Archive for the ‘Children’s song’ Category
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
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(Part-I)
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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
Hmm hmmm hmm hmm
Hmmm hmm hmm hmm
Hmm hmmm hmm hmm
Hmmm hmm hmm hmm …..
Gudiya Chidiya chaand chakori
Posted on: September 18, 2022
- In: Asha Bhonsle songs | Blog Ten Year Challenge (2012-2022) | Children's song | Guest posts | Jagjit Kaur songs | Kids song | Lyrics by Prakashchandra | Lyrics contributed by readers | Post by Peevesie's mom | Song sung by three or more singers | Songs of 1980s (1981 to 1990) | Songs of 1984 | Songs picturised at well known locations | Songs picturised in cities | Yearwise breakup of songs
- Leave a Comment
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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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
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 : |
5170 | Post No. : | 17139 |
Today’s song is from the film Naya Sansar-1941. The film was made by Bombay Talkies. It was directed by N.A.Acharya. The cast of the film was Ashok Kumar, Renuka Devi, Mubarak, Shah Nawaz, V.H.Desai, P.F.Pithawala, David and others. The music was given by Saraswati Devi (4 songs) and Ramchandra Pal (6 songs). The songs were written by Kavi Pradeep.
Though this was the 13th film of Ashok Kumar, it was only the 4th film of Renuka Devi. After working with Heroes like Jairaj, Kishore Sahiu and Pahadi Sanyal, it was her first film with the acclaimed Romantic hero Ashok Kumar. By now, Ashok Kumar had got used to acting, but his one problem was not yet solved. Like any new actor, Ashok kumar did not know what to do with his hands and he always felt very awkward and ill at ease while acting. He and his directors tried several ways, but this problem was not solved yet….at least till he acted in the film Naya Sansar-41.
In this film, his role was that of a radical news reporter of a Newspaper called “Sansaar “, run by Mubarak. This newspaper had become popular due to its forward and nationalistic thinking and the paper criticised the leaders, government and the administration for the wrongs they did to the people and the Nation. While doing this role. Ashok Kumar had to smoke. Not that he had never smoked, but he was an occasional smoker. While doing this role, he suddenly realised that this time he had not faced the problem of “what to do with the hands”. With smoking, this problem seemed to disappear automatically and his acting became very natural and more impressive. Even the director noticed this and encouraged Ashok Kumar. This was the beginning of not only the disappearance of his problem but also the beginning of his famous natural acting. He continued smoking till he breathed his last !
Mayanagri – Bombay – attracted people from all over the country. The film world of Bombay had the Glamour, fame and money. This appealed to people from every field- acting, singing, music direction etc. Film Industry mesmerised not only the ordinary, but even the experts in related fields. That is why Internationally famous Sitarist Ravi Shanker, Dancer Uday Shankar, Bade Ghulam ali khan and many other eminents tried their hands with films.
There were two types of Newcomers. One who came, whether successful or not, remained in the film line till their end and the second was Specialists who came , contributed their bit and went back to their comfort zones again. Some names in the second category are Pushpa Hans, Meera Mishra, Shakuntala Paranjpe, Madhusudan Bhatt, Bal Gandharva, G.N.Joshi etc-all actors,lyricists like Moti, B.A.( actually he was M.A.), Dr. Ramesh Shastry etc. Classical singers like Phiroz Dastur, Ram Marathe, Hirabai Badodekar, Manik Verma, Menaka Bai, Ira Nigam etc. and MDs like Kazi Nasrul Islam,Ali Akbar Khan, Allah Rakha, Mohanlal Aima, Pt. Amarnath Chawla etc etc. ( names are only indicative and not exhaustive.)
One name in this category stands out boldly and that is actress Renuka Devi. She came to films as a Hobby, acted only in 7 films, sang 20 songs in 4 films and happily returned to her married life again. A very strong mind and determination is required to forgo fame and money for something you love more in life.
Sometime back, I had bought one book and when I read this book – ” A woman of substance-Begum Khursheed Mirza”’ I was very much impressed.
Begum Khursheed Mirza is none other than the famous Heroine of the 30s and 40s-Renuka Devi. She was perhaps one of the most educated, upper class, sophisticated and highly cultured Muslim lady, who ever joined the film industry then. One more striking feature of Renuka Devi was that she was one of the very few actresses who joined films after their marriage. The other such examples I remember offhand are that of Meenakshi Shirodkar (Bramhachari-38 fame), Shobhana Samarth and actress Neena ( real name Shahida- first wife of Mohsin Abdulla, brother of Renuka Devi).
Renuka Devi had studied upto Masters degree in English Literature, from Aligarh Muslim University. The only other nearest example I remember offhand is that of actress Vanmala (real name Susheela Devi Pawar), who had done B.A and B.T. and was a Teacher in the college before joining films,at the behest of writer, journalist and Director P.K.Atre.
The story of Renuka Devi is quite interesting. Khursheed jehan was born in Aligarh on 4-3-1918, to Shaikh Abdulla and his wife Waheed jehan Beg. She was the 6th of 7 siblings. Her father Shaikh Abdulla (1874-1965) was originally a Hindu. He was the son of a rich jahagirdar and Landlord from Poonch,Kashmir. They were Kashmiri Brahmins. His name was Thakur Das. He embraced Islam in 1890, while studying in Aligarh. When his family learnt about it he was disowned by them. He took the name Shaikh Abdulla.
He became a leading Advocate of Aligarh. After he married Waheed Jehan Beg, they both- being of progressive thinking- decided to work for the Muslim womens’ education. They faced lot of resistance from the fundamentalists, but they established a Muslim women’s college in Aligarh. To provide students for this college, a school was also started for Muslim girls. Soon girls started joining the school and college. Shaikh Abdulla ensured that all his children were educated. One daughter became a Doctor, another Advocate and two daughters did master’s degrees and later on became Principals of the women’s college. Khursheed also studied upto masters but due to her marriage could not complete it. ( she completed her masters in English Litterateur in 1963, at the age of 45 years, later).
Khursheed jehan was married to Akbar Mirza, a Police Officer in Aligarh. Soon she gave birth to 2 sons. Her husband, Akbar Mirza, was a well-placed official in the colonial police force and she enjoyed playing the part of hostess and homemaker. At a women’s club fundraising event organized by her, a senior British official commented that she had a flair that would be perfect for a film career. This set the 21-year-old Khurshid thinking and when her brother, Mohsin Abdullah, told her about “the professional atmosphere at the [Bombay Talkies] studios and the charming Mr Himansu Rai and his wife Devika Rani”, she could not resist. She wrote to Rai enquiring about a job, even sending him a recent photograph. What ensued was a struggle between the claims of domestic life and the increasing attractions of an independent and lucrative career.
This she did without informing her husband. She received a letter from Devika Rani,inviting her to Bombay for an interview. Now she confided in her husband and he wholeheartedly supported her. Akbar stood by his wife in the face of stiff opposition from both their families. Precisely because she had anticipated controversy, Khurshid had adopted the screen name “Renuka Devi” but it could not protect her identity. In her autobiography she says, “My mother wrote asking me not to visit Aligarh until the hue and cry had died down. As a result, I did not meet my family for nearly two years.”
