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Hai aaj kal ki fikar hi kya

Posted by: on: November 26, 2021


This article is written by Sadanand Kamath, 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 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 :

 4879 Post No. : 16674

Do not dwell in the past, do not dream of the future, concentrate the mind on the present moment – Lord Buddha

Thinking about the past events in the life and planning for the future is one of the common activities of human beings most of the time. This, at times, can become a stressful activity during which negative thoughts can creep in the mind. In this process, we tend to lose focus on the current activities. We try to neatly plan for the future based on the past experiences. But not all the parameters of the future plan run on the basis of what was determined at the time of planning. The reason is that there are many uncertainties on the way to attaining the goal. I will give the example of planning my Himalayan treks to elucidate the tyranny of uncertainties.

I have always made a well-charted plan for each of my Himalayan treks. But the uncertainty starts when the train or the flight which we have booked gets delayed by a few hours jeopardizing the connecting travels to the base town/village from where the trek is to start. The second uncertainty is through natural calamities. A landslide or a flooded water stream cutting across the road can block the vehicle movements for a considerable time. The third element of the uncertainty is the weather. A rain/snow storm during the trek can force one to stay inside the tent or in a shelter on the way for a considerably long time. Lastly, the last-minute health issues of a trekker can force him the abandon the trek mid-way. Ultimately, one is not sure whether the trekker’s goal to reach his destination would be achievable or not.

Because of these perceived uncertainties, for the next trek, we plan more meticulously than what is necessary. Things work out smoothly and at the end of the trek, though we are happy to complete the trek in time without hic-cups, we feel cheated by the nature. We are left with extra days which means additional expenses. In short, there is no fixed solution in the planning for the future.

Because of the futility of the past memories and the uncertainty of the future, a philosophical thought has emerged which is known as ‘live in the moment’. This philosophy reminds us that our presence is in the present only. We cannot live in the past as that timeframe is over. We cannot plan for the future as there are many uncertainties. When we think of our past, the thought process influences our future goals. There is no guarantee that our past experiences would lead to achieving the future goals successfully.

Perhaps, it was in this context, Lord Buddha advised his followers to forget about the past, not to dream about the future and devote full time for present moment. In other words, there is no need for Mungerilal ke haseen sapne as there is no guarantee – kal ho na ho. So, enjoy the present moment on which the human beings have some control. Just go with the flow of life as beautifully visualised by Sahir Ludhianv in the song, main zindagi ka saath nibhaata chala gaya.

There may be many among us who are following ‘living for the moment’ philosophy, albeit unknowingly. After reading about this philosophy, I have realised that I have unwittingly followed this philosophy covering the important social and financial events in my life. I had flown with then current situation as needed without bothering about the future – especially in regard to my education, employment, buying a residential house, financial planning for the future etc. I had not made any financial planning for my future as at that time, I felt that my provident fund balance and the gratuity amount would take care of my future financial requirements. As I see it today, I was not completely right about this thinking as interest earned on this amount would not have taken care of a good standard of living in my post-retired life. Fortunately, when my job became pensionable in 1997, it helped me to maintain a good standard of living after retirement.

Let me add a caveat to the ‘live in the moment’ philosophy. Each one of us follow a different life style. Some will thrive with their life to flow with the needs as and when arise without planning for the future. Some may like to have a perspective plan for their future life, may be with some flexibilities. There is also the third possibility – a sort of mix of both where one partially plans and also partially swims with the flow.

I found a rare song from the film ‘Dukh Sukh’ (1942) which depicts, more or less, the ‘live in the moment’ philosophy, probably for a drunkard in a tavern. The song is ‘hai aaj kal ki fiqar hi kyaa, majhe se pee aur majhe se khaa’ which is rendered by Rajkumari Dubey. The words are of Wali Sahab which are set to music by Khemchand Prakash.

Audio Clip:

Song-Hai aaj kal ki fikar hi kya (Dukh Sukh)(1942) Singer-Rajkumari, Lyrics-Wahi Sahab, MD-Khemchand Prakash

Lyrics

hai aaj kal ki fiqar hi kyaa
maze se pee aur maze se khaa
hai aaj kal ki fiqar hi kyaa
maze se pee aur maze se khaa

ye aaj tere haath hai
ye aaj tere haath hai
kal ki kal ke saath hai
kal ki kal ke saath hai
kal kaa din jo aayega
kal kaa din jo aayega
to kal ko dekha jaayega
to kal ko dekha jaayega
hai kal ki tujhko fiqar hi kyaa
maze se pee aur maze se khaa
hai kal ki tujhko fiqar hi kyaa
maze se pee aur maze se khaa

shabaab phir na aayega
ye abr phir na chhaayega
shabaab phir na aayega
ye abr phir na chhaayega
ye chaar din hain pyaar ke ae
ye chaar din hain pyaar ke ae
maz utha tu bahaar ke
maze utha tu bahaar ke
bahaar ke tu maze uthha
maze se pee aur maze se khaa
bahaar ke tu maze uthha
maze se pee aur maze se khaa
hai aaj kal ki fiqar hi kyaa
maze se pee aur maze se khaa

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Pilaa rahaa hai koi kuchh

Posted by: on: August 25, 2021


This article is written by Arunkumar Deshmukh, 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 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 :

 4786 Post No. : 16542 Movie Count :

4503

Today’s song is from the film Milaap-1937.

Consequent to this film, two more films were made with the same title – Milaap-1955 and Milaap-1972. Milaap-55 was the Debut film for Music Director N.Datta. There were some very good songs by Geeta Dutt and an excellent song by my favourite singer-Hemant Kumar…Ye baharon ka samaa…. Unfortunately this song was summarily removed from the film for whatever reasons best known to the producers. The lead pair was Dev Anand and Geeta Bali. Film Milaap-1972 was one of those ” also ran’ films, starring Shatrughna Sinha and Reena Roy. Music Director Brij Bhushan gave mediocre music- no memorable songs. It is difficult to assess today’s film on these lines, because only one song is available and we do not know anything else about this film. Writing on old films is like walking in the dark with a stick.As long as the stick does not touch anything, you do not know that there is something in your way.

The Indian film industry was worth 183 Billion rupees in the year 2020. However, it was below an expectation of 238 billion expected to grow at 11% over 2017 every year. Corona obviously played the villain.few people would know that the Hindi film industry had crossed the Hollywood business first time in the 60’s, but it went down again. however from 2007 onwards, we have always been ahead of american film industry turnover.

There is a major difference between Hollywood and Bollywood. There, a fixed amount every year is invested in documentation of the history of American Cinema, but in India, no such funds are allocated either by the industry or the Government. It is a very sorry state of affairs.

forget about the industry, even the common people are not aware of what old films are. When someone talks about old films, it is presumed that the talk is about old film songs. no one believes that there is much more beyond songs and music to old films. In this connection I would again quote what transpired between me and one of my old friends. he had settled down in the US for more than 30 years. Few years back, when he visited Bombay we met and this was the following discussion between us…

He – So, kya chal raha hai. You are retired now. How do you spend your time ?
Me – I write articles on old films.
he – OH,WOW ! Superb. Old films means old songs etc /
Me – Beyond that. About people working behind the camera, artistes, studios and such matters. I write specially on films from the 30’s to the 60’s.
He – Is it ? And so who reads them? I don’t think people are interested in such age-old matters.
Me – It is not true. There are many people who read these things.
He – So you must be making a lot of money.
Me – No. Money is not involved. It is all free. I do it for the love of old films.
He – Don’t waste your time on this Rubbish.

