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

Archive for the ‘Duet’ Category


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

Today, 21st June is designated as the World Music Day. The reminders checked in quite late in the afternoon today. The historical details about this event are available on the internet, and our dear Arun ji has also summarized them in a brief post on the Whatsapp group.

As I set down thinking about this event, and to search out an appropriate song for today, my mind almost immediately went to the 1985 film ‘Sur Sangam’.  In my mind, this is probably the best film on the theme of classical music, in the recent decades. Times are past that classical music and the legends of this art form used to be the central themes of many a film, especially from the historical perspective, in the decades that coincide with the golden era of Hindi film music. Historical persona such as Tansen and Baiju, Narsi Mehta and Meerabai, Kalidas and Soordas, Kabir and Rani Roopmati have been central themes and central characters of many a film till the decade of 1970s. Beyond that, I cannot easily recall a film whose theme and storyline is based primarily on classical music.

‘Sur Sangam’ is one of the last such examples that I can recall. After the 1980s, my interest in Hindi films kind of petered down, and I would appreciate if other friends and readers can tell about such films beyond the 1980s. This film is a remake (not a dub) of another absolutely fabulous Telegu film, ‘Shankarabharanam’ (1979). It is opportune for me that I have also seen this film, on the big screen. Both films, in their own standing, are wonderful productions in all aspects of combining classical music and cinema. The profundity, the importance, and the current state of affairs in this field, had been excellently expressed. Yes, as opposed to the themes mentioned above, this film is set in the contemporary times, and fate meted out to the exponents of this art form in our times is very well depicted.

As is the requirement of this theme, there are some very wonderful songs in this film, that are about classical music, about learning classical music, about ‘sur’ and ‘naad’. The song that I present today is one such beautiful expression of this art form – “Aaye Sur Ke Panchhi Aaye”. Other songs from this film relating this theme are “Saadh Re Mann Sur Ko Saadh Re” and “Saadho, Aisa Hi Gur Bhaave”.

This song is the first thing we see on the screen within a couple of minutes after the credits have been completed. We are introduced to Pandit Shivshankar Shastri, one of the senior-most and expert practitioner of the art form of classical music. And what better an introduction than presenting a stage performance by him. We see Pandit Shivshankar (role played by Girish Karnad) on stage. His child daughter Sharda (role played by Baby Mamta) accompanies him on stage, playing the taanpura. We also see Gopal (role played by Paintal), one of his disciples, accompanying him on table. There are other artists and musicians also present. In the audience, we see Tulsi (role played by Jayaprada), who is an ardent admirer of Pandit ji, sitting in the front row with her mother Ratnabai (role played by Tabassum). The man wearing a white cap and sitting next to Tabassum, plays the role of Ratnabai’s brother, i.e. uncle to Tulsi.

As the performance is in progress, another gentleman, appearing to be a rich man / politician, enters the hall, and comes and sits in front of Ratnabai, with his back towards the stage. Pandit ji immediately ceases the performance, and walks away. In the film, a little later, the last antaraa of this song – “Sur Ka Hai Sopaan Sureela. . .”, is presented as being played on a gramophone player, and Tulsi is practising alongside with the image of her guru, Pandit Shivshankar Shastri, sitting on a jhoola next to her.  For this part, I have not been able to locate a separate video clip, so the audio clip is included.

The verses of this song are penned by Vasant Dev, and the music is by Laxmikant Pyaarelal. The singing voices are of Rajan-Sajan Misra, the brothers duo of classical singers, and Kavitha Krishnamurthy.’

Celebrating the World Music Day, listen to this magnificent rendition and presentation, in Raag Maalkauns.

Part 1 – Video

Part 2 – Audio

Song – Aaye Sur Ke Panchhi Aaye (Sur Sangam) (1985) Singer – Rajan Sajan Misra, Kavitha Krishnamurthy, Lyrics – Vasant Dev, MD – Laxmikant Pyaarelal
Rajan-Sajan Misra + Kavitha Krishnamurthy

Lyrics

Part  1
(aalaap)

aa..aaye sur ke panchhi aaye
aaye sur ke panchhi aaye
aaye sur ke panchhi aaye
ambar ke onkaar naad ki
goonj sunaate aaye
ambar ke onkaar naad ki
goonj sunaate aaye
aa..aa..aa
aaye sur ke panchhi aaye
aaye sur ke
(sargam)
aaye sur ke panchhi aaye
(aalaap)
aaye sur ke panchhi aaye
aaye sur ke panchhi aaye
(sargam)
aaye sur ke panchhi aaye
aaye sur ke panchhi aaye

kirnon ki avroh raah se
dharti par utar aaye
aaa
aaaaaa
aaaaaa aaaaa aaaaa
kirnon ki avroh raah se
dharti par utar aaye
maati ko chhoo kar jeene ki
chaah jagaate aa..aa..aaye
aaye sur ke panchhi aaye
aaye sur ke panchhi aaye

(sargam)

saam ved ki ras ganga mein
lehar uthaate aaye
ree..eeee.eeee.eeee.eeeee
saam ved ki ras ganga mein
lehar uthaate aaye
veena ki jhankaar sureeli
ban kar mann mein chhaa..aa..aaye
aaye sur ke panchhi aaye
aaye sur ke
(sargam)
aaye sur ke
(sargam)
aaye sur ke
(alaap)

[intrusion and singing ceases]
Part 1 Ends

Part 2
sur ka hai sopaan sureela

su. . . ree. . . laa. . .
aa ha
aaa aaa aaaa
sur ka hai sopaan sureela
amar lok le jaaye
jaaye
jahaan pahunch kar
mann ka saara
jahaan pahunch kar
mann ka saara
dooja pan mit jaa..aa..aa..aa..aaye
aaye sur ke panchhi aaye
aaye sur ke panchhi aaye

(sargam)

aaye sur ke panchhi aaye
aaye sur ke panchhi aaye
aaye sur ke panchhi aa..aa..aa..aaye