Thus started her acting career. She was 21 years old, married and had 2 children too. Her first film was “Jeewan Prabhat”-37. She was given the name RENUKA DEVI. This was the Debut film for Kishore Sahu as well. Bombay Talkies bosses were very happy with her performance and she was offered the Heroine’s role opposite Jairaj in the film ” Bhabhi”-1939. Jairaj was also from a rich background, cultured and highly educated. Their tuning was excellent and the film was a grand success. Renuka also sang a few songs in Bhabhi-39. When the news of her acting in films reached Aligarh,there was a hue and cry. Her mother wrote to Renuka,’not to visit Aligarh for now’. Renuka did not go to Aligarh for the next 2 years.
She was invited to Calcutta By New Theatres to act in the film, Dadi Didi-39. Her other films were Naya Sansar-41 (Ashok Kumar), Sahara-43 (S D Narang), Ghulami-45 ( Masood Parvez) and Samrat Chandragupta-45 ( Ishwarlal ). Her film career was very short. She announced her retirement from films in February 1944, while shooting for her last films.
After partition, her family migrated to Pakistan. In Pakistan, though in demand, she refused to do any films. Instead, she decided to devote her time for women’s uplift, education, welfare and social work. She also did some work on Pakistan Radio.
When TV came to Pakistan, she became very active and she was a popular figure on Pak TV for the next 15-20 years. She completed her master’s degree in 1963, at the age of 45 years. She published 9 instalments of her autobiography in the popular magazine ” Herald ” from August 1982 to April 1983, under the title ” The uprooted sapling”. This was later on edited and published by her daughter Lubna as a Book in 2004, titled- ” A woman of substance- the memoirs of Begum Khursheed Mirza “.
Renuka Devi died on 8-2-1989 at Lahore after a prolonged illness.
In her book she included a chapter of 24 pages ” Renuka Devi-my celluloid identity”, in which she has described many interesting anecdotes. Her detailed description of the times of the 30s and 40s is a lovely chronicle of the history of Bombay film industry. Here are some excerpts from her book…
1) Back in the Thirties, acting in films was not considered an honourable profession for anybody. And for a married woman from a well-educated and respectable upper-middle class Muslim family, it was forbidden to even think about it. But Khurshid Mirza, the daughter of the founders of the Aligarh Women’s College, the wife of a police officer and already a mother of two, was too free-spirited to be tied down by any social norm. She took the plunge and soon a star named Renuka Devi was born.
2) In 1939, Shanta Apte wrote that she received four or five letters each day from young girls wanting to join the movies “due perhaps to this monetary attraction”. Actresses themselves acknowledged in interviews that the money was substantial and more than one actress claimed that her salary rivalled that of the Governor of Bombay! But aside from several myth-building exercises, it is now apparent that film acting was a uniquely high-paying profession for women. According to Filmindia, Shobhana Samarth’s approximate total income in 1942 was Rs 36,000 while Sardar Akhtar, Naseem Banu, and Madhuri earned about Rs 30,000 each. These figures indicate that leading heroines of the day averaged an income of Rs 3,000-4,000 per month (some actresses were freelancers and did not work through the year) at a time when a French chiffon sari cost Rs 9, and a brand new imported Studebaker cost Rs 6,000. It is hardly surprising then, that Khursheed would want to make “a little dough”.
3) ” Akbar stood by me in the face of stiff opposition from both our families. Nevertheless, he maintained a strange attitude towards my work. He enjoyed the benefits the money brought us, such as a new car, expensive game-hunts, and pleasure trips to fashionable Mussoorie in summer and excellent schooling for our children. And, yet, he treated my work as a hobby, instead of giving it its due importance.”
( My thanks to the book, ”A woman of substance “, some information from ” Free Library”,Cineplot and my own notes).
I have not seen this film, but from today’s song, it seems to have been shot on Renuka Devi while playing a game with a child and his friends. Renuka Devi sang 5 songs in this film – 3 songs under the MD-Ramchandra Pal and only 2 songs composed by Saraswati Devi. Today’s song is by these two Devis together. ( In the early era of films, girls coming from educated and well to do families used to use the suffix of Devi to their name- like Sabita Devi, Molina Devi, Meera Devi etc. Girls coming from Tawaif families and singing families used to put the suffix of Bai to their names, like Jaddan Bai, Amir Bai, Waheedan Bai, Kalyani bai, Menaka Bai etc.) Enjoy this song.
Song- Chalo Chalo bhool bhulaiyya khelen (Naya Sansaar)(1941) Singer- Renuka devi, Lyricist- Pradeep, MD- Saraswati Devi
Chorus
unknown child voice
Lyrics
chalo chalo bhool bhulaiyya khelen
chalo chalo bhool bhulaiyya khelen
haan haan haan haan
paas ki phool bagiya mein
haan haan haan haan
paas ki phool bagiya mein
chalo chalo bhool bhulaiyya khelen
chalo chalo bhool bhulaiyya khelen
kya karogi bolo jab ud jaayengi
haan haan
joban ki chiraiyya
kya karogi bolo jab ud jaayengi
haan haan
joban ki chiraiyya
main tum donon ki khoj karoongi
main tum donon ki khok karoongi
ban pawan purwaiyya aa aa
ban pawan purwaiyya aa aa
chalo chalo bhool bhulaiyya khelen
chalo chalo bhool bhulaiyya khelen
phoolon ke van mein tum chhup jaana
ban ke ek papaiyya
phoolon ke van mein tum chhup jaana
ban ke ek papaiyya
phool phool se hum poochhenge
phool phool se hum poochhenge
kahaan hai humra bhaiyya
kaho kaho
kahaan hai humra bhaiyya
chalo chalo bhool bhulaiyya khelen
chalo chalo bhool bhulaiyya khelen
aasha didi
aasha didi
main bhi kheloonga
raaja bhaiyya khelega
raaja bhaiya khelega
haan haan haan
ban jaana ek bilaav
chhup jaana patton ki chhaanv
aankh bacha kar karna miyaaun miyaaun
miyaaun miyaaun
donon bahnen dar kar bhaagen
aisi bhaagen aise bhaagen
donon bahnen dar kar bhaagen
aisi bhaagen aise bhaagen
jaise van ki bilaiyya aa aa
jaise van ki bilaiyya aa aa
chalo chalo bhool bhulaiyya khelen
haan haan haan haan
paas ki phool bagiya mein
chalo chalo bhool bhulaiyya khelen
chalo chalo bhool bhulaiyya khelen
Daddy Tum Auntie Se Pyaar Karte Ho
Posted on: June 20, 2022
This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5085 | Post No. : | 17009 | Movie Count : |
4607 |
Hullo Atuldom
3rd Sunday of June is celebrated as Father’s Day and yesterday (19th June) was Father’s Day this year. The day is meant to honor Fatherhood and Paternal Bonds as well as the influence of fathers in society. In the USA, father’s day was founded by Sonora Smart Dodd, and celebrated on the third Sunday of June, for the first time, in 1910. The day is held across the world on various dates and different regions have their own traditions of honoring Fatherhood.