I got upset with his approach and I changed the topic. But I started thinking. As of today, the visitors to the Blog have grossed a figure of about 1,46,82,000 ( that’s close to 15 Million), which works out to about 3140 visitors per day on an average. Even if 10% of them read my articles, I have more than 9000 readers. I would be very happy with this. Forget my friend. There are always people who think differently. Their priorities in life never cross monetary boundaries. They miss out on Celestial pleasures one can have without money !

Coming back to film Milaap-1937, the film was made in Calcutta by Moti Mahal Theatres. It was directed by A.R.Kardar, who had come from Lahore, leaving his own production company and studio. from calcutta he shifted to Bombay and had his own bigger studio and company. This film’s music director was K.C.Dey ( he was the first blind MD. Later Ravindra Jain also was a blind MD). The Lyricist’s name is not known. The cast of the film was Prithviraj Kapoor, M.Ismail, Mazhar Khan, Yaqub,Bimla Kumari, Ram Pyari, Anis Khatun etc etc.

Actress Rampyari’s life story is interesting. Though from a singinging family(Tawaif) from Hyderabad, she was quite educated. Fluent in English and Urdu, besides Hindi and mother tongue Telugu, she used to reply in chaste English or Urdu to her fan’s letters. She is also one of the earliest film artistes who did programmes in other countries, in those days. Additionally, she became famous in Calcutta when there was a letter-war between her and the New Theatres. Local newspapers tastily published the correspondence. Let’s take a look at her Life.

Rampyari was from Low cast and profession, but was a highly polished and sophisticated actress in those days. Rampyari hailed from a Telugu family of highly skilled professional dancers and singers. She lived in Nagulchinta area of old Hyderabad city.

She was born on 27-8-1908. That year Hyderabad witnessed devastating floods.She was taught Urdu and English. Apart from her mother tongue Telugu she was also proficient in Marathi and Kannada. She was trained in Dancing and singing. In 1918, at the age of 10 years, she was taken to Madras by her aunt, who trained her in Bharatanatyam. After 4 years of rigorous training, she became the best dancer of Madras.

In 1926, a film producer from Kohinoor Film company, Bombay ,visiting Madras, saw her dancing and invited her to Bombay.It was the era of Silent movies. Her first film was Gunsundari, with Miss Gauhar and Raja Sandow. It was directed by Chandulal Shah and was released in 1927. Her supporting role as a dancer in the film was lauded by the audience. Next film Vile woman was also successful. She acted in more than 20 films as a Heroine and dancer and established her name as a seasoned actress of the 30s.

With the advent of Talkies, she easily switched over. She had no difficulty in delivering Urdu dialogues. In 1931, she acted in Paak Daman, Laila Majnu and Ghar ki laxmi, Gunsundari in 1934 and Azad Abla,Meethi Nazar and Hamlet in 1935.

Famous director Debki Bose from New Theatres, Calcutta invited her and signed up for ” Sunehra Sansar”-36 and Vidyapati-37, which was a mega hit. She had a big dispute with new Theatres and there was mudslinging through legal letters between her and the company, which called her ‘ a street singer ‘ who was helped by the company. She refuted their charges successfully. After this, she did few films in Calcutta with other companies. Her film Milap-37 was famous for being the first to show the prototype of a “vamp” in Indian Cinema. Rampyari was shown wearing “an off-shoulder dress” and using a cigarette-holder, with the intent of seducing the hero Prithwiraj Kapoor, the scene was later used by Raj Kapoor on Nadira in his film Shree 420 (1955) for the song “Mud Mud Ke Na Dekh”.

She toured the entire south India and gave dance performances in major cities. She became so famous that the Ceylon Labour Union invited her to Ceylon and presented her with Gold Mementos. She was greatly inspired by the acting of Sulochana aka Ruby Meyers and Miss Gauhar of Ranjit, with whom she acted in many films.

She shifted to Bombay permanently in the 30s. Her family also moved out of Hyderabad and came to Bombay. She had a large fan following in Hyderabad. She had a great fan mail too, which she replied in fluent Urdu and English. Later she got married and retired from films.

She acted in 30 films. Her last film was Dak bungla-47. She sang 14 songs in 8 films.

She died on 28-8-1970 at Bombay. There was no news in any paper.

Today’s song is sung by Akbar khan Peshawari. With this song, film Milaap-1937 will make its Debut on this Blog.


Song-Pila raha hai koi kuchh (Milaap)(1937) Singer- Akbar Khan Peshawari, Lyricist- Unknown, MD- K C Dey

Lyrics

aa aaa aa
Pila raha hai koi
kuchh lutf e mai
badha ke pila
aa aa aa aa
khuda ka waaste
saaqi ??
mila ke pilaa aa aa aa
pilaa saaqi ek ??
dheere dheere
chale jaane baaba
chale jaane baaba
?? dheere dheere

rahe ismein ??
?? yoon na thha ??
aa aa aa aa
rahe ismein ??
?? yoon na thha ??
aa aa aa
chala hai ?? dheere dheere
chala hai ?? dheere dheere

shab e gham meri ??
nabz ki chaal baaba
aa aa aa aa aa
shab e gham meri ??
nabz ki chaal baaba
aa aa aa aa
chale jaate koi
udhar dheere dheere
chale jaate koi
udhar dheere dheere

tahalta aa hua aa aa aa koi
aata hai maayoos
tahalta hua aa koi
aata hai maayoos
uthho sar se baandho
kafan dheere dheere
uthho sar se baandho
kafan dheere dheere

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Tu kal chala jaayegaa to main kya karoonga

Posted by: on: July 29, 2021


This article is written by Peevesie’s mom, 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 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 :

 4759 Post No. : 16503

Hullo Atuldom

This post by Avinashji reminded me of today’s song.

“Naam” (1986) had a cast headed by Nutan, Poonam Dhillon, Amrita Singh, Kumar Gaurav and Sanjay Dutt along with a few familiar faces forming the supporting cast. Pankaj Udhas had a guest appearance in the iconic song “Chitthi aayi hai aayi hai chitthi aayi hai“.

Avinashji’s post gives the technical details, censor certificate date, and the complete star cast. All the trivia that I had in mind before commencing this post viz: how the cast of “Mother India” became related post the marriage of Kumar Gaurav (Rajendra Kumar’s son) to Namrata Dutt (daughter of Nargis and Sunil Dutt). Atulji’s post for Chitthi aayi hai aayi hai chitthi aayi hai also mentions how the movie was meant to help Kumar Gaurav’s career but Sanjay Dutt benefited from the movie.

The basic story of the movie was- Nutan is the mother of Ravi (Kumar Gaurav) and Vicky (Sanjay Dutt). Both the sons love each other immensely and but are contrasting characters. Ravi is the more responsible and straight-forward of the two and is forever helping Vicky out of tricky situations. Vicky decides to go to Dubai to earn enough to keep his brother and mother happy and bring the family out of financial problems. Ravi helps him with the documents needed to go to Dubai but unfortunately Vicky finds himself in all kinds of problems on landing in Dubai- fraud visa, entangling with a ruthless underworld led by Rana (Paresh Rawal) etc. The story shifts to Malaysia, as Vicky is sent on an errand by Rana and Ravi ends up following Vicky there to try and bail him out of the mess. But only ends up loosing his beloved brother and bringing back his pregnant widow (Amrita Singh) to India.