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

भाग १
(आलाप)

आ॰॰आए सुर के पंछी आए
आए सुर के पंछी आए
आए सुर के पंछी आए
अंबर के ओंकार नाद की
गूंज सुनाते आए
अंबर के ओंकार नाद की
गूंज सुनाते आए
आ॰॰आ॰॰आ॰॰
आए सुर के पंछी आए
आए सुर के
(सरगम)
आए सुर के पंछी आए
(आलाप)
आए सुर के पंछी आए
आए सुर के पंछी आए
(सरगम)
आए सुर के पंछी आए
आए सुर के पंछी आए

किरणों की अवरोह राह से
धरती पर उतर आए
आs
आsssss
आssss आssss आsssss
किरणों की अवरोह राह से
धरती पर उतर आए
माटी को छू कर जीने की
चाह जगाते आ॰॰आ॰॰आए
आए सुर के पंछी आए
आए सुर के पंछी आए

(सरगम)

साम वेद की रस गंगा में
लहर उठाते आए
री॰॰ई॰॰ई॰॰ई॰॰ई॰॰
साम वेद की रस गंगा में
लहर उठाते आए
वीणा की झंकार सुरीली
बन कर मन में छा॰॰आ॰॰आए
आए सुर के पंछी आए
आए सुर के
(सरगम)
आए सुर के
(सरगम)
आए सुर के
(आलाप)

[अनुचित प्रवेश एवं गायकी का अन्त]
भाग १ का अन्त

भाग २
सुर का है सोपान सुरीला
सु॰॰॰री॰॰॰ला॰॰॰
आ हा
आ आ आ
सुर का है सोपान सुरीला
अमर लोक ले जाये
जाये
जहां पहुँच कर
मन का सारा
जहां पहुँच कर
मन का सारा
दूजापन मिट जा॰॰आ॰॰आ॰॰आ॰॰आये
आए सुर के पंछी आए
आए सुर के पंछी आए

(सरगम)

आए सुर के पंछी आए
आए सुर के पंछी आए
आए सुर के पंछी आ॰॰आ॰॰आए

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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 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.

Wishing our Dear Atul ji, a very Happy Birthday. May this day be celebrated on this blog many, many, many more times.

Today’s song is from film ‘Do Behnen’ (1959). After KA Abbas’s film ‘Anhonee’ (1952), the attention of film makers was drawn to the theme of 2 sisters of same looks but different natures. Such themes provided a scope for double role. ‘Do Behnen’ (1959) was also inspired by this theme.

This reminds me of an early film based on this theme. The film was ‘ Muqaabla ‘ (1942). Fearless Nadia was the heroine and did the double role of both the good and bad sisters. It was very funny to see Nadia in a saree and doing pooja etc. It was funnier to listen to her broken, anglicised pure Hindi dialogues. Normally, in Nadia’s films, her dialogues used to be minimum – actions spoke for her. But ‘Muqaabla’ was such a story that dialogues were a must.

‘Do Behnen’ was a film in which Shyama had a double role. The other cast of the film was Rajendra Kumar, Chand Usmani, Ram Mohan, Tiwari, SK Prem, Mumtaz Begum etc. It was produced by Kailash Kapoor, JP Sehgal and Prakash Seth. The film was directed by Kedar Kapoor (2-9-1927 to 5-6-1987), who directed 35 films from 1954 to 1983. He was called Dara Singh expert, as he had directed 10 Dara Singh movies in the 1960s. Actress Madhu Kapoor is his daughter.

Chand Usmani was one of those actresses, who were good in acting but poor in good luck ! Actresses like Farida Jalal, Tabassum, Shubha Khote, Nazima, Zahira, Zahida, Yashodhara Katju and many more fall in this category. These actresses never made it to the regular heroine roles in A grade films, more than few films. They had some beginner’s luck but that was the end. They continued in side roles only.

Chand Usmani  was born in Agra, UP, and came to limelight by participating in ‘Kardar-Kolynos-Teresa Contest’ in 1949. She felt surprised when she was selected  for the contest and was overjoyed when she won the second spot in the finals. She acted as the female lead of ‘Jeevan Jyoti’ directed by Mahesh Kaul in 1953 opposite Shammi Kapoor. It was the debut film of Shammi Kapoor also.

Chand Usmani became an established actress later on, but she got only secondary roles which she performed always nicely. Gradually she accepted supporting roles, character roles, mother roles etc. She got Filmfare Best Supporting actress award for her portrayal of the character as ‘Champa’ in the 1970 film ‘Pehchan’. She acted in films of all prominent actors of that period.

In 1957, in the film ‘Naya Daur’ directed by BR Chopra, and in which Dilip Kumar-Vyjayantimal were the main pair, Chand Usmani acted as sister of the hero Dilip Kumar’s character ‘Shankar’. In the historical film ‘Samrat Pritviraj Chauvan’ (1959) she acted in the role of Rajkumari. ‘Prem Patra’ (1962) was a well noted film directed by Bimal Roy in 1962. A medical College student Arun Kumar Mathur (Shashi Kapoor) has a misunderstanding over a love letter and the consequences were the theme of the film. Sadhna was the heroine and Chand Usmani acted in the supporting role as ‘Sumitra’.

Biswajeet, Saira Banu, Jayant, Sajjan, Nazima, Chand Usmani etc. were the star cast of ‘April Fool’ (1964) directed by Subodh Mukherjee. This film pointed to the fact that sometimes even practical jokes done for just fun can also lead to unexpected serious problems.

