Archive for the ‘Children’s song’ Category
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5573 | Post No. : | 18045 |
# Superstar Child Artist – Junior Mehmood # 15
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It has been over eight years now that we started this series for the songs picturised on actor Junior Mehmood. We started with songs sung by Mohd Rafi for Junior Mehmood and later on added more songs sung by other singers for Junior Mehmood. There are still few songs yet to be posted which we discovered in recent years that are picturised on Junior Mehmood.
Junior Mehmood was a ‘star attraction’ in growing years of people like me who were born in late sixties or early seventies, and whatever of his movies we get to watch in our childhood days where he was a part of the movie, were always entertaining and enjoyable. Many of these movies had songs picturised on Junior Mehmood and that was an additional attraction always. These songs have been highly entertaining too. Junior Mehmood inspired by the dancing skills of his guru the great comedian actor Mehmood, had developed his style of dancing which was likened by all i.e. children as well as the grown-ups and adults watching his movies.
In the earlier articles we have read about the biography and also the filmography (till 1980) of Junior Mehmood and how he achieved ‘stardom’ in his childhood days and how he was referred to as a ‘Superstar Child Artiste’ in those years. However Junior Mehmood could not achieve the same success as a grown-up adult actor in his later films.
Under this series ‘Superstar Child Artist – Junior Mehmood’, today I present a song from the movie ‘Simla Road-1969’. So far we have posted songs sung by Mohd Rafi, Hemlata, Shanti Mathur, Asha Bhonsle, Sushma Shreshtha, Lata Mangeshkar, Suman Kalyanpur and Shamshad Begum in this series. Today we add one more singer i.e. Sarla Kapoor who lent her voice to Junior Mehmood in this song, which is a ‘Qawwali’ song.
“Simla Road-1969” was directed by Jugal Kishore for his home productions ‘Jugal Productions, Bombay’. The cast of this movie included Dev Kumar, Sarita, Jugal Kishore, K.N. Singh, Madhumati, Jayshree T., Brahm Bharadwaj, Leela Mishra, Murad, Junior Mehmood, Mirza Musharraf, Dilip Dutt, Manohar Deepak, Maruti and others. “Simla Road-1969” has six songs written by Asad Bhopali and the music for this movie was composed by Usha Khanna. The singers who lend their voice in this movie are Suman Kalyanpur, Sharda, Usha Khanna, Sarla Kapoor, Mohd Rafi, and Krishna Kalle. Three songs from this movie have already been posted on the blog earlier. I guess that this movie is not available online, though video of its songs are available now.
I was looking for the story of this movie and had reproduced a text from an online source and there is also very brief information about this movie available on other site but I found some difference among these two summaries. So I hold it and also I was looking for the character name of the respective actor. Finally I again went through all the earlier posts on the blog, and find that our in-house encyclopaedia Respected Shri Arunkumar jee has already mentioned the about the story of this movie in his comments (on a previous post covering another song of this movie) and that too as I wished it could be 🙂 . Here I am giving below the same text for the interested readers.
SIMLA ROAD (1969) story was one which was used by many, many people, including Jugal Kishore himself earlier. It was supposed to be a ‘Cloak and dagger’ type movie, having a strong story line, but alas, the Hero was Dev Kumar-with a stony body and a stony face too!
Mr. Kumar, a noted businessman is murdered. When his neighbour reaches his bungalow, he finds Shanker there. Shanker (Dev kumar) is in love with Kumar’s sister Veena (Sarita).Sharma (Jugal kishore) accuses Shanker of murder and he is arrested, but Shanker escapes and wounded by police bullet, is found by dancer Rita (Madhumati), who loves him. Bhupat (K.N.Singh)-ex dacoit, catches Shanker.Bhupat and Kumar were thieves but Kumar refuses to give him his share or even recognise him, so Bhupat wants to kill him, but he is murdered by somebody else. Bhupat tortures Shanker for that loot. Veena now hates him.
Now there are twists in the story. Shanker (as expected) happens to be a CBI officer to unearth stolen money. After few more twists, understandings and misunderstandings etc, the murder mystery is solved by Dev Kumar.
The murderer actually is….. 🙂
Now coming back to song under discussion, we can see Junior Mehmood with many other child artistes and Jayshree T performing on this song. It seems to be an attempt to divert the attention of the ‘guards’ who are holding Dev Kumar and Sarita in captivity, in order to get them freed. By the time this song dance performance comes to end the team of Jayshree T and Junior Mehmood get success in their motive. We can also see Jugal Kishore and other artistes in the picturisation of this song. ( I am unable to identify some key persons there). People who have watched earlier movies of Junior Mehmood from the late sixties and early seventies will certainly enjoy this wonderful performance by him and this overall composition.
Let us enjoy this song now…
Song-Maalan dil le gayee re maalan dil le gayee (Simla Road)(1969) Singers – Sarla Kapoor, Usha Khanna, Lyrics-Asad Bhopali, MD-Usha Khanna
Junior Mehmood, chorus
Lyrics
Yaaron dil thhaam ke
Meri kahaani suno
Dil ka fasaanaa
Mohabbat ki zabaani suno
Suno
Suno
Suno
Woh phoolon ki raani
Woh jaane e bahaar
Woh maasoom chehra
Woh zulfen pareshaan
Woh phoolon ki raani
Woh jaane e bahaar
Woh maasoom chehra
Woh zulfen pareshaan
Wo aankhon mein masti
Wo gaalon pe laalee
Zamaane se jiski adaa hai niraalee
Wo
Woh maalan dil le gayee re
Maalan dil le gayee
Maalan dil le gayee re
Maalan dil le gayee
haan haan dil le gayee re
maalan dil le gayee
Woh chaman mein thhi khadee
Jab nazar us se ladee
Haan
Woh chaman mein thhi khadee
Woh thhi khadee
Haan khadee
Haan
Woh chaman mein thi khadee
Jab nazar us se ladee
Aa aa aa aa aa aa aa
o o o
Jaag uthhaa
Dard e jigar
Na rahi apni khabar
Jaag uthhaa
Dard e jigar
Dard e jigar
Dard e jigar
Jaag uthhaa
Dard e jigar
Na rahi apni khabar
Sambhaala bahot dil
Magar dil na sambhlaa
Woh jo muskuraaye
To ye munh se niklaa
Kya
Maalan dil le gayee re
Maalan dil le gayee
Maalan dil le gayee re
Maalan dil le gayee
aa haa dil le gayee re
Maalan dil le gayee
Aa aa aa aa aa aa
aa aa aa aa aa aa
Aa aa aa aa aa aa
Aa aa aa
Jaan jaaye ke rahe
Koyi ab kuchh bhi kahe
Haan
Jaan jaaye ke rahe
Haan ji jaaye
Chaahe rahe
haan
Jaan jaaye ke rahe
Koyi ab kuchh bhi kahe
Aa aa aa aa aa
aa aa aa aa
Maine sochaa hai yahi
Dekhna hogaa yahi
Maine sochaa hai yahi
Haan jee yahi
Haan yahi ee
Maine sochaa hai yahi
Dekhna hogaa yahi
Woh meri banegi
Main uskaa banoongaa
Woh dulhan banegi
Main dulhaa banoongaa
Kaun
Maalan dil le gayee re
Maalan dil le gayee
Haan haan dil le gayee re
Maalan dil le gayee
O ho dil le gayee re
Maalan dil le gayee ee
Mere mehboob na dar
Aa gayaa hoon main idhar
Haan mere mehboob na dar
Mere mehboob na dar
Haan
Mere mehboob na dar
Aa gayaa hoon main idhar
Aa aa aa aa aa aa
Aa aa aa aa aa aa
Aa aa aa
Yaaron ka yaar hoon main