Today’s emotional song is sung by Mohammad Aziz and Manhar Udhas. Anand Bakshi is the lyricist and Laxmi-Pyare the music directors. This song may not have been popular in its time but deserved to be. THe song has both the brothers getting drunk at the farewell that Ravi has arranged for Vicky.

Let us wish Sanju Baba a very Happy Birthday and lots of health and happiness with this post. I recall having read a news, same time last year, that he was undergoing treatment for lung cancer. Hope he is fit and fine and will be back to what he does best- entertain his fans.

Drunk version

Sad version

Song-Tu kal chala jaayega to main kya karoonga (Naam)(1986) Singer-Md Aziz Manhar Udhas Lyrics-Anand Bakshi MD-Laxmikant Pyarelal

Lyrics
——————–
Drunk version
——————–

tere jaane ki khushi
aur dil udaas hai
door hum huye toh kya
dil toh dil ke paas hai

tu kal chala jayega toh main kya karoonga
tu kal chala jayega toh main kya karoonga
tu ya.aa.ad bahut aayega
tu yaad bahut aayega toh main kya karoonga aa
tu kal bichhad jaayega toh main kya karoonga
tu kal bichhad jaayega toh main kya karoonga aa
tu muhjko bhool jaayega toh main kya karoonga
tu kal chala jaayega

teri yaad ko kahin
door chhod aaoon main
teri yaad ko kahin
door chhod aaoon main
iss kadar pila mujhe
tujhko bhool jaoon main
iss kadar pila mujhe
tujhko bhool jaaoon main
tujhko bhool jaaoon main
hosh magar aayega toh main kya karoonga
arre hosh magar aayega toh main kya karoonga
tu yaad bahut aayega toh main kya karoonga aa
tu kal chala jaayega

tere jaisa kaun hai
aur kiska naam loon
tere jaisa kaun hai
aur kiska naam loon
la main issi baat par aur ek jaam loon
la main issi baat par aur ek jaam loon
aur ek jaam loon
jaam chhalak jaayega toh main kya karoonga
jaam chhalak jaayega toh main kya karoonga
tu muhjko bhool jaayega toh main kya karoonga aa
tu kal chala jaayega

bhool jaana tu mujhe
zindagi sanwaarna
bhool jaana tu mujhe
zindagi sanwaarna
yaad na karna mujhe
hanske din guzaarna
yaad na karna mujhe
hanske din guzaarna
hanske din guzaarna
tera gham rulaayega toh main kya karoonga
arre tera gham rulayega toh main kya karoonga
tu yaad bahut aayega toh main kya karoonga aa
tu kal chala jayega toh main kya karoonga
tu yaad bahut aayega toh main kya karoonga aa
tu kal bichhad jaayega toh mai kya karoonga
tu muhjko bhool jayega toh main kya karoonga aaa
tu kal chala jaayega

—————————————-
Sad version
—————————————-

tu kal chala jaayega toh main kya karoonga
tu kal chala jaayega toh main kya karoonga
tu yaad bahut aayega toh main kya karoonga
tu kal chala jaayega

chhod jaayega yahaan
tu kayi kahaaniyaan
chhod jaayega yahaan
tu kayi kahaaniyaan
umr bhar rulaayegi
yeh teri nishaaniyaan
umr bhar rulaayegi
yeh teri nishaaniyaan
yeh teri nishaaniyaan
tu laut ke na aaya toh main kya karoonga
tu laut ke na aaya toh main kya karoonga
tu yaad bahut aayega toh main kya karoonga aa
tu kal chala jaayega

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Sod majha haath mala peene de

Posted by: on: July 18, 2021


This article is written by Avinash Scrapwala, 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 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 :

 4748 Post No. : 16477

Rajesh Khanna – The Phenomenon – 8
– – – – – – – – – – – – – – – – – – – –- – –

Today 18th July’2021 is the ninth ‘Remembrance Anniversary’ of Rajesh Khanna (29 December 1942- 18 July 2012). He passed away on 18th July’2012 in Mumbai.

On this occasion we pay our tributes to him and remember him with a song from one of his movies.

In this episode of ‘Rajesh Khanna- The Phenomenon – 8’ we look at Rajesh Khanna movies of the year ‘1981’. In the year 1981 following six movies of Rajesh Khanna were released (including Naseeb* where he had a friendly appearance).

SNo Movie Title Director Passed by Censor Board on
01 Dard Ambarish Sangal 24.07.1981
02 Dhanwan Surendra Mohan 01.07.1981
03 Dil-E-Naadaan C.V. Sridhar 11.12.1981
04 Fifty-Fifty Shomu Mukherji 15.10.1981
05 Naseeb** Manmohan Desai 17.03.1981
06 Qudarat Chetan Anand 27.02.1981

In the previous post in this series ‘Rajesh Khanna – The Phenomenon – 6’ we had discussed how Rajesh Khanna switched on to different roles exploring and introspecting himself and challenging himself in his ‘second innings’. In ‘1981’ he further capitalizes on the success of his movies like ‘Amardeep-1979’,’Thodisi Bewafaai-1980’, and critically acclaimed movies like ‘Red Rose-1980’, ‘Phir Wohi Raat-1980’, and ‘Bandish-1980’.

In ‘1981’ he tasted more success with movies like ‘Dard’, ‘Dhanwan’, ‘Dil E Naadan’, ‘Qudrat’ and ‘Fifty-Fifty’ that had moderate to decent success at the box office and they received critical acclaim.

That all happened forty years ago !

If we go back even further by another ten years, that takes us to ‘1971’. 1971 is behind us by fifty years from now, viz half a century !

That was when Rajesh Khanna ‘era’ was at its zenith. Here is the list of Rajesh Khanna movies released in the year ‘1971’.

(Rajesh Khanna movies – 1971)

SNo Movie Title Director Passed by Censor Board
01 Amar Prem Shakti Samanta 27.11.1971
02 Andaz* Ramesh Sippy 23.04.1971
03 Badnaam Farishte** Qamar Narvi 05.11.1971
04 Chhoti Bahu K.B. Tilak 25.05.1971
05 Dushman Dulal Guha 31.12.1971
06 Guddi** Hrishikesh Mukherjee 14.09.1971
07 Haathi Mere Saathi M.A. Tirumugam
08 Maryaadaa Arvind Sen 12.05.1971
09 Mehboob Ki Mehandi H.S. Rawail 30.01.1971

(*guest appearance, ** friendly/special appearance)

We notice that all the above movies had great music as was the norm for Kaka movies.

Coming back to today’s song it is from the movie ‘1981’ movie ‘Fifty-Fifty’.

From the movies of Rajesh Khanna released in 1981 the movies ‘Dard’, ‘Dhanwaan’, ‘Dil E Naadaan’, and ‘Qudrat’ have already been ‘Yippeeee’ed’ on the blog. So, we only have this movie ‘Fifty-Fifty’ left to pick a Rajesh Khanna song from.

Tina Munim was the heroine of Rajesh Khanna in this movie, which was their first movie together. It laid the foundation for their further professional and personal chemistry on-screen and off-screen. That way this movie has a special place in the film career of Rajesh Khanna. That is the reason why I have selected a song from this movie for today’s presentation.

‘Fifty-Fifty’ was directed by Shomu Mukherji who also the producer of this movie.