In the super hit film ‘Khilona’ in which Sanjeev Kumar acted in leading role in 1970, Chand Usmani  acted as the character Laxmi Singh.  In the film ‘Ujala Hi Ujala’ (1974),  she portrayed mother’s role and acted as mother of Yogita Bali’s character Anuradha. She presented excellent acting skill  along with Shabana Azmi in the 1976 classic movie ‘Kadambari’. In the 1977 super hit movie of Manmohan Desai ‘Parvarish’ in which Amitabh Bachchan, Shammi Kapoor, Neetu Singh, Shabana Azmi, Vinod Khanna, Amjad Khan, Kader Khan etc acted, Chand Usmani acted skilfully as the mother of Neetu and Shabu (Neetu Singh and Shabana Azmi). She had well noted character role in another super hit film of Amitabh Bachchan-Neetu Singh pair ‘Yaarana’ in 1981 and yet another film ‘Pukar’ (1983) in which Amitabh Bachchan and Zeenat Aman were the main pair. She acted as mother of Suraj (Raj Babbar) in the film ‘Zakhmi Aurat’ (1988).

Chand Usmani passed away in 1989 at Mumbai.

There was one more name in the cast of this film – Ram Mohan. Actors like him are seen in many films, but their names are not known to many. He is the male version of actresses like Farida Jalal, in getting the lead roles. Good in acting but low in good luck !

Ram Mohan Sharma – a young, handsome lad from Ambala. Born in Ambala 0n 2-11-1929, Ram Mohan Sharma was a graduate (BA) and had come to Bombay in 1945 in search of a career in cinema. The youngster, who was in his early twenties, with fair colour, curly hair and sharp features, had approached Jagdish Sethi to get work in movies as an actor. The latter found him sincere and gave him a supporting role in ‘Jaggu’ (1952), which he was to make. The movie had very good music, scored by Hansraj Behl and it had moderate success, when released. Later, Ram Mohan got small roles in few movies in 1954, Sethi Sahab cast him in the romantic role opposite Shyama in ‘Pensioner’ (1954). The movie did not do well and it was the end of Ram Mohan’s career as hero.

Life goes on and he decided to accept any role offered to him and soon he was a known name in the film circle. In ‘Do Behnen’,which had Shyama in double role, Ram Mohan enacted the role of a villain, which gave his career a big boost as bad man . Later he came in touch with Sunil Dutt and Nargis, and forged a permanent friendship with them. Although Ram Mohan mostly got roles of tough characters, but inside he was soft hearted. He was a member of Film Artists Association. He requested Sunil Dutt Ji who was feeling depressed after Nargis Ji passed away, to help the ‘Have Nots’ of film industry.

Virtually an encyclopaedia of film industry, Ram Mohan knew every technician, junior artists as well as old and forgotten artists, who needed help. Whenever they both were free, they used to visit the ailing artists in hospital or their residences, to give them moral as well as financial support. Rajan Haksar was in a charity hospital, after failure of his kidneys. Both benevolent persons visited the hapless artist to boost his spirit. Ram Mohan was confidant of Asha Parekh, the kind hearted lady who was president of the Artists Association and they together helped many artists, who were in dire need of assistance.

Ram Mohan was vice president of CINTAA ( Cine and TV Artists Association) for 4 years and secretary for 6 years. Ram Mohan had a very good reputation every where and when he came to know about the miserable condition of AK Hangal, he met a political leader and arranged the financial help through Maharashtra Govt, on a regular basis. At the time of bereavement, he made it a point to help the family till all religious formalities were over. Every one in the film industry use to address him as Ram Mohan Ji ,to show their genuine respect for him.

In his career of more than five decades, Ram Mohan appeared in more than 250 movies (the number varies from 240 to 277), mostly in negative roles. He did not believe in self publicity and did his philanthropic work quietly. Ram Mohan was keeping indifferent health when his pillar of strength, his life partner passed away. Ram Mohan also followed suit and breathed his last six months later on 6th December 2015 .

Ram Mohan had 3 sons and 1 daughter, all very well settled in life. He will always be gratefully remembered by thousands of anonymous film artists who were helped by him. His memories will be cherished by his admirers, who loved his work on and off the screen. Truly, to find people like him, in this era is a rarity. Let us hope his selfless work will inspire other persons connected with the film industry to help their less fortunate colleagues and the tradition of “वसुधैव कुटुम्बकम” (“vasudhaiv kutumbakam“) set by him will continue. He found an admirer in Gulzar Sahab, who always referred him as Ram Mohan Ji. Please see the credit titles of film ‘Ijaazat’, where his name is listed as Ram Mohan ji. (Thanks to ‘Beete Huye Din’, and Shri MN Sardana ji, for some of the information included in the bio sketch above).

The film ‘Do Behnen’ was not on fire at the box office. Such films do average business. Double roles, in my opinion, help the film recover the costs and ensure that there are no losses. The story of this film was repeated in so many films, that after interval, almost every scene must be predictable. There is a famous saying in the film industry all over the world that there are only 36 stories in the world. All film stories are different versions and adaptations of one of these only.

The story of the film was written by eminent writer Pt. Mukhram Sharma (29-5-1909 to 25-4-2000), the most famous writer of stories with social themes in the 1950s. Pt Mukhram Sharma had a long association with BR Chopra. He had written stories for many of his hit films. Some of his notable films are ‘Ek Hi Raasta’, ‘Aulaad’, ‘Sadhna’ and ‘Dhool Ka Phool’. His other hit films include ‘Santaan’, ‘Do Kaliyan’, ‘Jeene Ki Raa’h, ‘Raja Aur Rank’, ‘Dadi Maa’, ‘Gharana’ and ‘Talaaq’. Pt. Sharma had won Filmfare awards for ‘Sadhna’, ‘Vachan’ and ‘Aulaad’. He was also honoured with the Sangeet Natak Academy Award in 1961.

Before coming to Bombay, he was a teacher in Meerut. In 1939, he came to Bombay, but could not get any job. He moved to Poona and joined Prabhat films as a tutor for Marathi and Hindi. In Poona, he married a Marathi actress Shanta Mujumdar. He was with Marathi films till 1952, then he came to Bombay and got the first Filmfare award for best story for his film ‘Aulaad’ (1954). After that, there was no looking back. After winning Filmfare awards 3 times, Academy Award and Lifetime achievement Zee award, Pt. Sharma retired in 1980 and went back to Meerut.

