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

Archive for the ‘Cynical song’ Category


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4378 Post No. : 15723

Today’s song is from a very old – almost 83 year old – film, from the first decade of Talkie films – Khudai Khidmadgar-1937. The film was made by Bharat Lakshmi Pictures, Calcutta. It was directed by the all rounder Vithaldas Panchotia, who also did an important role in the film. Music was by Nagardas Nayak. All the 12 songs in the film were sung by 6 singers and songs were written by Arzoo lucknavi.

In the early years of Talkie films Arzoo Lucknavi was an important and well known personality in the Calcutta Film circle. Since 1932, he was under a contract with New Theatre, where he wrote stories, dialogues and songs for their Hindi films. Due to his contract, he could not officially use his own name as a Lyricist for this outside film, hence he gave the name of his son – Tanvir – as the Lyricist.

Aarzoo Lakhnavi was one of the most respected poets of his era. His father Mir Zakir Hussain Yas, who was a disciple of Jalal Lakhnavi and his elder brother Mir Yusuf Hussain Qayas, both were poets. Arzoo, who was born on 26-2-1893 as Mohammed Hussain, was brought up in a cultured and fairly well-off household. He did his early education at home. Later, he learnt Arabic and Persian from some famous scholars of Lucknow.

His career as a poet began with the composition of a Marsia at the age of twelve. As a poet, he wrote Ghazal, Najm, Marsia, Kaseeda, Nath, Rubai, Salaam, Masnavi, Geet etc. Guided by Jalaal Lucknavi, he soon became skilled in the art of poetry. After Jalal passed away, Aarzoo was accepted as his heir to guide his disciples.

He came to Calcutta in 1932 and joined The New Theatres to write songs and dialogues of Hindi films. His Hindi was simple. He used to use minimum Arabic or Urdu words in Hindi songs. In Calcutta, he started writing songs,stories and dialogues for Hindi films. After 21 films in Calcutta, he moved to Bombay in 1942, where he wrote lyrics and dialogues for 32 more (Total 53 films and 246 songs) films.

Later, he migrated to Karachi after partition and joined Radio Pakistan. However his songs continued in our Hindi films till 1967. Though he had also written plays and other forms of poetry, he rose to fame mainly because of his ghazals. Three collections of Aarzoo’s ghazals, viz., Fughan-e-Aarzoo, Jahan-e-Aarzoo and Nishan-e-Aarzoo have been popular with the Urdu readers.

In Pakistan he participated in the competition to write the National Anthem. His poem was rejected because it talked of Secularism, Equality and Humanity. Another poem having 99% Arabic words was selected. He died in Karachi on 17th April 1961.

When I had first read this film’s name some years ago,I was under the impression that this could be a film on some story connected with the Political organization, Khudai Khidmadgar, in the pre-independence era. It was originally an organisation started for the upliftment of Afghan people. The literal meaning of these words is ‘ God’s servant’. Later, it became a political movement under the leadership of Khan Abdul Gaffar Khan or Sarhad Gandhi. It was also called a “Red shirt” organisation.

During the mid 1930’s, the British Government was very strict, so obviously the film had nothing to do with politics. It was a plain simple Costume drama about a Saint like personality who helps people, thinking himself as ‘ God’s servant’. The film depicted how the cruel and unkind king changes, because of the teachings of this Saint.

The year 1937 was a year of Revolution for the newly started Talkie Film. Initially the films were mainly based on Folk tales, Parsi dramas and Mythological stories. 1937 was a year in which the Film industry was trying to drop its old skin and don a New Avtar. From this year, a variety of subjects were used to make films. If we briefly look at some path breaking, landmark films using Novel themes, we will understand how the film industry was attempting to change itself.

The newly established Minerva Movietone made a film on the importance and benefits of Celibacy in the film ‘Atma Tarang’.
Some artistes made their Debuts in 1937, like Ghulam Mohd.,MD for film Banke Sipahi, Comedian V H Desai in film Captain Kirti Kumar, Kishore Sahu in fil Jeevan prabhat, the eternal Mausi of Hindi films, Leela Mishra debuted in film Gangavataran. This was also a Debut film for Dadasaheb Phalke in making a Talkie film. David made his Debut in ‘Zambo-the ape man’.