This movie’s star-cast included Rajesh Khanna, Tina Munim, Kader Khan, Ranjeet, Om Shivpuri, Nazir Hussain, Indrani Mukherjee, Anita Guha, Poornima, P. Jairaj, Sundar Taneja, C.S. Dubey, Jankidas, Shaikh, V. Malhotra, Roopesh Kumar, Shashi Kiran, Anu Dhawan, Johny Whisky, Arvind, Miss Nikki, Kumar, Amid, Jagdeep, Mushtaq, Maruti, Bhagwan Dada, Kamrana, Amar Nath, Mangal Singh, Shyam, Vikram Sharma, Miss Neelu, Master Sakha, Baby Pinky, Teerath and others.

This movie was passed by Censor Board on 15.10.1981.

“Fifty-Fifty” had seven songs including one three-part song. Lyrics for all the songs were written by Anand Bakshi. Music for this movie was composed by Laxmikant-Pyarelal.

In today’s song Rajesh Khanna is lip-syncing in the voice of Amit Kumar while Tina Munim lip-syncs in the voice of Asha Bhonsle.

Some other artists too can be seen in the picturisation of this Marathi folk dance song.

Let us now enjoy today’s song where Kaka can be seen performing with trademark jigs. 😊

Video

Audio

Song-Sod maajhaa haath malaa peene de (Fifty Fifty)(1981) Singers-Asha Bhonsle, Amit Kumar, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

hunh hunh hunh hunh
hunh ha ha
hunh hunh hunh hunh

oon mm oon oon a
oon oon oon
oon oon oon
oon oon oo oon
oon oon oon

sod majhaa haath
sod majhaa haath
malaa peene de
peene de ae
peene de re malaa
peene de
sod majhaa haath
malaa peene de
peene de ae
peene de re malaa
peene de
hey aankh nako maar malaa jeene de
jeene de ae
jeene de re
malaa jeene de
ye paatlaacya pori zaraa
ikde ye
zaraa ikde ye
nako nako
dekhe na koyi
zaraa tikde ye
zaraa tikde ye
sod majhaa haath
malaa peene de

main bholi bhaali ee
main bholi bhaali
peechhe padaa mawaali
kuchh aur de kaahe deti hai gaali
main bholi bhaali
peechhe padaa mawaali
kuchh aur de kaahe deti hai gaali
tukar tukar kya dekhtaa hai beimaan
tukar tukar kya dekhtaa hai beimaan
ab ho gayi hai tu poori jawaan
logon bachaao is kameene se
kameene se ae
kameene se
is kameene se
sod majhaa haath
malaa peene de
peene de ae
peene de re malaa
peene de

main hoon akelaa aa
arey main hoon akelaa
tere saath kayee saathi ee
malaa Hindi naa yete
bolaa Marathi
arey main hoon akelaa
tere saath kayee saathi ee
malaa Hindi naa yete
bolaa Marathi ee
pyaar mein kya Hindi
Marathi ka kaam
pyaar mein kya Hindi
Marathi ka kaam
ankhiyon se baat kar
bainyyaan na thhaam
arey lag jaa tu aaj mere seene se
seene se re
mere seene se re
mere seene se
sod majhaa haath
malaa peene de
peene de ae
peene de re malaa
peene de
hey aankh nako maar malaa
jeene de
jeene de ae
jeene de re
malaa jeene de
he paatlaacya pori zaraa
ikde ye
zaraa ikde ye
nako nako dekhe na koi
zara ikde ye
zara ikde ye
ho zara ikde ye
zara ikde ye
nako nako
ikde ye zara ikde ye
ho zara ikde ye
zara ikde ye
nako nako
tikde ye zara tikde ye

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Ye raat ye jawaani ye botal sharaab ki

Posted by: on: June 9, 2021


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

Blog Day :

 4709 Post No. : 16415

Hullo Atuldom

Let me begin with a confession. I am very bad at buying gifts. As a youngster, dependent on pocket money, I used to make do with buying greeting cards and either posting it to my near and dear or hand-delivery (which was cheaper). Things were kind of simple. Things were simpler if I could find someone to share expenses. Oh yes, those days people used to share or go-dutch (I am sure that is not the correct expression in the scenario of buying greeting cards, but for want of a better word), at least in my circle, then I used to buy some fancier cards. There was a category of people for whom the gifting used to be a card accompanied by some memorabilia or chocolates etc. It was similar at the time of my birthdays too and I have almost all the cards I received saved up and I access them occasionally and remember those days. In fact I have even saved up the cards which my kids received in the first few years of their life. But things have changed with the turn of the millennium, decade etc.

These days people are into wishing through the social media. We see the closest relative post a message on some public forum and all friends, relatives – close ones and not so close ones- follow the leader. The person who is being wished is overwhelmed with the deluge of messages. The youngsters, who began the practice of using social media, have again changed there methodology- they call the birthday boy/girl at the stroke of midnight. That is really sweet of these people. And in this last year when it has been impossible to wish anyone on a one-to-one basis, people have discovered a way out. These days there are ‘Zoom Parties’ and that is a different feel altogether. My sisters, brothers and kids – nieces and nephews- introduced me to this form of party last year on our wedding anniversary.

Personally I still like to call the person concerned and wish. I did that two days back when my Kaaki (aunt) turned 80 and yesterday when my dear mom-in-law went a year closer to 90.

And for today I have decided to wish my dear friend of Atuldom with this post. He is a person who is my inspiration in the sense that he learnt so many skills after retirement meaning there is no age-limit to learn anything new. He has no prejudices as regards the age of music he listens to- meaning he is of the opinion there are good and bad songs/ music in all ages and times. He may not go out of his way seeking songs of new movies but appreciates good work when he sees it. He is generous in sharing his knowledge. He is among the few persons who I am comfortable in chatting with and can pick up the phone and start talking as if there is no gap in communication. The mornings of the WhatsApp group associated with the blog begin with his “GOOD MORNING” messages and we treasure the beautiful thoughts that come with it. (I am sorry if I don’t respond to each one of them but I do wait for them)

We in Atuldom like to think of him as our IN-HOUSE ENCYCLOPEDIA and I prefer addressing him as Guruji or Arunji. Yes today is our dear Arunkumar Deshmukhji’s birthday. All his posts are so well-researched that I am sure it is a big time consuming activity for him considering that he also has his responsibilities of being a doting father and proud grandfather. May God give you all the energy needed to keep the posts coming in at a steady pace and we see your 1000th post soon.

For today I have not chosen any “Happy Birthday” but the song with this post has a very young, baby-face Aruna Irani trying to get a middle-aged Madan Puri drunk. I don’t remember much of the movie so I will not be able to tell why Aruna Irani is doing so. The song is from a movie called “Ek Paheli” (1971) which was produced by Kuldip Talwar, directed by Naresh Kumar who had made a few movies with Rajendra Kumar as hero. If this was a post by our today’s birthday boy he would have given a brief about Naresh Kumar too I can only make the statement that possibly he was Rajendra Kumar’s family.

“Ek Paheli” had Feroz Khan and Tanuja leading a cast of Sanjeev Kumar, Madan Puri, Aruna Irani, Rajendranath, Tun Tun, Jeevan etc. Usha Khanna was the music director and song were written by Asad Bhopali. Suman Kalyanpur, Mohd Rafi and Usha Khanna were the playback singers.