The story of ‘Do Behnen’ is summarized below.

Bombay-based look-alike twin sisters, Vasanti and Malti (roles played by Shyama), live a wealthy lifestyle with their parents. Their father, Raghunath (SK Prem), arranges devout Vasanti’s marriage with Ramesh (Rajendra Kumar), who lives with his widower father, a doctor (Tiwari), and a sister, Rekha (Chand Usmani). After the wedding, Raghunath is shocked to find Malti singing and dancing with a male named Anokhe (Ram Mohan) in a nightclub. He brings her home, admonishes her severely and forbids her to leave the home. In response, she elopes with Anokhe, travels to Poona and books a room in Paramount Hotel. Shortly thereafter Anokhe shows his true colors, squanders her money, starts drinking, and frequenting prostitutes. He then takes her jewellery and walks out of her life. In order to recover the rent, the hotel manager contacts the Mathurs. Vasanti and her mother (Mumtaz Begum) attend to take Malti back home. While traveling home, the train meets with an accident and Vasanti passes away. Her mother tells everyone that it is Malti who has passed away, and compels Malti to take over as Vasanti, which she does reluctantly.

After going to her house, she finds it very difficult to adjust to the sati savitri type behaviour. However, slowly  she starts loving the new house and also her husband. Ramesh many times gets puzzled with her behaviour, but ignores.

Finally the truth is out one day, but by that time Ramesh starts liking her and so a new Malti takes over her dead sister’s place officially. (636)

The film has 7 songs, all written by Kavi Pradeep. This is the fourth song to be discussed on our blog from this film. The music director is Vasant Desai. Pradeep had never teemed up with Desai. In 1959, their first film was ‘School Master’ (1959), made in Madras by BR Panthulu and then the second and the last film was ‘Do Behnen’. Vasant Desai never preferred Pradeep, because 1) he wanted at least one song for him to sing  and 2) he would insist for the tunes that he composed himself for his lyrics. This was precisely the reason why many  composers like Naushad always kept away from Pradeep, unless compelled. In ‘School Master’ as well as ‘Do Behnen’, Pradeep had one song each to sing.

Today’s song is sung by Lata, Mahendra Kapoor and chorus. Mahendra Kapoor has no lines to sing, only two short aalaps (lip synched on screen by Ram Mohan). The song is a lovely melody. It is picturized on Chand Usmani, Ram Mohan and their friends, having a frolic in boats in a lake. Enjoy…..


Song – Jhuk Jhuk Jhola Khaaye Re Badariya (Do Behnen) (1959) Singer – Lata Mangeshkar, Mahendra Kapoor, Lyrics – Pradeep, MD – Vasant Desai
Chorus

Lyrics

aaa aaa aaaaaaaaa
aaa aaaa aaaaaaa aaaaaa
aaa aaaa aaaaa aaaaa

jhuk jhuk jhola khaaye
jhuk jhuk jhola
jhuk jhuk jhola khaaye
jhuk jhuk jhola

ho oo oo oo
jhuk jhuk jhola khaaye re badariya
jhuk jhuk jhola khaaye
saawan ki rut aayi re
mero dheeraj chhooto jaaye
haaye haaye dheeraj chhooto jaaye
jhuk jhuk jhola khaaye
jhuk jhuk jhola
jhuk jhuk jhola khaaye
jhuk jhuk jhola

ho lo re lo chalne lagey hain
pawan ke chanchal jhonke
oo chanchal jhonke
oo haaye mere mann wich
mere mann wich
o mere mann wich dhuk dhuk hoye
ke jiyara chaunke
oo jiyara chaunke
ho oo oo
kitna achha ho sakey jo
aise mein koi aa jaaye
saawan ki rut aayi re
mero dheeraj chhooto jaaye
haaye haaye dheeraj chhooto jaaye
jhuk jhuk jhola khaaye
jhuk jhuk jhola
jhuk jhuk jhola khaaye
jhuk jhuk jhola

jhuk jhuk jhola khaaye
(aaa aaa aaaa aaa aaa)
jhuk jhuk jhola
(aaa aaa aaaa aaa aaa)
jhuk jhuk jhola khaaye
(aaa aaa aaaa aaa aaa)
jhuk jhuk jhola
(aaa aaa aaaa aaa aaa)
aaa aaa aaaa aaa aaa
aaa aaa aaaa aaa aaa
aaa aaa aaaa aaa aaa
aaa aaa aaaa aaa aaa

dekho re dekho kaun door se gaaye re. . .
aa ha aa ha haa
dekho re dekho kaun aaj lalchaaye re
aa ha aa ha haa
kaahe nazar meri chakraaye
mera manwa ud ud jaaye
kuchh bhi nahin samajh mein aaye re
ha ha
haa haa ha ha haa
oo oo aa ja re aa ja o pardesi
aa ja
aa ja re aa ja o pardesi
kyon mujhko tarsaaye
saawan ki rut aayi re
mero dheeraj chhooto jaaye
haaye haaye dheeraj chhooto jaaye
jhuk jhuk jhola khaaye
jhuk jhuk jhola
jhuk jhuk jhola khaaye
jhuk jhuk jhola

ho oo oo oo
jhuk jhuk jhola khaaye re badariya
jhuk jhuk jhola khaaye
saawan ki rut aayi re
mero dheeraj chhooto jaaye
haaye haaye dheeraj chhooto jaaye
jhuk jhuk jhola khaaye
jhuk jhuk jhola
jhuk jhuk jhola khaaye
jhuk jhuk jhola

jhuk jhuk jhola khaaye
(aaa aaa aaaa aaa aaa )
jhuk jhuk jhola
(aaa aaa aaaa aaa aaa)
jhuk jhuk jhola khaaye
(aaa aaa aaaa aaa aaa)
jhuk jhuk jhola
(aaa aaa aaaa aaa aaa)
jhuk jhuk jhola khaaye
(aaa aaa aaaa aaa aaa )
jhuk jhuk jhola
(aaa aaa aaaa aaa aaa)
jhuk jhuk jhola khaaye
(aaa aaa aaaa aaa aaa)
jhuk jhuk jhola
(aaa aaa aaaa aaa aaa)

