apologies to the people, then they will get food – “नाक पकड़ कर गाएँगे, तब वो रोटी पाएंगे”. A utopia painted that actually carries a very important lesson for children, at least – to understand the value of hard work and to respect the hard work of others. Many, many hats off to Ali Sardar Jafri, to bring this message down to such simplicity, that it leaves you wonder struck and speechless.

I bring in some excerpts of the details about this film and its songs, from the article that I had written in Jun 2017, for the debut song of this film – “Chale Hawa Purvaai”.

“Shehar Aur Sapna”, the 1963 production by Abbas Sb, which focused on migrant population and housing problem in the city of Bombay, had won the National Award for the Best Film of the year. Apparently, at the function where the award was given, the then prime minister, Jawaharlal Nehru, requested Abbas Sb for a film for children. It seems that Abbas Sb took on that request almost immediately, because the film ‘Hamaara Ghar’ was released in the very next year i.e. 1964. This year was also when Nehru ji passed away (on 27th May). I have not been able to locate the information about the release date of this film, and whether Nehru ji was able to see this film, that was produced by Abbas Sb at his request.

The star cast of this film includes Sonal Mehta, Yasmeen, Rekha Rao, Tanya Siraaj, Pasha Azeem, Deepak Prasad, Sunil Kaushik, Noel Moses, Jai Prakash Narula, Maruti, Narayan Devanpalli, Levi Aaron, Ghanshyam Rohera, Nana Palsikar, Surekha, Dilip Raj, Anwar Abbas, Meena Abbas, and Yunus Parvez. As one reads this list, one can make out that the first many names are likely child artists, who are the lead performers in this film. Incidentally, the name Sunil Kaushik is of the second son of JP Kaushik, the music director for this film. Also, if I am not mistaken, the name Pasha Azeem is of Abbas Sb’s son.

This social drama is a film on national integration, at the level of children. I am able to locate a poster of this film online. The poster, all in tones of light blue, depicts a row of thirteen children, boys and girls, standing in ankle deep waves on a beach, and the name of the film is written in the sky background, in all languages of India. The caption at the bottom says – “A Film For Children Of All Ages”. Abbas Sb in his element of social responsibility, as always.

The film has six songs, five of them are penned by Ali Sardar Jafri. The sixth is the song “Saare Jahaan Se Achha. . .” written by the legendary Iqbal. Music is by Jag Phool Kaushik, the music director who started his film career with Abbas Sb for his 1963 film ‘Shehar Aur Sapna’. On the blog “Beete Huye Din” by Shishir Krishna Sharma, I am able to locate a detailed write up on this music director. An interesting trivia to note is that Anil Biswas was the resident music director for all films of Abbas Sb, before 1963. In fact, at the first instance, when JP Kaushik went to meet Abbas Sb with a reference, seeking work as a music director, he was told that Anil Biswas had already started to work on this particular film. Later, I assume that as Anil Da moved to New Delhi, likely during the production time of this film, the work for music direction was given to JP Kaushik. As I read in this blog, two songs for this film were already recorded by Anil Da, but later both of them were not used in the film. It would be interesting to track down the whereabouts of these songs, which I would like to designate as rarities, on account of circumstances.

The Geet Kosh lists only the name Vijaya Majumdar as the singer in this song accompanied by chorus. However, as we listen to this song, we are able to make out at least two more unidentified child voices – and another unidentified male voice. The music is so minimal. The only instruments one can make out are a dholak, a flute, and clapping of hands. With just using these devices, and a very interesting use of singing voices and chorus, a really delightful song has come into being.

A dedication to the forever child – onwards and upwards. And greetings to all the children on this musical bandwagon. 😉

[Author’s Note: Parts of this article, relating to Ali Sardar Jafri, are adapted from the material available in Wikipedia.]