Prakash films tried their hand at Stunt films with ‘ Challenge’ and ‘His Highness’, using Veterinary actors like Dogs, Horses and a Motorcycle. Prabhat’s iconic film ‘ Duniya Maane na’ shook All India audiences with its story. Shanta Apte sang an English song in it. Bombay Talkies made its first and last Mythological film ‘ Savitri ‘ with Ashok Kumar and Devika Rani.

Gangavataran was a film made by Dadasaheb Phalke. it was his First, the only and his last Talkie film too.

Imperial made India’s first indigenously made First colour film-Kisan Kanya. With this film, however, Master Nissar ended his ‘Hero’ ship as an actor.
Wadia Movietone made India’s first songless talkie film,’ Naujawan ‘, facing the ire of its audience for ‘cheating ‘ them !
‘Zambo – The Ape man ‘ became the first Tarzan type Indian talkie film, beginning a new Genre !
Maadan theatres Calcutta pulled its shutters down with their last Talkie film’ Zinda Bhoot ‘.

1937 was real path breaking for 2 solid reasons….One, for the first time, Playback singing started in a Bombay film with ‘Mahageet ‘. The song was sung by Anil Biswas, its MD and it was filmed on Hiren Bose, in the role of a beggar, near a crematorium (Smashan Bhoomi), as per book ‘ Music without Boundaries’ by Dr. Ashok Ranade,pp183-186.
Secondly,for the first time, in an Indian film successful special effects were used in film ” Khwaab ki Duniya ” -a film by Prakash Pictures, based on the popular novel “The Invisible Man” by H G Wells. A Hollywood film by the same name was made in 1933. The trick scenes in this indian film were as good as the Hollywood film. Credit goes to Babubhai Mistri for creating actions of an Invisible man , on the screen. He was nicknamed ” Kala Dhaga ” after this film.

Today’s film Khudai Khidmadgar-37 was made with all these path breaking film carnivals. The cast of the film was. Vithaldas Panchotiya, Khaleel Ahmed, Mazhar Khan, Dar kashmiri, Shyam Sundar, Radha Rani, Ram Pyari, Sarla Devi, Snehlata, Master Fid Hussain and others.

Just before the advent of Talkie films, Parsi theatre and other drama companies were the only Entertainment sources. Parsi Theatre was famous and most successful because it travelled all over India to perform. They used special reserved Trains to carry people and sets,drapery etc for their company from kashmir to kanyakumari and Gujarat to Rangoon. The success of Parsi Theatre was attributed to Pt. Narayan Prasad Betaab, Pt. Radheshyam Kathavachak, Agha Hashra Kashmiri and Master Fida Hussain – called the four Pillars of Dramas.

Our Sadanand Kamath ji has already written about Betaab, Kashmiri and Kathavachak. Today I will write on the remaining Pillar – Master Fida Hussain to complete the quartet.

Fida Hussain (11/03/1898 to 10-7-1999) was born in Moradabad (UP) in a conservative family. Right from childhood, Fida Hussain was fond of singing. It is quite likely that he got interested in singing because of the travelling theatres and nautanki groups that visited his town. Fida Hussain’s father and uncle did not like his interest in singing. Almost every day, the young Fida Hussain used to get beatings from his uncle for singing, though his father despite the dislike for the singing and music, spared him from beating.

But the more beatings he got, his fondness for singing increased. He also started watching the free shows of nautanki (folk theatre) which culminated into his love for the acting as well. This enraged his married elder brother who instigated his wife to do something to affect his voice. One day, she served him paan with vermilion powder which resulted in loss of his voice for nearly six months. After getting his voice back thanks to a visiting Sadhu who gave him some prescriptions, Fida Hussain started attending nautanki shows with a greater vigour than before.

In 1917, Fida Hussain joined a local drama club and got training for six months before being given a female role in the drama ‘Shahi Faqeer’. In this way, the path toward theatre opened for him. Soon, with the recommendation of his local drama club’s President, he went on to join the New Alfred Theatrical Company which was touring around Delhi for staging ‘Veer Abhimanyu’. In January 1918, Fida Hussain ran away from his home in Moradabad for Delhi leaving his newly married wife at home.

