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

Archive for the ‘Dance 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 : 3800 Post No. : 14792

Today’s song is from film ‘Mangala’ (1950). This was a film made by Gemini Films of Madras and directed by its boss SS Vasan. The music was given by a team of Balkrishna Kalla, MD Parthasarathy and E Sankar Sastry. The cast of this film was P Bhanumathi, Ranjan, Agha, David, Badri Pershad, BS Kalla etc.

The film was a remake of the hit Tamil film ‘Mangamma Sapatham’ (1943). After the unprecedented foray of Gemini’s Vasan’s hit film ‘Chandralekha’ (1948) into the All India market, Subramaniam Srini Vasan or simply SS Vasan, became aware of the unlimited scope of the Hindi belt market for south-made Hindi films. Vasan was a writer, editor, producer and director, but above all, he was a business tycoon. He had established the popular Tamil magazine “Anand Vikatan”, and owned Gemini Studios, Gemini Laboratories and Gemini distribution circuits.

He soon decided to take advantage of the success of ‘Chandralekha’ and made another tri-lingual film . In Tamil it was called ‘Apoorva Sahodarargal’, in Telugu, it was ‘Apoorva Sahodaralu’, and in Hindi it was called ‘Nishan’ (1949). This film too was a great success. Encouraged by this, SS Vasan made his 1943 Tamil Hit film ‘Mangamma Sapatham’, into a remake in Hindi with the name ‘Mangala’.

Not by coincidence, but by design, the hero for all these 3 remakes and the originals was Ranjan. (This film was remade in Simhalese as ‘Mathalan’ in 1955, and in Telugu as ‘Mangamma Shapatham’ in 1965, featuring NT Ramarao, later the Chief Minister of erstwhile Andhra Pradesh, and Jamuna).

Enthused and inspired with Vasan’s success in the Hindi belt, another giant from the South came forward. AVM’s Tamil film ‘Vazhkai’ (1949) was a big hit in south. AVM made a Telugu version of it with the name ‘Jeevitham’ (1950) followed by a Hindi version ‘Bahaar’ (1951). They introduced Vyjayantimala with this film, in Hindi. The story of the film and the Music by SD Burman made film a big hit in Hindi too. AVM then made Hindi film ‘Ladki’ (1953), with a Tamil and Telugu version. This too became a hit film. However by that time the South market had grown manifolds and there was no need for the south film makers to venture into the Hindi belt to earn money. Thus, there was a slow down in this type of activity. The south now started making Hindi films directly in Madras by calling actors from Bombay. And some films were dubbed too.

Actually, the southern film activity, though as old as Hindi talkie films, is strictly limited to four southern states. It was only the adventurous SS Vasan who ventured into the bastion of Hindi film markets, by promoting his film ‘Chandralekha’. In fact this had encouraged other producers like AVM, Prasad, Vijaya etc. to tap the Hindi belt. While making a multilingual film, the south producers always called the Hindi artistes, be it actors, directors ,composers or singers to come to Madras, but they never went to Bombay. It was only through dubbed or remade films that south actors, composers or actors were exposed to the Hindi arena. Those days anyone from south was a ‘madrasi‘ and likewise anyone from other than south was a North Indian or a Punjabi ! No one from the North bothered to distinguish between Tamil, Telugu, Kannada or Malayalam – films or people. Everything was ‘madrasi‘.

The divide between the north and the south went on widening, which finally resulted in the anti-Hindi agitations of the 60s and 70s in Madras and other southern places. Fortunately, in recent times and with the new generation, thanks to the coalition politics at the centre and states as well as IT centres at Hyderabad and Bangalore, the North-South exchange is much better and each state is identified individually. Thanks also to writers like Chetan Bhagat’s novels. Thanks to Modernization.

In the early times of the film industry, very few educated people used to join here. That is why graduates or postgraduates used to flaunt their degrees with pride – like Moti, BA – the lyricist (though he was actually MA), or Kavi Pradeep’s pseudo name – Miss Kamal BA or even singer Surendra as BA, LLB etc.

A highly qualified person and that too in an unrelated subject joining films was a wonder then. Thus, a young man with an unlikely name for a hero, like RAMNARAYAN VENKATRAMAN SARMA alias actor RANJAN was a novelty. Ranjan was born in Madras on 2-3-1918 in an orthodox Brahmin family. He did his BA with Physics and then completed M Litt in Carnatak music and dance, and became a Research Fellow for Ph.D. He also became the managing editor of ‘NATYAM‘ a magazine for dance, drama and music. In total contrast to his expertise in fine arts, he learnt fencing (sword fighting) after he saw it in the Olympic Games.

He was spotted by a Tamil producer and he made his debut in the film ‘Ashok Kumar’ (1941). After a few films in Tamil and Telugu he got the role of Shashank in the magnum opus film ‘Chandralekha’ in 1948. The drum dance and his fencing were the two main attractions in the film. The final sword fighting is considered the longest ever fencing fight in films till today ! The film was a hit and Ranjan became type cast in action films. Ranjan was a very poor actor, but his fencing skills were marvelous.

In 1949 came ‘Nishaan’, based on the Hollywood film ‘The Corsican Brothers’ – one good and one bad. It was a story of twins. The audience liked a scene from the film which showed that there were marks on one brother’s back if the other one was whipped ! The film, in Hindi, Tamil and Telugu, was a hit everywhere mainly for its fencing scenes. In ‘Mangala’ opposite Bhanumati, he was the villain and the hero too.

He was invited by New York University for a research fellowship, but Vasan did not leave him, so after ‘Mangala’, as soon as the contract was over, Ranjan came to Bombay.

‘Shin Shinaki Boobla Boo’ (1952) saw him with Rehana but as a romantic hero, he was worse than Bharat Bhushan or Pradeep Kumar ! He acted in ‘Sindbad The Sailor’ (1952),  ‘Nishan Danka’ (1952), ‘Kafila’ (1952), ‘Baaghi’ (1953), ‘Shahenshah’ (1953), ‘Baap Beti’ (1954), ‘Baghdad’ (1961), and a host of B and C grade films, many of them dubbed or remakes of southern films. He was known for only fencing. But he never became famous like Stewart Granger in ‘Scaramouche’ for his fencing. In the 1950s he acted in 23 films, in 1960s he did 18 films and in 1970s his tally was 17 films. A total of 58 films in Hindi.

After sword fighting became obsolete he shifted to writing. The story of film ‘Munim ji’ (1955) was written by him. After few years in south he was seen again in ‘Chor Chor’ (1974) and ‘Chaitali’ (1976). ‘Ram Balram’ (1980) was his last film.

He married a Muslim girl and she converted to Hinduism taking the name of Laxmi. Ranjan wrote 12 books on dancing and music. He shifted to USA to live with his son in New Jersey. He passed away 12-9-1983, due to a heart attack. He was so much forgotten that even the news of his death was not published in India.

The composers of ‘Mangala’ was a team of D Parthsarthi, Balkrishna Kalla and E Shanker. This team also gave music to few other films like ‘Sansaar’ (1951), ‘Mr Sampat’ (1952), ‘Bahut Din Huye’ (1954). Balkrishna Kalla with Mohd Shafi gave music to ‘Krishna Kanhaiya’ (1952). Independently he gave music to only one film – ‘Do Dulhe’ (1954). The southern composers gave music only to dubbed films or remakes.

In the original version of ‘Mangala’, which was ‘Mangamma Shapatham’ (1943), the heroine was Vasundhara Devi – mother of Vaijayantimala. In Hindi film ‘Mangala’, the heroine was P Bhanumathi, but the hero was same – Ranjan. There were some Hindi actors like Agha, David and Badriprasad. The composer of today’s song, Balkrishna Kalla also did a small role in this film. When Shamshad Begum sang songs for ‘Chandralekha’, her songs were recorded in Bombay, but for ‘Mangala’, Shamshad went to Madras first time and sang 9 songs out of its 15 songs. In this film the songs and dances of Carmen Miranda were freely copied in the Tamil, Telugu and Hindi versions.

The late 1940’s was marked in Bollywood with the remake of several super hit movies from south, especially from Tamil. The 1950 hit ‘Mangala’, produced by Gemini Pictures, was one such movie which was originally made in Tamil. SS Vasan was the director of the Hindi version. The newspaper, The Hindu, in its issue of 3-2-2013 has said this, about film ‘Mangala’,

Bhanumathi Ramakrishna was so bowled over by the performance of Vasundhara Devi (mother of yesteryear heroine Vyjayanthimala Bali) in Gemini’s blockbuster 1943 Tamil hit, Mangamma Sabadham , that she wished, if at all the film were to be remade in Telugu, she would act in it. In fact, the Tamil movie was released by Gemini supremo S.S. Vasan at a few centres in Andhra also and was well received there too. A few years later, Vasan decided to remake the movie in Telugu and Hindi under the title Mangala . Impressed by Bhanumathi’s performance in the Tamil film, Rajamukthi , he decided to sign her and approached her husband, Ramakrishna Rao. It was an opportunity she was waiting for and Bhanumathi immediately accepted the offer. She was paid a remuneration of Rs. 1 lakh for both the versions. Ranjan, who did the hero’s role in Mangamma Sabadham , was retained to play the lead role in both Telugu and Hindi versions. Popular editor of the time, Chandru (who had done commendable work as editor for Gemini’s earlier trilingual, Apoorva Sahodarulu) was entrusted with the job of directing the Telugu movie.