Here I would like to mention that Sonora Smart Dodd was the daughter of American Civil War veteran William Jackson Smart whom she held in very high esteem. Along with her father, she shared the raising of her five siblings, after the death of her mother. While hearing a church sermon about the newly recognized Mother’s Day, Sonora felt strongly that fatherhood needed recognition as well and suggested June 5th (her own fathers’ birthday) as a possible date for father’s day. The Ministerial Alliance of the Spokane County (the county where they lived) chose the third Sunday instead.
That is how Father’s Day came about to be on third Sunday of June and complements similar celebrations honoring family members such as Mother’s Day, Siblings’ Day and Grandparents’ Day.
Today we shall have a Father-Son song and continue with the celebration of Father’s Day here on our blog. We have a song from the film ‘Aamne Saamne’ (1982). The star cast of the film is Mithun Chakravarthy, Bindiya Goswami, Aarti Gupta, Tarun Ghosh, Dinesh Thakur, Leela Mishra, Kamal Kapoor etc. The film was released in January 1982 – 40 years already, wow!!! (Now I realize why I didn’t get to see it in the cinema hall back then. I was in the middle of preparing for my class 10 boards).
‘Aamne Saamne’ (not to be confused with the 1967 film with the same name, starring Sharmila Tagore and Shashi Kapoor, which has already been Yippeee’d on the blog) was produced by Shakti Samanta and directed by his son Ashim Samanta. Madan Joshi was the dialogue writer, KK Shukla wrote the story and screenplay. The songs of this film were written by Anjaan and (our very own) Panchamda was the music director. Kishore Kumar, Amit Kumar, Asha Bhonsle, RD Burman were the playback singers used. I think it is the voice of Vanita Mishra for the young boy in today’s song in duet with Panchamda for Mithun. This song may remind some people of “Papa Ko Mummy Se Pyaar Hai” from film ‘Andaz’ (1971).
The movie had a plot similar to the Rajesh Khanna starrer ‘Sachcha Jhootha’ (1970). Mithun has a double role where the simpleton Gopi from the village is spotted by Johnny, who is a stage-singer by day and a criminal by night. Johnny trains Gopi to take his place on stage so that he has an alibi if caught by the cops – age old formula, I am sure repeated later in ‘Dhoom 3’ (2013). Then there is a tiny angle of a child, who is on the lookout for his father, and has a photo of his parents to help him. Madhu Malhotra is the mother in the photo. This was Ashim Samanta’s debut as director, and Aarti Gupta’s first lead role.
With today’s post we are wishing (rather belatedly) Mithun Chakravarthy on turning 72 on 16th. May he continue to be busy with whatever his heart is after. May we get to see more of him.
The agenda closer to home of this post is to wish the Father of this blog, our very own fearless leader- Atul ji on his birthday today. Last year we had a wonderful post with the song “Main Nikla O Gaddi Le Ke” by Avinash ji on the same date. In that post Avinash ji has called the Blog a ‘gaddi’ which is driven by ‘engine’ Atul ji and all of team members and followers ‘wagons’ of this BANDWAGON. I fully endorse his thoughts.
Thanking Atul ji for taking us along with him on this grand journey of music and knowledge sharing. Thanking him also for giving us this platform and encouraging novices like me into writing out our thoughts. As always, I wish he gets more time with his family, pets, friends, music and the blog.
With this song, ‘Aamne Saamne’ (1982) makes its debut on the blog.
Audio
Song – Daddy Tum Auntie Se Pyaar Karte Ho (Aamne Saamne) (1982) Singer – Vanita Misra, RD Burman, Lyrics – Anjaan, MD – RD Burman
Mithun Chakravarty
Bindiya Goswami
Lyrics (Provided by Sudhir)
daddy
tum chup kyon ho
hmm,
nahin to
auntie
tum chup kyon ho
main
nahin to
main sab jaanta hoon
kya jaante ho
daddy
tum auntie se pyaar karte ho
o daddy tum auntie se pyaar karte ho
o daddy tum auntie se pyaar karte ho
lekin mujhse darte ho
chup shaitaan kahin ka
auntie tum daddy se pyaar karti ho
o auntie tum daddy se pyaar karti ho
lekin mujhse darti ho
a a bura mat maan’na
bachcha hai
kehne do na
achcha hai
lallall la
lallall la
la lallall la
lallall la
lallall la
la lallall la
o daddy ki nazar
jhukti nahin
auntie ki nazar
uth’ti nahin
peechhe reh gaya
saara shehar
gaadi ye kahin
rukti nahin
arre
chalo utro
utro neeche
aage tum chalo
main peechhe peechhe
o chori se tum aankhen chaar karte ho
daddy tum auntie se pyaar karte ho
hutt tere ki
jhonka bhi diya
doli nahin
mauka bhi diya
boli nahin
daana to bahut
daala magar
chidiyon ne munh kholi nahin
arre
lo ye choclate
aur chup ho jaao
achcha
tum mujhe rishwat dete ho
o yaani ke
tum iqraar karte ho
o daddy tum auntie se pyaar karte ho
khel khel mein
baat kya hui
aansoo nikle
khoyi hansi
auntie ne mujhe
pappi jo di
mummy ki mujhe
yaad aa gayi
auntie ko daddy meri mummy bana do
mujhse agar tum pyaar karte ho
o daddy tum auntie se pyaar karte ho
lekin mujhse darte ho
ha ha ha ha
ha ha ha ha
lallall la
lallall la
la lallall la
o ho ho ho
lallall la
lallall la
la lallall la
lallall la
lallall la
la lallall la
lallall la
lallall la
la lallall la
Ghar Jaanam, Ghar Jaanam
Posted on: June 5, 2022
- In: "Fantasy" song | Children's song | Fun lyrics song | fun timepass song | Guest posts | Kavitha Krishnamurthy Songs | Post by Avinash Scrapwala | Shailendra Singh songs | Song sung by three or more singers | Songs of 1990s (1991 to 2000) | Songs of 1991 | Suresh Wadkar songs | Yearwise breakup of songs
- 3 Comments
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5070 | Post No. : | 16991 |
In one of my earlier articles here, I had mentioned that the month of June is one of my most favorite months. There are several important days in this month and different anniversaries of our close ones too (including me 🙂 ).
Today 5th June is one such important day. It is the ‘World Environment Day’ today.
Here again I will repeat what I have mentioned in my post for the short song “Ye Hanste Huye Phool, Ye Mehka Hua Gulshan” from film ‘Pyaasa’ (1957) written for ‘Environment Day – 2017’ and posted on the blog on 08.06.2017 (instead of 05.06.2017).
I am approaching today’s post in a different manner. Instead of going into the details of the environmental agencies, their history and purpose, the significant environmental issues being faced by humanity on this planet, etc. I am thinking of our Hindi films and their music. The nature is so intimately connected herein. We cannot imagine our Hindi Film Music without ‘connecting with nature.
Well, for today I would like to make a little correction in the above lines. That year 2017 the theme of the ‘WED (World Environment Day) was ‘Connecting with Nature’ and I had tried to connect the same with the songs, lyrics and music of our Hindi movies.
This year ‘2022’ the theme of the ‘WED’ is “Only One Earth – Living Sustainably in Harmony with Nature”. So I would like to add here that I am thinking of those Hindi Films which carried a ‘message’ related to environment and our planet ‘the earth’. And since this is the blog of songs we need a song to connect this celebration today.