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

आ आ आ
आ आ आ आ
आ आ आ आ

झुक झुक झोला खाये
झुक झुक झोला
झुक झुक झोला खाये
झुक झुक झोला

हो ओ ओ ओ
झुक झुक झोला खाये रे बदरीया
झुक झुक झोला खाये
सावन की रुत आई रे
मेरो धीरज छूटो जाये
हाय हाय मेरो धीरज छूटो जाये
झुक झुक झोला खाये
झुक झुक झोला
झुक झुक झोला खाये
झुक झुक झोला

हो लो रे लो चलने लगे हैं
पावन की चंचल झोंके
ओ चंचल झोंके
ओ हाए मेरे मन विच
मेरे मन विच
ओ मेरे मन विच धुक धुक होय
के जियरा चौंके
ओ जियरा चौंके
हो ओ ओ
कितना अच्छा हो सके जो
ऐसे में कोई आ जाये
सावन की रुत आई रे
मेरो धीरज छूटो जाये
हाय हाय मेरो धीरज छूटो जाये
झुक झुक झोला खाये
झुक झुक झोला
झुक झुक झोला खाये
झुक झुक झोला

झुक झुक झोला खाये
(आ आ आ आ आ)
झुक झुक झोला
(आ आ आ आ आ)
झुक झुक झोला खाये
(आ आ आ आ आ)
झुक झुक झोला
(आ आ आ आ आ)
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ

देखो रे देखो कौन दूर से गाये रे॰ ॰ ॰
आ हा आ हा हाss
देखो रे देखो कौन आज ललचाये रे
आ हा आ हा हाss
काहे नज़र मेरी चकराये
मेरा मनवा उड़ उड़ जाये
कुछ भी नहीं समझ में आए
हा हा
हाss हाss हा हा हाss
ओ ओ आ जा रे परदेसी
क्यों मुझको तरसाये
सावन की रुत आई रे
मेरो धीरज छूटो जाये
हाय हाय मेरो धीरज छूटो जाये
झुक झुक झोला खाये
झुक झुक झोला
झुक झुक झोला खाये
झुक झुक झोला

हो ओ ओ ओ
झुक झुक झोला खाये रे बदरीया
झुक झुक झोला खाये
सावन की रुत आई रे
मेरो धीरज छूटो जाये
हाय हाय मेरो धीरज छूटो जाये
झुक झुक झोला खाये
झुक झुक झोला
झुक झुक झोला खाये
झुक झुक झोला

झुक झुक झोला खाये
(आ आ आ आ आ)
झुक झुक झोला
(आ आ आ आ आ)
झुक झुक झोला खाये
(आ आ आ आ आ)
झुक झुक झोला
(आ आ आ आ आ)
झुक झुक झोला खाये
(आ आ आ आ आ)
झुक झुक झोला
(आ आ आ आ आ)
झुक झुक झोला खाये
(आ आ आ आ आ)
झुक झुक झोला
(आ आ आ आ आ)


This article is written by Sadanand Kamath, 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.

Today, I am presenting a duet song “Zulm Bhi Karten Hain Aur Kehten Hain Fariyaad Na Kar” sung by Suman Kalyanpur and Mohammed Rafi in ‘Mera Ghar Mere Bachche’ (1960). This song has been in my radar for more than two years, to present in the blog. However, I got overtly involved with locating the rare songs from the films of 1940s and share those. During this period, I thought that Rafi fans or ‘Sureeli’ Suman Kalyanpur fans among the Atulites would post this song on the Blog. But this did not happen. So I am destined to present this song.

I have been occasionally listening to this song during the last two years. Each time I heard this song, I felt that what a loss of opportunity for many top music directors to exploit Rafi-Suman Kalyanpur combination which has its own charm for listeners like me. There are obvious reasons for not utilising Rafi-Suman Kalyanpur combination by music directors which are known to most of the Hindi film music lovers. To evaluate what the Hindi film music lovers have lost, listen to some of her songs with Rafi given below:

Chand Takta Hai Idhar  –   Dooj Kaa Chaand (1964) – Roshan

Aapne Huzoor Mujhe Kya Se Kya Bana Diya – Fariyaad (1964) – Snehal Bhatkar

Mujhe Ye Phool Na De Tujhko Dilbari Ki Kasam –  Ghazal (1964) – Madan Mohan

Parbton Ke Pedon Par Shaam Ka Basera Hai – Shagoon (1964) – Khaiyyam

Agar Teri Jalwaa Numaayee Na Hoti –   Beti Bete (1964) – Shankar-Jaikishan

Thahariye Hosh Mein Aa Loon – Mohabbat Isko Kehten Hain (1965) – Khaiyyam

Aise To Na Dekho –   Bheegi Raat  (1965) – Roshan

Incidentally all the teasers listed above had been sung by Suman Kalyanpur with Rafi when Lata Mangeshkar  had stopped singing with him. I did not miss Lata Mangeshkar in the above listed songs.

I have done some approximate calculations of Suman Kalyanpur’s songs with Mohammed Rafi which gives me a tally of 133 songs out of the total of about 760 songs sung by her during her career.  I note from the right side of the home page of the blog that as many as 86 duets of Rafi-Suman Kalyanpur have been covered in the Blog.

While it is difficult of get the exact figure as to how many songs Suman Kalyanpur sang with Mohammed Rafi during the period when Lata Mangeshkar had stopped singing with him (1960-63). The reason is that the points of cessation/resumption of singing by Lata Mangeshkar with Rafi as well as the releases of the films are at different points of time.   One important advantage that Suman Kalyanpur got during 1963 to say 1967 was that  she started getting A grade films with top music directors as against mostly B grade films she used to get for singing during the earlier part of her playback singing career.