Based on a popular folklore, an engrossing narrative was weaved by Gemini’s story department. Mangala (Bhanumathi), the charming daughter of a rich farmer, is very haughty by temperament. When Prince Sugunapal (Ranjan) fails to win her love, he throws a challenge that he would marry her and then imprison her for life, denying her the marital bliss. She counter-challenges him that she would bear a child from him and make the child whip him in his court.

The prince marries her and puts her in a lonely palace. She makes her father (Doraiswamy) dig a tunnel from the palace to her village, sneaks through it to her house and learns dance. Disguised as a gypsy, she entices the Prince, secretly gives birth to a child, and when he grows up (Ranjan – dual role) gets her vow fulfilled through him. Realisation dawns on the Prince and the tale ends on a happy note.

All through it is Mangala’s show and Bhanumathi essayed it brilliantly. If Vasundhara Devi was admired for her nice dances in the Tamil version, Bhanumathi scored through her acting prowess. Ranjan made his presence felt in dual role.

The songs and dance sequences were all hits of that time. Music was composed by Partha Sarathi, Kalla and E Sankar Sastri. Two songs from this film were inspired by the famous Brazilian dancer Carmen Miranda’s classics. The song “Ma Ma Ma Ma Ma Mummy” was based on Carmen Miranda’s “Mama Yo Quiero” and “Ayyi Ayyi Ayyi Ayyi Mari Main To Laaj Se” (today’s song) in which Bhanumathi is dressed like Carmen, was based on “I Yi Yi Yi Yi — I Like You Very Much”  from the film “That Night in Rio ” (1941), sung by Carmen Miranda herself.

Enjoy the dance and song video….

 


Song – Ayyi Ayyi Ayyi Ayyi Mari Main To Laaj Se  (Mangala) (1950) Singer – P Bhanumati, Lyrics – Pt Indra, Music – MD Parthasarthy, BK Kalla, E Shankar Shastri

Lyrics (Provided by Sudhir)

ta na na naa raa nanna
ta na na naa raa nanna
taa naa naanaa
ch ch ch ch..ch

ta na na naa raa nanna
ta na na naa raa nanna
taa naa naanaa
ch ch ch ch..ch

ta na na naa raa nanna
ta na na naa raa nanna
taa naa naanaa
ch ch ch ch..ch

ta na na naa raa nanna
ta na na naa raa nanna
taa naa naanaa. . .
ta na na na ra naa naa. . .
ta na na na na naa. . .
ta na na na ra naa naa. . .
ta na na na na naa. . .
ta na na na na naa
ta na na na na naa

taa na na naa raa nanna
naa raa nanna
naa raa nannaa
ta na na na na naa. . .
ch ch ch ch..ch

taa na na naa raa nanna
taa na na naa raa nanna
taa raa nanna
ta na na naa raa nanna
ta na na na na naa. . .
taa naa naa naa. . .

ayyi ayyi ayyi ayyi mari main to laaj se
sainyyaan dekhe mohey pyaar se
aayi aayi raja torey paas re
piya se milan ki aas re
ayyi ayyi ayyi yaa. . .
ahaa haa haa haa. . .
ayyi ayyi ayyi yaa. . .
ahaa haa haa haa. . .
ahaa haa haa haa. . .

kaun jaane kaisa jaadu daal ke
chheen liya dil mora haaye
khili khili khili rahe chaandni
chanda sa ye much muskaaye
chhoti si raat
chhoti si baat
dil ki pukaar
sumba limbaa. . .
suno suno pyaare morey saajna
baaje morey dil ka sitar
gori gori chhori main to baalma
puchho reejho reejho hai kyon nikhar
ayyi ayyi ayyi yaa. . .
ahaa haa haa haa. . .
ayyi ayyi ayyi yaa. . .
ahaa haa haa haa. . .
ahaa haa haa haa. . .

meri chaal nihaar
kaisi thummakdaar
meri kamar nihaar
kaisi lachakdaar
mere nain nihaar
jaise tez kataar
meri nath nihaar
kaisi hai chammakdaar
ye bahaar
ye nikhaar
tum shikaar
main shikaar
phadak phadak
thadak thadak

ayyi ayyi ayyi ayyi mari main to laaj se
haaye ri main to laajon mari
hanh hanh
ayyi ayyi ayyi ayyi mari main to laaj se
saayyaa ji jee
du du de de dor
ka ka ki ki ku ku ke ke kaye kekor
piya se milan ki aas re
chhoti si raat
chhoti si baat
dil ki pukaar
sumba limbaa. . . aa. . .

suno suno pyaare morey saajna
cha cha chu chu chu chu chaye chechor
ka ka ki ki ku ku ke ke kaye kekor
ta tta ta ti tu tu tuteyi tetor
ayyi ayyi ayyi yaa. . .
ahaa haa haa haa. . .
ayyi ayyi ayyi yaa. . .
ahaa haa haa haa. . .
ayyi ayyi ayyi yayyi yayyi yaa. . .

ta na na naa raa nanna
ta na na naa raa nanna
taa naa naanaa

ta na na naa raa nanna
ta na na naa raa nanna
taa naa naanaa

ta ra ra na na naa naa. . .
ta ra ra na na naa. . .
ta ra ra na na naa naa. . .
ta na na naa raa naa
ta na na naa raa naa

ta na na naa raa nanna naa raa nanna naa raa nanna
taa naa naa naa raa. . .
ta na na naa raa nanna
ta na naa raa nanna
ta na na na naa. . .
ta. . na. . na. . naa. . .

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

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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.

Blog Day : 3782 Post No. : 14763

“Dulhan”(1958) was produced by A A Nadiadwala and directed by V M Vyas for Pushpa Pictures, Bombay. This “social” movie had Nirupa Roy, Rajkumar, Bhagwan, Nanda, Jageerdaar, Sheila Kashmiri, Manorama, Agha, Jeewan, Indira Bansal, Munshi Munaqqa, Maqbool, Iqbal, Kanchan, Ansari, Moti (the dog) etc in it.

The movie had nine songs in it. Four songs from the movie have been covered in the blog.

Here is the fifth song from “Dulhan”(1958) to appear in the blog. This song is a duet sung by Shamshad Begam and Rafi. P L Santoshi is the lyricist. Music is composed by Ravi.

The song is sung in a rock and roll style (which was quite popular in India at that time. The song is picturised as a club dance song. One can see Bhagwan lip syncing in Rafi’s voice. I am unable to identify the lady who lip syncs in Shamshad Begam’s voice. I request our knowledgeable readers to help identify her.

With this song, the blog now has 4800 songs from the decade of 1950s (1951 to 1960), which is easily the most well represented decade in the blog.


Song-Mere gore gore gaal (Dulhan)(1958) Singers-Shamshad Begam, Rafi, Lyrics-P L Santoshi, MD-Ravi
Both
Bhagwaan

Lyrics

yaa hoo

mere gore gore gaal
mere kaale kaale baal
mera husn laajawaab
meri ada bemisaal
that’s all
o tere neele neele nain
tere meethhe meethhe bain
loote mere dil ka chain
kya kahoon main dil ka haal

that’s all
mere gore gore gaal
mere kaale kaale baal
mera husn laajawab
meri ada bemisaal

husn waale kahte nahin kitne hum hain haseen
apne husn per unhen hota nahin hai yakeen
o husn vaale kahte nahin kitne hum hai haseen
apne husan pe unhe hota nahin hai yakeen
poochhe kaun husn ko na ishq ki jo shah mile
poochhe kaun husn ko na ishq ki jo shah mile
chaahne valo ki nazar ka hai ye sab kamaal

that’s all
mere gore gore gaal
mere kaale kaale baal
mera husn laajawaab
meri ada bemisaal
that’s all
o tere neele neele nain
tere meethhe meethhe bain
loote mere dil ka chain
kya kahoon main dil ka haal

pahle kisi but pe kabhi marna nahin chaahiye
mar gaye to shor kabhi karna nahin chaahiye
pahle kisi but pe kabhi marna nahin chaahiye
mar gaye to shor kabhi karna nahin chaahiye
aaye thhe ye ban ke chacha majnu farhaad ke
laila
haaye laila

aaye thhe ye ban ke chacha majnu farhaad ke
kuchh na ban pada to kahen that’s all
that’s all
that’s all
o tere neele neele nain
tere meethhe meethhe bain
loote mere dil ka chain
kya kahoon main dil ka haal

that’s all
mere gore gore gaal
mere kaale kaale baal
mera husn laajawaab
meri ada bemisaal
that’s all
tere gore gore gaal

that’s all
tere kaale kaale baal
that’s all
tera husn laajawaab
that’s all
teri ada bemisaal
that’s all


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 : 3781 Post No. : 14761

I in this blog often talk about “natural” landmarks and “artificial” landmarks for the blog. “Natutral” landmaks for the blog are those that are intuitive, viz. century of songs in the blog, and later century of songs in the blog for an artist, a contributor etc.

Later, when we began to keep track of blog related statistics, we became aware when a duo of singers completed their century of duet songs, or the blog itself completed a century (or its multiple) of days.

Many of these “artificial” (more accurately “derived” or “secondary”) landmarks went unnoticed in the early days of the blog. For instance, we completed several hundred days and also thousand days in the blog but we remain blissfully unaware. In fact, the level of blissful unawareness was such that we did not even noticed it when the blog completed one year of its existence on 19 july 2009. 🙂

We have come a long way since.