The movie of today ‘Aasmaan Se Gira’ (1991) has a message for all of us in its climax. Today’s song, though doesn’t exactly match the theme of today, it connects to the ‘philosophy of life’ and alerts us that ultimately our destination is ‘one’ and we have leave everything here. So let us leave everything in a good shape, better prospects, and in compassion to the humanity and nature. Leave the ‘shad-ripus’ (kaam, krodh, lobh, moh, mad, matsar) to attain ‘moksh’. I have listened and watch this song several times and it is an enlightening song woven in comical situation in the movie. The movie also needs to be watched even though it’s a movie for children.
In today’s post I am not going into the details of this movie which I had mentioned in my earlier article with other song of this movie earlier on the blog – “Ghar Jaana Hai Mujhe, Ghar Jaana Hai“. A brief about this movie is given below.
A young prince is being trained for a time when he will grow up to become king. The lonely boy is frustrated at being kept secluded while being taught the art of statesmanship by great scholars. One day while frustrated he is crying for help ‘a strange little man’ arrives in his room.
This ‘little man’ is from another planet. His name is Trishanku. Trishanku was travelling to attend the wedding of his friend, but since the ‘rays of sorrow’ from the little prince caught him on the way he lands there to help the little prince.
The prince and Trishanku exchange views about their own worlds. Trishankhu is homesick and wishes to return back to his planet. He has his three friends from his planet who had earlier lost their way after coming to earth and then stayed back on the planet earth thereafter. Each one of the three knows the ‘part of the mantra’ that will allow Trishanku to go back to his home planet.
The two-escape trying to find ways for Trishankhu to go back. On their journey they develop a deep bonding and it is hard for Trishankhu to let go.
When Trishanku meets each of his three friends, each one gives him one part of the mantra which is presented in the form of a song and that is our song for today. It is picturised in three parts on Anil Kapoor, Sheeba, Sridevi, and Anupam Kher. The forth part of the song is picturised on Trishanku i.e. Raghuveer Yadav who is singing it at the ‘Jantar Mantar’ from where he is supposed to find his way to his planet after singing the ‘mantras’. In all the four parts of the song the little prince i.e. Master Abhishek is present in the picturisation of this song.
Finally Trishanku lands on his planet and he enters the ‘darbaar’ of his master (God of Outer Planet) i.e. ‘Baadshaah-e-Kahkashaan’ played by Amjad Khan. And, there we have the following conversation between ‘Baadshaah-e-Kahkashaan’ and Trishanku, where the master has a message for all on this ‘Planet – The Earth’.
Trishanku – takai t takai t takai t … main aa gaya ‘baadshaah-e-kahkashaan’,
andar aane ki ijaazat hai?Baadshaah – aao … der lagaa di tumne, chuk gaye shaadi, yaad karte rahe sab
Trishanku – main kya karta, ve tinon itni door door thhe ek yahaan, doosra
wahaan , teesra jaane kahaan, badi mushqil huyiBaadshaah – kya dekha tinon ne, pataa nahin … nahin laute… manaa kiya maine,
nahin maane
moorkh
bewaqoof
prithvi ke log
nahin samajhte
itni achchhi prithvi achaanak nahin bani… mehnat lagi.. koshish..
tum to thhe… yaad hain?Trishanku – haan yaad hain
Baadshaah – barbaad kar diya prithvi ko… tahas nahas… jung golaa barood
hathiyaar ladaayi … ped tod todkar nangaa kar diya prithvi ko
paani mein zehar … hawaa mein zehar …
mutthibhar log, hukumat karte karodon par
anaaj hain, bhookhe rehte hain laakhon… anaaj bechkar hathiyaar
kharidte hain
moorkh! moorkh!! moorkh!!!Trishanku theek kehte hain …lekin sabhi wahaan aise nahin hai …ek bachchaa hai
kautuk …main uski madad karna chaahtaa hoonBaadshaah nahin, nahin, nahin, hamaara kaanoon hai, rishta mat banana
prithvi ke logon ke saath… madad mat karna un murkhon ki
koshish ki thhi pehle kabhi, gayi bekaar… bhool jaao…bhool jaao oTrishanku – theek hai prithviwaale dusht hain, lobhi hain, moorkh hain …ek doosre ka khoon choosnewaale hain, ek jhande ke pichhe aapas mein lad mar jaate hain, anaaj bechkar hathiyaar kharidte hain, lekin sabhi aise nahin hain..kautuk jaise log bhi hai wahaan, usne yahaan aane mein meri madad ki … main bhi uski madad karna chaahta haoon…
(After this Trishanku tells Baadshaah how good and friendly Kautuk is and what consequences he may be facing after being alone now.)
Kautuk wants to play , wants to fly kite, wants to eat mango.. but Maasheela is such a cruel queen who has prohibited everything for Kautuk and he cannot even go out of his palace… saying this Trishanku breaks into tears and Baadshaah surprisingly asks him what is flowing from his eyes and why. Trishanku explains him that this is the ‘gift’ he got from the ‘people of prithvi’.
Baadshaah orders to bring Maasheela to his darbaar. And when Maasheela (Kalpana Aiyer) threatens Baadshaah of his life, the Baadshaah wants to kill her but Kautuk intervene and request Baadshaah to forgive her and he begs him for her life.
Trishanku – dekha kitne zulm kiye hain is aurat ne is par, phir bhi ye uske praanon ki bheekh maang rahaa hai…ise kehte hain kshamaa, prem, kautuk jaise aur bhi log hain prithvi par, jab tak aise log hain hamen prithvi se naa-umeed nahin hona chahiye
(Maasheela hugs kautuk and is emotional. She asks kautuk to forgive her misdeeds. She showers her love on kautuk.)
This incident brings tears to the Baadshaah and he forgives all and with the following message…
jaao kautuk jaao… jab tak tum jaise log prithvi par rahenge …prithvi rahegi
jaao aur apne duniya ke logon ko samjhaa do…
aapsi prem khatm ho jaayega kuchh nahin bachega sab kuchh khatm ho jaayegaaKautuk returns to prithvi after taking a promise from Trishanku to visit him on his birthday every year.
This heart-warming film by popular TV and film director Pankaj Parashar stars a galaxy of Bollywood stars in guest appearances including Sridevi, Amjad Khan, Anil Kapoor and Anupam Kher.
Before we enjoy today’s entertaining song I just wish that may there be many such movies and may such songs which I can present for occasions like today. We need to have more movies to bring the awareness on issues of environment and pollution.
Yesterday, it was there in the news that people are throwing dead animals into canals… Many must have seen the dumping sites where every day garbage heap is dumped and which are slowly turning into big mountains …
And last but not the least … keep watching children’s movies in between … not necessary that all children’s movies are for children only. People can learn a lot from them.
Also I would like to request the film-makers that ‘meaningful movies’ on the issues around us can be made for adult audiences too and they should not limit this for the children only.
It is good to see that in recent years there have been movies coming on ‘environmental issues’ too. We will keep presenting songs from such movies in the future on the blog.