 


Song – Raja ji Pachhtaayenge, Royenge Aur Gaayenge (Hamaara Ghar) (1964) Singer – Vijaya Majumdar, Unidentified Child Voice 1, Unidentified Child Voice 2, Unidentified Male Voice, Lyrics – Ali Sardar Jafri, MD – JP Kaushik
Chorus

Lyrics

raja ji pachhtaayenge
royenge aur gaayenge
sona chaandi niglenge
heere moti khaayenge
ho ooo ooooo
oooo ooooo
oooo ooooo
roti kabhi na paayenge
ae ji roti kabhi na paayenge
ae ji roti kabhi na paayenge
ae ji roti kabhi na paayenge
thengaa. . .
thengaa. . .

raja ji pachhtaayenge
kaam se jaan churaaenge
sookhi mitti phaankenge
kankar pathar khaayenge
ho ooo ooooo
oooo ooooo
oooo ooooo
roti kabhi na paayenge
ae ji roti kabhi na paayenge
ae ji roti kabhi na paayenge
ae ji roti kabhi na paayenge
thengaa. . .
thengaa. . .

raja ji pachhtaayenge
mahal se baahar aayenge
kaan pakal kal naachenge
naak pakad kar gaayenge
ho ooo ooooo
oooo ooooo
oooo ooooo
naak pakad kar gaayenge
tab wo roti paayenge
aji tab wo roti paayenge
aji tab wo roti paayenge
aji tab wo roti paayenge
balle balle balle balle balle
chhoo-na-eena
o ho
chhoo-na-eena
o ho
chhoo-na-eena
o ho
chhoo-na-eena
o ho
hoooommoooomm
hoooommoooomm
[more playful noises]

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

राजा जी पछताएंगे
रोएँगे और गाएँगे
सोना चाँदी निगलेंगे
हीरे मोती खाएँगे
हो ओss ओssss
ओsss ओssss
ओsss ओssss
रोटी कभी ना पाएंगे
एजी रोटी कभी ना पाएंगे
एजी रोटी कभी ना पाएंगे
एजी रोटी कभी ना पाएंगे
ठेंगा॰ ॰ ॰
ठेंगा॰ ॰ ॰

राजा जी पछताएंगे
काम से जान चुराएँगे
सूखी मिट्टी फांकेंगे
कंकर पत्थर खाएँगे
हो ओss ओssss
ओsss ओssss
ओsss ओssss
रोटी कभी ना पाएंगे
एजी रोटी कभी ना पाएंगे
एजी रोटी कभी ना पाएंगे
एजी रोटी कभी ना पाएंगे
ठेंगा॰ ॰ ॰
ठेंगा॰ ॰ ॰

राजा जी पछताएंगे
महल से बाहर आएंगे
कान पकल कल नाचेंगे
नाक पकड़ कर गाएँगे
हो ओss ओssss
ओsss ओssss
ओsss ओssss
नाक पकड़ कर गाएँगे
तब वो रोटी पाएंगे
अजी तब वो रोटी पाएंगे
अजी तब वो रोटी पाएंगे
अजी तब वो रोटी पाएंगे
बल्ले बल्ले बल्ले बल्ले बल्ले
छूनईना
ओ हो
छूनईना
ओ हो
छूनईना
ओ हो
छूनईना
ओ हो
हूम्मूम्म
हूम्मूम्म
[खिलवाड़ का शोर]


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 : 3702 Post No. : 14625

———————————————————————
Discussion of Railway related matters-2
——————————————————————–
Discussion on economics-1
——————————————————————–

We in this blog have covered lots of HFM from all eras. While doing that, we have had lots of discussions on Hindi movies as well.

Yesterday night, and early morning today, I was thinking about the differences between Indian music and Western music, and I realised that there is considerable technical and conceptual differences between the two and the difference between the two kinds of music is something that very few people are aware of. I realised that the “western” music that we in India have brought in is not really “western” music as it is in the west. We have failed to import the spirit of western music. We have ended up introducing western instruments in India but we have failed to tap the vast richness of western music. We have ended up largely becoming a frog in the well, deluding ourselves that our music is older and richer and all that vis a vis western music, whereas the real facts are altogether different. It is a very interesting (at least to me) topic and a rather vast and somewhat involved topic as well. I hope to able to discuss it in detail when I get my thoughts sorted out on this topic.

While thinking about Indian music vis a vis Western music, my thoughts veered to movies- Indian movies vis a vis western movies. And I realised another very interesting and deeply significant difference between the two kinds of movies. This is the topic of discussion in this writeup.