Tera dildaar hoon main
Yaaron ka yaar hoon main
Haan haan tera yaar hoon main
Yaaron ka yaar hoon main
Tera dildaar hoon main
Dekhne mein hoon main
Chhotaa sa bachchaa
Magar dil hai achchhaa
Mera pyaar sachchaa
Phir bhi
Dil le gayee re
Maalan dil le gayee
Maalan dil le gayee re
Maalan dil le gayee
Woh phoolon ki raani
Woh jaane e bahaar
Woh maasoom chehra
Woh zulfen pareshaan
Woh phoolon ki raani
Woh jaane e bahaar
Woh maasoom chehra
Woh zulfen pareshaan
wo aankhon mein masti
wo gaalon pe laalee
zamaane se jiskee adaa hai niraalee
wo maalan
dil le gayee re maalan
dil le gayee
Maalan dil le gayee re
Maalan dil le gayee
Maalan dil le gayee re
Maalan dil le gayee
Maalan dil le gayee re
Maalan dil le gayee
- In: Bhajan | Children's song | Devnagri script lyrics by Sudhir | Guest posts | Krishn Bhajan | Lyrics contributed by readers | Mukesh NFS | Mukesh solo | Mukesh songs | NFS | Rare song | Songs of 1950s (1951 to 1960) | Songs of 1958 | Surdas bhajan | Traditional song | Translation by Sudhir | Translations by readers | Yearwise breakup of songs
- 5 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5488 | Post No. : | 17922 |
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The Voice of Mukesh #76
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Celebrating the Centenary of Mukesh
“o jaane waale ho sakey to laut ke aana. . .”
The film is ‘Bandini’ from 1963. Words from the pen of Shailendra and the music composition from the mind of SD Burman. The voice – is the voice that has embellished nearly a thousand songs, with an attractive rendition that makes the listeners fall in love with every song.
Yes, Mukesh.
The words – that come from the heart, imploring – could there be some way to call back, them who have departed. But alas, no one returns from the land of beyond now. And yet the heart waits. 53 years is not age to go. Yes, for the ones dear to heart, there is no age to go. But then 53. In an alien land, far away from family and friends. No reason why one would decide to call it a life. But then – one just expresses helplessness. These departures are not within our power to influence.
A century to measure – just a tradition to follow, nothing more. The memories that we celebrate are not dependent on these milestones. These memories get celebrated every day, each and every time that we listen to the voice, every time a song is heard, the memories in our vaults will rise up and create an upsurge – an upsurge of happy appreciation, an upsurge of gratitude to have been blessed to be born in this era, and also an upsurge of regretful longings – may that these unnamed associations would have been longer.
Yes, Mukesh. A voice that is always so different from others, and will remain so forever. Not that the word ‘divine‘ has not been associated with other singers. It has been, with many. And each of those voices have their own singular and exceptional attributes. But then, among all these heavenly voices, this one voice stands out – by its simplicity and deep seated honesty. As one listens, one believes. One is convinced instantly that the words being rendered are just and true. It is the voice that creates this feeling within. It carries such a soothing comfort in itself that one does not have a make an effort to believe. It just happens.
The feelings that arise within are like the flowing Ganga, the rays of the rising sun, the cool fragrant breeze and the clear blue skies. And the serene moonlight on a clear calm night. That is comfort that permeates the self, when the sounds of this voice settle into the mind when it says “Kise Yaad Rakhun, Kisey Bhool Jaaun. . .”. Or “Tum Jo Hamaare Meet Na Hotey. . .”, or “Saaranga Teri Yaad Mein. . .”. When this voice tells me “Chanda Ke Des Mein Rehti Ik Raani”, the mind, the self accepts it as a truth, and not a child’s fairy tale. When the words “Kaise Manaaun Piyava. . .”, are heard, the mind resonates with the sweet melancholy of a simple soul honestly examining itself. When this voice tells me “Hum Us Des Ki Vaasi Hain. . .”, the mind does not falter in its belief of this phrase. The words “Jaaun Kahaan Bata Ae Dil. . .” when heard in this voice, instantly evoke that restive helplessness within borne from a lifetime of despair. And the self wants to be up and dancing when this voice tells me “Tum Aaj Mere Sang Hans Lo. . .”. Another time and place when this voice renders “Dheere Re Chalo Mori Baanki Hiraniya”, almost as if on cue, the mind slows down to wait, for the sounds to catch up. The mind wells up with gratitude and contentment so true that the self feels fulfilled and all desires realized when the words in this voice tell me “Bahut Diya Dene Waale Ne Tujhko. . .”.
The songs are a thousand. And their emotional pull is endless. I could go on an on with the songs that this voice has rendered. I could lay down the sensitivities of each one of them. And at the end of it all, just one essence will remain – the soul. This sound comes from the truth, the purity and the honesty of the soul. That is the essential touch of divinity in this voice.
Ah Mukesh ji, it was a lifetime too short. No, I do not intend to take up an issue with destiny. Whatever transpired, that was supposed to be. Just that there is a petite setting within, an area of eternal emptiness that could have been not so vacant, only if. . .
I present today a song that has an utterly unique rarity associated with it. In a manner of speaking, the existence of this song was completely unknown to anybody prior to this centenary event six days ago. This song has never figured in any lists or any compilations before, for the simple reason that its origins lie in anonymous rarity completely away from the all the known regular channels where such music is traditionally made, recorded and disseminated. This song belongs to that completely unknown fringe area of music that we are all aware of, and at the same time, completely unaware.
This song is a recording from All India Radio.
A brief background here – over the decades, AIR has created a colossal amount of non-film music completely on its own. There is film music, and then there is non-film music that is created by the known commercial enterprises. Along with these, AIR itself commissioned and recorded a wealth of non-film music to be played on their broadcast channels and radio stations. This music has primarily been the property of AIR. It got played on the radio waves, but it was never ever distributed to the general public by any means.
When any artist performs on the AIR, it is a live presentation, and a onetime occasion. AIR had this need to be able to store and replicate these performances, to be repeat broadcast at different times and from different locations of their network of radio stations. So these performances were recorded, as they were rendered. To facilitate the distribution of such individual items, AIR pressed these recordings onto gramophone records. The labels on these records were AIR’s own. These records were distributed to all stations on the network, to enable their replay as and when required by the individual stations as per their own program itineraries. The existence of these gramophone records was not known at all, outside AIR.