Song – Ghar Jaanam, Ghar Jaanam (Aasmaan Se Gira) (1991) Singer – Shailendra Singh, Suresh Wadkar, Kavita Krishnamurthy, Raghuveer Yadav, Master Abhishek, Lyrics – Kamlesh Pandey, MD – Louis Banks
Lyrics
Part 1
Shailendra Singh, Suresh Wadkar, Both
ghar jaanam
ghar jaanam
om
ghar jaanam
ghar jaanam
om ghar jaanam
prithvi tyaagam
ghar jaanam
om ghar jaanam
ghar jaanam
ghar jaanam
om
ghar jaanam
ghar jaanam
om ghar jaanam
prithvi tyaagam
ghar jaanam
om ghar jaanam
lobh, krodh, mad
maaya
matsar
sar sar sar sar
tum tar tar tar
lobh, krodh, mad
maaya
matsar
sar sar sar sar
tum tar tar tar
tum sar sar sar
tum tum sar sar
sar sar tum tum
tumsar tumsar
sarvas tyaagam
ghar jaanam
sarvas tyaagam
ghar jaanam
lobh, krodh, mad
maaya
matsar
sarvas tyaagam
ghar jaanam
ghar jaanam
om
ghar jaanam
ghar jaanam
om ghar jaanam
prithvi tyaagam
ghar jaanam
om ghar jaanam
——————————————————————–
Part 2
Suresh Wadkar, Kavita Krishnamurthy, Both
saans baansuri
sari sari dha dhadkan
dha dha dhina dha
saans baansuri
sari sari dha dhadkan
dha dha dhin dha
dha
tirkit dhoom tirkit dhoom dha dha
tirkit dhoom tirkit dhoom dha dha
[classical notations not deciphered]
dha tir dha tir dha dha
taa tir taa tir dha dha
dha tir kit dha dha
taa tir kit dha dha
dha tir dha tir dha dha dha
dha tir dha tir dha dha dha
dha tir dha tir dha dha dha
tatvamasi dha
shoonyam tha
shoonyam poornam
ghar jaanam
tatvamasi dha
shoonyam tha
shoonyam poornam
ghar jaanam
ghar jaanam
ghar jaanam
om
ghar jaanam
ghar jaanam
om ghar jaanam
ghar jaanam
ghar jaanam
om
ghar jaanam
ghar jaanam
om ghar jaanam
saans baansuri
tatvamasi dha
shoonyam poornam
ghar jaanam
ghar jaanam
ghar jaanam
om
ghar jaanam
ghar jaanam
om ghar jaanam
ghar jaanam
ghar jaanam
om
ghar jaanam
ghar jaanam
om ghar jaanam …
——————————————————————
Part 3
Anupam Kher, Suresh Wadkar, Chorus
Anupam Kher + Suresh Wadkar
ghar jaanam
ghar jaanam
om ghar jaanam
ghar jaanam
ghar jaanam
om ghar jaanam
hmm hmm hmm
ghar jaanam
ghar jaanam
om ghar jaanam
ghar jaanam
ghar jaanam
om ghar jaanam
dhobi aaya
kapde laaya
kapde maaya aa
daag lagaaya
dhobi aaya
kapde laaya
kapde maaya aa
daag lagaaya
chintaa bikhri
dhoor pataas kar
khonch khonch kar
daag chhudaaya
dhobi aaya aa
chintaa bikhri
dhoor pataas kar
khonch khonch kar
daag chhudaaya
dhobi aaya aa
tv video
baingan aaloo
sab kuchh tyaagam
ghar jaanam
tv video
baingan aaloo
sab kuchh tyaagam
ghar jaanam
hi hi hi hi
chaadar maili
chalo utaaram
ghar jaanam
chaadar maili
chalo utaaram
ghar jaanam
ghar jaanam
ghar jaanam
om ghar jaanam
ghar jaanam
ghar jaanam
om ghar jaanam
ghar jaanam
ghar jaanam
om ghar jaanam
ghar jaanam
ghar jaanam
om ghar jaanam
dhobi aaya
kapde laaya
maya utaaram
ghar jaanam
ghar jaanam
ghar jaanam
om ghar jaanam
ghar jaanam
ghar jaanam
om ghar jaanam
ghar jaanam
ghar jaanam
om ghar jaanam
ghar jaanam
ghar jaanam
om ghar jaanam
————————————————————————
Part 4
Suresh Wadkar, Chorus
ghar jaanam
ghar jaanam
om ghar jaanam
ghar jaanam
ghar jaanam
om ghar jaanam
prithvi tyaagam
ghar jaanam
om ghar jaanam
ghar jaanam
ghar jaanam
om
ghar jaanam
ghar jaanam
om ghar jaanam
prithvi tyaagam
ghar jaanam
om ghar jaanam
aa aa aa aa
aa aa aa aa
lobh, krodh, mad
maaya
matsar
sarvas tyaagam
ghar jaanam
om ghar jaanam
prithvi tyaagam
ghar jaanam
om ghar jaanam
aa aa aa aa
aa aa aa aa
saans baansuri
tatvamasi dha
shoonyam poornam
ghar jaanam
om ghar jaanam
prithvi tyaagam
dhobi aaya
kapde laaya
mail utaaram
ghar jaanam
om ghar jaanam
prithvi tyaagam
om ghar jaanam
Ye bade sahab ka topaa hai
Posted on: April 22, 2022
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5026 | Post No. : | 16934 |
Today’s song is from the film Diwali-1940.
Going through the Film Index book, listing all Hindi films from 1931 to 2012, I was surprised to see that only one film was made with the title of Diwali. One more film was Diwali ki Raat-56. Similarly, only one film was made with the title Dussehra-1956. There are 2 films on Holi-1940 and 1984 while another was Holi ayee re of 1970. This is the end of Indian Festival films. 2 Films were made on Eid ka chaand in 1933 and 1964, Idd ka salaam-1976 and finally Idd Mubarak-1988.
I fail to understand, when so many films are made on Mythological stories, Gods, Arabian Night stories and Mughal Kings, why were the filmmakers disinterested in making films on Indian festivals ? It is ofcourse most unlikely, rather impossible, that any Indian producer will read my question and give a convincing answer. Likewise there are not many songs on Diwali or other festivals either. I found many songs on Holi and Rakhi, though. I don’t expect any explanation for this either !
I am not aware of the storyline or any other matter concerning today’s film. The film was made by Ranjit Movietone and was directed by Jayant Desai. Music was given by the inhouse MD- Khemchand Prakash. This was his first film with Ranjit. Before him Gyan Dutt was the resident MD who worked from 1937 to 1940. After Khemchand prakash left Ranjit, it was Bulo C Rani from 1945 onwards.
In the early era, Ranjit was one of the most powerful and famous filmmaking companies in India, boasting of famous and popular artistes on its payroll. owned by Chandulal Shah, Ranjit Movietone made,in all, 175 films during its existence. Calcutta’s New Theatres, however, stands tall at No.1 with 177 films to its credit.
Film Diwali-1940 had 13 songs, written by D N Madhok, Pt. Sudarshan and P L Santoshi, but HFGK does not credit any song to any Lyricist. The cast of the film was Motilal, Madhuri, Ishwarlal, Keshavrao Datey, Dikshit, Indubala, Suresh, Vasanti etc.etc. The name of Indubala is a misfit. She was a Bengali and did Hindi films mainly made by Calcutta producers in Calcutta and she acted during a period from 1932 to 1949. She sang 30 Hindi songs in 14 films She acted in 33 Hindi films. In most films, she did comic roles. Even in this film she is paired with comedian Dikshit ( of the Ghori-Dikshit pair of the 1930s films). Here is Indubala’s Biodata based on an article by Dr, J.P.Guha, with thanks to him.
