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

Archive for the ‘Chorus song’ Category


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

A century post – and a discovery of monumental proportions. Things cannot get more rare, and better, than this.

We are at a century marker with this post – 13,300 – thirteen thousand three hundred to be exact. Atul ji and I exchanged some thoughts on whether to hold back this important discovery for a bigger, more major milestone up ahead. But then we decided that the wait of some more months will be too much. Let us introduce this discovery at 13,300 itself, and then we will have a few more opportunities to bring on other parts, other songs of this discovery.

Saigal – the divine, the inimitable, the ultimate zenith of the singing voices. He came on right in the beginning of the age of talking cinema in India, and departed all too soon. This year, it is seventy years that he left this mortal existence. And to wit – no other singer since then, has ever been able to match his singing abilities, nor has been able to achieve the quality and the depth / breadth of renditions. Saigal – is Saigal. He is a class unto himself, with none other besides him.

He appeared in 36 full length feature films (28 Hindi + 7 Bangla + 1 Tamil). The stature of his persona, and the standing of the production houses, has ensured that majority of the body of his work is available today in public domain. There are a few films in the period 1932 to 1935 – namely ‘Mohabbat Ke Aansoo’ (1932), ‘Subah Ka Sitaara’ (1932), ‘Zinda Laash’ (1932), ‘Daaku Mansoor’ (1934), ‘Rooplekha’ (1934), ‘Pooran Bhagat’ (1933), ‘Raajrani Meera’ (1933), ‘Yahudi Ki Ladki’ (1933), and ‘Kaarwaan e Hayaat’ (1935), which seem to have been lost forever. Of these nine films the first five have been erased, with even no music / songs / records traceable. A few songs of the remaining four films is the priceless legacy that has survived to attest a substantive existence of these films.

Part of that history changes today. One of the above listed films is getting introduced back into the public domain. ‘Kaarwaan e Hayaat’, so far thought to be lost forever, has been traced, and after a pursuit of more than two years, yours truly has been able to acquire a complete video copy of this film. The saga of these two years is nothing more remarkable than a persuasion, a waiting game, negotiations, and allowing time for a decision to precipitate.

Watching this clip, this film, seems like a journey through time, a journey to another dimension, another world – world that I had not seen ever before. The story of the film is about Parvez, a prince who has a lively and romantic outlook in life. The queen mother arranges for a betrothal for her son, and the prince, fearing the bonds of a matrimonial household and no romance, disappears from the palace and joins a band of gypsies, disguised as one himself, and changes the name to Naazu. This secret is known only to his very close friend and sidekick, Suhail (role played by Bikram Kapoor). There is another side of the story unfolding. The Emir of Tikkim, an adjoining kingdom (role played by Nawab) also fancies the same princess, with whom the queen mother has arranged the alliance for Parvez. He has the princess kidnapped, and as destiny would have it, hides her in the very same camp of gypsies. Parvez encounters the princess in the gypsy camp, and they fall in love. Parvez, who is prone to playful antics and pulling legs of others, does not disclose his true identity, and continues to romance the willing princess. Other complications intervene. The Wazir (prime minister) of the state, traces Parvez to the gypsy camp. The Emir of Tikkim comes to the camp with his soldiers to claim his kidnapped bounty. And Zarina, a beautiful gypsy girl at the camp (role played by Ratan Bai) falls in love with Parvez. All the circumstances rolled together, make for a real fun movie, which is a treat to watch. And the premium icing on the cake of course is KL Saigal, and the songs which were not released on gramophone records.

I introduce one such song from the film today. This is a gypsy revelry song that is being sung at the gypsy camp. The night is falling, and the singing and dancing members of the camp are saying that sleep is the furthest from the eyes – it is a time for joy, and singing, and dancing – Oye Hoye Re. We can see Parvez, dressed as a commoner, sitting with gypsies, and singing along with them. In between, as the dancing members increase, he will get up and join the dancers. Around the start of clip, we can see one male singer enter the frame from the right, walks across the frame, and when he passes by Parvez (or Naazu), he pinches his nose in a friendly gesture. This is Raahat, one of the lead gypsies in the camp (role played by Pahadi Sanyal). Along with him, we see a lady who joins the singing and dancing and accompanies Raahat in the dancing sequence, is Sonia (role played by Molina). In the beginning of this clip, and then once again later in the clip, we see a bored looking person, busy beating mosquitoes, as he waits, guarding the horses. This is Suhail, the sidekick friend of Parvez. Then, in the dancing sequence, we see a heavy set old lady enter the frame from the left. She has a bent back, and pock marked face. She is the old woman of the gypsy camp, who has a finger in everything that goes on in the camp. The surprising twist here is that the role is played by none other than Nemo, a male actor – folks will remember him as the rich Seth Sonachand Dharmanand in the film ‘Shri 420’ (1955). More of the story in some subsequent posts.

So flows the Pageant of Life (Kaarwaan e Hayaat), describing a small sequence of events in the lives of a few characters on the stage of this world. This film is great entertainment stuff.

Produced by New Theatres, the direction of the film is credited to Premankur Atorthy and another gentleman named Hem Chandra Chunder. As I searched for more information, I came across a very interesting item – that this film was produced at the Lahore centre of New Theatres. Now this is definitely news to me, that New Theatres produced films in Lahore. When I view the credits, I see a thank you note for the Nawab of Bahawalpur for using his armed forces for some of the scenes in the film. Now the erstwhile Bahawalpur state now forms a part of what currently is Pakistan. This lends credence to info that this film could have been produced at the Lahore center. Harmandir ji (of Geet Kosh) has confirmed that New Theatres did have a distribution office in Lahore, and it is possible that this film was shot in that location.