When Hindi (and other Indian language) movies began to be made, the movie makers obviously wanted to make profits. Those were the days when India was quite a poor country with extremely low purchasing power per capita. Moreover, vast majority of Indians were illiterate. Under there circumstances, the movie makers decided that they needed to address each and every section of society as well as age group in their movies. Their idea was to maximise the head count for their movies and they hoped to achieve that by catering to all their “requirements”. Thus we had the situation where the movie would pack in all possible kinds of situations and scenarios, viz love, misunderstanding, separation, bedard zamaana, remonstrating with the Almight mother, cruel villain, helpless sister etc. Likewise, we have several songs in the same movie catering to the different emotion requirements of the movie.

Each and every movie tried to attract the same (real all) sections of the population. If a movie became successful, they everyone else would try to ape the contents of that movie. In short, every movie wanted to be a please all movie, and in the process it often ended up pleasing none.

There are some cases where niche market movies were made that appeals to a small portion of audience rather than entire audience, for instance religious movies. But these niche movies were made more out of financial considerations ( availability of small budget) rather than by design.

When one tried to pack in everything in every movie, then obviously the movie ended up looking like jack of all trades and master of none. So the qualities achieved by these movies were not as high as they possibly could have been had they dispensed with some of the lesser important ingredients (for instance comic side plots) and had concentrated only on the main ingredients.

When I compared Indian movies with Western movies, I found a startling difference. Western movie makers did not try to cater to every section of their population. They made movies on a particular genre and tried to cater to lovers of that particular genre only. The result was overall high quality of their movies. Even though these western movies were not targetted at the entire population, they still did big business becaue the audience there were prosperous and even smaller head count for a Western movie meant bigger amount of revenue for Western movies than say for Indian movies that attracted bigger head count. So good quality movies meant for niche market (plus prosperity of the market) meant that overall good quality movies with good budget were made in the West and that did good business.

To put it arithmetically, Indian movie makers had the LCD (least common denominator) of population in mind while making their movies while Western movie makers had the HCF (highest common factor) of population in mind while making their movies. And Western movies proved that quality products aimed at niche market can earn far more in a prosperous population that what can be earned by lesser quality product (where ceiling on quality was imposed deliberately) aimed at impoverished masses in a poor country. So Western movie makers considered market segmentation whereas Indian movie makers tried to cater to the entire population treating that as a unified market without any segmentation.

I have often likened Hindi movies to Indian Railways. And I find that Indian Railways have traditionally followed the very same policy as Hindi movie makers as far as their target audience is considered. Hindi movies try to pack in all ingredients in each and evey movie and end up with a movie that is often unsatisfactory. Indian Railways try to run all kinds of trains, viz Rajdhani, Express Trains, Passenger trains, Goods trains etc on the same track. The passenger tickets are kept artificially lower and goods fares are kept artificially high. As a result, Indian Railways ends up losing punctuality as well as revenue while running passenger trains. They also end up losing goods traffic because goods traffic switches to road which turns out to be economical for them.

Today India is not a poor country unlike in the past. India is the sixth biggest economy in the world with a nominal GDP of $ 2.8 trillions. Per capita annual GDP of $2000 may be low but it is still a vast improvement (200 times) from the past when Indian per capita annual income used to be $100 in 1960s. Using 80:20 principle, which states that 20 % popuation has 80 % of money and the rest 80 % population has the remaining 20% money, it means that today 20 % population of India has a per capita income of $8000 whereas remaining 80 % population has a per capita income of $500. So one can say that 20 % population (viz 26 crore population) of India is already reasonably well off. 26 crore population is equal to the population that Indonesia, the fourth most populous country in the world. So now it is possible for Hindi movies makers to produce movies of various genres with niche audiences as targets audience rather than seeking to attract the entire population as the target audience, because the niche audiences are now sizeable in number and they are prosperous enough.

Indeed that is happening. Many recent movies are meant for niche audience and the movie makers do not try and make all kinds of compromises that old time movie makers did in their attempt to make please all movies. And the results are quite outstanding.