Indubala’s mother was Rajabala, who along with sister Matibala and brother Tinkary worked in Motilal Bose’s The Great Bengal Circus, also known as Bose’s Circus or Professor Bose’s Circus. Harimati was the eldest sister of Rajabala and had a different life. Rajabala performed mainly as a trapeze artiste and got married to Motilal Bose at a temple in Ujjain, India. At the time he was then in his forties while Rajabala was still a teenager. The marriage was never accepted as legal by Motilal’s family. Motilal Bose’s first wife was Mrs. Annadamohini Devi.
Indubala was born in November, 1899 at Amritsar, where the circus party had gone for performance. Indu was born premature and Dr. Bidhumukhi Basu was taken to Amritsar from Calcutta to attend Rajbala. Such was the affection and concern of the husband for his young wife. Motilal’s interest in Rajbala dwindled later, supposedly because Rajbala showed no interest in going back to the circus after Indu’s birth and soon she was left to fend for herself. She came to Calcutta with her daughter and was given shelter by a Jiban Krishna Ghosh, who remained loyal to her till his death and also played a major role in establishing Indubala in her life as a performer. Once in Calcutta, Rajabala trained herself as a singer and Indubala’s first training in music was from her mother. The initial plan was to train Indu as a nurse and she was admitted as a trainee in a hospital in the Pataldanga locality of Calcutta. Indu did not take fancy in the job and ran away from the hospital, much to the disappointment of her mother, who never wanted her only daughter to be forced into a life of indignity.
After this incident Indubala’s musical training started. Although her father ignored wife Rajabala completely, he remained fond of his daughter and kept in touch with her and often invited her to his ancestral home where he lived during his brief visits to Calcutta and sent her a monthly pocket money of Rupees twenty till his death. Indubala’s first performance was at a gathering of distinguished guests where her mother was the chief entertainer. Each one of the guests appreciated Indu’s singing and thus began her formal training from Gouri Shankar Mishraji. Indu was only about twelve then. This also marked the entry of Indubala into the red light world. Amongst her trainers were Kali Prasad Mishra, Elaahi Bux and Miss Gauhar Jaan. Apart from music, Miss Gauhar Jaan, credited as Prima Donna of India, Indu also learned etiquette from the elder artiste and developed a close friendship with her. This association provided Indu with valuable musical knowledge and experience.
In later years she took training from Girin Chakraborty, Kamal Dasgupta, Subal Dasgupta, Jamiruddin Khan and Kazi Nazrul Islam. In time she came to be one of the major exponents of Nazrul songs and her songs along with those of Miss Angurbala and Kamala Jharia are still referred to for authenticity of lyrics and tunes of Nazrul songs. In 1916, Indubala recorded her first songs. She was brought into the record circle by Bhagabati Charan Bhattacharya and Mr. Manindra Nath Ghosh, alias Mantababu, himself a gramophone singer of repute. The first songs published as a record were Asha Phuraye Gelo, Sindhu Khambaj and Aar Mukhey Boley Ki Hobey, Kedara. The record number was P 4306. In the beginning she did not take any money from the Gramophone Company and as such was credited in the records as Miss Indubala (Amateur). She was not the first amateur artiste of the company but enjoyed the privilege of announcing her name at the end of each song saying “My name is Indubala”. The amateur status continued for a fairly long period. Later on she received Rupees two hundred per record and also received a royalty of five per cent over the sales. Her first songs of Nazrul on the disc were “Cheyona Sunayana” and “Rumjhum Rumjhum Ke Eley Nupur Paye”. The record number was P 11661. To Indubala also goes the credit of being the first Bengali artiste to record Hindustani songs for the Gramophone Company. For the Indian State Broadcasting Center, later named All India Radio, Indubala first sang on the second day of the radio company’s broadcasting in 1927 in Calcutta and went on singing in this medium for nearly fifty years. Over the radio, Indubala sang not only from Calcutta but from several other stations by special invitation all over India. Apart from discs and the radio, Indubala was well established by the thirties in cultural functions all over India. Frequent invitations used to come from Shahjahanpur, Pakur, Madras, Bangalore, Palanpur, Nagpur, Hyderabad, Oudh, Trivandrum, Vizagapattam, Ajmer, Coimbatore, Dacca and several other places.
In 1936 she was appointed court musician to His Highness, The Maharajah of Mysore. She received a monthly salary of Rupees two hundred and fifty and this continued till the time when the native princes faced withdrawal of privy purse. In all Indubala had recorded some two hundred and eighty songs, including about two hundred forty basic songs, the rest being from films. Indubala’s first stage appearance was in The Rambagan Female Kali Theatre, established by her mother Rajabala in 1922. Both mother and daughter took part in the plays and Indubala appeared in about twelve plays in this short-lived company which lasted for only two years and in 1924 she joined Calcutta’s most prestigious stage, The Star Theatre. She continued to appear on the stage mainly in singing roles and her songs were a major attraction in each of the plays. By rotation she acted in all the public theaters of Calcutta and even took part in the Hindi Parsee Theatre in 1945 and 1946, the plays being Ghar Ki Laaj and Jasoos. Her last appearance in the public stage was in the play Prithviraj in the role of Mehga at Star Theatre in 1950. Thereafter she worked in call shows till almost 1958.
Jamuna Puliney (1933) has been credited as her first film. This is probably because this was her first film contract although Ankh Ka Tara (1932) released before Jamuna Puliney. In all she acted in about forty eight films in Bengali, Hindi, Urdu, Punjabi, Tamil languages. In most of them, she had songs as a major attraction or else did comic roles as in Bengali Indira (1937) and Hindi Diwali (1940) to name a few. She did the role of Dhai Ma in both the versions of Swayamsiddha (1947). Thereafter she was not seen on the screen. As a playback singer she lent her voice in films like Alibaba (1937), Chandragupt (1934) in Hindi, Ab E Hayat (1933) in Urdu and Dil Ki Pyaas (1935) also in Urdu. She did not act in these four films. Indubala did not receive any major award apart from the Gold Disc given on behalf of His Master’s Voice. The government of India never considered her name for any award. The Sangeet Natak Academy however honoured her with a lifetime achievement award in 1975. The government of West Bengal, India however did arrange for a pension for which a lot of running about had to be done.
In personal life, Indubala was most humble and polite and bold in her behavior and was never ashamed to admit or discuss her origin. Even when established as a major singing artiste with an all India fame, she refused to move out to a respectable place leaving her residence in Rambagan, a notorious red light area of Calcutta. Indubala got herself involved in voluntary work for the uplift of fallen women and worked actively for their rights in society through various organizations, which were patronized by top political leaders of the time. She had some interesting hobbies like writing poetry and collecting perfumes.