Asad Bhopali has given songs which have been popular and can be heard on the radio and music systems regularly. Songs like ‘woh jab yaad aaye’; ‘kismat bigadi duniya badali’; ‘sau baar janam lenge’; the fun song in the late ’70s ‘ram dulaari maike gayi’. Today’s generation or those in their 30s currently will remember Asaduallah Khan (Asad Bhopali) for the songs of ‘Maine Pyar Kiya’ (1989) which was among the last movies that he wrote songs for. He passed away in 1990 at Bhopal. Thanking Asad Bhopali for today’s song and numerous others that he wrote for movies since his debut in 1949.

Audio

Video

Song-Ye raat ye jawaani ye botal sharaab ki (Ek Paheli)(1971) Singer-Suman Kalyanpur, Lyrics-Asad Bhopali, MD-Usha Khanna

Lyrics

ye raat ye jawaani
ye botal sharaab ki
ye raat ye jawaani
ye botal sharaab ki
ho jaaye iss taraf bhi
inaayat janaab ki
kahiye gilaas bhar doon
kahiye gilaas bhar doon

masti bhari nigaahon se chhalki hui sharaab
masti bhari nigaahon se chhalki hui sharaab
pi leeje behisaab
pila deeje behisaab
kahiye gilaas bhar doon
kahiye gilaas bhar doon

behke bhi dagmagaaye bhi hum donon saath saath
behke bhi dagmagaaye bhi hum donon saath saath
itni piye ko hosh na aaye tamaam raat
kahiye gilaas bhar doon
kahiye gilaas bhar doon

ye daur yoonhi aur abhi chalne deejiye
ye daur yoonhi aur abhi chalne deejiye
jaldi na keeje raat zara dhhalne deejiye
kahiye gilaas bhar doon
kahiye gilaas bhar doon
ye raat ye jawaani
ye botal sharaab ki
ho jaaye iss taraf bhi
inaayat janaab ki
kahiye gilaas bhar doon
kahiye gilaas bhar doon

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Piyo jee khoob piyo main pilaaun pyaar se

Posted by: on: November 21, 2020


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 :

 4509 Post No. : 16052

Today’s song is from an obscure film Ranee-43, which was a Bi-lingual film made by Calcutta’s Barua Productions.

The film was directed by P C Barua and the music was by Kamal Dasgupta. Barring a few big movies, the Hindi-Bangla bilingual films did not become as successful as their Bangla versions. I feel the reasons were mainly two. One was that the cast of such films consisted of most names, with which the Hindi audience was not familiar. The second point was the style of acting and the dialogue delivery of the Bangla actors was deemed strange in Hindi belt. The Hindi used in films made in Bengal was too pure to be of the liking of people who were used to Hindustani language. The audience preferred ” pyar or muhabbat ” to ” prem “, for example.

The cast of the film Ranee-43 was Jahar Ganguli, Kalavati, P C Barua, Jamuna, Patience Cooper, Bikram Kapoor etc. The music of film Ranee-43 was not popular. The year 1943 was an year when lots of films provided melodious music. There were films like Aabroo, Ishara, Kanoon, Kismat, Nadaan, Nai Kahani, Najma, Namaste, Naukar, Panghat, Poonji, Prithvi Vallabh, Ram Rajya, Sanjog, Shakuntala, Tansen, Taqdeer etc. etc. Films of popular singers like Saigal and Noorjehan were on everone’s lips. In this situation, films like Ranee with music below par could not make any impact.

There were a number of films made by Bangla artistes, like Wapas, Shri Ramanuj, Ranee, Manchali, Kashinath, and Hospital. The exodus of artistes from New Theatres had started from 1940 onwards and many came to Bombay. Whatever the reason, New Theatres had lost its sheen, which it had enjoyed till now, It was sad to see a Lion in a dilapidated and helpless situation.

P C Barus and Jamuna, the husband-wife pair, were in the lead in this film. While Jamuna still looked like a Heroine, Barua did not look suitable for the ” young and Handsome” hero’s part. Reviewing the film in his magazine, Baburao Patel cme down heavily on this misfit hero and the declining skill of the director Barua. The story of the film was about Ranee- a young and good looking girl in a village, who becomes a victim of false rumours about her character. She leaves the village, giving an impression that she has done suicide. She works as a Maid in another village with a Zamindar. The zamindar’s young and handsome brother falls in love, but she does not show inclination. He starts drinking. She leaves the house. The hero drinks and falls ill, Ranee enters as a Nurse and looks after him. The zamindar comes to know who she is and that all the rumours were false. The hero recovers completely and both get married.

Before joining The New Theatres, Barua was running his own film making outfit for a studio and a company. After leaving NT, he restarted it. Actually he wanted initially to merge his company with NT, but Sircar refused and offered him a paid job, which he had accepted.

Director P.C. aka Pramathesh Barua was born on 24-10-1903. A well educated and foreign trained prince from a Royal family came into the films only by chance. He established his own studio and made films. Impressed by his style and work, B.N.Sircar of New Theatres offered him a job in his company. Barua joined and made such films in New Theatres that the studio became famous all over India. His greatest contribution was his first film here, ” Devdas”-34 in Bangla. he did the main role and brought in a comparatively new actress Jamuna for the role of Parvati aka Paro. With the fantastic success of the Bangla version, Barua made its Hindi version in 1936, with K L Saigal as the Hero. This was mor successful than the Bangla version and became an iconic film for ever as a reference point. Then an Assamese version was also made in 1937.

With a very eventful, successful and satisfying stint in New Theatres, Barua developed serious differences with the owner-B.N.Sircar, who was known to be a disciplinarian who held the Institution ( of NT) in place. New Theatres, in the 30s , was full of Titans having larger than life images and it was inevitable that there would be clashes amongst the artistes and the owner. Like true Bengalis, they all had king size Egos and over estimated self respects.

The first crack came in 1933 when Nitin Bose and Debaki Bose clashed, resulting in Debaki Bose’s temporary exit. In the line was Barua, who had a grudge that he was not given as many films as his peers Nitin Bose and Hemchander Chunder got . The rift between Barua and Sircar was obviously born out of deep differences, because after Barua left, B N Sircar had said ” He was a remarkably innovative director who seemed to improve after every film. As an actor, he forged a style that was distinctively his own uniquely. But as a Man…..well,I would rather not discuss it ”.

However, it was known to both of them and all others connected with NT, that both these Giants had tremendous love and respect for each other. In 1951, when Barua lay dying on his bed, he instructed that his body be taken past the house of B N Sircar, where he was lying sick on bed. When Barua’s funeral convoy reached Sircar’s house, the ailing Sircar hobbled painfully to the window of his elegant Elgin Road Residence, as the prince of Players paused beneath the window for a while and then proceeded. It was a poignant moment- an act symbolic of a reference point established a long time ago in a business which was notorious for callous and impermanent relationships !

After Barua Nitin Bose left, then Kanan Bala and a few more. Only Pankaj Mullick, though hurt by NT’s neglect, stuck till the end. P.C.Barua died on 29-11-1951. He acted in 8 Hindi films( Manzil-36, Mukti-37, Adhikar-38, Jawab-42, Ranee-43, Subah Shaam-44, Amiree-45 and Pehchan-46). He directed 14 films and sang 1 song in the film Jawab-42.