While many of these landmarks events have to be created by effort, there are some landmarks that happen on their own. Time related landmarks, viz hundreds of days or thousands of days get achieved with time.

Likewise, number of visitors in the blog also happen with time, though that is dependent on factors like ability of the blog to attract visitors.

This blog had a humble beginning on 19 july 2008. During its early days, it attracted less than 100 visitors daily. There were only 406 visitors for the blog during july 2008, the month when this blog started.

I regarded it as a “landmark” occasion when the blog clocked more than one hundred visits for the first time. It was on 16 august 2008, the day of Rakhi festival, when I covered the iconic Rakhi song Bhaiyya mere raakhi ke bandhan ko nibhaana .

The blog averaged 31 visitors a day in july 2008 and 72 visitors a day in august 2008 before breaking into the three figure region with 276 visitors per day during september 2008. 23 january 2009 was the first day when this blog received more than one thousand visitors in a day. 1145 visitors arrived on the blog on that day. The blog reached four figure a day mark for the first time during february 2009 with 1069 visitors daily. It was in june 2011 that the 2000 mark was breached for the first time. An average of 2226 visitors visited daily during this month. It took only two more months to reach the 3000 visitors a day mark. August 2011 saw 3109 visitors daily in the blog. The next peak arrived in october 2011. It was not 4000 mark or 5000 mark or even 6000 mark, rather an average of 7224 visiors per day that was achieved in this month ! On one particular day, viz 19 october 2011, as many as 10630 visitors arrived at the site !

It was too good to last though. By now we have settled at an average of over 3000 visitors daily.

In the process, the blog recorded its first one million visits on 25 october 2010, after 829 days. The subsequent million visits have come rather more quickly, as can be expected. The third millionth mark was reached the fastest- in just 152 days. Now a days, it is taking around 300 odd days (nearly ten months ) to reach one million visitos mark.

The blog clocked 10 million visits on 14 january 2018 at around 22:30 IST. The 11th million visitor was clocked on 22 november 2018 at around the same time.

Here is the summary of the eleven million visitors in the blog so far:-

Number of Visitors Date when achieved Blog day days taken for the million visits
1 million 25-Oct-10 829 days 829
2 millions 07-Nov-11 1207 days 378
3 millions 30-Apr-12 1359 days 152
4 millions 10-Dec-12 1606 days 247
5 millions 29-Oct-13 1929 days 323
6 millions 12-Oct-14 2277 days 348
7 millions 04-Jul-15 2542 days 265
8 millions 20-Apr-16 2833 days 291
9 millions 24-Feb-17 3144 days 311
10 millions 14-Jan-18 3466 days 332
11 millions 22-Nov-18 3779 days 313

I was wondering what song to discuss on the occasion. Finally I zeroed in on a joyous song from “Kaala Pathhar”(1979). This song is sung by Rafi, Lata, S K Mahan, Mahendra Kapoor and chorus. Sahir Ludhianvi is the lyricist. Music is composed by Rajesh Roshan.

The picturisation shows almost the entire star cast (this was a multi starrer movie !) – viz Amitabh Bachchan, Shashi Kapoor, Shatrughan Sinha, Neetu Singh, Parveen Babi etc.

The video version of this song from “Kaala Patthar”(1979) is nearly six minutes long. But the audio version is even longer (nearly eight minutes long). I have provided both version of the some here.

I take this opportunity to thank one and all for their continued support and encouragement. It goes without saying that it was the support and encouragement of music lovers that helped the blog achieve this impressive number of visits from music lovers. Here is hoping that this musical bandwagon will continue on its merry ways with many more landmarks to achieve enroute.

Video

Full audio


Song-Dhoom mache dhoom (Kaala Patthar)(1979) Singers-Rafi, Lata, S K Mahaan, Mahendra Kapoor, Lyrics-Sahir Ludhianvi, MD-Rajesh Roshan
Male chorus
Female chorus
All chorus
Rafi + Lata

chaahe koi roke re saathee
chaahe koyee toke re saathi
nav yug aayega
nav yug aayega

tanee huyi baahon kaa rela badhta hee jaayega
khoon maatee ke bhaav bik naheen paayega
khoon maatee ke bhaav bik naheen paayega

dhoom mache dhoom
aaj ki raina bhor huye tak jaage jawaani
dhoom mache dhoom
aaj ki raina bhor huye tak jaage jawaani
ho o o
subah tak ham kahen ek kahaani
jhoomati dhadkanon ki zubaani ee

dhoom mache dhoom
aaj ki raina bhor huye tak jaage jawaani
dhoom mache dhoom

aa aa aa
aaj ki raina
aa aa aa
bhor huye tak
aa aa aa
jaage jawaani
aa aa aa
dhoom mache dhoom

jab talak raat chale
pyaar kee baat chale
teri meri meri teri palken naa jhapken
rang lehraate rahen
ang tharraate rahen
tape tape chehron se shole see lapken

ho o toka tohari hi kasam
tod mat aur julam
hamka dai de angoothhi nisaani
tori hogi badi meharbaani
ae kya samajhta hai hamko re praani
hamra kaata to maange naa paani
dhoom mache dhoom
aaj ki raina
bhor huye tak jaage jawaani

dhoom mache dhoom
aa aa aa
aaj ki raina
bhor huye tak jaage jawaani
aa aa aa
dhoom mache dhoom

masti kuchh aur badhe
nasa kuchh aur chadhe
dukh waala dhyaan koi aaj hamen aaye na
dukh jo aaye toh kya
gham sataaye to kya
aadmi ko chaahiye ke kabhi ghabraaye naa

ho o o
tootne waala hai dam
khaaye jaata hai yeh gham
bane dulhan meri bitiya raani

umr ghar mein pade naa bitaani
hai har museebat hai aani te jaani
hai yeh apne guruji di baani

dhoom mache dhoom
aaj ki raina bhor huye tak jaage jawaani

dhoom mache dhoom
aa aa aa
aaj ki raina
bhor huye tak jaage jawaani
aa aa aa
dhoom mache dhoom

pale naa sog jahaan
sukhi hon log jahaan
hamko hai saath aisee duniya basaani
seenon mein aag liye
honthon pe raag liye
hamko andheron mein hai shamme jalaanee
ho o o
kaale patthar kee kasam
jab talak dam mein hai dam
ham yeh dekhenge rasmen puraani
kar naa paaye yahaan hukmraani
hey ae
aaj se hamne hai dil mein thhaani
laayenge ek nayi rut suhaani
dhoom mache dhoom
aaj ki raina bhor huye tak jaage jawaani

dhoom mache dhoom
aaj ki raina bhor huye tak jaage jawaani

ho o o
subah tak ham kahen ek kahaani
jhoomti dhadkanon ki jubaani ee

dhoom mache dhoom
aaj ki raina bhor huye tak jaage jawaani
dhoom mache dhoom

aa aa aa
aaj ki raina
aa aa aa
bhor huye tak jaage jawaani
dhoom mache dhoom
aa aa aa
aaj ki raina
aa aa aa
bhor huye tak jaage jawaani
dhoom mache dhoom

dhoom mache dhoom
aaj ki raina bhor huye tak jaage jawaani
dhoom mache dhoom

aa aa aa
aaj ki raina
aa aa aa
bhor huye tak jaage jawaani
aa aa aa aa aa
aa aa aa aa aa aa
aa aa aa aa aa aa


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

Blog Day : 3779 Post No. : 14759

For me, this is a crush that still endures – a crush that I have never gotten over. Since the days when I first saw her in ‘Talash’ (1969) – and the song – “Kar Le Pyaar Karne Ke Din Hain Yahi” – a part of me has always remained smitten with her image and her thoughts. Helen, aah Helen – the ultimate danseuse of the silver screen. Helen – whose art has established the gold benchmark as a dancer, for all measures – from the past, and maybe, forever in the future. For sincerely, till this time, no other dancer has come close to this ultimate – in grace, in innovation, in energy, in movement – in every aspect of this art form.

It is said that the classical dance forms of India, are probably the most expressive traditional dances. The dancers are coached to develop the enhanced expressions for all the human emotions. The artist is taught not just to exhibit a series of well coordinated movements, which of course is very pleasing to the senses, but it is imperative for them to also communicate the emotions through the facial expressions, body language and the finer movements like twitching and trembling of specific muscles and body parts. The art of the Kathak, Bharat Natyam, Khatakali, etc. is so very refined in this aspect, and the aspiring artists are trained from a very young age.

As far as I am aware, Helen simply started dancing in films (in her teens, as early as when she was 13). She probably has no formal training in any dance form. And yet, seeing Helen on screen, in all the dancing forms, is an experience that flows across and covers the entire spectrum of human emotions and human exchange. In a career that spans almost seven decades, from the end of 1940s to the present day, she has likely appeared in 600+ films, and has regaled the audiences with that many colors and flavors of practically any dance form that may exist on this planet – rhumba, prancing, conga, frolic, folk, swing, rock n’ roll, spin, skip, step, samba, kabuki, disco, cabaret, jive, jump, cha cha cha, foxtrot, cavort, flamenco, waltz, boogie, santoso, flit, jig, jitterbug, hustle, gambol, polka, hop, sway, bunny hop, tap, shimmy, careen, salsa, mambo etc. – and of course, lavani and bhangra too. 🙂

Seeing her in so many different avatars of dancing, one is convinced that rhythm is naturally ingrained into her, and that there is almost a divine intervention here that allows her to pick up any choreography and perform exceedingly pleasing movements to it. The expression of emotions come to her so naturally – and the graceful flow of movements that is so excellently effortless – when she is in front of the camera, she actually knows what she is into. Such realization in the mind brings about a natural performance that simply cannot be executed in any better way. Unlike many of her ilk that have also performed on the Indian screen – yes, she knows, she is fully aware of what she is into.