Even at old age all the empty perfume bottles were kept within her view. She was fond of jewelry too and had a great collection, either purchased or gifted by admirers. These valuables vanished when she was too unwell to keep track of them. Her contemporary artiste Miss Angurbala was a close friend with whom she confided and shared the joys and sorrows of life and this friendship lasted till the very end. Indubala adopted a nephew of her mother’s friend Jiban Krishna Ghosh. The boy’s name was Pranab Ghosh. This foster son did not look after her mother very much when in old age Indubala suffered from conditions like cataract and then paralytic strokes. It was Dr. Badan Sengupta who made necessary arrangements for her treatment. She could not afford nursing homes and therefore was treated at state government hospitals in all occasions of illness.
The end came on the thirtieth day of November, 1984 after a prolonged illness during which again Dr. Badhan Sengupta looked after her as his own mother. Perhaps by coincidence her friend Angurbala died the same year.
Today’s song is sung by Vasanti and Suresh. Vasanti was a very well known and popular Child star. So was Suresh. However Suresh became an adult star in later years. I know of only 2 child artistes, who left the film world, though they were in great demand. First was Vasant, who got married at an appropriate age and left films. The second was Shashi Kapoor Sr. who quit a quite flourishing film career to pursue higher education. He spent his life as a Professor in an US University.
Let us now listen to the duet of Vasanti and Suresh.
Song- Ye bade sahab ka topa hai (Diwali)(1940) Singer- Vasanti, Suresh, Lyricist- Not known, MD- Khemchand Prakash
Lyrics
Ye bade sahab ka topa hai
ye memsaab ka baja
Ye bade sahab ka topa hai
ye memsaab ka baja
ye dholak Natthu dhobi ki
ye Kalkatte ka Raja
ye dholak Natthu dhobi ki
ye Kalkatte ka Raja
Ye bade sahab ka topa hai
ye memsaab ka baja
Ye bade sahab ka topa hai
ye memsaab ka baja
ye dholak Natthu dhobi ki
ye Kalkatte ka Raja
ye dholak Natthu dhobi ki
ye Kalkatte ka Raja
Raja ke ghar saab aaya
gitpit gitpit boley
Raja ke ghar saab aaya
gitpit gitpit boley
Raja Rani pade soch mein
kaun kiwaade kholey
Raja Rani pade soch mein
kaun kiwaade kholey
Natthu dhobi aaya re
Natthu dhobi aaya re
sang mein dholak laaya re
sang mein dholak laaya re
dhanak dhanak dhan dhanak dhanak dhan
dholak baaje re
dhanak dhanak dhan dhanak dhanak dhan
dholak baaje re
raja ke ghar topey waala
saath biraaje re
raja ke ghar topey waala
saath biraaje re
maange sodawater
oye
maange sodawater
Raja ?? baaje
Raja ?? baaje
maange sodawater
maange sodawater
Raja ?? baaje
Raja ?? baaje
haa aa ha ha ha ha aha
aah ha ha ha h ah
haa aa ha ha ha ha aha
aah ha ha ha h ah
haa aa ha ha ha ha aha
aah ha ha ha h ah
haa aa ha ha ha ha aha
aah ha ha ha h ah
hey
Chaand mama ne amrood churaaya re
Posted on: March 27, 2022
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
This article is the 16900th post in the blog on its 5000th day.
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Blog Day : |
5000 | Post No. : | 16900 |
Today (27 March 2022) is one of those days that arrives regularly in the blog. It is the century post day. Moreover, it is an even more special day for the blog. Today is the 5000th day of the blog !
The fact that today is the 5000th day of the blog was known for quite some time. The idea that this day should coincide with the century post germinated a few days ago, even though it meant that we needed to go at a slower rate than even the already slow rate for the blog.
Sudhir Jee, who floated this idea was under the impression till the last moment that today we were on to 17000th post. It was only at the last moment that he realised that we were onto just the 16900th post. 🙂
Sudhir Jee had identified a special post for the occasion of 17000th post and so that song had to be held back.
We did not have any backup song for the occasion.
Most of our century posts get posted on week days when the blog gets more visits. Today is perhaps the first time in many years when the century post was getting covered on a Sunday. The previous such occasion that I can think of was 20 July 2014, which was a Sunday too and that was the day when the 10000th post was covered on the blog. That day which saw 8 articles being posted was a memorable day for the blog, as the regulars of the blog remember even to this day.
Today is Sunday. A few years ago, I had discovered a rare and remarkable old song of 1940s that celebrated Sunday. I vaguely remembered that I had noted it down and I had even downloaded that song. That song would have been a perfect century song for today. But I could not locate that song, despite searching hard in my portable hard disks and elsewhere. It could well have been hiding in some laptop that I am no longer using.
I informed Sudhir Jee about this song and he too searched for it. But that song could not be located.
During my searches, I came across some other rare songs and I considered using one of them, in case our “Sunday” song could not be located. So here is that song.
This song, quite an interesting and rare song, is from ‘Phulwaari’ (1946).
‘Phulwaari’ (1946) was directed by Chaturbhuj Doshi. The movie had Motilal, Khursheed, Madhubala, Ramayan Tiwari etc in it. This obscure movie had 9 obscure songs in it. Two songs from the movie have been covered in the blog.
This song, third from the movie and 16900th song in the blog is a children’s song. It is sung by Baby Anu and chorus. Pt Indra is the lyricist. Music is composed by Hansraj Bahl.
The song is a take on Chanda Mama from her point of view. It is quite a fun song, quite an interesting song indeed. The song , like its movie ended up becoming obscure.
I request our knowledgeable readers to help throw light on the movie as well as on the picturisation of the song.
I have no idea who this singer Baby Anu was. She may have been a small child while recording this song, but today she would be in her 70s. I request our knowledgeable readers to throw light on her. She makes her debut as a playback singer in the blog.
16900 songs on the 5000th day for the blog ! It has been quite a marathon run for this musical blog where songs have been covered at a rate of 3.4 songs everyday. These figures demonstrate the fact that if one can be consistent and disciplined that it is possible to achieve such high figures, even if our daily rate of posts may be seemingly low.
The blog now has 16900 songs from nearly 4600 movies, and around 1300 of these movies have already been Yippeee’d. These figures may not appear too daunting to the uninitiated, but these figures are big figures. We realize their size only when we try to list them or try to go through the list, or try to take a print out.
The next century mark is the big mark of 17000th song. Who thought, 14 years ago during 2008, that this blog would still be around in 2022 and people here would talk of 17000 songs in it. We are here and that target is just 100 songs away from us.
I take this opportunity to thank one and all. And as always, let us hope that this musical bandwagon keeps rolling on and on and we keep discovering many musical gems in our journey.