Take the example of “Dangal”(2016). It is the tale of a rustic retired wrestler who wants to live his dream of wrestling glory through his daughters. He fights society that disapproves of girls taking up such activities and he subjects his daughters to lives of extreme discipline and physical exertion. Usual Hindi movies of yore woould show the girls winning their bouts rightaway after just a token exercise or two, but that is not how it is shown in this movie. The girls work hard but keep losing repeatedly and after every loss, they are made to work even harder. That is how it is in real life. In the past, such movies would not work in India. Movie watchers in the past expected their lead actors to be supermen/ supergirls who were not required to work hard. In fact Indian movies themselves rarely showed the lead actors doing any hard work, or for that matter any work at all. They would only sing songs and that is all they seemed to be doing throughout the movie.

“Dangal” (2016) was a professionally made movie and it caught the imagination of Indian public. More dramatically, it caught the imagination of movie goers in China as well, and the movie did bigger business in China than in India ! It earned more than Rs 800 crores from Chinese market !

It showed that a movie that had outstanding quality had universal appeal even beyond the traditional Indian audience and their diaspora.

That is true for Railways as well. India is at present in a situation where they can think of catering to niche markets of customers by providing them dedicated facilities. Instead of running all kinds of trains on the same track, running goods trains on a dedicated track and passenger trains of separate track would ensure that both kinds of customers would get proper attention. Work on dedicated freight corridor is in advance stages and soon we will be in a situation when goods trains will run on their own dedicated tracks and that would free up the existing Indian Railway tracks for passenger carrying trains.

Then Bullet trains are coming up as well. People who criticise this project as a wasteful exercise are like old time movie makers and old time Railway organisation who feel that all trains and all movies should be for everyone. Bullet trains have noting to do with Indian Railway. They are more like metro rails which too have nothing to do with Indian Railways. We have seen how Metro Rail has changed the face of commuter services in Delhi. Unlike Indian Railways, Metro rail have proved that it is possible to ensure that every commuter enters with a valid ticket and after proper security check. So Metro Railway has been a quantum leap in public transportation in India and it is absolutely world class. Bullet trains too will have its own track and it will have nothing to do with existing rail ntwork. Bullet train too will have Metro rail like effect. In fact Bullet train has more in common with Metro rail rather than normal trains. It competes with short duration flights and it will in fact be a more convenient option compared to flights in those sectors where they will run. It will basically ensure that places like say Ahmadabad and Mumbai would become like suburbs that one could reach in a couple of hours or so.

Just like airlines are meant for more prsperous people, bullet trains too will be for the same segment of population. as mentioned by me earlier, India have 26 crore people who are prosperous and this bullet train is meant for them. They will use it and they will pay full unsubsidised ticket price. Just because the existing Indian Railways train tickets are subsidised does not mean that all future trains and other services need to be subsidised. As mentioned earlier, India is no longer a poor third world coutry. Japan started its bullet rtrains in 1964, just before it became the first Asian country to host Olympics. Japan GDP per capita at that time was $ 840. China had its first bullet train in 2003. at that time. Chinese per capita income was $ 1289 . So these two Asian countries were poorer than India when they developed their high speed trains for the first time. And these bullet trains changed the face of these countries. Now one can reach from Beijing to Shanghai (1300 km) in a little over four hours. This distance is similar to the distance between New Delhi and Mumbai (1386 km). At present New Delhi- Mumbai Central Rajdhani takes about 16 hours to cover this distance. Just imagine this distance being covered in 5 hours ! That would shrink distance for people. This train is a success in China and such trains would succeed in India as well.

I was telling our regulars that I would discuss Railway related topics in detail in my writeups. This writeup gives me one such opportunity where I have put my views across about bullet trains. I hope rail enthusiasts among us (such as Raja, PAvinash Scrapwala, eevesie’s mom, Peevesie’s brother etc) will get some food for thougt with this writeup.

As I mentioned, it is time India stopped thinking local and started thinking global. Bullet train would be a step in that direction. “Dangal”(2016) was very much a world class movie made in India. “Bahubali” was another world class movie. These movies have earned India great respect worldwide and have enhanced Indian soft power among foreigners. When I visited Bali recently with my family, a local of Bali asked where we were from. I replied “India”. “Bahubali part two!”- that person exclaimed. 🙂

I watched “Dangal”(2016) onboard the flight on my way back from Bali. And I was suitably impressed. It is a fantastic movie that keeps one spellbound throughout. It is a professionally made movie that has an universal appeal.