The New Alfred company never employed female actors. Hence the female roles were performed by the male actors like Master Nissar. Fida Hussain also got mostly the female roles in New Alfred.

Once when New Alfred was staging a show in Meerut, one of the boys from his neighbourhood recognised Fida Hussain and promptly reported the matter to his father. His father-in-law promptly lodged a complaint with police and an arrest warrant was issued. This entire episode is too big to cover here. The conclusion of this episode was Fida Hussain got a reprieve from his father, who allowed him reluctantly to continue with his passion after getting assurances from him that he would never indulge in intoxication (of any form), gambling, always keep high morality and keep in touch with his family by visiting his hometown.

With his domestic issues getting resolved amicably, Fida Hussain could now concentrate fully on theatres. His association with New Alfred continued until it closed down in 1930. His most popular dramas under New Alfred were ‘Parivartan’ (1922), ‘Veer Abhimanyu (c 1923), ‘Parambhakt Prahlad’ (c 1923), ‘Shri Krishna Avatar’ (1924-25), ‘Ishwar Bhakti’ (1928), ‘Laila Majnu’ (1930). Except for ‘Laila Majnu’, Fida Hussain played the female roles in all these plays.

In the 1930s and 1940s, Fida Hussain got associated with many theatre companies all over north, east and west India, the prominent being Alfred, Madan (pronounced as Maadon), Shah Jahan, Narsi, Mohan and finally taking up the reins of Moonlight Theatre owned by Marwadi brothers in Calcutta (now Kolkata). During this period, Fida Hussain worked in ‘Nal Damyanti’, ‘Yahudi Ki Ladki’, Khoobsoorat Balaa’, ‘Seeta Banvas’, ‘Chalta Purza’, ‘Bhakta Narsi Mehta’, ‘Bharat Milap’, ‘ Krishna Leela’ and many more.

In 1939, he donned the title role of Narsi Mehta in the play ‘Bhakt Narsi Mehta’. The play became a hugely popular hit and it played for over 1000 nights. Because of this, Fida Hussain was honoured with the title ‘Narsi’ which he proudly used as a suffix to his name as Fida Hussain ‘Narsi’.

With the advent of talkies, Fida Hussain, like many other artists from theatres, was associated with a few Hindi films during 1934-46 as an actor-singer. The first film he worked was ‘Ramayan’ (1934) followed by ‘Insaf Ki Tope’ (1934), ‘Kunwaari Ya Vidhwa’ (1935), ‘Diljaani’ (1935), ‘Dil Ki Pyaas’ (1935), ‘Daku Ka Ladka’ (1935), ‘Balidaan’ (1935), ‘Khudaai Kitmadgaar’ (1937), ‘Matwali Meera’ (1940), ‘Bambaiwaali’ (1941), ‘Arabian Nights’ (1946) and ‘Toote Sapne’ (1946, Unreleased).

Except for ‘Bambaiwaali’ (1941) which was produced in Bombay (Mumbai), rest of films in which Fida Hussain worked were produced in Calcutta (Kolkata) where he was associated with Moonlight Theatres. I find that barring one or two films, he had small roles in the rest of his films. It is quite possible that due to his immense popularity on stage as an actor-singer, the producers of the films may have taken him in their films to attract his large fans to watch the films. My guess is that Fida Hussain did not have much interest in working in films as his heart was with the theatre.

Fida Hussain continued his association with Moonlight Theatres, Calcutta (Kolkata) where he was the boss. The owners (4 Marwadi brothers) did not interfere in any aspects of the Moonlight Theatre so long as they earned profit from this venture. I am surprised as to how Fida Hussain could successfully compete with Hindi films and run the Moonlight Theatres profitably in the 1950s and 60s. In 1968 when Fida Hussain completed 50 years in Parsi Theatre, he decided to retire from the theatre activities and spend the rest of his life with his extended family in Moradabad. With his retirement, the Moonlight Theatre was closed and with this the glorious years of Parsi Theatre came to an end.