There are a handful of rare performances by her that are not accompanied by any song. One of the finest, and in my humble opinion, her best such performance is a songless dance from the film ‘Hulchul’ (1971). Folks may remember this stage dance – for the variety of dance forms that are packed into this maybe 9 or 10 minutes performance, the multiple emotions that flow through it, and the significant message this dance experience is attempting to convey. (I tried to bring on this dance clip to our blog, but Atul ji is uncertain whether it qualifies. 😉 Maybe, I will try again.)

For me and my puppy-love heart, Helen is an ageless wonder that I adore. Sweet sixteen – that is what she is in my books, and that is how she is going to be, always.

And that also brings up today the most appropriate song of hers – to wish her a very happy birthday. The film is ‘Toofaan’ from 1969. The words are from the pen of Akhtar Romani. Music for this peppy and well paced dance number is created by Daan Singh. The singing voice – Asha Bhosle, probably the longest lasting partnership of singing voice and dancing steps on the Hindi screen.

Sharing the screen with Helen in this song is Dara Singh, whose birth anniversary just came two days ago (19th Nov). With this song we also remember him – he would have been 90 this year.

The dance is a typical folk dance from north India, performed in a very rural setting. Just see how wonderfully, this ordained Queen of the Cabaret – how wonderfully she is executing this oh so typically a rural folk dance.

And the words of the mukhda,

laaga mohe ab ki baar
o baanke piya pandrah pe ek nayo saal

Dear Helen, always young, always fresh, always sixteen – always sweet sixteen – forever.

Song – Laaga Mohe Ab Ki Baar (Toofaan) (1969) Singer – Asha Bhosle, Lyrics – Akhtar Romani, MD – Daan Singh

Lyrics

laaga mohe ab ki baar
o baanke piya pandrah pe ek nayo saal
laaga mohe ab ki baar
o baanke piya pandrah pe ek nayo saal
duniya pukaare solah baras ki
dekho chali re kataar
o baanke piya sun sun ke rang bhayo laal
laaga mohe ab ki baar
o baanke piya pandrah pe ek nayo saal

nainon mein kajra
zulfon mein gajra
haathon mein mehndi racha ke
gaalon pe laali
pairon mein paayal
maathe pe bindiya sajaa ke
dekhoon jo darpan awaaz aaye..e..e..e
dekhoon jo darpan awaaz aaye
khil ye gayo re singaar
o baanke piya sun sun ke rang bhayo laal
laaga mohe ab ki baar
o baanke piya pandrah pe ek nayo saal

logon ke darr se
mein apne ghar se
panghat mein ja na sakoon
panghat to kya
main apne hi angnaa
ghoonghat hataa na sakoon
ghoonghat jo sarke awaaz aaye..e..e..e
ghoonghat jo sarke awaaz aaye
hamri bhi kismat sanwaar
o baanke piya sun sun ke rang bhayo laal
laaga mohe ab ki baar
o baanke piya pandrah pe ek nayo saal
duniya pukaare solah baras ki
dekho chali re kataar
o baanke piya sun sun ke rang bhayo laal
laaga mohe ab ki baar
o baanke piya pandrah pe ek nayo saal

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

लागा मोहे अब की बार
ओ बाँके पिया पन्द्रह पे एक नयो साल
लागा मोहे अब की बार
ओ बाँके पिया पन्द्रह पे एक नयो साल
दुनिया पुकारे सोलह बरस की
देखो चली रे कटार
ओ बाँके पिया सुन सुन के रंग भयो लाल
लागा मोहे अब की बार
ओ बाँके पिया पन्द्रह पे एक नयो साल

नैनों में कजरा
ज़ुल्फों में गजरा
हाथों में मेहंदी रचा के
गालों पे लाली
पैरों में पायल
माथे पे बिंदिया सजा के
देखूँ जो दर्पण तो आवाज़ आए॰॰ए॰॰ए॰॰ए
देखूँ जो दर्पण तो आवाज़ आए
खिल ये गयो रे सिंगार
ओ बाँके पिया सुन सुन के रंग भयो लाल
लागा मोहे अब की बार
ओ बाँके पिया पन्द्रह पे एक नयो साल

लोगों के डर से
मैं अपने घर से
पनघट पे जा ना सकूँ
पनघट तो क्या
मैं अपने ही अंगना
घूँघट हटा ना सकूँ
घूँघट जो सरके आवाज़ आए॰॰ए॰॰ए॰॰ए
घूँघट जो सरके आवाज़ आए
हमरी भी किस्मत संवार
ओ बाँके पिया सुन सुन के रंग भयो लाल
लागा मोहे अब की बार
ओ बाँके पिया पन्द्रह पे एक नयो साल
दुनिया पुकारे सोलह बरस की
देखो चली रे कटार
ओ बाँके पिया सुन सुन के रंग भयो लाल
लागा मोहे अब की बार
ओ बाँके पिया पन्द्रह पे एक नयो साल


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 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 : 3778 Post No. : 14757

‘Dhongee’ (censor certificate 23-12-1976), was a movie directed by Ashok Roy and produced by Kant Kumar productions. It seems to have had a delayed release (Wikipedia says it was released 4th May 1979). It has a starcast of Randhir Kapoor, Neetu Singh, Asrani, Sujit Kumar, Farida Jalal, Iftikhar, and Premnath. Rakesh Roshan had a friendly appearance. The lyricist to this movie was Anand Bakshi and music director was Rahul Dev Burman. The movie had five songs and Asha Bhonsle, Kishore Kumar and Amit Kumar were the playback singers. One song of this film – “Haaye Re Haaye Tera Ghunghta” – has been posted earlier, as a contribution by Pamir Harvey where a brief outline of the movie is provided. This song is popular to this day. I remember that sometime in the late 90s or early 2000 there was a remix version to this song which triggered the memory of this song. As I sat to write this post I discovered that there has been another version of this song which has been used in a recent movie titled ‘Paisa Vasool’ (2004) – I don’t know anything about this recent movie.

Continuing after seeing the movie 🙂

So, ‘Dhongee’ is the usual masaala stuff, with a brother (Randhir Kapoor) and sister (Farida Jalal) loving and helping each other with wooing their prospective fathers-in-laws (Raj Mehra and Satyen Kappu). The brother’s aim is to fulfil his ‘dead’ father’s promise to the groom’s father and see that his sister lives a happy married life. On the way to fulfilling this he meets with an accident and ‘dies’. The insurance amount that his sister gets post the brother’s death is used by his fiancée (Neetu Singh) and her father to get the sister married. This is one part of the movie. But it is not even ‘interval time’ in the movie. Now begins the tale. The brother has actually survived the accident, has been unconscious for about 2 months, tended by a Nepali Gurkha – typically named Bahadur; recovers just in time to remember his sister’s wedding date; rushes home to witness the wedding without being seen by anyone. Now he is guilt-ridden that he has cheated the insurance company and is ready to do any activity that will earn him the money to repay the insurance. Here Bahadur steps in, suggests a name and location change & sends him to Nepal. Randhir Kapoor (Anand) is intrigued that random people around Kathmandu recognise him and escort him to a palace. After a few scenes that show the goings-on in the palace it is revealed that the palace is the headquarters for printing fake notes, belongs to Bahadur alias John and Anand has been cleverly sweet-talked into standing-in for the actual John (Premnath – it was the period when he used to play the BADMAN). Additionally, it is also revealed that the ‘dead’ father is a captive in the palace; the fiancée reaches Kathmandu (on duty, being an air-hostess); sees Anand; goes back; reports to the sister and then the whole family comes to help and rescue the father and brother and finish the movie. The songs are spread through the movie with a mandatory dance with the villain – Premnath is made to sing and dance.

Remembering Premnath today on his birth anniversary, he would have been 92. He was already the cute roly-poly fisherman – Braganza (‘Bobby’, 1973)- when I first became aware of the actor. And through the 70s he was Rai Saab Bhupendra Singh (‘Johnny Mera Naam’, 1970) Khan Badshah (‘Shor’, 1972), Dharmdas ‘Dharmatma‘ (‘Dharmatma’, 1975), IG Khanna (‘Kalicharan’, 1976), Sir Juda (‘Karz’, 1980) etc. I don’t remember having seen any of his movies where he had played a hero. I remember my father was a fan of the songs pictured on him in Raj Kapoor’s ‘Barsaat’ (1949) – “Patli Kamar Hai Tirchhi Nazar Hai“; “Main Gareebon Ka Dil Hoon Watan Ki Zabaan” from ‘Aab-e-Hayaat’ (1955) and “Main Raahi Bhatakne Waala Hoon” from ‘Baadal’ (1951). I recently discovered Vodafone Play – an app offered by Vodafone – which has a section dedicated to old movies, and I discovered ‘Saaqi’ (1952) – an interesting Arabian Nights type fantasy film where he co-starred with Madhubala.

Today’s song has Premnath sharing screen space with Randhir Kapoor (his nephew – ‘bhaanja’, in real life) and Neetu Singh, and shaking a leg outside the Kathmandu temple. I think this was a popular song in the past. Amit Kumar is the playback for Premnath.