Hindi movies cannot do without songs. This movie too has songs but they are background songs and they blend in nicely with the movie. I am happy that the movie makers did not consider throwing in the usual formula of yore where hero’s wife would sing a bhajan, hero would sing an inspirational song, a fakeer would sing a philosophical song and a comedian would sing a comedy song follwed by a cabarat. A movie like this would have fallen flat. Many such Dev Anand movies have fallen flat because of such reasons in the past. Fortunately Aamir Khan the producer of this movie is a professional.

The songs are quite interesting. The song under discussion is especially interesting. The lyricist Amitabh Bhattacharya has come up with fun lyrics from the point of view of the two daughters of Mahavir Singh Phogat (played by Aamir Khan). A word like “haanikarak” is what Hindi medium students use in their science class while discussing some chemicals. 🙂

The song is sung by Sarwar Khan and Satraz Khan. Music is composed by Preetam.

The song picturisation is quite good as well. Overall, a superbly created and picturised song.

With this song. “Dangal”(2016) makes its debut in the blog.


Song-Baapu sehat ke liye tu to haanikaarak hai(Dangal)(2016) Singers- Sarwar Khan, Sartaz Khan, Lyrics-Amitabh Bhattacharya, MD-Preetam

Lyrics

re bapu
re bapu
hmm
Auron pe karam, bachchon pe sitam
Re baapu mere ye zulm na kar
Auron pe karam
bachchon pe sitam
Re bapu mere ye zulm na kar
Ye zulm na kar

Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong

Baapu sehat ke liye
Baapu sehat ke liye
Tu toh haanikaarak hai
Baapu sehat ke liye
Tu toh haanikaarak hai
Hum pe thhodi daya toh karo
Hum nanhe baalak hain
Hum pe thhodi daya toh karo
Hum nanhe baalak hain

Discipline itna
aa aa aa
Re discipline itna
Khudkushi ke laayak hai
Baapu sehat ke liye
Tu toh haanikaarak hai
ham pe thhodi daya to karo
ham nanhe baalak hain
ham pe thhodi daya to karo
ham nanhe baalak hain
Discipline itna
aa aa aa
Re discipline itna
Khudkushi ke laayak hai
Baapu sehat ke liye
Tu toh haanikaarak hai

Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong

re bapu
Tanne bola picnic shiknik jaana hai mana
Yo toh torture hai ghana
Re yo toh torture hai ghana
re baabu
Re bachcho se hi bole
Ke na karna bachpana
Yo toh torture hai ghana
Re yo toh torture hai ghana

Re bapu!

Toffee churan khel khilone
Kulche naan paratha
Keh gaye hain tata
Jabse bapu toone daanta

Jis umar mein shobha dete
Masti sair-sapaata
Uss umar ko naap raha hai
Kyun ghadi ka kaanta

Apni kismat ki gaadi ki
Khasta haalat hai ae
Apni kismat ki gaadi ki
Khasta haalat hai

Aur humaare bapu
O aa gayo re bapu
O humare bapu
Iss gaadi ke vaahan chalak hain
Bapu sehat ke liye
tu toh haanikaarak hai

Tanne bola khatta teekha khaana hai mana
Yo toh torture hai ghana
Re yo toh torture hai ghana
re bapu
Re mitti ki gudiya se bole
Chal body bana
Yo toh torture hai ghana
Re yo toh torture hai ghana

Hey… Re bapu
re bapu
Mmm.. tail lene gaya re bachpan
Jhad gayi phulwaari
Kar rahe hain jaane qaisi
Jang ki taiyyaari

Sote jagte chhoot rahi hai
Aansu ki pichkaari
Phir bhi khush na hua Mogambo
Hum tere balihaari

Teri nazron mein kya hum
Itne naalayak hain ae
Teri nazron mein kya hum
Itne naalayak hain

Re tujhse behtar toh o
(Manne chhod do re bapu)
Re tujhse behtar apni
Hindi filmon ke khalnaayak hain
Bapu sehat ke liye
Tu toh hanikarak hai

Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!


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.

Important Announcement

(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

15935

Number of movies covered in the blog

Movies with all their songs covered =1224
Total Number of movies covered =4365

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Active for more than 4000 days.

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