Barua’s wife Jamuna Was an excellent actress. Pity that she did only 13 films in Hindi. Jamuna ( 10-10-1919 to 24-11-2005) was the fourth of the six daughters of Puran Gupta, a resident of a village near Agra, India. Each of the sisters was named after an Indian river like Ganga, Jamuna, Bhagirathi etc. As destiny would have it, Jamuna came to reside in Calcutta, a leading film producing city in India. Originally from Gauripur of Assam’s Goalpara district (undivided), Jamuna was married to the legendary actor director Pramathesh Barua, or P.C. Barua, who died in 1951. She began her acting career in her husband’s famous production Devdas in 1936 and was the film’s lead character Parvati or Paro. She went on to make a number of memorable movies in Assamese, Bengali and Hindi, notably Amiri, Mukti, Adhikar and Sesh Uttar. She stopped acting after Barua died.

Jamuna made her film debut in the 1930s and played a small role in Mohabbat Ki Kasauti (1934), Hindi version of Rooplekha (Bengali), directed by P.C. Barua. A romance started although Barua, hailing from the native Indian state of Gauripur, Assam, was already twice married. As the actress, who was to play Parbati in Barua’s next venture Devdas (1935) reported inability to attend the studio on the very first day of shooting, Jamuna was called from Barua’s residence (she was living with him by then) and was asked to get down to work straight away without any preparation whatsoever. Thus she came to be the first Parbati of Indian talkies- Miss Light had played the role in the silent version of the enormously popular Sarat Chandra novel. Aishwarya Rai happens to be the last so far and Devdas has been made and remade a number of times. Jamuna played the same role in the Hindi version also and was accepted in this very first proper exposure as an actress in her own right.

She continued to act in Barua’s films like Grihadaha (1936), Maya (1936), Adhikar (1939), Uttarayan (1941), Shesh Uttar (1942), Chander Kalanka (1944) and the respective Hindi versions of each film. Barua had left the prestigious New Theatres in 1940 and was directing as well as producing his films. Thereafter she acted in a number of Barua directed Hindi movies like Amiree, Pehchan and Iran Ki Ek Raat. These films however did not add to the prestige of either Barua or Jamuna. Jamuna also acted outside Barua direction in three Bengali films Debar (1943) and Nilanguriya (1943) where she proved herself without Barua’s influence. Her last film Malancha (1953) was also outside Barua’s direction. She also starred in its Hindi version Phulwari (1953).

Barua’s death in 1951 when he was only 48 changed Jamuna’s life altogether. She had three sons by Barua, Deb Kumar, Rajat and Prasun. They were all minors at the time and the Gauripur estate refused to take any of their responsibilities. She had to wage a legal battle with the powerful and influential royal family to get her and her children’s dues and recognition. Time settled the matters and she was allowed ownership of the house with its vast adjoining land and also an allowance. Jamuna spent the rest of her life after Barua as a housewife, busy in bringing up her minor sons. She had to complete the unfinished film Malancha of course but bid adieu to the film industry soon after. Later in her life she did attend a number of functions to celebrate the centennial year of husband P.C. Barua and received felicitations on behalf of the Government of India and the state Government of Assam as the first Parbati of Indian talkies.

Her last days were not very comfortable and she was bedridden for more than six months prior to her death. She is survived by her three sons and their families and a host of relatives. According to her family members, she had been ill for some time, and the cause of death was illness related to old age. She died at her residence in South Kolkata. She had acted in 13 Hindi films. Her last film was Phulwari-51.

Today’s song is the third song from this film to be posted here. The names of singers of all songs are not given in the HFGK. The film was released on 4-6-1943 at Super cinema, Bombay, where it ran for only 2 weeks.


Song-Piyo ji khoob piyo main pilaun pyaar se (Ranee)(1943) Singer-Unknown female voice, Lyricist- Pt. Madhur, MD- Kamal Dasgupta

Lyrics

Piyo jee
khoob piyo
main pilaaun pyaar se ae
main pilaaun pyaar se
Piyo jee
khoob piyo
main pilaaun pyaar se ae
main pilaaun pyaar se

dil tera howe
maikhaana
saaqi ban jaaye
paimaana
bano jee
mast bano ye
jawaani ki kahaani
bano ji
mast bano ye
jawaani ki kahaani
Piyo jee
khoob piyo
main pilaaun pyaar se ae
main pilaaun pyaar se

peene kaa hi hai naam zindagi
aur aankh aankh se karti hai bandagi
dilon ke ??
nahin inkaar se
dilon ke ??
nahin inkaar se
Piyo jee
khoob piyo
main pilaaun pyaar se ae
main pilaaun pyaar se

honthhon ko hai ye jaam choomte
dil ke hain saare armaan jhoomte
mazaa peene ka peene ka
mazaa peene ka
boojh lo
aa aa aa aa
ishq ke beemaar se
Piyo jee
khoob piyo
main pilaaun pyaar se ae
main pilaaun pyaar se

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Ham to pee ke chale

Posted by: on: October 6, 2020


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 : 4463 Post No. : 15944

“Albeli”(1955) was produced and directed by Devendra Goel for Fils and Television, Bombay. The movie had Geeta Bali, Pradeep Kumar, Johny Walker,Randheer, Rama Sharma, Brij, Ranjana Shukla, Tuntun, Om Prakash, Yogendra, Robin Kumar, Raje Kapoor, Meena, Gareeb Kumar, Kaiser Usmani, Ranjeet etc, with guest appearances by Shankar A Palav, Jankidas and Madan Puri.

The movie had seven songs in it. Five songs have been covered in the past.

Here is the sixth song from “Albeli”(1955) to appear in the blog. The song is sung by Hemant Kumar. Raviis the lyricist as well as music director.

Hemant Kumar is normally associated with serious songs in our imagination. But here he gets to sing a “bewda” song, much like songs viz Zindagi khwaab hai (Jaagte Raho), Mujhko yaaron maaf karna main nashe mein hoon (Main Nashe Mein Hoon) and main nashe mein hoon (Do Gunde).

This song, sung by Hemant Kumar is older than the abovementioned songs.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this rare song.


Song-Ham to pee ke chale (Albeli)(1955) Singer-Hemant Kumar, Lyrics-Ravi, MD-Ravi

ham to
pee ke chale
ab to apni bala se ae duniya jale
ham to
pee ke chale
ab to apni bala se ae duniya jale ae
ye jaane mohabbat to mile na mile ae
ham to
hmm
pee ke chale
ab to apni bala se ae duniya jale

tamanna nahin koi
aarzoo nahin koi
nahin koi gham
chaahe jiye ya mare koi
yahi hai ki bas thhodi kal phir mile ae ae
ham to
hmm
pee ke chale
ab to apni bala se ae duniya jale ae
ye jaane mohabbat to mile na mile ae
ham to
hmm
pee ke chale

ye maana zamaane ke qaabil nahin hoon main
nashe mein to hoon lekin gaafil nahin hoon main
to phir hamse duniya kyun bach ke chale ae
ham to
hmm
pee ke chale

hai saaqi nahin koi
hai mehfil nahin koi
ajab ye safar
jiski manzil nahin koi
chala hoon jidhar ye kadam le chale ae ae
ham to
hmm
pee ke chale
ab to apni bala se ae duniya jale ae
ye jaane mohabbat phir mile na mile ae ae
ham to

Tags: , , , ,

Tu..u..u Mungdaa, Mungdaa Main Gud Ki Dali

Posted by: on: September 19, 2020


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

Blog Day :

 4446 Post No. : 15897

Songs Repeated in Hindi Films – 23
– – – – – – – – – – – – – – – – – –

OK, so introducing another popular song that got very quickly reused in a subsequent film. This raunchy item number surprised everyone when it came out for the first time. The film is ‘Inkaar’ from 1977. It was cops and robbers story – B-grade cinema but it was done very professionally, giving some true insight into the normal working of the police force.