Things have changed, technologies have changed, recording and storage methods have become more advanced. The gramophone records eventually became redundant and were just occupying space in their station premises. In recent past, over the last few years, AIR has been disposing off its collection of old media – gramophone records and spool tapes, along with a massive stock of old machinery and sound equipment that is now outdated. In this process the gramophone records also have come out of their storage. However, even now, not many people are aware of their existence.
A few months earlier this year, in Feb-Mar time frame, my dear collector friend, Zafar Shah, acquired a huge consignment of these AIR records in a very competitive auction. I was with him one of the days in March, at his warehouse when many sacks, not cartons, but huge sacks full of such records, were being delivered. Over the next few days, I visited him, and sat with him as he was going through the content of these sacks. I daresay that over a period of a couple of weeks, I was just able to witness the opening and browsing of the contents of just a couple of sacks.
As we browsed through, we chanced upon this record on the very first day. This famous Krishna bhajan written by Soordas ji about five centuries ago. This bhajan has been rendered and recorded by numerous singers. But this bhajan in the voice of Mukesh – we had never come across this before. After some detailed checking from some sources, we realized that we had made a stupendous discovery – this bhajan in the voice of Mukesh, is a completely unknown entity. We agreed that this discovery is of magnitude enough that it deserves to be shared with the world at large on the occasion of the singer’s birth centenary. Zafar Bhai kept his promise and posted this song on his channel, on 22nd July. The planned and promised post on our blog by yours truly has however been delayed by almost a week. Unpardonable, no excuses, just that personal circumstance in the past almost a fortnight have been very trying.
That said, we come back to this song. Soordas ji writes the words, as if writing on behalf of Kanhaiya. The lines are a lament and a complaint by a child, who at time would just be standing maybe not even waist high to Yashoda ji. He is bemoaning after the fact that whole village considers him to be a maakhan chor, the child thief who steals butter from wherever. Yashoda is probably furious as to why Kanhaiya has to go steal at other households, when there is no dearth of milk and butter at his own home. And even at home, why does he have to stealthily pilfer butter from the chheenka (छींका) (the earthen pot in which butter is stored and is hung with a rope from a hook in the ceiling, to ward off cats etc from reaching at it), when he can have as much as he desires just for asking. And so one day when she catches him literally white handed with butter on his hands and smeared all over his face, she is preparing to give it to him with a cane. As the flowing thoughts came to this juncture, Soordas ji could contain himself no more, and he sang, on behalf of Kanhaiya,
maiya mori
main nahin maakhan khaayo
O dear Mother of mine, believe me
I have not eaten the butter
Quite a pretentious and an audacious assertion to make, given that he has been caught white handed.
Now Kanhaiya was at an age then, when he had started tending to the cows, and would take them for feeding and exercise every day, in the company of Nand Baba, Balram Bhaiya and other coterie of friends. So now he complains to Yashoda
bhor bhayo gaiyan ke paachhe
madhuban mohey pathaayo
chaar pehar bansi bat bhatkeyo
saanjh parey ghar aayo
Since early morning I have been tending after the cows, at your bidding. I walk with them to Madhuban, where you instructed me to take them. For almost the entire sunlight hours, I am wandering with the cows in the grass fields of Madhban and Bansi Bat. It is only as the sun comes down and the evening is nigh that I returned home with them. When would I have the time to steal butter?
In the Indian scheme of marking time, one pehar (or prehar) is of three hours duration. There are eight pehars in a day, four of which are the sunlight hours of daytime, and the other four are the night hours of darkness. So Kanhaiya is complaining that I have been tending cows for twelve hours at your bidding, and I am tired for the day. And you are accusing me of having enough energy to steal butter.
Madhuban and Bansi Bat (or Bansi Vat – बंसी वट; वट being the word for a banyan tree), are two locales in the forests around Vrindavan which are identified as two of the many लीला स्थली of Lord Krishna, places of Krishna’s pastimes, in the Braj area. It is said that these places of pastime became lost over the ages. Then, during the Bhakti period, when Shri Gaurang Mahaprabhu came to Vrindavan, he trekked across the area to re-discover these locales and restored them to their earlier prominence.
main baalak bahiyan ko chhoto
chheenko kehi vidh paayo
gwaal baal sab bair parey hain
barbas mukh laptaayo
Look at me, I am just a toddler, shorter even than my brother Balram. How do you think I could have reached the chheenka that is hanging from the ceiling? It is my so called friends, the other cowherds, who are bearing some jealousy towards me, and they have turned into enemies. It is them who have forcibly smeared this butter that you see on my face and on my hands. It is not I, but them, they have done this to me.
Now Kanhaiya is deflecting. He is now placing the blame on his elder brother and other cowherd friends in the coterie. He expresses great but simple logic, that with his height being what it is, it is impossible for him to reach the high placed chheenka and pull butter from it. So all that is evident as the commissioning of crime, is not his doing, but that of the group of friends.
ye le apni lakuti kamariya
bahut hi naach nachaayo
surdas tab bihasi yashoda
lai ur kantth lagaayo
Now Kanhaiya turns into the aggrieved party. He lays out the challenge that he will not go for tending to the cows henceforth. And as a good measure of offense, he tells Yashoda that he is putting aside the cowherd stick (lakuti) and the cowherd blanket (kamariya) and will not be using it anymore. After all the day’s hard work, if he has to face accusations of being a thief, then he does not want to tire himself doing the cow tending. And that he has been dancing to her tune so far, but no more. A bemused Yashoda who has been listening thus far to this tirade of saam daam dand bhed (साम दाम दंड भेद) from the tiny pleader, as he moves from trying to gain sympathy, then to shift the blame elsewhere, from logically explaining why he can’t reach the chheenka, and finally to challenging her that he will be stopping work in protest; now she can control her laughter no more, and bursts out in a delightful hilarity, and pulls Kanhaiya to herself and squeezes him in a loving embrace.
The kamariya mentioned in the bhajan is a blanket, a multipurpose cowherd device – protection against the elements be it cold, harsh sun or rain; something to lie on when tired; something to roll into a pillow and use for relaxing etc. The word comes from the Hindi word for blanket – kambal. And there are other variations in use also. Krishna is referred to as ‘Kaali Kamli Waale’. This ‘Kaali Kamli’ is this blanket only. In every such reference that we come across in scriptures and literature, the color of this blanket is always denoted as black.
There are thousands of bhajans written by the Saints who have spent a lifetime in their quest of love for Krishna. Some names we are familiar with, and there are numerous more names that are well known in the Braj area. The traditional literature of verses written in praise of and in love for Krishna, is a huge ocean. Of the some that I have been able to listen to and study, this bhajan is in my opinion, the most beautiful and the most loving description of a wayward child and his admonishing mother, and how everything finally just melts into love, the Love for that Supreme One.