‘Mera Ghar Mere Bachche’ (1960) was a Minerva Movietone’s film, produced and directed by Sohrab Modi. The star cast included Sohrab Modi, Sulochana Latkar, Sudesh Kumar, Naaz, Subbiraj, Kavita, Balraj, Sadhana Chowdhari, Charlie, Nana Palsikar, Daisy Irani etc. I have watched the film which is available on YT with some missing portions resulting in the loss of continuity in the film’s story including the end of the film.While the subject of the film – the effect of generation gap – is good, somehow, Sohrab Modi has not been successful in making the subject interesting. Probably, financial constraint may be the reason.

It appears to me that the film was considerably delayed in production. Two signs I get from the film in this context. First, different playback singers have been used for the same character played by Sudesh Kumar for whom both Rafi and Mukesh lip sync for him. Again Mukesh lip syncs for Subbiraj and Rafi for Charlie as well. The second and more important evidence for the film getting delayed is that the credit title shows actress Sadhana Chowdhari being introduced in this film for the first time. The fact is that Sadhana Chowdhari appeared in films ‘Sahara’ (1958), ‘Post Box No,999 (1958) and ‘Bus Conductor’ (1959) which were released earlier than the  ‘Mera Ghar Mere Bachche’ (1960).

Now the story in nutshell:

The story of the film is built around the effect of the generation gap. Inderjit, the father, (Sohrab Modi) and the owner of an engineering firm, is a strict disciplinarian and autocrat. His younger son, Kishore (Sudesh Kumar) and daughter Meena (Naaz) wish to pursue the careers in music and dance respectively which is resented by the father. He imposes his own will as to what career path they should choose. There is a resentment in son and the daughter on this issue. But they cannot express their feelings to the father because of his autocratic nature.

While the younger son is in love with Lata (Kavita) who was an orphan and given shelter in the house, the daughter is in love with Narendra (Subbiraj) whose father (Nana Palsikar) works in  Inderjit’s firm. The father resents both the love affairs mainly because they are not in the same financial status as him. Lata is sent back to her native place and Kishore is made to work in his father’s factory. Narendra’s father is dismissed from the job.

In the meanwhile, knowing her daughter and son’s preferences for their life partners, Parvati, the mother (Sulochana) secretly arranges their marriages. Inderjit is furious and in a fit of anger, he drives all of them out of his palatial house. Now he lives alone in the house.

On the marriage front, nothing works out between Narendra and Meena and between Kishore and Lata. There are arguments and quarrels. In this scenario, Kishore falls in the trap of Lily (Sadhana Chowdhari) and Meena returns to her mother.  The family is in the verge of disintegration.

[Since, the end part of the film was missing in the VCD, I am not aware as to how the film ends. But a scene shown in Inderjit’s office with Lily does gives an indication that Inderjit is prepared to mend his way. But what is the trigger that unites the family? Arun ji, in his comments on one of the songs of the earlier posted songs of this film, has indicated that]
Inderjit suffers a heart attack. The entire family comes to his side to attend to him to make him recover from the illness. This gesture makes Inderjit to realise the importance of family. The entire family is united.

The film had 9 songs all penned by Hasrat Jaipuri, the brother-in-law of Sardar Malik who set the songs to music. Four songs have been covered in the Blog. The song which I am presenting is not available on the DVD/VCD of the film. I have no idea whether the song was originally deleted from the film or deleted only from the DVD/VCD.

Without video also the song is pleasant to the ears.  It is worth noting that the first part of the last two antaras have been rendered by both the singers in higher octave.

Enjoy the romance filled teasing song written by the king of the romantic songs, Hasrat jaipuri.


Song – Zulm Bhi Karte Hain Aur Kehte Hain Ke Fariyaad Na Kar (Mera Ghar Mere Bachche) (1960) Singer – Suman Kalyanpur, Mohammed Rafi, Lyrics – Hasrat Jaipuri, MD – Sardar Malik

Lyrics

zulm bhi karten hain
zulm bhi karten hain
aur kehte hain fariyaad na kar
ek bulbul pe sitam
o mere sayyaad na kar
ek bulbul pe sitam
main hoon tera meri ummeed ko naashad na kar
meri ulfat ko samajh le
meri ulfat ko samajh le
mujhe barbaad na kar
meri ulfat ko samajh le

kuchh na puchho bade zaalim hai zamaane waale
dil kahin aankh kahin jaa ke milaane waale
dil kahin aankh kahin jaa ke milaane waale
ab koi yaad bhi aaye to usey yaad na kar
ek bulbul pe sitam
o mere sayyaad na kar
ek bulbul pe sitam

sab to zaalim nahi hote hain zamaane waale ae
sab to zaalim nahi hote hain zamaane waale
ishq mein jaan bhi dete hain nibhaane waale
ishq mein jaan bhi dete hain nibhaane waale
jhoota ilzaam na de haaye re bedaad na kar
meri ulfat ko samajh le mujhe barbaad na kar
meri ulfat ko samajh le

pyaar sach hai to hamen koi shikaayat hi nahin
pyaar sach hai to hamen koi shikaayat hi nahin
ye na samajho ke hamen tumse mohabbat hi nahin
ye na samajho ke hamen tumse mohabbat hi nahin
pyaar se dil mein samaa pyaar ki fariyaad na kar
pyaar se dil mein samaa….aa

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

ज़ुल्म भी करते हैं
ज़ुल्म भी करते हैं
और कहते हैं फरियाद ना कर
एक बुलबुल पे सितम ओ मेरे सैय्याद ना कर
एक बुलबुल पे सितम
मैं हूँ तेरा मेरी उम्मीद को नाशाद ना कर
मेरी उलफत को समझ ले
मेरी उलफत को समझ ले
मुझे बर्बाद ना कर
मेरी उलफत को समझ ले