This song, which is performed by Helen in the film, became very popular in its time. And the wonder part of this song was / is the voice that has rendered it. The voice is of Usha Mangeshkar. One does not hear her voice in item numbers. Maybe part of a twin dance duet singing. But not an out and out item song. Somehow the selection of his voice for the setting clicked absolutely well. The setting of the song in the original film is a roadside tavern – a desi daaru ka adda. A counter for selling liquor and some chairs and tables for the clients to enjoy their glass that cheers. The dancer, Helen, is very much in the native Maharashtrian attire, wearing the dhoti in the typical lavangi style. The scenario, the persona – the singing voice suited everything to a T.

Fast forward to 1984. The film is ‘Andar Baahar’. This is another cops and robbers tale. Jackie Shroff is a police inspector who has lost his senior partner (role played by Parikshit Sahni) to the bullets of criminals. He vows revenge, and for that he takes permission to pull out a jailed criminal (role played by Anil Kapoor), and enrolls him as his partner, because he can identify the gangster boss. Anil Kapoor, who is a hardened criminal otherwise, has a difficult time adjusting to a role on the other side of the law. So within the very first one or two days, taking advantage of his newly given freedom, he disappears from Jackie Shroff’s home. Jackie is worried, on many counts, and sets out to search for him. Following his instincts he goes to the city red light area and his hunch is proved correct. Anil Kapoor is in a binge of drink and dance with a dancing girl of the area, role played by Jaishree T. And the song that is used in this scene is the iconic Usha Mangeshkar number, repeated from the film ‘Inkaar’.

The reuse is a direct replay without re-recording. The song duration is shorter because only one stanza of the song is utilized. Once again, being a repeat song, this does not appear in the Geet Kosh listings for the latter film. I have retained the credits for the song, from the original film – Majrooh Sultanpuri and Rajesh Roshan. Incidentally the music director for the latter film is RD Burman.

So another popular song reused in a later film. I accidentally ran into this song, as I was searching for another video clip to complete another post. The song “Hum Ko To Yaari Se Matlab Hai” from film ‘Andar Baahar’ has a sad version that was not getting located. I played thru the film in fast forward mode. It was a short clip but I was able to locate it. In the process, the bonus was the discovery of this repeat song that would have otherwise not been located, as it is not listed. A good chance discovery.

Song –  Tu..u..u Mungdaa, Mungdaa Main Gud Ki Dhali  (Andar Baahar) (1984) Singer – Usha Mangeshkar, Lyrics – Majrooh Sultanpuri, MD – Rajesh Roshan

Lyrics

tu..u..u
mungdaa mungdaa
main gud ki dali
mangtaa hai to aa jaa rasiyaa
naahin to main ye chali
mangtaa hai to aa jaa rasiyaa
naahin to main ye chali
tu..u..u
mungdaa ha mungdaa
main gud ki dali
mangtaa hai to aa jaa rasiyaa
naahin to main ye chali
mangtaa hai to aa jaa rasiyaa
naahin to main ye chali

aapas ki chaal dekhe so lut jaaye
aapas ki chaal dekhe so lut jaaye
tu jis pe naina daal haathon se pyaala satak jaaye
tu jis pe naina daal haathon se pyaala satak jaaye
aashiq apna
mungdaa mungdaa mungdaa
main gud ki dali
kaisa mulga hai re sharmila
tujhse to mulgi bhali
kaisa mulga hai re sharmila
tujhse to mulgi bhali

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

तू॰॰ऊ॰॰ऊ
मूंगड़ा मूंगड़ा
मैं गुड़ की डली
मंगता है तो आ जा रसिया
नाहीं तो मैं ये चली
मंगता है तो आ जा रसिया
नाहीं तो मैं ये चली
तू॰॰ऊ॰॰ऊ
मूंगड़ा मूंगड़ा
मैं गुड़ की डली
मंगता है तो आ जा रसिया
नाहीं तो मैं ये चली
मंगता है तो आ जा रसिया
नाहीं तो मैं ये चली

आपस की चाल
देखे तो लुट जाये
आपस की चाल
देखे तो लुट जाये
तू जिस पे नैना डाल
हाथों से प्याला सटक जाये
तू जिस पे नैना डाल
हाथों से प्याला सटक जाये
आशिक अपना मूंगड़ा
मूंगड़ा मूंगड़ा
मैं गुड़ की डली
कैसा मुल्गा है रे शर्मिला
तुझसे तो मुल्गी भली
कैसा मुल्गा है रे शर्मिला
तुझसे तो मुल्गी भली

Tags: , , , , , , ,

Hata De Jaam Nazar Se Nazar Mila Saaqi

Posted by: on: July 25, 2020


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

Blog Day :

 4390 Post No. : 15756

Today, 25th July is the 24th anniversary of the passing away of GS Kohli, one of the most talented musician and music director in Hindi cinema’s Golden age.

Gursharan Singh Kohli was born in 1928. As a child and young man, he learnt to play dholak and many other musical instruments. He was just 24 years when he started working with the famous music director OP Nayar, as his assistant. He continued to be Nayar Sb’s assistant music director till the end of 1960s, even though he had started his own career as an independent music director with the film ‘Lambe Haath’ in 1960.

He went on to create wonderful music for films like ‘Shikari’ (1963), ‘Adventures of Robin Hood’ (1965) and ‘Namaste ji’ (also 1965). Despite scoring some of the most popular hit songs of the 1960s, his career remained confined to B and C grade cinema. His last film as an independent music director was ‘Jaalsaaz’ in 1969.

Today we present this enchanting cabaret song from the 1966 film ‘Do Matwaale’. The song is penned by Farooq Qaiser and is sung by Asha Bhosle. On screen, the song is performed by Helen, as a club dance song, in the inimitable way that only Helen can perform. Present in the scene also we can see the actress Malika, and two Sikh gentlemen, who actually are Randhawa and Madan Puri in disguise.

The lyrics of this song were sent in by Prakashchandra ji.

Another very enamoring dance number by Helen, who performs to the music of GS Kohli.