The wonder of Krishn Leela is that the Lord incarnates and comes to live with the cowherds and farmers of the villages, and blends Himself so magically into that milieu. Even till today, in Braj area, the general feeling amongst the populace is that of Him being one of them, and not that of Him being the Lord. To some he is the son, to some he is a brother, to some he is a friend, to some he is a wonderfully helpful child, to some he is a nephew, and on and on. Yes there are temples in His honor and He is prayed to as a Royal Diety. And yet, when they will refer to Him, talk about Him, talk to Him, he is forever Kanhaiya for them, a naughty child eight nine years old, who still tends to the cows in the forests of Vrindavan, and still barges into homes to steal butter. Tradition has it that there are still many households in Braj area, that prepare fresh butter every day, and keep it early morning on the window sill, or just outside their door, with the belief that Kanhaiya will come to partake that butter.
Aah, those wondrous locales of Braj, those blessed people who lived there and still do. The endless tales of amazing pastimes. A place where Kanhaiya never wore any footwear. And for that reason, the dust of that area is considered divine and blessed, because it has been touched by the prattling feet of the Supreme One turned into a child. The child who played in the streets and alleys of Vrindavan, played pranks everyday with his coterie of cowherds, a child that never really grew up. He is forever the Kanuwa for the locals. (Kanuwa is the short form of Kahhaiya).
And when an annoyed Yashoda confronts him for his transgressions, with an innocent demeanor completely bereft of guilt, he responds
maiya mori
main nahin maakhan khaayo
So much said about Kanuwa, and it seems still more is to be expressed.
And so too, for this divine voice, so much said, and it feels so inadequate. At the beginning of this post is an expression of a longing for this voice to somehow return. One knows in the depths of the heart that this is not possible.
And then the voice itself responds
duniya se jaane waale
jaane chale jaate hain kahaan
koi dhoondhe kaise un ko
hain nahin kadmon ke bhi nishaan
Mukesh – a hundred years, and forever.
Song – Maiya Mori Main Nahin Maakhan Khaayo (NFS) (1958) Singer – Mukesh, Lyrics – Soordas (Traditional), MD – Unattributed
Lyrics
maiya mori
main nahin maakhan khaayo
maiya mori
main nahin maakhan khaayo
bhor bhayo gaiyan ke paachhe
madhuban mohey pathaayo
chaar pehar bansi bat bhatkeyo
chaar pehar bansi bat bhatkeyo
saanjh parey ghar aayo
maiya mori
main nahin maakhan khaayo
maiya mori
main nahin maakhan khaayo
main baalak bahiyan ko chhoto oo oo oo
main baalak bahiyan ko chhoto
chheenko kehi vidh paayo
maiya mori
chheeko kehi vidh paayo
gwaal baal sab bair parey hain
gwaal baal sab bair parey hain
barbas mukh laptaayo re
maiya mori
main nahin maakhan khaayo
maiya mori
main nahin maakhan khaayo
ye le apni lakuti kamariya
bahut hi naach nachaayo
surdas tab bihasi yashoda
surdas tab bihasi yashoda
lai ur kantth lagaayo
maiya mori
main nahin maakhan khaayo
maiya mori
main nahin maakhan khaayo
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
मैया मोरी
मैं नहीं माखन खायो
मैया मोरी
मैं नहीं माखन खायो
भोर भयो गैय्यन के पाछे
मधुबन मोहे पठायो
चार पहर बंशी बट भटक्यो
चार पहर बंशी बट भटक्यो
साँझ परे घर आयो
मैया मोरी
मैं नहीं माखन खायो
मैया मोरी
मैं नहीं माखन खायो
मैं बालक भैय्यन को छोटों ओ ओ ओ
मैं बालक भैय्यन को छोटों
छींको केही विध पायो
मैया मोरी
छीको केही विध पायो
ग्वाल बाल सब बैर परे हैं
ग्वाल बाल सब बैर परे हैं
बरबस मुख लपटायो
मैया मोरी
मैं नहीं माखन खायो
मैया मोरी
मैं नहीं माखन खायो
ये ले अपनी लकुटी कमरिया
बहुत ही नाच नचायो
सूरदास तब बिहसी यशोदा
सूरदास तब बिहसी यशोदा
लै उर कंठ लगायो
मैया मोरी
मैं नहीं माखन खायो
मैया मोरी
मैं नहीं माखन खायो
Chhotee see dulhaniya ki shaadee
Posted on: July 27, 2023
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.
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Blog Day : |
5487 | Post No. : | 17920 |
“Santaan”(1959) was produced by Mahesh Kaul and directed by Jyoti Swaroop for Anupam Chitra Production. The movie had Rajendra Kumar, Kamini Kadam, Nazir Hussain ,Rita Roy (Bindu), Dulaari, Leela Mishra, Manorama, David Abraham etc in it.
“Santaan”(1959) had seven songs in it. Four songs have been covered in the past.
Here is the fifth song from the movie to appear in the blog. This song is sung by Lata Mangeshkar. Chorus and a child’s voice are also there in the song. Lyrics are penned by Hasrat Jaipuri. Music is composed by Dattaram.
The song is picturised a children’s get together song. Several children are gathered in the home of Kamini Kadam. This song is lip synced by Kamini Kadam and Bindu (credited as Rita Roy). Manorama is also visible in the picturisation.
Lyrics of the song were sent to me by Prakashchandra.
Song-Chhotee see dulhaniyaa kee shaadee (Santaan)(1959) Singer-Lata, Lyrics-Hasrat Jaipuri, MD-Dattaram
Childrens’ Chorus
Unknown child voice
Lyrics(Provided by Prakashchandra)
(laughing sound)
chhoti si dulhaniyaa ki shaadee
pyaaree si dulhaniyaa ki shaadee
dekho jee dekho aaye
saarey baraati dekho
saarey baraati
kamlaa aayi bimlaa aayi
ghoonghat kaadhey seeta aayee
dekho jee dekho aaye saarey baraati
saaley balaati
chhoti si dulhaniyaa ki shaadi
pyaaree si dulhaniyaa ki shaadee
aisi baandho preet ki doree
jo kabhee naa chhootey ho o o
jo kabhee naa chhootey ae
ho o ho o
pyaar ka naataa aa
sachchaa naataa
baaqi sab hai jhoothey aey ae ae
baaqi sab hai jhoothey
aandhi aaye toofaan aaye
dil se dil kaa saath na chhootey
dekho jee dekho aaye saarey baraati
saaley balaati
chhoti si dulhaniyaa ki shaadee
pyaaree si dulhaniyaa ki shaadee
dekho jee dekho aaye saarey baraati dekho saarey baraati
chhoti si dulhaniyaa ki shaadi..eee
pyaaree si dulhaniyaa ki shaadee
maat pitaa ki laaj ko gori..ee
dekho hanske nibhaanaa
ho o o
dekho hanske nibhaanaa
ho o o
pee ke charan kee dhool bhi saajan
nainon beech sajaanaa aa aa aaa
nainon beech sajaaanaa
behnein boley bhaiyya boley
aaj bichaari maiyya boley
dekho jee dekho aaye saarey baraati
saaley balaati
chhoti si dulhaniyaa ki shaadee
pyaaree si dulhaniyaa ki shaadee
dekho jee dekho aaye saarey baraati dekho saarey baraati
chhoti si dulhaniyaa ki shaadi
pyaaree si dulhaniyaa ki shaadee
desh piyaa ke jaakar laado o
pyaar se hilmil rehnaa
ho o o
pyaar se hilmil rehnaa
ho o o
sewaa karnaa apney ghar kee
kadhwey bol bhi sehnaa aa aa
kadhwey bol bhi sehnaa
chupp chupp rehnaa
kuchch na kehnaa
saas nanad ki dil mein rehnaa
dekho jee dekho aaye saarey baraati
saaley balaati
chhoti si dulhaniyaa ki shaadee
pyaaree si dulhaniyaa ki shaadee
dekho jee dekho aaye saarey baraati dekho saarey baraati
chhoti si dulhaniyaa ki shaadee
pyaaree si dulhaniyaa ki shaadee
dekho jee dekho aaye saarey baraati dekho saarey baraati
chhoti si dulhaniyaa ki shaadee
pyaaree si dulhaniyaa ki shaadee
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5440 | Post No. : | 17832 |
Today’s song is from the film ‘Anaath Ashram’ (1937). This film was made by New Theaters, Calcutta.