Song-Chaand mama ne amrood churaaya re (Phulwaari)(1946) Singer-Baby Anu, Lyrics-Pt Indra, MD-Hansraj Bahl
Chorus
Lyrics
chaand mama ne
chaand mama ne ho
chaand mama ne amrood churaaya re
chaand mama ne amrood churaaya re
chori chori
ho chori chori
chori chori akele hi khaaya re
chori chori akele hi khaaya re
chaand mama chaand mama
chaand mama rakhiya bandhaane ko aaya
ho o o o
ho o o o
chaand mama rakhiya bandhaane ko aaya
jholi mein kitne khilaune wo laaya
jholi mein
jholi mein kitne khilaune wo laaya
munni munne ke man bhaaya re
munni munne ke man bhaaya re
chaand mama ne amrood churaaya re
chaand mama ne amrood churaaya re
chaand mama chaand mama
chaand mama chaand mama
baaghon mein aana
chaand mama chaand mama
baaghon mein aana
munni ko kirnon ka jhoola jhulaana
munni ko
munni ko kirnon ka jhoola jhulaana
jhoolan ka mausam aaya re
jhoolan ka mausam aaya re
chaand mama ne amrood churaaya re
chaand mama ne amrood churaaya re
chaand mama chaand mama
chaand mama chaand mama
school jaana
chaand mama chaand mama
school jaana
master jee se chhutti dilaana
chhutti dilaana
master jee se chhutti dilaana
mera janm din aaya re
mera janm din aaya re
chaand mama ne amrood churaaya re
chaand mama ne amrood churaaya re
chori chori
ho chori chori
chori chori akele hi khaaya re
chori chori akele hi khaaya re
chaand mama ne
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4963 | Post No. : | 16834 |
“Shola Aur Shanam-1961” was directed by Ramesh Saigal for ‘Parijaat Pictures, Bombay’. It was a social drama movie.
This movie had Tarla, Dharmendra, Abhi Bhattacharya, M. Rajan, Mubarak, Vijaylakshami, Jeevankala, Sulochana, Leela Mishra, Dhoomal, Johny Whisky, B.N. Shukla, B. Parera, Baby Chandrakala, Master Akashdeep, and others.
This movie had ten songs as mentioned in HFGK Vol-IV (1961-1970). As many as five lyricists wrote the songs for this movie. Music for this movie was composed by Khayyam.
The list of the songs this movie has is as given below.
| SNo | Song Title | Singer/s | Lyricist | Posted On |
|---|---|---|---|---|
| 01 | Mummy aur daddy mein ladaayi ho gayi | Asha Bhonsle | Raja Mehndi Ali Khan | Being discussed today |
| 02 | Jeet hi lenge baazi hum tum | Lata, Rafi | Kaifi Azmi | 25.08.2009 |
| 03 | Phir wohi saawan aaya, saajan aaye naa | Jagjit Kaur | Prem Dhawan | 21.05.2012 |
| 04 | Kaun aata hai idhar, koyi nahin | Jagjit Kaur, Rafi* | Jaan Nisar Akhtar | |
| 05 | Agar dil se takraaye to afsaana bataa daalen | Rafi, Manna Dey, Jagjit Kaur* | Jaan Nisar Akhtar* | |
| 06 | Mathura shyam chaley saawan ghan sa umad padaa brij | Manna Dey, Geeta Dutt, Kaumudi Munshi,chorus | Ram Murti | 22.10.2014 |
| 07 | Ladi re ladi tujhse aankh jo ladi | Jagjit Kaur | Prem Dhawan | 11.01.2011 |
| 08 | Jaane kya dhhoondhhti rehti hai ye aankhen mujhme | Mohd Rafi | Kaifi Azmi | 10.05.2009 |
| 09 | Phir nahin aane waali pyaare aisi milan ki raat | Asha Bhonsle, Manna Dey, chorus | Prem Dhawan* | |
| 10 | Pehle to aankh milaanaa | Rafi, Jagjit Kaur | Kaifi Azmi | 11.01.2021 |
From the above table we can see that six songs out of ten songs of this movie have been posted on the blog so far.
Today 18th February’2022 is the ninety-fifth birth anniversary of music director Khayyam (18.02.1927 – 19.08.2019). As a tribute to him on this occasion, I am presenting a song from this movie ‘Shola Aur Shabnam-1961’. This movie made its debut on the blog on 10.05.2009 and still waiting for its all songs to be covered on the blog.
Today’s song is sung by Asha Bhonsle, and it is picturised on Baby Chandrakala and Master Akashdeep. Also seen in the picturisation of this song is Leela Mishra and other artists. (I could not identify the man playing Leela Mishra’s husband.)
Today’s song, though a children song, is a description of fighting and patch-up between the parents.
I think this must be one of the very few songs that Khayyam Saab composed as a ‘children song’. I do not remember any other song. I would request knowledgeable readers to throw more light on this movie and its songs.
Let us now enjoy today’s song sung by Asha Bhonsle. Lyrics are by Raja Mehndi Ali Khan. Music is composed by Khayyam Saab.
Lyrics of this song were sent by Prakashchandra.
Audio
Video
Song-Mummy aur daddy mein ladaai ho gayi (Shola Aur Shabnam)(1961) Singer-Asha Bhonsle, Lyrics-Raja Mehdi Ali Khan, MD-Khayyam
Lyrics(Provided by Prakashchandra)
mummy aur daddy mein
mummy mein daddy mein
mummy aur daddy mein aen aen aen
mummy aur daddy mein ladaayi ho gayi
cheen pe japaan ki chadhhaayee ho gayi
mummy aur daddy mein ladaayi ho gayi ee ee ee ee ee
daddy ne gussey mein aake de dee gaaliyaan
anpadh
bewaqoof kahin ki
daddy ne gussey mein aake de dee gaaliyaan
mummy ne gussey mein aake todi thaaliyaan aan
todi thaaliyaan
maine jo donon se kahaa peace peace peace
maine jo donon se kahaa peace peace peace
donon ne tamaache mujhe maarey bees bees
maarey bees bees
apni to muft mein thukaayee ho gayi
apni to muft mein thukaayee ho gayi
mummy aur daddy mein ladaayi ho gayi
cheen pe japaan ki chadhhaayee ho gayi
mummy aur daddy mein ladaayi ho gayi ee ee ee ee
daddy ne inkaar kiya khaane ke liye
mummy ne saamaan baandhaa jaane ke liye
hunh hunh jab dekho gaali dete ho
sambhaalo apna ghar
main jaati hoon apne maaike
haan
main to samjhaa donon mein judaai ho gayi ee
main to samjhaa donon mein judaai ho gayi
mummy aur daddy mein ladaayi ho gayi
cheen pe japaan ki chadhhaayee ho gayi
mummy aur daddy mein ladaayi ho gayi ee ee ee
thhodi der baad donon thhande ho gaye
down down gussey ke wo thhande ho gaye
thhodi der baad donon thhande ho gaye
down down gussey ke wo thhande ho gaye
dheere dheere sulah aur safaayi ho gayi ee ee
dheere dheere sulah aur safaayi ho gayi
mummy aur daddy mein ladaayi ho gayi
cheen pe japaan ki chadhhaayee ho gayin
mummy aur daddy mein ladaayi ho gayi ee ee ee ee
daaddy’on ko mummy’on sataayaa naa karo
mummy’on ko daaddy’on rulaaya naa karo
chhoti chhoti baat ko badhhaayaa naa karo
bhaloo ka tamaashaa aa
bhaaloo ka tamaashaa
ye dikhaayaa na karo oo oo oo oo
baat nikli munh se to paraayi ho gayi ee
baat nikli munh se to paraayi ho gayi
mummy aur daddy mein ladaayi ho gayi
haan cheen pe japaan ki chadhhaayee ho gayin
mummy aur daddy mein ladaayi ho gayi ee ee ee
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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