Audio

Video

Song – Hata De Jaam Nazar Se Nazar Mila Saaqi  (Do Matwaale) (1966) Singer – Asha Bhosle, Lyrics – Farooq Qaiser, MD – GS Kohli

Lyrics (Provided by Prakashchandra)

laraa la la laaala la la laaa
la laa laa la rooooooo…ooooo
laaa la laa laa laa
laa laa laa la la laralarallaa
laraalala laa laa leeraallaaalala
aahaaa…aaa…aaa
aahaaa…aaaa….aaa

hata do jaam
nazar se nazar mila saaqi
rahoon na hosh mein
aisi mujhe pila saaqi
(hic)
hata do jaam
nazar se nazar mila saaqi
rahoon na hosh mein
aisi mujhe pila saaqi
hataa do ja..am
hataa do ja..am

sabhi ne chhod diya
keh ke hum ko deewaana
hamaare vaaste 
sab kuchh yahi hai maikhaana
hamaare vaaste 
sab kuchh yehi hai maikhaana
nahin hai koi hamaara
tere siwaa saaqi
rahoon na hosh mein
aisi mujhe pila saaqi
hata do ja..am
hata do ja..am

yahaan pe log
muqaddar banaane aate hain
dilon ko jodne
gham ko bhulaane aate hain
dilon ko jodne
gham ko bhulaane aate hain
duaayein maang
ke utre na ye nasha saaqi
rahoon na hosh mein
aisi mujhe pila saaqi
hataa do jaam
nazar se nazar mila saaqi
rahoon na hosh mein
aisi mujhe pila saaqi
hataa do ja..am
hataa do ja..am

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

हटा दो जाम
नज़र से नज़र मिला साक़ी
रहूँ ना होश में
ऐसी मुझे पीला साक़ी
(हिक)
हटा दो जाम
नज़र से नज़र मिला साक़ी
रहूँ ना होश में
ऐसी मुझे पीला साक़ी
हटा दो जा॰॰आम
हटा दो जा॰॰आम

सभी ने छोड़ दिया
कह के हमको दीवाना
हमारे वास्ते
सब कुछ यही है मयखाना
हमारे वास्ते
सब कुछ यही है मयखाना
नहीं है कोई हमारा
तेरे सिवा साक़ी
रहूँ ना होश में
ऐसी मुझे पीला साक़ी
हटा दो जा॰॰आम
हटा दो जा॰॰आम

यहाँ पे लोग
मुकद्दर बनाने आते हैं
दिलों को जोड़ने
ग़म को भुलाने आते हैं
दिलों को जोड़ने
ग़म को भुलाने आते हैं
दुआएं मांग
के उतरे ना ये नशा साक़ी
रहूँ ना होश में
ऐसी मुझे पीला साक़ी

हटा दो जाम
नज़र से नज़र मिला साक़ी
रहूँ ना होश में
ऐसी मुझे पीला साक़ी
हटा दो जा॰॰आम
हटा दो जा॰॰आम

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Kajra Mohabbat Wala Akhiyon Mein Aisa Daala

Posted by: on: June 19, 2020


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

Blog Day :

 4354 Post No. : 15673 Movie Count :

4317

Songs Repeated in Hindi Films – 20
– – – – – – – – – – – – – – – – – –

It is like cherry picking a hit parade – the repeat songs are almost always the popular hit songs that have made a serious mark on the collective memory of the audiences and lovers of Hindi films and film songs. And this song is no exception. Rather this song has been so popular – with its catchy lyrics and a very hummable melody – that one hears this song being used in many different avatars outside of the film frame – remixes, revival melodies, even background music for recorded dance performances. One can find such samples online on YT.

This iconic song, originally from the 1968 film – ‘Kismat’, has been reused in the 2011 film ‘Tanu Weds Manu’. Whereas the original song was a disguise cum diversion song, in a situation where the lead pair is trying to get away from a group of bad-men, in the newer film, this song is being used as a wooing-cum-proposal-making song. The occasion is a wedding of a friend of the leading lady. Tanuja (Kangana Ranaut) aka Tanu is trying to muster up courage to proposition Manu, who appears to be too shy and unprepared to take a step towards a relationship. Using the wedding scenario as an excuse, Tanu gets drunk (or appears to get drunk). The situation develops and reaches this song in a couple of minutes, and in the guise of this song, Tanu finally gets to speak her heart out to Manu,

kismat bana de meri
duniya basa de meri
kar le sagaai meri jaan

Please note that in this re-use, the original song has been presented as it is, the only one change is that two stanzas have been used instead of 3. So what we hear in this song are the original voices of Asha Bhosle and Shamshad Begum, the mukhda and antara lines suitably edited to present a shorter version.

The info about this reuse has been shared with me by Anekant ji. He has been a regular contributor and there is still a few more songs in my pending list for this series, that have been suggested by him.

The original song from the film ‘Kismat’ came on to this blog on 9th February, 2009. It can be accessed here – “Kajra Mohabbat Wala, Akhiyon Mein Aisa Daala“.

Check out this resue, and witness an energetic on screen performance by Kangana, who, under the supposed influence of alcohol, is desirous of presenting a Kanpuria dance for the occasion. And enjoy.

Video

Song – Kajra Mohabbat Wala Akhiyon Mein Aisa Daala  (Tanu Weds Manu) (2011) Singer – Asha Bhosle, Shamshad Begum, Lyrics – SH Bihari, MD – OP Nayyar

Lyrics

kajra mohabbat waala
akhiyon me aisa daala
kajre ne le li meri jaan
haay re main tere qurbaan
duniya hai mere peeche
lekin main tere peeche
apna bana le meri jaan
haay re main tere qurbaan
kajra mohabbat waala
akhiyon me aisa daala
kajre ne le li meri jaan
haay re main tere qurbaan

aayi ho kahaan se gori
aankhon me pyaar le ke
aayi ho kahaan se gori
aankhon me pyaar le ke
chadhti jawaani ki ye pehli bahaar leke
dilli shahar ka saara
meena bazaar leke
dilli shahar ka saara
meena bazaar leke
jhumka bareli wala
kaano me aisa daala
jhumke ne le li meri jaan
hay re main tere qurbaan
duniya hai mere peeche
lekin main tere peeche
apna bana le meri jaan
haay re main tere qurbaan

motor na bangla maangoon
jhumka na haar maangoon
motor na bangla maangoon
jhumka na haar maangoon
dil ko jalaane waale dil ka qaraar maangoon
sainya bedardi mere
thoda sa pyaar maangoon
sainya bedardi mere
thoda sa pyaar maangoon
kismat bana de meri
duniya basa de meri
kar le sagaai meri jaan
haay re main tere qurbaan

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

कजरा मोहब्बत वाला
अखियों में ऐसा डाला
कजरे ने ले ली मेरी जान
हाय रे मैं तेरे क़ुर्बान
दुनिया है मेरे पीछे
लेकिन मैं तेरे पीछे
अपना बना ले मेरी जान
हाय रे मैं तेरे क़ुर्बान
कजरा मोहब्बत वाला
अखियों में ऐसा डाला
कजरे ने ले ली मेरी जान
हाय रे मैं तेरे क़ुर्बान

आई हो कहाँ से गोरी
आँखों में प्यार ले के
आई हो कहाँ से गोरी
आँखों में प्यार ले के
चढ़ती जवानी की ये
पहली बहार ले के
दिल्ली शहर का सारा
मीना बाज़ार ले के
दिल्ली शहर का सारा
मीना बाज़ार ले के
झुमका बरेली वाला
कानों में ऐसा डाला
झुमके ने ले ली मेरी जान
हाय रे मैं तेरे क़ुर्बान
दुनिया है मेरे पीछे
लेकिन मैं तेरे पीछे
अपना बना ले मेरी जान
हाय रे मैं तेरे क़ुर्बान

मोटर ना बंगला माँगूँ
झुमका ना हार माँगूँ
मोटर ना बंगला माँगूँ
झुमका ना हार माँगूँ
दिल को जलाने वाले दिल का क़रार माँगूँ
सैंया बेदर्दी मेरे
थोड़ा सा प्यार माँगूँ
सैंया बेदर्दी मेरे
थोड़ा सा प्यार माँगूँ
किस्मत बना दे मेरी
दुनिया बसा दे मेरी
कर लै सगाई मेरी जान
हाय रे मैं तेरे क़ुर्बान

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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 THIRTEEN years. This blog has over 16700 song posts by now.

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