During the period from 1931 to 1955. New Theaters was one of the premiere film production companies of India. This was not only a commercial organization, but also a school for developing new talents in the fields of acting, direction, cinematography, editing, sound recording, costume designing and other departments of film making. Almost all who learnt from here, became big names in their later careers. It was here that the artists were encouraged to become editors from cinematographers, and directors from editors. Names like Nitin Bose and Bimal Roy are enough to prove this point.
The company also invested a fortune in developing new techniques and new traditions in every field of film making. Because of these, this premiere Bengal studio became a veritable institution and a promoter of talents that largely influenced the whole course of Indian films. In addition to this, New Theaters gifted the style of film songs introducing the Prelude and the Interlude.
Its biggest contribution, however, was the ‘Playback System’ of songs in the films. Birendranath Sircar, founder proprietor of New Theaters sustained it for 35 years, holding a record of making 177 films under this banner. The nearest ever to come was Sardar Chandulal Shah’s Ranjit Movietone, Bombay with 175 films ! New Theaters was also making films in Hindi and other languages from the beginning.
In 1928-29 BN Sircar founded International Filmcraft and made two silent films. Then the company closed. He then established New Theaters in February 1931 as a family concern, holding all shares within the family and becoming its Managing Director. He employed artistes and technicians on monthly salaries. His first success was ‘Chandidas’ (1932). In the same month he and IA Hafiz ji (who later married actress Ratan Bai) went on an all India tour to appoint distributors for his Hindi films to capture the Indian market. In this tour, he appointed distributors in Madras, Madurai, Trichinapally, Erode, Bangalore,Poona, Bombay, Cawnpore (now Kanpur), Lucknow, Kangra Valley and Lahore. The entire Eastern India and the North East was already in his pocket. Such was his vision !
The film business in Bengal was dominated by Marwadi and Gujarati communities. Some of them were – Lal ji Haridas had distribution rights of all major Bombay film companies, Bajranglal Khemka owned East India Film Co., Radha Kishen Chauria owned Radha Film co., Babulal Chowkhani had Bharat Laxmi pictures. All of them realized that making only Bangla films was not enough, making films in Hindi and other languages was necessary for survival and growth. However, BN Sircar had an upper hand here, being ahead in multi language films !
Films based on famous and popular novels and the film songs and music were the strengths of New Theaters. Ms Panna Raii ji, the first one to do Ph.D on Indian films wrote that “Though I did not know Bangla, I loved to listen to the film songs”. New Theatres popularised Rabindra Sangeet throughout India, which otherwise rotted in Shanti Niketan walls, till then. This was also a tough winner on Bombay’s stale stage and drama songs. Audience soon chose film songs from New Theaters films and discarded Bombay songs in preference.
Directors like Pramathesh Barua, Phani Mujumdar, Debaki Bose etc made films which became hits. New Theaters was on the top during 1932 to 1940, holding the uncontested No.1 position. The first blow came to New Theaters when the second World War broke out in 1939. Due to rationing, the raw film was allowed only for 6 films a year. At that point of time expenses of only the salaries of New Theaters studio was in the range of 45000 to 50000 rupees per month. Imagine how much it would be today at the current inflation rate. It would be about 11 lakhs per month !
In 1940 there was another blow to New Theaters in the form of the exit of Pramathesh Barua from the studio. Then on there was a string of actors, directors and Music Directors leaving New Theaters to join Bombay. Prithviraj Kapoor, Kedar Sharma, Nitin Bose, Debaki Bose, Kanan Devi, Uma Shashi (she ran away while shooting on sets to elope with her future husband), KL Saigal and many more left New Theaters. Added to it was the communal riot in 1946 in Bengal and India’s Partition in 1947. Many stalwarts left the company due to disputes with BN Sircar. Only Pankaj Mullick stayed there with him.
In the 1950’s New Theaters started going downhill. In 1954 New Theaters, due to the financial crisis, was handed over to Aurora Film Company. In January 1956 the company closed down and in 1962 it went into liquidation. It was the End of a Giant ! (based on some information from Sharmila Gooptu’s article ‘The Glory that was New Theaters’ and my notes ).
Cast of the Film ‘Anaath Ashram’ (1937) included Uma Shashi, Najmul Hasan, Jagdish Sethi, Prithviraj Kapoor, Nemo, Manorama, Trilok Kapoor, Kalyani, Harimati and many others. The story screenplay and song lyrics were by Kedar Sharma. The cinematographer was Yusuf Mulji – who was a heavyweight in the New Theaters affairs and a close associate of BN Sircar. He had done films like ‘Devdas’ (1935), ‘Pujarin’ (1936), ‘Anaath Ashram’ (1937), ‘Vidyapati’ (1937), ‘Adhikar’ (1938), ‘Sapera’ (1939), ‘Jawani Ki Reet’ (1939), ‘Doctor’ (1940), ‘Nartaki’ (1940), ‘Savitri’ (1940), ‘Hamara Sansar’ (1945), ‘Azaadi Ki Raah Par’ (1948), ‘Ladki’ (1953) etc.
Let us know more about Uma Shashi and Najmul Hasan…..
Uma Shashi (1915 – 6 December 2000) was a Bengali film actress who appeared in many roles from 1929 to 1951. Her on-screen pairings with actors such as Durgadas Bannerjee, KL Saigal, Pahari Sanyal and Prithviraj Kapoor were popular in those days.