Song – Rangon Ki Chhaaon Dhoop Mein (Dhongee) (1976) Singer – Asha Bhosle, Kishore Kumar, Amit Kumar, Lyrics – Anand Bakshi, MD – RD Burman

Lyrics

ho o oooo
ooo ooo
ooo ooo

mmmm. . .
usey jaan lo
pehechaan lo

rangon ki chhaon dhoop mein
wo aaya hai naye roop mein
rangon ki chhaon dhoop mein
wo aaya hai naye roop mein
wo hai. . . ek behroopiya
usey jaan lo
pehechaan lo
usey jaan lo oo
pehechaan lo
rangon ki chhaon dhoop mein
woh aaya hai naye roop mein
rangon ki chhaon dhoop mein
wo aaya hai naye roop mein
wo hai. . . ek behroopiya
usey jaan lo
pehechaan lo
usey jaan lo oo
pehechaan lo

jaise koi dulha baandhe sehra
us ke chehre pe hai naqli chehra
hooo ooo
jaise koi dulha baandhe sehra
us ke chehre pe hai naqli chehra
aaaa aaaaa
ab is mein kya raaz hai
poora dhokhebaaz hai
usey jaan lo pehechaan lo
rangon ki chhaon dhoop mein
wo aaya hai naye roop mein
wo hai. . . ek behroopiya
usey jaan lo
pehechaan lo
usey jaan lo oo
pehechaan lo

suljha di aankhon ne dil uljhan
haan haan yahi to hai hum sab ka dushman
he he
suljha di aankhon ne dil uljhan
haan haan yahi toh hai hum sab ka dushman
ooo oooooo
ooo ooo
ooo ooo
ooo ooo
iski sab kahaaniyan
iski hai nishaaniyan
usey jaan lo pehechaan lo
rangon ki chhaon dhoop mein
wo aaya hai naye roop mein
wo hai. . . ek behroopiya
usey jaan lo
pehechaan lo
usey jaan lo oo
pehechaan lo

tum dhongee ho to hum bhi kuchh kam nahin
tum ne jaal bichhaaya hai to gham nahin
he he
tum dhongee ho to hum bhi kuchh kam nahin
tum ne jaal bichhaaya hai to gham nahin
in baaton mein dam nahin
darne waale hum nahi
hamen jaan lo pehechan lo
rangon ki chhaon dhoop mein
main aaya hoon naye roop mein
arey
main hoon. . . ek behroopiya
hamen jaan lo
pehechaan lo
hamen jaan lo
pehechaan lo

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

हो ओ ओssss
ओsss ओsss
ओsss ओsss

मम्ममम॰ ॰ ॰
उसे जान लो
पहचान लो

रगों की छाँव धूप में
वो आया है नए रूप में
रगों की छाँव धूप में
वो आया है नए रूप में
वो॰ ॰ ॰ है एक बहरूपिया
उसे जान लो
पहचान लो
उसे जान लो॰॰ओ
पहचान लो
रगों की छाँव धूप में
वो आया है नए रूप में
रगों की छाँव धूप में
वो आया है नए रूप में
वो॰ ॰ ॰ है एक बहरूपिया
उसे जान लो
पहचान लो
उसे जान लो॰॰ओ
पहचान लो

जैसे कोई दूल्हा बांधे सेहरा
उसके चेहरे पे है नक़ली चेहरा’
हो ओ
जैसे कोई दूल्हा बांधे सेहरा
उसके चेहरे पे है नक़ली चेहरा’
आsss आsss
अब इस में क्या राज़ है
पूरा धोखेबाज़ है
उसे जान लो
पहचान लो
रगों की छाँव धूप में
वो आया है नए रूप में
वो॰ ॰ ॰ है एक बहरूपिया
उसे जान लो
पहचान लो
उसे जान लो॰॰ओ
पहचान लो
उसे जान लो॰॰ओ
पहचान लो

सुलझा दी आँखों ने दिल की उलझन
हाँ हाँ यही तो है हम सबका दुश्मन
हे हे
सुलझा दी आँखों ने दिल की उलझन
हाँ हाँ यही तो है हम सबका दुश्मन
ओsss ओsssss
ओsss ओsss
ओsss ओsss
ओsss ओsss
इसकी सब कहानियाँ
इसकी हैं निशानियाँ
उसे जान लो॰॰ओ
पहचान लो
रगों की छाँव धूप में
वो आया है नए रूप में
वो॰ ॰ ॰ है एक बहरूपिया
उसे जान लो
पहचान लो
उसे जान लो॰॰ओ
पहचान लो
उसे जान लो॰॰ओ
पहचान लो

तुम ढ़ोंगी हो तो हम भी कुछ कम नहीं
तुमने जाल बिछाया है तो ग़म नहीं
हे हे
तुम ढ़ोंगी हो तो हम भी कुछ कम नहीं
तुमने जाल बिछाया है तो ग़म नहीं
इन बातों में दम नहीं
डरने वाले हम नहीं
हमें जान लो
पहचान लो
रगों की छाँव धूप में
मैं आया हूँ नए रूप में
मैं॰ ॰ ॰ हूँ एक बहरूपिया
मुझे जान लो
पहचान लो
मुझे जान लो
पहचान लो


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 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 : 3766 Post No. : 14739

8th November, this year (2018) was bang in the middle of the festivities connected with the big Indian festival of lights Deepawali, which is said to symbolize Rama’s return to Ayodhya after completing the stipulated 14 years of exile. It is said that since the day he returned was the day of Amavasya whole of Ayodhya was lit up to pave the way for the Lord. Another belief is that it marks the vanquishing of the demon Narkasura by goddess Kali and so one of the five days of festivities is called “Kali Chaudas” or “Narka Chaturdashi”.

Whatever the belief it is a five day long festival of lights and joy and celebrations in most parts of India. So here is wishing the Atulsongaday followers or Atulites as I like to call the followers a Happy Deepawali and Prosperous New Year. Some parts of the country will be celebrating “Bhai Dooj” or “Bhau Beej” on 9 November. Happy Bhai Dooj too.

The spirit of the festival is such that I found that the blog has been getting one-song-per-day for a few days now. I myself visited the blog after 3 days today. But the festival was not the only reason for my absence, my all-time favourite grudge about Bangalore had also played a part for my absence.

In fact I heard the Vividh Bharati too after quite some days and it was playing all songs of Usha Uthup in the 9:30 p.m. program. On googling I realized that it was Usha Uthup’s birthday on 8 november 2018.

She has turned 71, time has really flown since she was first sang under RD Burman’s baton in the 1971 for “Hare Rama Hare Krishna” and followed it up with “Bombay to Goa” in which she also made an appearance on-screen. She has an unusual voice which is normally not used for the female lead but more for dance numbers. But our legs move automatically to songs sung by her whether it is “one two cha cha cha”; “hari om hari”; “rambha ho”; “doston se pyar kiya”; “pyar karna toh zaroori hai”; or “I love you, kya kushi hai kya hai gham”. I find that the stats page shows that we have “6” songs of Usha on the blog (I could locate only 3). That is surprising considering that many of her songs were popular and still are popular.

The song with this post is another such song. It is from the 1978 released Krishna Shah directed multi star-casted “Shalimar”. The songs were written by Anand Bakshi and music was R. D. Burman’s. Shalimar’s LP contains 10 songs of which 3 were instrumental, one was a multi-version song. we have three songs from the movie on the blog, here is the next. It is a song which is filmed in a dance school where Aruna Irani is shown giving training for “Cha Cha Cha”. There is also a gambling den attached to the school where we see a sardar (Premnath) squandering his wealth, suffering a heart attack and being assisted by Dharamendra. It is from here that the story of the movie begins.


Audio (Full)

Song-One two cha cha cha (Shaalimaar)(1978) Singer-Usha Uthup, Lyrics-Anand Bakshi, MD-R D Burman
Chorus

Lyrics

cha cha cha,
cha cha cha

one two cha cha cha,
lets do cha cha cha
me and you cha cha cha
du ru
cha cha cha
ek do cha cha cha
aise
bahut achchhaa
ek do cha cha cha
du ru
cha cha cha
cha cha cha
cha cha cha

ek qadam aage cha cha cha
ek qadam peechhe cha cha cha
ek qadam aage cha cha cha
ek qadam peechhe cha cha cha
aaa
that’s the way aa haa aa haa
i like it
aa haa aa haa

paanv rakho aage-peechhe
aankhen upar haath thhoda neeche
paanv rakho toh aage-peechhe
aankhen upar
haath aha thoda neeche
o back to back
haan cheek to cheek
haan o baby o baabu

one two cha cha cha
lets do the cha cha cha
me and you cha cha cha
du ru
cha cha cha
waah waah cha cha cha
kya khoob cha cha cha
oh great
du ru
cha cha cha

tirikit tam
tirikit thai
tham thi tham
tham thi tham
oh god mr naidu
this is not the bharatanatyam
this is the cha cha cha

mr naidu
gir mat jaana
yahaan tumhen kal bhi hai aana
hey naidu
gir mat jaana
yahaan tumhen kal bhi hai aana
dhirap pap lo
dekho toh
qadmon ka ye jaadoo

one two three kick
one two three kick
hup two three kick
du ru
cha cha cha
one two three kick
one two three kick
hup two three kick
du ru
cha cha cha
aa honey
lets do the offbeat
swing your firm hips now to your two feet
well honey, lets do the offbeat
swing your firm hips now to your two feet
ek do cha cha cha
haan
bahut achchha
yes yes cha cha cha du ru
cha cha cha