कुछ ना पूछो बड़े ज़ालिम हैं जमाने वाले
दिल कहीं आँख कहीं जा के मिलाने वाले
दिल कहीं आँख कहीं जा के मिलाने वाले
अब कोई याद भी आए तो उसे याद ना कर
एक बुलबुल पे सितम ओ मेरे सैय्याद ना कर
एक बुलबुल पे सितम

सब तो ज़ालिम नहीं होते हैं जमाने वाले
सब तो ज़ालिम नहीं होते हैं जमाने वाले
इश्क़ में जान भी देते है निभाने वाले
इश्क़ में जान भी देते है निभाने वाले
झूठा इल्ज़ाम ना दे हाए रे बेदाद ना कर
मेरी उलफत को समझ ले
मुझे बर्बाद ना कर
मेरी उलफत को समझ ले

प्यार सच है तो हमें कोई शिकायत ही नहीं
प्यार सच है तो हमें कोई शिकायत ही नहीं
ये ना समझो के हमें तुमसे मोहब्बत ही नहीं
ये ना समझो के हमें तुमसे मोहब्बत ही नहीं
प्यार से दिल में समा प्यार की फरियाद ना कर
प्यार से दिल में समा॰॰आ


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.

Hullo to all Atulwaasis

Yesterday, 16thJune 2017, was the 97th birth anniversary of singer- music director-producer-director Hemant Mukherjee alias Hemant Kumar. He started out his music journey in 1935 on All India Radio with “Amar Ganete Ele Nabarupi Chirantanii” under the influence of his friend Subhas Mukhopadhayay. Hemant Da’s music career was primarily mentored by the Bengali musician, Sailesh Duttagupta. In his early life Hemant Da used to follow the famous Bengali singer Pankaj Mullick. For this he was nicknamed as “Chhoto Pankaj”. In an interview on television in the early 1980s, Hemanta had mentioned that he had also received classical music training from Ustad Faiyaz Khan’s student Phanibhusan Banerjee.

Hemant Da’s first film song, as singer, was in the Bengali film ‘Nimai Sanyas’ released in 1941. Music was scored by Hariprasanna Das. Hemant Da’s first compositions for himself were the Bengali non-film songs “Katha Kayonako Shudhu Shono” and “Amar Biraha Akashe Priya” in 1944. Lyrics were by Amiya Bagchi. His first Hindi film songs were in ‘Irada’ (1944) under Pt. Amarnath’s music direction. Hemant Da is considered a foremost exponent of Rabindra Sangeet. His first recorded Rabindra Sangeet was in the Bengali film ‘Priya Bandhabi’ (1944). The song was “Pather Sesh Kothaye”.

His first movie as a music director was the Bengali film ‘Abhiyatri’ in 1947. Although many of the songs Hemant Da recorded during this time received critical acclaim, major commercial success eluded him until 1947. In the mid-1940s, Hemant became an active member of the Indian People’s Theatre Association (IPTA) and started an association with another active IPTA member — songwriter and composer Salil Chowdhury.

Hemant Da started receiving more assignments for music composition for Bengali films. Some were for director Hemen Gupta. When Hemen moved to Mumbai, he called upon Hemant Da to compose music for his first directorial venture in Hindi titled ‘Anand Math under the Filmistan banner. Responding to this call, Hemant Da migrated to Mumbai in 1951 and joined Filmistan Studios. The music of ‘Anand Math (1952) was a moderate success. The most notable songs from this movie is “Vande Mataram” sung by Lata Mangeshkar, which Hemant Da set to a marching tune. Following ‘Ananda Math’, Hemant Da scored music for a few Filmistan movies like ‘Shart ‘in subsequent years, the songs of which received moderate popularity. Simultaneously, Hemant Da gained popularity in Mumbai as a playback singer.His songs playbacked for actor Dev Anand under music director Sachin Dev Burman in movies like ‘Jaal (“Ye Raat, Ye Chandni Phir Kahaan“), ‘House No. 44’ (“Chup Hai Dharti, Chup Hain Chand Sitare” and “Teri Duniya Mein Jeene Se“), ‘Solva Saal’ (“Hai Apna Dil To Awara“), and ‘Baat Ek Raat Ki’ (“Na Tum Hamen Jaano“), became very popular and continue to be so. In the 1950s, he also play-backed for other heroes of Hindi films like Pradip Kumar (‘Nagin, ‘Detective) and Sunil Dutt (‘Duniya Jhukti Hai) and later in the 1960s for Biswajeet (‘Bees Saal Baad’, ‘Bin Badal Barsaat’, ‘Kohra’) and Dharmandra (‘Anupama’); he was the music composer for all these films.

In the latter part of the 1950s, Hemant Da composed music and sang for several Bengali and Hindi films, recorded several Rabindra Sangeet and Bengali non-film songs. Almost all of these, especially his Bengali songs, became very popular. This period can be seen as the zenith of his career and lasted for almost a decade. Some of the notable films Hemant Da himself composed music for during this period include ‘Harano Sur, ‘Marutirtha Hinglaj’, ‘Neel Akasher Neechey’, ‘Lukochuri’, ‘Swaralipi’, ‘Deep Jwele Jaai’, ‘Shesh Parjanta’, ‘Kuhak’, ‘Dui Bhai’, and ‘Saptapadi’ in Bengali, and, ‘Jagriti’ and ‘Ek Hi Raasta’ in Hindi.

The late 1950s, saw Hemant Da venture into movie production under his own banner: Hemanta-Bela productions. The first movie under this banner was a Bengali film directed by Mrinal Sen, titled ‘Neel Akasher Neechey (1959). The story was based on the travails of a Chinese street hawker in Calcutta in the backdrop of India’s freedom struggle. The movie went on to win the President’s Gold Medal — the highest honour for a movie from Government of India. In the next decade, Hemant Da’s production company was renamed Geetanjali productions and it produced several Hindi movies such as ‘Bees Saal Baad’, ‘Kohraa’, ‘Biwi Aur Makaan’, ‘Faraar’, ‘Raahgir’ and ‘Khamoshi’ — all of which had music by Hemant Da. Only ‘Bees Saal Baad’ and ‘Khamoshi’ were major commercial successes.