However, Fida Hussain remained busy during most of his post-retirement years. Being the only living legend of Parsi theatres, his knowledge about the old theatrical styles were utilised for those interested in theatre. He became a regular visiting faculty for the National School of Drama, New Delhi until the 90s. He also conducted workshops for students who were pursuing their interest in the theatre. He was often one of the invitees to symposiums and seminars on Indian theatres. In 1985, Fida Hussain received the Central Sangeet Natak Akademi Award in recognition of his contributions to Indian theatres. In 1978, he received the Uttar Pradesh Sangeet Natak Akademi Award for acting. Fida Hussain passed away on 10-7- 1999.

Fida Hussain may be one of the few theatre personalities who commanded not only the respect but also kept his reputation high even during his poet-retirement years. He was also one of a few artists who judiciously used his earnings to create a bright future for his two sons and two daughters. At the time of his death, Fida Hussain was the owner of two brassware business firms in Moradabad which were run by his two sons.

During his theatre days, Fida Hussain recorded more than 200 songs with HMV. However, his filmy songs are few (may be less than 20) and it seems some of them were not issued on gramophone records.

Harmandir Singh Hamraz ji , who compiled the Hindi film geet Kosh, told an anecdote about Fida Hussain. During the data collection work of his geet kosh, Hamraj got the address of Fida Hussain in Moradabad. He wrote him a letter, requesting for an appointment to collect some data. For many days there was no reply. Suddenly, one day in the morning, Hamraz was astonished to see Fida Hussain at his doorstep. Fida Hussain said, ” I got your letter, but I wanted to see who this person is, who wants to know about the matters of 50 years ago. So I came here.” Hamraz ji kept him in his house for a week or so and he also gave all possible valuable information to Harmandir Singh Ji. This story is told by Harmandir ji himself.

Today’s song is sung by Master Fida Hussain, who did the role of a General of Army in the film. This song was repeated 4 times in the film, as told by Fida Hussain himself.

( My thanks for information from book ” The stages of Life” by Kathryn Hansen, Listener’s Bulletins, book ” पूर्वसुरींचे सूर ” by Dr. Suresh Chandvankar, Flashback by Isak Mujawar and my own notes over the years)


Song-Khoti duniya badi Rangeeli dekh na dhokha khaana baaba (Khudaai Khidmatgaar)(1937) Singer- Master Fida Hussain, Lyricist-Arzoo Lucknowi, MD- Nagardas Nayak

Lyrics

Khoti duniya badi Rangeeli
dekh na dhokha khaana baaba
phool mein kaantaa chhupa hua hai
mumkin hai chubh jaana baaba

is jeene ka kaun bharosa
ye jeena kya jeena aa aa
chalti saans hawa ka jhonka
ye aana wo jaana baaba

na thhe jin zaalimon ke zulm se
aman o amaan baaqi
mite aise ke ab khud bhi nahin unka nishaan baaqi
sukh mein sukh hai
dukh mein dukh hai
jo dena so paana baaba

lamba rasta kos kade hain
aur akele jaana aa aa
khaai kuyen se se bachte rehna
samajh ke paaon badhaana baaba

jaane waale aake mein(?) rang e chaman dikhla gaye
chaar din mein chaal gul mahke
khile murjha gaye
do din ka hai hera phera
aaj aana kal jaana baaba
do din ka hai hera phera
aaj aana kal jaana baaba
khoti duniya badi rangeeli
dekh na dhokha khaana baaba
phool mein kaanta chhupa hua hai
mumkin hai chubh jaana baaba aa aa aa


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4248 Post No. : 15467

“Piya Milan Ki Aas” (1961) was directed by S N Tripathi for Vijay Films. J S Cashyap was the producer. The movie had Ameeta, Manoj Kumar, Sunder, Pratima Devi, Jeevan, Nalini Chonker, Daisy Irani, Indira Bansal, Polson, S. N. Tripathi etc in it.

The movie had eight songs in it. Six songs from the movie have been covered in the past.

Here is the sseventh song from “Piya Milan Ki Aas” (1961) to appear in the blog. The song is sung by Rafi and chorus. Bharat Vyas is the lyricist. Music is composed by S N Tripathi.

I am unable to identify the actor lip syncing the song. I request our knowledgeable readers to help identify the actor.

PS-Prakashchandra, our inhouse identifier of faces, tells us that the actor lipsyncing in Rafi’s voice is Sundar.