Uma Shashi was born in 1915 in a poor Brahmin family of Calcutta. Her father Nilmani Chattopadhyay’s ancient home was in Dhaka, East Bengal, British India but he later settled in Calcutta. He was a kirtan artist and sometimes acted as a jatra artist in a local jatra groups. As a child Uma received a very little formal education in a local school due to poverty. She received dance and music training from the age of four. Miss Satkari Ganguly was her first music and dance teacher. As Satkari Ganguly was herself an actress, she introduced Uma Sashi to stage and theatre where she started work as a group dancer in theatrical plays of companies like Minerva, Alfred and Russa. Soon after, she started playing minor roles and became a part of a touring jatra group from Calcutta (now Kolkata) to different parts of undivided Bengal like Chittagong, Cox Bazar etc. She was a perfectionist and received elocution lessons from several Hindi, Urdu and English tutors to perfect pronunciation of these languages. After her debut in ‘Bangabala’, a silent movie she had to quit the stage because the authorities would not allow their paid staff to work in films.
Uma Shashi started as an actor in the silent movie ‘Bangabala’ in a small role – Subarna. The other silent films she acted in are ‘Bigraha’ (1930) and ‘Abhishek’ (1931). During this time she started recording songs for Columbia Records (India) and then for Hindusthan Musical Products as Smt. Uma Devi. Uma Sashi appeared in many silent movies as an actor. In 1931, She appeared in the first Bengali language sound film, ‘Dena Paona’ (1931), which was a major hit. In this movie she acted in a crowd scene of Gajan and also sang a song “Baba Apan Bhola Modern Pagal Chhele“ along with Miss Abhavati. She received training in singing from the legendary music director Pankaj Kumar Mullick and recorded songs such as ‘Duniya Rang Rangili Baba’ with him for the movie ‘Dharti Mata’ (1938). Uma Sashi’s first leading role was in ‘Chandidas’ (1932) movie of New Theaters where she played the role of Rami.
Uma Shashi married Mr Guru Prasad Dev, an attorney by profession, and a member of the Shobhabazar Rajbari when she was at the top of her career (she ran away from the shooting sets to elope with him). In those days it was not easy for a glamorous actress to become a member of such a conservative family. So she had to wait for quite some time to be allowed into the ancestral house of Mr Guru Prasad Dev. Uma Sashi was Guru Prasad Dev’s second wife and had to share the house of her husband with his first wife. Later she became a mother of three sons and a daughter. After her marriage she mostly remained outside the film industry. In her later years, Uma Sashi occasionally gave interviews in the print and electronic media and attended film functions, on rare occasions.
Uma Shashi died on 6 December 2000. The news of her death only came to light in the media a few days later. [Based on Film Diary-46, wiki and my notes].
Najmul Hasan was born on 5-9-1910, into a noble family of Lucknow. He was tall and very handsome and was bitten by the urge to act in the films. He left his law studies and headed for Bombay. He met Sarojini Naidu, who was a family friend. She strongly recommended his name to Himanshu Rai. His screen test was taken in which he passed. Though at first sight, Himanshu Rai was not impressed with his manner of behavior, he still selected him for the first film of Bombay Talkies, opposite Devika Rani in ‘Jawani Ki Hawa’ (1935).
During ‘Jawani Ki Hawa’ (1935), which was loosely based on Agatha Christie’s ‘Murder On The Orient Express’, published in 1934, Devika Rani fell in love with Najmul Hasan and they decided to elope. Their second film, ‘Jeevan Naiyya’ (1936) went on floor and the love birds flew to Calcutta. There was a great commotion in Bombay Talkies. Shashdhar Mukherji the production manager was close to his Bengali boss Himanshu Rai. Mukherjee traced the couple to Calcutta, met Devika Rani and convinced her to return to Himanshu. Devika Rani returned and Himanshu Rai pardoned her, but not Najmul Hasan.
Najmul Hasan did not come back to Bombay. He joined the New Theatres in Calcutta and did films like ‘Anaath Ashram’ (1937), ‘Dushman’ (1938), ‘Kapaal Kundala’ (1939), ‘Jawani Ki Reet’ (1939), and ‘Nartaki’ (1940). Even in Calcutta, Najmul Hasan had a rocking affair with superstar Jahanara Kajjan. After doing the film ‘Meenakshi’ (1942), Najmul Hasan did some films like ‘Daasi’ (1944) , ‘Ragini’ (1945) and ‘Kaise Kahoon’ (1945) in Lahore and then he decided to migrate to Pakistan in 1947. In Pakistan he did some films like ‘Eid’ (1951), ‘Ashiyana’, ‘Doctor’, ‘Mirza Jatt’, ‘Taxi Driver’ and ‘Heer Ranjha’ etc.
Najmul Hasan, a very bitter man for the treatment he received in Pakistan, died in 1980 in Pakistan. [Based on Film Diary-46, my notes and Pak sites].
The story of the film ‘Anaath Ashram’ was (as per film booklet),
It is a reformist melodrama about widow-remarriage. Jai Narain (Jagdish Sethi), owner of a colliery, forms a happy family with his wife (Manorama), his daughter Saroj (Uma Shashi), son-in-law Kailash (Trilok Kapoor), an engineer at the colliery, and their son Nannha (Master Satu). Kailash dies in a colliery accident caused by Jai Narain. Nannha is sent to an orphanage and Saroj marries Ramesh (Najamul Hasan), who loves her but is unaware of her previous marriage or of being a stepfather, while Saroj misses her dead husband and longs for her absent son. A former suitor, Ranjit (Prithviraj Kapoor) appears, knowing her past history. Repeated scenes show Nannha pining for his mother.
This story has resemblance to the film story of Prabhat’s ‘Mera Ladka’ (1938) (‘माझा मुलगा’ in Marathi). In this film all the Mangeshkar siblings are seen in one song.
Today’s song is a comedy song. It is sung by children of the ‘Anaath Ashram’ (Orphanage), during their Annual Day function. We do not know the names of singers.