waah waah cha cha cha, kya khub cha cha cha
lets do the cha cha cha
du ru
cha cha cha
cha cha cha,
cha cha cha

mr lover
kya karte ho, pyaar karte ho aur darte ho
o o
dhirap pap lo
dont be shy
you and I
main aur tu
ek do cha cha cha
yes yes bahut achchha
ek do cha cha cha, du ru
cha cha cha
kya khub cha cha cha
oh great cha cha cha
you are doing fine
du ru
cha cha cha

hey come on over here
lets dance
everybody together now
wahaan kya hai
all the action is here man
nazar hamaari taraf
come on
remember how you do it
cha cha cha
cross to cha cha cha
turn to cha cha cha, du ru
sabke saath
waah waah cha cha cha
kyaa khoob cha cha cha
bahut achchhe cha cha cha
du ru
dhira papa pa dhira papa pa dhira
dhira papa pa dhira papa pa dhira
dhira papa pa dhira papa pa dhira
shiba pa pa dhira pa pa dhira
oh yeah thats the way aa haa

one two cha cha cha, cross to cha cha cha
turn to cha cha cha, du ru
sabake saath
waah waah cha cha cha,
haan bahut achchha
aise
la la la, right

cha cha cha
waah waah cha cha cha
haan haan cha cha cha
thats the way cha cha cha,
haa haa cha cha cha
waah waah cha cha cha,
kya khub cha cha cha cha
right
haan loud
come wild


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

Blog Day :

3756 Post No. : 14723 Movie Count :

4023

Missing Films of 1960s – 83
– – – – – – – – – – – – – – –

A delectable discovery, this wonderful duet of Asha ji and Usha ji. And one more film of the 1960s gets added to our blog today.

‘Tarzan 303’ – I was not even aware of this film before I started working on this series. And even now, no information is available, except what is there in the Geet Kosh. Indian film producers have a set fascination for the theme of Tarzan. From 1931 to 1980, no less than 15 films have been produced which contain ‘Tarzan’ in their title. And there probably are some more after 1980 also.

The film being introduced today is a production from the banner of Bhanu Films, Bombay and is directed by Chandrakant. There are four songs listed for this film. All songs are from the pen of Prem Dhawan, and the music composition is by Harish Dhawan. No information about this music director is forthcoming. As per Geet Kosh, this seems to be the only film for which he has composed the music. I do not know if he is in any way connected with Prem Dhawan. I would request our more knowledgeable readers and friends to please add more information about this unknown music director, as well as about this film.

The cast of actors is listed as Master Chandgiram, Shabnam, K N Singh, Tiwari, Azad, Renu, Johnny Whisky, Bhupendra, Lata Arora, Ravi Singh, Dilip Dutt, Rani Malini, Rajni, Uttam Kumar, V K Verma, Hameed, Khalid, Ramlal Pehalwan, Sato Pehalwan, Rambabu Pehalwan, R Chandra, Ridku, Rizvi, Ramchandra, and Shakeela Bano Bhopali. Quite a standard fare, as expected for a stunt film in the 1960s. Master Chandgi Ram is the name that stands out as a new name. I have presented his brief biosketch in my earlier post from this series itself, when I presented the song “Neele Ambar Se Tumhaare Liye Aayi” of the film ‘Veer Gatotkach’ (1970). Apparently he has appeared only in three films on record, the third one being ‘Maha Shivratri’ from 1972.

The song presented today is a delightful duet sung by Asha Bhosle and Usha Mangeshkar. Quite a quick paced rendition for what seems to be a twin dance song on the screen. Listen and enjoy.

 

Song – Haaye Haaye Tera Jawaab Kahaan  (Tarzan 303) (1970) Singer – Asha Bhosle, Usha Mangeshkar, Lyrics – Prem Dhawan, MD – Harish Dhawan
Asha Bhosle + Usha Mangeshkar

Lyrics

haaye haaye tera jawaab kahaan
aisa shabaab kahaan
tauba ye jalwa tera
haaye haaye main mar gai
tauba ye jalwa tera
haaye haaye tera jawaab kahaan
aisa shabaab kahaan
tauba ye jalwa tera
haaye haaye main mar gai
tauba ye jalwa tera

neend aati nahin hai sanam
hamen to ab raaton mein
neend aati nahin hai sanam
hamen to ab raaton mein
baithe rehte hain hum raat bhar
ye dil liye haathon mein
kabhi to dekho idhar
meri jaan bas ik nazar
chaahne waale tere hain hum dilruba
haaye haaye tera jawaab kahaan
aisa shabaab kahaan
tauba ye jalwa tera
haaye haaye main mar gai
tauba ye jalwa tera

sab pe aate jawaani ki din
magar yun na aate hain
sab pe aate jawaani ki din
magar yun na aate hain
dekh le tujhko jo ek jhalak
nazar na hataate hain
jawaani chadhti rahe
khumaari badhti rahe
deten hain ye duaaen tujhe hum sada
haaye haaye tera jawaab kahaan
aisa shabaab kahaan
tauba ye jalwa tera
haaye haaye main mar gai
tauba ye jalwa tera

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

हाए हाए तेरा जवाब कहाँ
ऐसा शबाब कहाँ
तौबा ये जलवा तेरा
हाए हाए मैं मर गई
तौबा ये जलवा तेरा
हाए हाए तेरा जवाब कहाँ
ऐसा शबाब कहाँ
तौबा ये जलवा तेरा
हाए हाए मैं मर गई
तौबा ये जलवा तेरा

नींद आती नहीं है सनम
हमें तो अब रातों में
नींद आती नहीं है सनम
हमें तो अब रातों में
बैठे रहते हैं हम रात भर
ये दिल लिए हाथों में
कभी तो देखो इधर
मेरी जान बस इक नज़र
चाहने वाले तेरे हैं हम दिलरुबा
हाए हाए तेरा जवाब कहाँ
ऐसा शबाब कहाँ
तौबा ये जलवा तेरा
हाए हाए मैं मर गई
तौबा ये जलवा तेरा

सब पे आते जवानी के दिन
मगर यूं ना आते हैं
सब पे आते जवानी के दिन
मगर यूं ना आते हैं
देख ले तुझको जो एक झलक
नज़र ना हटाते हैं
जवानी चढ़ती रहे
खुमारी बढ़ती रहे
देतें हैं ये दुआएं तुझे हम सदा
हाए हाए तेरा जवाब कहाँ
ऐसा शबाब कहाँ
तौबा ये जलवा तेरा
हाए हाए मैं मर गई
तौबा ये जलवा तेरा


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

Blog Day : 3755 Post No. : 14721

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 27
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

’ – महफिल में तेरे हुस्न का दीवाना कौन है ॰ ॰ ॰

– – – –

हम इंतज़ार करेंगे ॰ ॰ ॰ 

Knowing it is futile – no one returns from where you have gone. But still, the heart knows no other emotion. And so we will wait, till whenever we can.

– – – –

This duet song from the 1962 film ‘Rooplekha’ is a real treat. It is vintage Rafi, sung with that signature ‘खुमारी’ and ‘मस्ती’, the inimitable flavors of sounds that only Rafi Sb could render. When I came across this song while searching for a duet of Rafi Sb starting with ‘म’, I was quite excited. The emotion that ran through my mind was the oft represented thought – how come this song is not yet on the blog. Quite a popular favorite from the radio listening days, it is a wonder that this gem has kept away from our blog. And not that this film is new here – already two songs of this film are showcased here. Both solos, one is a wonderful treat from Suman Kalyanpur – “Tu Ne Chura Li Mere Maathe Ki Bindiya” and a bhajan in the voice of Rafi Sb – “Bahjan Bina Baawre”.

Checking out the Geet Kosh, we find that three films with this same title have been released – in 1934, 1939 and 1962. This 1962 film is produced under the banner of Prithvi Pictures, Bombay and is directed by Mohammed Hussain. The six songs in this film are all written by Farooque Kaiser. And the wonderful compositions are from the mind of Nashaad. Regulars will recall that Nashaad is the pseudonym for Shaukat Ali, aka Shaukat Hussain Dehlavi. His first break in Hindi films as a music director was with the film ‘Naghma’ of 1953. And this break came about in very interesting circumstances. Nakshab Jarchvi, the producer director of this film was trying to engage Naushad Sb as the music director for his film. Certain circumstances prevailed and Naushad Sb declined the offer. Somewhat piqued by this response, Nakshab Sb brought in Shaukat Ali, who was working as assistant music director till then, and gave him charge of the music department for his film. And he also suggested to use the pseudonym ‘Nashaad’, in a likely riposte to Naushad Sb’s refusal.

Coming to the star cast of this film, the Geet Kosh lists the following actors Mahipal, Vijaya Chaudhary, Sundar, Raj Adeeb, Shaam Kumar, Krishna Kumari, Amar, Jeevankala, Madhumati, Rafiq, Munshi Munakka, Mohammad Ali, Ghani, Arvind Kumar, Dhondu, Balram, Nazeer Kashmiri, Shri Bhagwan, Pandey Ji, Ravikant, Shamu, Kathana, and Sujata.