The music is credited to Mihir Bhattacharjee. There is some discussion around this credit, since surprisingly, the available gramophone records of this film carry the name Timir Baran as the music director. This shall need a separate discussion with inputs from some stalwart historians. The name of the song writer is not specifically mentioned, but other sources identify the name as Ahmad Shuja Pasha. This name appears in the credits of the film as the dialogue writer.

This is primarily a chorus song, within which we can surmise certain individual voices (of KL Saigal, Pahadi Sanyal and Molina) as they sing some individual lines, while the chorus of other singers continues.

A century marker that records a remarkable find. Welcome to the world of ‘Kaarwaan e Hayaat’.

Song – Nindiya Mori Bairan Oye Hoye Re (Karwaan e Hayaat) (1935) Singer – Molina, Pahadi Sanyal, KL Saigal,  Lyrics – Hakim Ahmed Shuja Pasha, MD – Mihir Kiran Bhattacharya
Chorus

Lyrics

oye hoye re
oye hoye re
oye hoye oye hoye oye hoye re
oye hoye oye hoye oye hoye re
oye hoye re
nindiya mori bairan
oye hoye re
nindiya mori bairan
oye hoye re
oye hoye re
oye hoye re
oye hoye oye hoye oye hoye re
oye hoye oye hoye oye hoye re
oye hoye re
oye hoye re
nindiya mori bairan
oye hoye re
nindiya mori bairan
oye hoye re

saanjh bhaye diya baati ki beriya
saanjh bhaye diya baati ki beriya
oye hoye re
oye hoye re
piya aawan ki beriya
oye hoye re
piya aawan ki beriya
oye hoye re
nindiya mori bairan
oye hoye re

aadhi raat papaihaa boley
aadhi raat papaihaa boley
oye hoye re
oye hoye re
galey laagan ki beriya
oye hoye re
galey laagan ki beriya
oye hoye re
nindiya mori bairan
oye hoye re

hovat bhor koyaliya boley
hovat bhor koyaliya boley
oye hoye re
oye hoye re
bichhuan ki hai beriya
oye hoye re
bichhuan ki hai beriya
oye hoye re
nindiya mori bairan
oye hoye re
oye hoye oye hoye oye hoye re
oye hoye re
oye hoye re
nindiya . . .

saanjh bhaye diya baati ki beriya
saanjh bhaye diya baati ki beriya
oye hoye re
oye hoye re
piya aawan ki beriya
oye hoye re
nindiya mori bairan
oye hoye re

aadhi raat papaihaa boley
aadhi raat papaihaa boley
oye hoye re
oye hoye re
galey laagan ki beriya
oye hoye re
nindiya mori bairan
oye hoye re

hovat bhor koyaliya boley
hovat bhor koyaliya boley
oye hoye re
oye hoye re
bichhuan ki hai beriya
oye hoye re
nindiya mori bairan
oye hoye re
nindiya mori bairan
oye hoye re

oye hoye oye hoye oye hoye re
oye hoye oye hoye oye hoye re

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
ओए होए रे
ओए होए रे
ओए होए ओए होए ओए होए रे
ओए होए ओए होए ओए होए रे
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे
ओए होए रे
ओए होए रे
ओए होए ओए होए ओए होए रे
ओए होए ओए होए ओए होए रे
ओए होए रे
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे

साँझ भए दिया बाती की बेरिया
साँझ भए दिया बाती की बेरिया
ओए होए रे
ओए होए रे
पिया आवन की बेरिया
ओए होए रे
पिया आवन की बेरिया
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे

आधी रात पपैयाह बोले
आधी रात पपैयाह बोले
ओए होए रे
ओए होए रे
गले लागन की बेरिया
ओए होए रे
गले लागन की बेरिया
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे

होवत भोर कोयलिया बोले
होवत भोर कोयलिया बोले
ओए होए रे
ओए होए रे
बिछुयन की है बेरिया
ओए होए रे
बिछुयन की है बेरिया
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे
ओए होए ओए होए ओए होए रे
ओए होए रे
ओए होए रे
नींदिया॰ ॰ ॰

साँझ भए दिया बाती की बेरिया
साँझ भए दिया बाती की बेरिया
ओए होए रे
ओए होए रे
पिया आवन की बेरिया
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे

आधी रात पपैयाह बोले
आधी रात पपैयाह बोले
ओए होए रे
ओए होए रे
गले लागन की बेरिया
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे

होवत भोर कोयलिया बोले
होवत भोर कोयलिया बोले
ओए होए रे
ओए होए रे
बिछुयन की है बेरिया
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे

ओए होए ओए होए ओए होए रे
ओए होए ओए होए ओए होए रे


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

“Prem Nagar”(1940) was was produced and directed by M Bhavnani. The movie had Bimla Kumari, Ramanand, Husn Bano, Rai Mohan, Fanty Prasad, Nagendra, Girish, Salu, Sheil Prabha, Gulzar etc in it.
Read more on this topic…


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What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where "new" songs are added every day, and that has been the case for more than eight years. This blog has over 13300 song posts by now.

This blog is active and online for over 3200 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13351

Number of movies covered in the blog

Movies with all their songs covered =1012
Total Number of movies covered =3703

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Blog Start date: 19 july 2008 Active for 3000 days.
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