Song – Sarkar Ye Ghulam Geedad Khan Kehlaata Hai (Anaath Aashram)(1937) Singers – Unidentified Child Voice, Lyricist – Kedar Sharma, MD – RC Boral
Chorus
Lyrics (Provided by Sudhir)
sarkar ye ghulam geedad khan kehlata hai
bazaar se ye halwa poori lene jaata hai
poori lene jaata hai
halwa lene jaata hai
aaa aaa
sarkar ye ghulam geedad khan kehlata hai
bazaar se ye halwa poori lene jaata hai
poori lene jaata hai
halwa lene jaata hai
main sher hoon is waqt lagi bhookh hai mujhko
main sher hoon is waqt lagi bhookh hai mujhko
ab dekh thodi der mein kha jaaunga tujhko
ab dekh thodi der mein kha jaaunga tujhko
tum hum ko mat khaavo
aavo idhar aavo
tum hum ko mat khaavo
aavo idhar aavo
sarkar ye ghulam geedad khan kehlata hai
bazaar se ye halwa poori lene jaata hai
poori lene jaata hai
halwa lene jaata hai
sarkar ye ghulam geedad khan kehlata hai
bazaar se ye halwa poori lene jaata hai
poori lene jaata hai
halwa lene jaata hai
main sher hoon is waqt lagi bhookh hai mujhko
main sher hoon is waqt lagi ki bhookh hai mujhko
ab dekh thodi der mein kha jaaunga tujhko
haan ab dekh thodi der mein kha jaaunga tujhko
tum hum ko mat khaao
aao idhar aao
tum hum ko mat khaao
aao idhar aao
sarkar ye ghulam geedad khan kehlata hai
bazaar se ye halwa poori lene jaata hai
poori lene jaata hai
halwa lene jaata hai
aaa aaa
sarkaar
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
सरकार ये ग़ुलाम गीदड़ खान कहलाता है
बाज़ार से ये हलवा पूरी लेने जाता है
पूरी लेने जाता है
हलवा लेने जाता है
आsss आsss
सरकार ये ग़ुलाम गीदड़ खान कहलाता है
बाज़ार से ये हलवा पूरी लेने जाता है
पूरी लेने जाता है
हलवा लेने जाता है
मैं शेर हूँ इस वक़्त लगी भूख है मुझको
मैं शेर हूँ इस वक़्त लगी भूख है मुझको
अब देख थोड़ी देर में खा जाऊंगा तुझको
अब देख थोड़ी देर में खा जाऊंगा तुझको
तुम हमको मत खाओ
आओ इधर आओ
तुम हमको मत खाओ
आओ इधर आओ
सरकार ये ग़ुलाम गीदड़ खान कहलाता है
बाज़ार से ये हलवा पूरी लेने जाता है
पूरी लेने जाता है
हलवा लेने जाता है
सरकार ये ग़ुलाम गीदड़ खान कहलाता है
बाज़ार से ये हलवा पूरी लेने जाता है
पूरी लेने जाता है
हलवा लेने जाता है
मैं शेर हूँ इस वक़्त लगी भूख है मुझको
मैं शेर हूँ इस वक़्त लगी भूख है मुझको
अब देख थोड़ी देर में खा जाऊंगा तुझको
हाँ अब देख थोड़ी देर में खा जाऊंगा तुझको
तुम हमको मत खाओ
आओ इधर आओ
तुम हमको मत खाओ
आओ इधर आओ
सरकार ये ग़ुलाम गीदड़ खान कहलाता है
बाज़ार से ये हलवा पूरी लेने जाता है
पूरी लेने जाता है
हलवा लेने जाता है
आsss आsss
सरकार
Chor chor chhip chhip jaa
Posted on: January 6, 2023
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5285 | Post No. : | 17313 | Movie Count : |
4659 |
#the Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # (Missing movies of 1975)
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(A tribute to actor Om Puri- On his Remembrance Day)
Today 6th January 2022 is sixth ‘Remembrance Anniversary’ of one of the finest actors this country has produced. We are all aware of his talent and he has acted in several international films too.
He was born on 18th October 1950 in Ambala-Punjab.
He is none other than our beloved Om Puri. An actor without a face or rather a ‘cinematic face’ as he was ridiculed at the FTII Pune during his days there. I remember, there was an article about him in a Marathi magazine or Newspaper (I do not remember correctly) titled ‘bin chehryacha kalaawant’ (literally meaning ‘an actor without a face’) after ‘Ardhsatya’ had released.
I also remember that I had watched this movie after passing my matriculation exams that year in 1983. Later on I got to watch many of his movies on TV and also watched the show ‘Bharat Ek Khoj’ where he appeared as an actor and was a commentator too.
I also remember his role in ‘Kakkaji Kahin’ – a TV serial- which I like very much. (I wish it should be ‘telecast’ again).
There is a long list of his movies I watched and wherein I like the characters he played. I am not going to mention the list and others details in today’s post here.
His struggles since his childhood days and later on how he reach to the National School of Drama and from there to the FTII Pune and how he reach to the mainstream cinema speaks a lot about his character and the person he was. From FTII Pune to mainstream Cinema and displaying his talent in acting is like a ‘dream story’.
He was famous for his ‘outspokenness’ and calling a spade ‘a spade’ and that many times landed him in controversies too. His personal life had also not gone well for him which hastened his ill health and that may have also been resulted an un-timely death of this ‘greatest actors’.
Missing him is like missing someone from your very near and dear ones.
It was shocking news for me the day he passed away or rather the next day of his death when the news broke in the next day morning to me. (I was at Anand that day. I and my wife had come from Nagpur to meet our daughters who were studying at Vidyanagar then.).
Today as a tribute to him I present a song from a lesser known or obscure movie ‘Chor Chor Chhup Jaa-1975’.
This is said to be the first film of Om Puri.
This movie was a ‘children’s movie’.
It was directed by B.V. Karanth for ‘Children’s Film Society of India’ and ‘Karanth Associates’
This movie was passed by Censor Board on 06.11.1975.
It had Om Puri (chor), Prasad Tagat (Madhav) and Bandar (Ramu), Dr. N. Ratna, Vishwanath Mirle, Ratna Vishwanath, Aster Anantmurty, Sheela Rao,
Mohan and Zareena are singers whose voices are used in the only song this movie has.
The idea of the story and scenario is by Dr. N. Ratna.
Editing of this movie was done by P. Bhaktavatsalam. The dialogues of this movie were written by Bansi Kaul who was also the Deputy Director of this movie.
Screenplay was written by B.V. Karanth and he also composed the music for this movie.
Here is a short note about what this movie is all about taken from ‘worldcat.org’ –B.V. Karanth page.
Madhav a mute kid has too many wonderful toys, but no friends to play with. He befriends Ramu, a monkey and his owner, a thief. This strange friendship has an unexpected affect. In trying to talk to the monkey, Madhav begins speaking haltingly, while Ramu’s thieving owner moved by the child’s innocence decides to give up stealing.
What happens next?
Luckily this movie is available on ‘Youtube’ and those interested can watch it there.
I am very much thankful to the up-loader of this movie.
I watched this movie and enjoyed it as I always have a liking for such type of movies.
As mentioned about today’s song is sung by Mohan and Zareena (HFGK mentions Rubeena) which on screen is lip synced by Om Puri (first part) and Prasad Tagat (second part).
This is a playful song which happens when the child, the ‘chor’ and the Bandar ‘ramu’ are playing ‘hide and seek’ game and the second part is when the ‘chor’ and his ‘bandar’ leave the kid at his home …
Let us enjoy today’s song and watch the young Om Puri in his first film (if the sources are correct).