On screen, this song is presented as a mujra dance song – a peculiar one – in that the ‘saazinda’ (musician) accompanying the dancer is leading the singing. We see Mahipal playing the sitar and Vijaya Chaudhry doing the dance sequence. There are two other characters in this scenario. One lady, who I guess is Krishna Kumari, and a gentleman I am not able to place a name to the face. I request other knowledgeable readers and friends to please confirm / correct / add the names for these two artists.

The duet is an exchange of queries and responses between the two artists. Very interesting words, and a very dear composition. The renditions, of course, Rafi Sb and Suman Kalyanpur – one of their best duets in my opinion. Listen and enjoy.

 

Song – Mehfil Mein Tere Husn Ka Deewaana Kaun Hai  (Rooplekha) (1962) Singer – Mohammed Rafi, Suman Kalyanpur, Lyrics – Farooque Kaiser, MD – Nashaad

Lyrics 

aaaaaa aaa aaaaaaaa
aaaaa aaaaa aaa aaaaaaaaa
aaaaaaaaaa aaaa aaaaaaaaa
aaaaaaa aa aaaaaa

mehfil mein tere husn ka
deewaana kaun hai
mehfil mein tere husn ka deewaana kaun hai
mehfil mein tere husn ka deewaana kaun hai
ye shamma jaanti hai ke
parwaana kaun hai
ye shamma jaanti hai parwaana kaun hai
mehfil mein tere husn ka deewaana kaun hai

chhup ke jalna pyaar mein
achha nahin janaab
kis baat ki hai der
ulat dijiye naqaab
aaaaaa aaaaa aaaaaaa
aaaaaaaa aaaaaaaaa
beparda ho ke
pyaar mein jeena fuzool hai
raah e wafa mein shaan se marna qabool hai
aji ab aap hi bataaiye
deewaana kaun hai
ab aap hi bataaiye deewaana kaun hai
deewaana ho ji
parwaana ho ji
mastaana kaun hai
ye shamma jaanti hai parwaana kaun hai
mehfil mein tere husn ka deewaana kaun hai

tum apne dil ka raaz
kahaan tak chhupaaoge
bach ke meri nigaah se
jaane na paaoge
aaaaaaaa aaaaaaaa aaaa
pehchaanti hai meri nazar
sabko meharbaan
sukh chain mera chheen ke
baithe hain wo yahaan
arey dekhenge hum bhi aap ka
mastaana kaun hai
dekhenge hum bhi aap ka mastaana kaun hai
ye shamma jaanti hai ke
parwaana kaun hai
ye shamma jaanti hai parwaana kaun hai
mehfil mein tere husn ka deewaana kaun hai

ye maante hain hum ke
bade badnaseeb hain
oo oo ooo
phir bhi khushi hai hum ko
ke tum se qareeb hain
aaaaaaaa aaaaaaaa aaaa
khul jaaye raaz e dil to
qayaamat na ho kahin
darte hain tum ko hum se
mohabbat na ho kahin
haaye
khul jaaye ye bhi raaz ke
deewaana kaun hai
khul jaaye ye bhi raaz ke deewaana kaun hai
deewaana ho ji
parwaana ho ji
mastaana kaun hai
ye shamma jaanti hai parwaana kaun hai
mehfil mein tere husn ka deewaana kaun hai

———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————

आsssss आss आssssssss
आssss आssss आss आssssssss
आssssssssss आsss आsssssss
आssssss आs आsssss

महफिल में तेरे हुस्न का
दीवाना कौन है
महफिल में तेरे हुस्न का दीवाना कौन है
महफिल में तेरे हुस्न का दीवाना कौन है
ये शम्मा जानती है के
परवाना कौन है
ये शम्मा जानती है परवाना कौन है
महफिल में तेरे हुस्न का दीवाना कौन है

छुप छुप के जलना प्यार में
अच्छा नहीं जनाब
किस बात की है देर
उलट दीजिये नकाब
आsssss आssss आssssss
आsssssss आssssssss
बेपरदा हो के
प्यार में जीना फ़ुज़ूल है
राहे वफा में शान से मरना कबूल है
अजी अब आप ही बताइये
दीवाना कौन है
अब आप ही बताइये दीवाना कौन है
दीवाना हो जी
परवाना हो जी
मस्ताना कौन है
ये शम्मा जानती है परवाना कौन है
महफिल में तेरे हुस्न का दीवाना कौन है

तुम अपने दिल का राज़
कहाँ तक छुपाओगे
बच के मेरी निगाह से
जाने ना पाओगे
आsssssss आsssssss आsss
पहचानती है मेरी नज़र
सबको मेहरबान
सुख चैन मेरा छीन के
बैठे हैं वो यहाँ
अरे देखेंगे हम भी आपका
मस्ताना कौन है
देखेंगे हम भी आपका मस्ताना कौन है
ये शम्मा जानती है के
परवाना कौन है
ये शम्मा जानती है परवाना कौन है
महफिल में तेरे हुस्न का दीवाना कौन है

ये मानते हैं हम के
बड़े बदनसीब हैं
ओ ओ ओsss ओssss
फिर भी खुशी है हमको
के तुम से करीब हैं
आsssssss आsssssss आsss
खुल जाये राज़े दिल तो
क़यामत ना हो कहीं
डरते हैं तुमको हमसे
मोहब्बत ना हो कहीं
हाए
खुल जाये ये भी राज़ के
दीवाना कौन है
खुल जाये ये भी राज़ के दीवाना कौन है
दीवाना हो जी
परवाना हो जी
मस्ताना कौन है
ये शम्मा जानती है परवाना कौन है
महफिल में तेरे हुस्न का दीवाना कौन है


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

Blog Day :

3740 Post No. : 14694 Movie Count :

4017

Missing Films of 1960s – 81
– – – – – – – – – – – – – – –

Today, I am introducing a film that is significant in a certain way. The film is ‘Veer Ghatotkach’ from 1970. The role of the main protagonist – Veer Ghatotkach – is played in this film by Master Chandgi Ram. Folks who are familiar with the domestic Indian style wrestling and follow this sport, will be familiar with this name. Master Chandgi Ram was a regular pehalwaan and a wrestler of the first grade, in the Indian style wrestling sport, during the 1960s an 70s. Prior to him, the wrestler who was considered to be the no. 1 and the champion, was Dara Singh. As Dara Singh phased himself out of the wrestling sport during the mid 1960s, the fortunes of Master Chandgi Ram took quite an upswing.

After Dara Singh announced his retirement from this sport, there was quite a competition between the next line of wrestlers in India, to be recognized as his successor, and to be honored with the title of Bharat Kesri, which at one time was one of the top honor in wrestling sport in India. In 1969, in the tournament of wrestling after Dara Singh announced his retirement, Master Chandgi Ram emerged as the champion, and was given the title of Bharat Kesri. I remember, it was a major event in those days. In the final match, it was Dara Singh himself who stood as the bout referee. The match was telecast live on Doordarshan. He went on to win a gold medal at the 1970 Asian Games, and also represented India in the 1972 Olympics.

Following the footsteps of his idol and mentor, Chandgi Ram also tried his hand at films.  However, this film seems to be the only one in which he appeared. He played the title role of Veer Gatotkach in this film.

As per the history recorded in Mahabharat, Gatotkach is the son of Bhim, the third sibling in the line up of the Pandav brothers. It is stated that once Bhim spent some time by himself in the Himalayas, in the area of what is now known as Uttarakhand. He spent a long time there in penance and meditation. The area is still known by his name – Bheem Taal, a small town close to Nainital and Dehradun. There he met with a tribal princess by the name Hidimba. They got married, and Gatotkach was born from this union. I have been to Bheem Taal and have visited the temple of Hidimba Maata, which is on the top of one of the hills in that area.

The film is from the banner of Nitin Films, Bombay and is directed by Shantilal Soni. The cast of actors in this film includes Chandgiram, Mahipal, Lakshmi Chhaya, Raj Kumar, BM Vyas, Sherry Mohan, Shekhar Purohit, Padmarani, Dilip Dutt, Mishrilal, Radheshyam, Sulochana Chatterjee, Nandini, Shefali, Neelam, Kavita, Ramlal Pehalwan, Bhagwan Sinha, Anand Tiwari, Sattu Pehalwan, Kamaljeet, Mahesh Bhatt, Bakul, Bamalhari, Ajeet Soni, Jaishri Talpade, and Sujata, Meenakshi etc.

HFGK lists 5 songs for this film, all written by songwriter Bhagwat Misra. The music is composed by Dilip Roy. This song is sung by Suman Kalyanpur. One of those very wonderful songs that is lost in time, because the name of the film does not ring a bell.

In the video clip, the two gentlemen are Chandgi Ram, playing the role of Ghatotkach, and Rajkumar playing the role of Abhimanyu. This is the same Rajkumar who played the role of younger brother of Guru Dutt in the film ‘Sautela Bhaoi’ (1966). The actress who is performing the dance is looking familiar but I am not going to hazard a guess. I request other knowledgeable friends and readers to please help to identify her.
Note: The dancer in this video clip is Jaishree T. Thanks for Pramod Godbole ji for the identification.

So, welcoming another film to the blog, and also Master Chandgi Ram making his debut on our blog today.