Song-Chhuri bagal mein hai Munh mein Raam (Piya Milan Ki Aas)(1961) Singer-Rafi, Lyrics-Bharat Vyas, MD-S N Tripathi
Chorus

Lyrics

jholi mein goli aur chutki mein gutki
mufat ka gatkaaye maal
arre baaba kare kharaaba
bhai bachna
ye kaljug ke kaal

solah aana paaw ratti
pate ki keh gaye jati sati
solah aana paaw ratti
pate ki kah gaye jati sati
hey aise lafangon se bachna
jo karen saadhuon ko badnaam
chhuri bagal mein hai munh mein raam
chhuri bagal mein hai munh mein raam
chhuri bagal mein hai munh mein raam

jata badhaa kar alakh jaga kar maala phiraate aathon jaam
chhuri bagal mein hai munh mein raam
chhuri bagal mein hai munh mein raam

hey kare saadhuon ko badnaam
chhuri bagal mein hai munh mein raam
chhuri bagal mein hai munh mein raam

bhor bhaye ganga tat jaawen
bhor bhaye ganga tat jaawen
kapda rang ke rang jamaawen
kapda rang ke rang jamaawen
chimta gaad ke dhooni ramaawen
sulfa daal ke chilam chadhaawen
(cough cough cough)
sulfa dal ke chilam chadaawen
aadhi raat ko bam bam kar ke
bam bam bam bam bam bam
aadhi raat ko bam bam kar ke
sabki karte neend haraam
chhuri bagal mein hai munh mein raam
chhuri bagal mein hai munh mein raam

hey kare saadhuon ko badnaam
chhuri bagal mein hai munh mein raam
chhuri bagal mein hai munh mein raam
churi bagal mein hai munh mein raam
chhuri bagal mein hai munh mein raam
chhuri bagal mein hai munh mein raam
bhaai raam bhaai raam
bhaai raam bhaai raam
bhaai raam bhaai raam bhaai
raam bhaai raam bhaai

ek haath beedi ka bandal
ek haath beedi ka bandal
dooje haath mein sohe kamandal
dooje haath mein sohe kamandal
lambe chaude aur mustandal
sath chale chelon ka mandal
aadambar paakhand chhal kapat
aadambar pakhand chhal kapat
ye bagla bhakton ke kaam
chhuri bagal mein hai munh mein raam
chhuri bagal mein hai munh mein raam

hey kare saadhuon ko badnaam
chhuri bagal mein hai munh mein raam
chhuri bagal mein hai munh mein raam
chhuri bagal mein hai munh mein raam
chhuri bagal mein hai munh mein raam
chhuri bagal mein hai munh mein raam
bhaai raam bhaai raam
bhaai raam bhai raam
bhaai raam bhai raam bhaai
raam bhaai raam bhaai


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

Blog Day : 3557 Post No. : 14266

“Khaan Dost”(1976) was directed by Dulal Guha for Ramayan Chitra Mandir, Bombay. The movie had Raj Kapoor, Shatrughan Sinha, Mithu Mukherji (new discovery), Sanyen Kappu, Sulochana, Asit Sen, Jagdish Raj, Maruti, Prakash, Shekhar Purohit, Rajan Haksar, Duggal, Saminder Pande, Chandulal, Rajrani, Amar Sen, Sameer, Baby Lubna etc, with special appearances by Subhash Ghai, Jagdeep, Sundar, Leela Mishra and Yogita Bali.

This “social” movie had ended up becoming an obscure movie by now.

The movie had three songs in it.

Here is the first song from “Khaan Dost”(1976) to appear in the blog. This song is sung by Kishore Kumar. Anjaan is the lyricist. Music is composed by Kalyanji Anandji.

This song is picturised on Shatrughan Sinha and Mithu Mukherji.

This song was a fairly well known song during its time. The song had its fair run during its time after which this song got forgotten, helped by the fact that this forgettable movie itself got duly forgotten soon.

With this song, “Khaan Dost”(1976) makes its debut in the blog.