Part I
Part II
Song-Chor Chor chhip chhip jaa (Chor Chor Chhup Jaa) (1975) Singers-Mohan, Zareena, Lyrics-B V Karanth, MD-B V Karanth
Lyrics
—————–
(Part-I)
—————–
Madho o
Madho o
Chhip chhip jaa
Chhip chhip jaa
Saans nahin le ae
Saans nahin le ae
Aahat nahin kar
Aahat nahin kar
Pakdaa jaayega tu
Pakdaa jaayega tu
Chor
Chor
Chor
chor
Chhip chhip jaa
Madho o
Madho o
Chor chor
Chor chor
Chhip chhip jaa
Sooraj jo
Tujhe dekh na paaye ae
Chandaa maama chhoo
Nahin paaye ae
Saat samandar paar
Nagar mein ae
Saat samandar paar
Nagar mein ae
Chhip chhip chhip
Chhip jaa
Chhip chhip chhip
Chhip jaa
Chhip chhip chhip
Chhip
Chhip jaa
Chhip chhip chhip
Chhip
Chhip jaa
Chhip chhip chhip
Chhip
Chhip jaa
Maadho o o
Ahaa haa haa aa
———————-
(Part II)
———————-
Chor chor chor chor
Chhup chhup jaa aa
Chor chor chor chor
Chhup chhup jaa aa
Chhup chhup jaa aa
Chor chor chor chor
Chhup chhup jaa aa
Chor chor chor chor
Chhup chhup jaa aa
Saans nahin le ae
Aahat nahin kar
Saans nahin le ae
Aahat nahin kar
Pakdaa jaayegaa tu
Pakdaa jaayegaa tu
Chor chor chor chor
Chhup chhup jaa aa
Chor chor chor chor
Chhup chhup jaa aa
Hmm hmmm hmm hmm
Hmmm hmm hmm hmm
Hmm hmmm hmm hmm
Hmmm hmm hmm hmm
Hmm hmmm hmm hmm
Hmmm hmm hmm hmm
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Gudiya Chidiya chaand chakori
Posted on: September 18, 2022
- In: Asha Bhonsle songs | Blog Ten Year Challenge (2012-2022) | Children's song | Guest posts | Jagjit Kaur songs | Kids song | Lyrics by Prakashchandra | Lyrics contributed by readers | Post by Peevesie's mom | Song sung by three or more singers | Songs of 1980s (1981 to 1990) | Songs of 1984 | Songs picturised at well known locations | Songs picturised in cities | Yearwise breakup of songs
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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.
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Blog Day : |
5175 | Post No. : | 17148 |
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Blog 10-Year Challenge (2012-2022) – Song No. 95
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Hullo Atuldom
Today’s Blog 10-Year Challenge (2012-2022) – Song No. 94 is the trigger for this post. A movie listed therein has only one song posted in the blog. Today is a good enough date/ day to have one more.
The list of songs that were published on this date ten years ago are:-
| Blog post number | Song | Movie (Year) | Remarks |
|---|---|---|---|
| 6662 | Chhuk chhuk chhainyyaan chhaiyyaan | Shehnaayi (1947) | Movie YIPPEED by now |
| 6663 | Ek baar phir se aaja dil mein mere samaa jaa | Elaan (1947) | Movie YIPPEED by now |
| 6664 | Ye thhandi hawaa rangeen fizaa | Son of Alibaba (1955) | 3 songs out of 8 covered. Fourth song covered today (18 september 2022) |
| 6665 | Pyaar beqaraar hai pyaar ki pukaar sun | Yahudi Ki Beti(1956) | 4 songs out of 8 covered by now |
| 6666 | Yaad jab aaye teri | Mohar (1959) | Movie YIPPEED by now |
| 6667 | Taash ke baawan patte | Tamanna(1969) | 3 songs covered out of 5 by now |
| 6668 | Naghma hamaara gaayega ye zamaana | Bundlebaaz (1976) | Movie YIPPEED by now |
| 6669 | Sajna ka kangna kangna mein heera | Sitaaraa (1980) | Movie YIPPEED by now |
| 6670 | Tumse hi roshan hai raat meri | Lorie (1984) | One song out of 4 covered by now |
I am bringing on-board a song from the 1984 release “Lorie”. In this post Atulji has listed the cast of “Lorie”, and an outline of the movie’s plot- courtesy Prakashchandraji.
Today’s song (I think) is one that shows Geeta Malhotra’s (Shabana Azmi) love for children. It is written by Bashar Nawaz and Khayyam is the music director. Asha Bhonsle, Jagjit Kaur and Pamela Chopra are the playback singers used for this song. It is shot around popular spots of Mumbai like Juhu Beach, Chota Kashmir & the picnic spot that are inside Mumbai’s Aarey Milk Colony (which used to be a preferred picnic destination for most schools during my schooldays). The lasst stanza is at Borivali National Park which has since 1996 been renamed Sanjay Gandhi National park.
I was reminded that today is Shabana’s birthday when I saw ‘Rangoli’ on Doordarshan this morning. Wishing her all the best as she turns 72 today.
Video
Audio
Song-Gudiya chidiya chaand chakori (Lorie)(1984) Singer-Asha Bhonsle,Lyrics-Bashar Nawaz, MD-Khayyam
Chorus
Pamela Chopra
Jagit Kaur
Lyrics (Provided by Prakashchandra)
gudiya chidiya chaand chakori
haathi ghoda doodh katori
atkal batkal khel tamaasha
bachpan jaise sapnon ki dori
gudiya chidiya chaand chakori
haathi ghoda doodh katori
atkal batkal khel tamasha
bachpan jaise sapnon ki dori
gudiya chidiya chaand chakori
lallalalla
lalalaalala
lallallalla
lallalalla
laalaalaalala
lallallalla
luk chhup luk chhup
pariyaan aayen aen aen
meethhe meethhe geet sunaayen
aa aa aa aa aa
luk chhup luk chhup
pariyaan aayen aen aen
meethhe meethhe geet sunaayen
pariyaan kaisi hoti hain didi
main batlaaun didi jaisi
hahahaha
nahin mere taaron
tum sab jaisi
gudiya chidiya chaand chakori
haathi ghoda doodh katori
atkal batkal khel tamaasha
bachpan jaise sapnon ki dori
gudiya chidiya chaand chakori
lallalalla
lalalalala
laallallaalala
gulshan gulshan rut matwaali ee ee
bachpan bagiya phoolon waali
aaa aaa
aa aa aa aa
gulshan gulshan rut matwaali ee ee
bachpan bagiya phoolon waali
phoolon ka raaja kaun hai didi
main batlaaun apni didi
chal deewaani apni
didi hai raani
achcha
gudiya chidiya chaand chakori
haathi ghoda doodh katori
atkal batkal khel tamasha
bachpan jaise sapnon ki dori
gudiya chidiya chaand chakori
udti udti titli boli ee ee
aao khelen aankh micholi
aaa aaa
aa aa aa aa
udti udti titli boli ee ee
aao khelen aankh micholi
didi titli ke rang kitne
didi ke aanchal mein jitne
hahahaha
na munni
tere sapne jitne
gudiya chidiya chaand chakori
haathi ghoda doodh katori
atkal batkal khel tamaasha
bachpan jaise sapnon ki dori
lalla lalla
lalla lalla
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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