 

Song – Neele Ambar Se Tumhaare Liye Aayi  (Veer Ghatotkach) (1970) Singer – Suman Kalyanpur, Lyrics – Bhagwat Misra, MD – Dilip Roy

Lyrics

neele ambar se tumhaare liye aa..aayi
maine preet ki jyot jagaa..aai

neele ambar se tumhaare liye aa..aayi
maine preet ki jyot jagaa..aai

aaaa aaaaa aaaaa
aaaaa aaaa aaaa aaaaaa
aaaa aaaaa aaaaa
aaaaa aaaa aaaa aaaaaa

na to bijli hoon kaali ghataaon ki main
na to chaand suraj na taara
na to bijli hoon kaali ghataaon ki main
na to chaand suraj na taara
mera roop to hai ik aisa diya
karey pyaar ka path ujiyaara
neele ambar se
o neele ambar se tumhaare liye aa..aayi
maine preet ki jyot jagaa..aai
neele ambar se tumhaare liye aa..aayi
maine preet ki jyot jagaa..aai

aaaaa aaaaaa
aaa aaa aaa aaa aaaaaa
aaaaa aaaaaa
aaa aaa aaa aaa aaaaaa

main kisi ki kalaa hoon khilona nahin
main hoon preet ki pratima pyaari
main kisi ki kalaa hoon khilona nahin
main hoon preet ki pratima pyaari
mere roop ko mann mein basaa ke sadaa
prem karte hain prem purjaari
neele ambar se
o neele ambar se tumhaare liye aa..aayi
maine preet ki jyot jagaa..aai
neele ambar se tumhaare liye aa..aayi
maine preet ki jyot jagaa..aai

main to preet ke geet ki raagini hoon
main hi pyaar ka sapna pyaara
main to preet ke geet ki raagini hoon
main hi pyaar ka sapna pyaara
main jo chaahon to mann ki udaasi mitey
maine chaaha miley ?? tumhaara
neele ambar se
o neele ambar se tumhaare liye aa..aayi
maine preet ki jyot jagaa..aai
neele ambar se tumhaare liye aa..aayi
maine preet ki jyot jagaa..aai

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

नीले अंबर से तुम्हारे लिए आ॰॰आई
मैंने प्रीत की ज्योत जगा॰॰आई

नीले अंबर से तुम्हारे लिए आ॰॰आई
मैंने प्रीत की ज्योत जगा॰॰आई

आsss आssss आssss
आssss आsss आsss आssssss
आsss आssss आssss
आssss आsss आsss आssssss

ना तो बिजली हूँ काली घटाओं की मैं
ना तो चाँद सूरज ना तारा
ना तो बिजली हूँ काली घटाओं की मैं
ना तो चाँद सूरज ना तारा
मेरा रूप तो है इक ऐसा दिया
नीले अंबर से
ओ नीले अंबर से तुम्हारे लिए आ॰॰आई
मैंने प्रीत की ज्योत जगा॰॰आई
नीले अंबर से तुम्हारे लिए आ॰॰आई
मैंने प्रीत की ज्योत जगा॰॰आई

आssss आssssss
आss आss आss आss आsssss
आssss आssssss
आss आss आss आss आsssss

मैं किसी की कला हूँ खिलौना नहीं
मैं प्रीत की प्रतिमा प्यारी
मैं किसी की कला हूँ खिलौना नहीं
मैं प्रीत की प्रतिमा प्यारी
मेरे रूप को मन में बसा के सदा
प्रेम करते हैं प्रेम पुजारी
नीले अंबर से
ओ नीले अंबर से तुम्हारे लिए आ॰॰आई
मैंने प्रीत की ज्योत जगा॰॰आई
नीले अंबर से तुम्हारे लिए आ॰॰आई
मैंने प्रीत की ज्योत जगा॰॰आई

मैं तो प्रीत के गीत की रागिनी हूँ
मैं ही प्यार का सपना प्यारा
मैं तो प्रीत के गीत की रागिनी हूँ
मैं ही प्यार का सपना प्यारा
मैं जो चाहूँ तो मन की उदासी मिटे
मैंने चाहा मिले ?? तुम्हारा
नीले अंबर से
ओ नीले अंबर से तुम्हारे लिए आ॰॰आई
मैंने प्रीत की ज्योत जगा॰॰आई
नीले अंबर से तुम्हारे लिए आ॰॰आई
मैंने प्रीत की ज्योत जगा॰॰आई


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

Blog Day :

3738 Post No. : 14691 Movie Count :

4015

Missing Films of 1960s – 80
– – – – – – – – – – – – – – –

Aha, good going at 80. If I am lucky, I may get to a century with this series. 🙂

Today’s film is just about at the bottom of the decade. The film name is ‘Ye Khoon Rang Laayega’ from 1970. Considering the alphabetic listing scheme by year, you will find this film at the second last position in GK volume no. 4 (of the regular set of Hindi films of that decade).

Once again, a song that has been sitting in my collection for oh so long. Picked it up today and listened to it for the first time. Music director – Robin Bannerji. And I just do not seem to be getting enough listen of this song. What a wonderful twin dance duet – voices are Usha Mangeshkar and Krishna Kalle. K Kalle’s voice seems to be somewhat subdued in the company of the razor sharp voice of Usha M. But together, they are a magic weaved by the music director. Listening to such songs, one always is left with a craving – wish Robin Bannerji had done more films in his career. But that was not to be. Most of the decade of the 1970s and part of 1980s, was lost in battling ill health, compounded by two unfortunate accidents. He passed away on 27th July, 1986.

The film is from the banner of Sanjay Films, Bombay and is directed by Roshan Bhardwaj. The six listed songs are penned by two lyricists – Anjaan and Yogesh – honor shared equally. This song is written by Yogesh. The star cast of the film is interesting – Helen, Randhawa, Mukri, SK Prem, Uma Dutt, Gul Hamid, Shaam Kumar, Saudagar Singh, Dhanraj, Ridku, Ratnamala, Lalita Desai, Sushma, Poonam Kapoor, Ishwar Bhai, Khurshid Khan, Kesari, Madhumati, Rani, and Lakshmichaya amongst others.

Let’s listen to this wonderfully crafted all female duet. And let’s continue to wonder – about these lesser known but highly talented artists.

Song – Qayaamat Hai Teri Nigaahon Ka Jaadu  (Ye Khoon Rang Laayega) (1970) Singer – Usha Mangeshkar, Krishna Kalle, Lyrics – Yogesh, MD – Robin Bannerji
Usha Mangeshkar + Krishna Kalle

Lyrics

qayaamat hai teri nigaahon ka jaadu..oo..oo

qayaamat hai teri nigaahon ka jaadu..oo..oo

qayaamat hai teri nigaahon ka jaadu

qayaamat hai teri nigaahon ka jaadu

hai tauba tauba khuda jaane dil ko kya hoga
kya hoga
tauba
tauba

nahin jab raha mujhko khud pe hi kaabu
nahin jab raha mujhko khud pe hi kaabu

hai tauba tauba khuda jaane dil ko kya hoga
kya hoga

aap ki har adaa
marhabaa marhabaa
ik nasha saah mein
ho gaya ba-khuda
haaye ye kya baat hui
khoob mulaqaat hui
dhadke mera dil deewaana
qayaamat hai teri nigaahon ka jaadu..oo..oo
qayaamat hai teri nigaahon ka jaadu..oo..oo
hai tauba tauba khuda jaane dil ko kya hoga
kya hoga
tauba
tauba

aap ki shokhiyaan
hain ghazab meharbaan
aap kya hans padey
gir gayin bijliyaan
haaye meri jaan gayi
main tujhe maan gayi
chhodo bhi ye muskuraana
qayaamat hai teri nigaahon ka jaadu..oo..oo
qayaamat hai teri nigaahon ka jaadu..oo..oo
hai tauba tauba khuda jaane dil ko kya hoga
kya hoga
tauba
tauba

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

क़यामत है तेरी निगाहों का जादू॰॰ऊ॰॰ऊ

क़यामत है तेरी निगाहों का जादू॰॰ऊ॰॰ऊ

क़यामत है तेरी निगाहों का जादू

क़यामत है तेरी निगाहों का जादू

हाए तौबा तौबा खुदा जाने दिल को क्या होगा
क्या होगा
तौबा
तौबा

नहीं जब रहा मुझको खुद पे ही काबू
नहीं जब रहा मुझको खुद पे ही काबू
हाए तौबा तौबा खुदा जाने दिल को क्या होगा
क्या होगा

आप की हर अदा
मरहबा मरहबा
इक नशा साह में
हो गया बा-खुदा
हाए ये क्या बात हुई
खूब मुलाक़ात हुई
धड़के मेरा दिल दीवाना
क़यामत है तेरी निगाहों का जादू॰॰ऊ॰॰ऊ
क़यामत है तेरी निगाहों का जादू॰॰ऊ॰॰ऊ
हाए तौबा तौबा खुदा जाने दिल को क्या होगा
क्या होगा
तौबा
तौबा

आप की शोखियाँ
हैं ग़ज़ब महरबाँ
आप क्या हंस पड़े
गिर गईं बीजलियाँ
हाए मेरी जान गई
मैं तुझे मान गई
छोड़ो भी ये मुसकुराना
क़यामत है तेरी निगाहों का जादू॰॰ऊ॰॰ऊ
क़यामत है तेरी निगाहों का जादू॰॰ऊ॰॰ऊ
हाए तौबा तौबा खुदा जाने दिल को क्या होगा
क्या होगा
तौबा
तौबा

 


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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 over TEN years. This blog has over 14700 song posts by now.

This blog is active and online for over 3700 days since its beginning on 19 july 2008.

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Movies with all their songs covered =1153
Total Number of movies covered =4044

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