Video

Song-Kaahe ki dosti kaahe ki yaari (Khaan Dost)(1976) Singer-Kishore Kumar, Lyrics-Anjaan, MD-Kalyanji Anandji

Lyrics

ye dosti
yaari mohabbat
hahahaha
kya hai
kuchh bhi nahin
sab dikhaawa hai
arre sab numaayish hai
numaayish ke siwa aa
kuchh bhi nahin

phir

kaahe ki dosti
kaahe ki yaari
kaahe ki dosti
kaahe ki yaari
duniya ye duniya hai
matlab ki maari
yaaron ki yaari
yaaron ki yaari numaayish hai saari
kaahe ki dosti
kaahe ki yaari
yaaron ki yaari numaayish hai saari

hey ae ae
kya rishte naate hain
baaten hi baaten hain
baaton ki ghaaton se dil loote jaate hain
kasmen to rasmen hain
duniya ke bas mein hain
duniya ki aankhon pe
do rangi chamshme hain
dekhi hai duniya
duniya ye duniya
dekhi hai duniya ki ye duniyaadaari
kaahe ki dosti
kaahe ki yaari
yaaron ki yaari numaayish hai saari

hey ae ae
kaliyaan bik jaati hain
galiyon baazaron mein
dil ke beemaaron mein
jhoothhe dildaaron mein
maili har chunar hai
daagi har choli hai
teri bhi boli to yaaron ne boli hai
sab yaar tere
tere haan tere
sab yaar tere hawas ke pujaari
kaahe ki dosti
kaahe ki yaari
yaaron ki yaari numaayish hai saari

hey ae ae
meri to hasti mein
masti hi masti hai
paas hai daulat to
ye duniya sasti hai
log sach kehte hain
haan main harjaai hoon
baat sach ye bhi hai
tera saudaai hoon
saaghar o meena se
jhoom ke peena hai
jab talak jeena hai
jhoom ke jeena hai
maine jo chaaha hai
haan wahi paaya hai
maanga kab duniya se
maine to chheena hai
baahon mein dam hai
phir kiska gham hai
taaqat ki sab karte hain taabedaari
kaahe ko dosti kaahe ki yaari
duniya ye duniya hai
matlab ki maari
yaaron ki yaari
yaaron ki yaari numaayish hai saari
kaahe ki dosti kaahe ki yaari
yaaron ki yaari numayish hai saari


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

Blog Day : 3535 Post No. : 14199

“Sankalp”(1974) was directed by Ramesh Sahgal for Twinkle Stars, Bombay. This “social” movie had Farida Jalal, Sukhdev, Bipin Gupta, Anjali Kadam, arjun Bakshi, Mahesh (new discovery), Yunus Parvez, Leela Mishra, Jankidas, Suresh Divekar, Subhash Sethi, Mona, Nikita, Chandu Alahabadi, Master Sheroo, Master Ratan, Satish Chhabra etc in it, with special appearance by Sulakshana Pandit.

The movie had four songs in it. Three songs from the movie have been covered in the past. These three songs were discussed in 2011, 2015 and 2018 , viz at three year intervals. 🙂 Here are the details of these three songs:-

Song Title

Post No.

Post Date

Tu hi saagar tu hi kinaaraa 3921 23-May-11
Sab thhaath pada rah jaawega 11307 22-Jul-15
Ghaav dil ke dhuyen se seete hain 14194 22-Mar-18

Here is the fourth and final song from “Sankalp”(1974) to appear in the blog. This song is sung by Mukesh and Mahendra Kapoor. Kaifi Azmi is the lyricist. Music is composed on Khayyam.

Only the audio of this song is available. One can guess that the song is a public lament song where people hold politicians responsible for the ills of the nation. Yes, people four decades ago held the same view about politicains that they do now. 🙂

Personally I think that now a days we are much better off vis a vis the situation of 1970s. Those were the days when we had economic policies that relied upon dole contributed by western nations. Things are vastly better today. The economic policies which kept the nation poor and steadily brought it on the verge of bankruptcy have since been abandoned. Politicians continue to be more or less same as before but the country is doing far better. So people listening to this song today will not share the same despondency as this song may have brought about in the past.

With this song, “Sankalp”(1974) joins the list of movies that have all their songs covered in the blog.


Song-Bheetar bheetar khaaye chalo (Sankalp)(1974) Singers-Mukesh, Mahendra Kapoor, Lyrics-Kaifi Azmi, MD-Khayyam
Unknown voice
All

Lyrics

bheetar-bheetar khaaye chalo
baahar shor machaaye chalo
bheetar-bheetar khaaye chalo
baahar shor machaaye chalo
bhed kaun kholegaa
munh se kaun bolegaa

bheetar-bheetar khaaye chalo
baahar shor machaaye chalo

jantaa bholi-bhaali hai
pet bhi jeb bhi khaali hai
naaron se garmaa do lahu
vaadon se bahlaaye chalo
vaadon se bahlaaye chalo
bheetar-bheetar khaaye chalo
baahar shor machaaye chalo

badhti jaaye hai mehngaai
ghat’ti jaaye hai kamaayi
cheezon ke daam badhaaye chalo
insaan ka bhaav giraaye chalo
insaan ka bhaav giraaye chalo

bheetar-bheetar khaye chalo
baahar shor machaye chalo

haathon mein kuchh note lo
haathon mein kuchh note lo
phir chaaho jitne vote lo

khote se khotaa kaam karo
baapu ko neelaam karo
arre
baapu ki tasveer hai ye

tere baap ki kyaa jaagir hai ye
baapu-baapu karte raho

zahar dilon mein bharte raho
basti-basti aag lage
har insaan ek naag lage
praant-praant ko tang kare
bhaasha se bhaasha jang kare
koi yahaan malyaali
koi yahaan bangaali
gujrati hai koi yahaan
punjabi hai koi yahaan
ye hai maratha aur vo tamil
aapas mein yaari hai mushkil
sabko chaahiye apni zameen
hindustaani koi nahin
hindustaani koi nahin
hindustaani koi nahin

desh kahaan ab desh rahaa aa aa
desh kahaan ab desh rahaa
aa aa aa

desh to seemaaon mein bantaa
aur bhi tukde udaaye chalo
kursi apni bachaaye chalo
kursi apni bachaaye chalo
bheetar-bheetar khaaye chalo
baahar shor machaaye chalo


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.

“Sachche Moti”(1962)was directed by Om Bedi for Shri Dilip Chitra, Bombay. The movie had Suresh, Zabeen, Johnny Walker, Shammi, Sulochana, Manmohan Krishan, Helen, Sushil Kumar, Romi, Gopi Krishan, SN Bannerji, Tuntun, Munshi Munakka, Nazir Kashmiri, Dubey etc. in it.
Read more on this topic…


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.

“Sansaar”(1971) was directed by Dilip Bose for Deluxe Films, Bombay. The movie had Navin Nischol, Anupama, Nirupa Roy, abhi Bhattacharya, Jayshree T, Bipin Gupta, Krishan Dhawan, Mohan Choti, Meena T, Chandrima Bhaduri, Asit Sen, Chaman Puri, Janki Das, Mridula, Master Satyajeet, Baldev Khosa (new find) etc in it.
Read more on this topic…


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.

It is normal for people to express concern about “Bhrastaachaar” (corruption) in our society and country and it is also normal to believe that the society and country will be a better place if corruption is weeded out.

But what about the other point of view ? Suppose that corruption goes away and the society and the country turns over a new leaf overnight. Will we then have a nation of our dream ? Not quite. Absence of the deep rooted systems that are in existence in our lives will lead to utter chaos. 🙂 At least that is what this satirical song suggests. 🙂
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This article is written by Raja, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

Even as I am writing this post, I am filled with self-doubt.
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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.

“Chaandi Ki Deewaar” (1964) was directed by Dilip Bose for Gee Aar pictures. The movie had Bharat Bhushan, Nutan, Indrani Mukherjee, Honey Irani, Sudhir, Naaz, Asit Sen, Pratima Devi, Misra etc in it.
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I have mentioned it in a previous post that there are two sites that are blatantly copying the contents of this blog for the last several days. I had avoided mentioning these sites by name, hoping that better sense would prevail and I had acted in the manner advised on internet. Under such situations, the advise is to find the hosts of these sites and inform the hosts. I had informed the hosts of these two sites. One host seemed to be responding somewhat but the other host would only respond by sending an automated response everytime I emailed that host.
Read more on this topic…


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15700 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Important Announcement

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

Total number of songs posts discussed

15723

Number of movies covered in the blog

Movies with all their songs covered =1212
Total Number of movies covered =4329

Total visits so far

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Blog Start date: 19 july 2008

Active for more than 4000 days.

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