1977 saw him give music to ‘Do Ladke Dono Kadke’ which was produced by his son Ritesh and had screenplay- dialogue-direction by Basu Chatterjee. It was certified on 19-10-1978 and released in 1979. The movie had a cast of Moushumi Chatterjee, Amol Palekar, Asrani, Navin Nischol and Ranjeet, Iftekar,Keshto Mukherjee, Ritu Kamal etc. Mithu Mukherjee (in a guest appearance) played Navin Nischol’s wife and Master Ravi’s mother. The songs were written by Yogesh. It had two playback singers- Yesudas and Asha Bhonsle.

Amol Palekar and Asrani are petty thieves. They enter a house to burgle at the same time as another gang that has earmarked for kidnapping the kid of the house. Both parties end up drinking all the liquor in the house just as the servants of the house return. But Amol and Asrani also happen to overhear Ranjeet (leader of the other gang) talk of his kidnap plans, so the two leave all the stolen stuff and take the kid away. What follows is chaos.  But why am I giving the screenplay of the movie here. Let us move on to the second and final song from “Do Ladke Dono Kadke”.

Remembering Hemant Kumar.

[Ed Note: With this song, we have yet one more Yippeee event. The film ‘Do Ladke Dono Kadke’ (1978) now has all its songs covered on our blog.]

Song – Chanda Ki Doli Mein Thi Ek Pariyon Ki Raani (Do Ladke Dono Kadke) (1978) Singers – Asha Bhosle, Lyrics – Yogesh, MD – Hemant Kumar
Asha Bhosle + Yesudas

Lyrics

chanda ki doli mein thi ek pariyo ki rani
heere ke the pankh jis ke hai usi ki ye kahani
chanda ki doli mein thi ek pariyo ki rani
heere ke the pankh jis ke hai usi ki ye kahani
chanda ki doli mein thi ek pariyo ki rani

ek din wo pari baawari si ho gayi
uske hothon ki hansi jaane kahaan thi kho gayi
ek din woh pari baawari si ho gayi
uske hothon ki hansi jaane kahaan thi kho gayi
uske mukh par thi udaasi aankhon mein tha paani
chanda ki doli mein thi ek pariyo ki rani

[yahaan tak toh thi pari ki hamaari
ek si kahani
lekin is ke baad
hum hum hain
aur pari . . .]

pairon me ghunguru tabhi baandh kar
kuchh mor nache jo us ke liye
pairon me ghunguru tabhi baandh kar
kuchh mor nache jo us ke liye
wo hans padi
usne heere sabhi
moron ke pankho pe jadva diye
wo hans padi
usne heere sabhi
moron ke pankho pe jadva diye
tab se yahaan
har mor ke pankho pe 
uski hai nishaani

chanda ki doli mein thi ek pariyo ki rani
heere ke the pankh jis ke
hai usiki ye kahani
chanda ki doli me thi ek pariyo ki rani
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-

चंदा की डोली में थी एक पारियों की रानी
हीरे के थे पंख जिसके
है उसी की ये कहानी
चंदा की डोली में थी एक पारियों की रानी
हीरे के थे पंख जिसके
है उसी की ये कहानी
चंदा की डोली में थी एक पारियों की रानी

एक दिन वो परी बावरी सी हो गई
उसके होठों की हंसी जाने कहाँ थी खो गई
एक दिन वो परी बावरी सी हो गई
उसके होठों की हंसी जाने कहाँ थी खो गई
उसके मुख पर थी उदासी आँखों में था पानी
चंदा की डोली में थी एक पारियों की रानी

[यहाँ तक तो थी
परी की हमारी एक सी कहानी
लेकिन इसके बाद
हम हम हैं
और परी॰ ॰ ॰]

पैरों में घुंघरू तभी बांध कर
कुछ मोर नाचे जो उस के लिए
पैरों में घुंघरू तभी बांध कर
कुछ मोर नाचे जो उस के लिए
वो हंस पड़ी
उसने हीरे सभी
मोरों के पंखों ओए जड़वा दिये
वो हंस पड़ी
उसने हीरे सभी
मोरों के पंखों ओए जड़वा दिये
तब से यहाँ
हर मोर के पंखों पर
है उसी की कहानी

चंदा की डोली में थी एक पारियों की रानी
हीरे के थे पंख जिसके
है उसी की ये कहानी
चंदा की डोली में थी एक पारियों की रानी


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.

Sajjaad Hussain – a name that invokes a feeling of rare and precious stones. Treasures that are scarce, and extremely hard to come by. Treasures that are small in numbers to start with anyway. And treasures that are extremely valuable, like diamonds of unusual and endearing qualities. Diamonds imbued with qualities that invoke surprise in how the emotions blend with the words, that blend into the music, that is breathtaking at times. Treasures always number very few. Songs composed by Sajjaad Sb are such precious treasures, discoveries of the remaining few of which is always a titillating celebration for the aficionados.

Celebrating the centenary of birth today (15th June, 2017) of this unsung and at most times ignored genius. Genius who was steadfast in his execution, and a sophist in how the singers would render to his expectations. He was a self taught perfectionist who knew the value and uniqueness of his innovative creations, who did not follow rules for combining sounds and instrumentation. Recognition that came was sporadic, sometimes reflective of his eccentric relationships. And the lack of that response and accolades from his peers is what accentuated his cynicism – a gifted artist driven to isolation, for the lack of considerate acknowledgement.

I borrow from myself, as I revisit one of my earlier articles on Sajjaad Sb – “Jam Jam Rahe Meharbaan”, published exactly four years ago as of today, and include the following paragraphs.

Sajjaad Hussain – the enigmatic genius of the industry. A self trained composer par excellence, for whom the venerated Anil Biswas has used the epithet of the “only original composer” in Hindi films. An artist whose composition have the capacity to surprise you and confound you at the same time. No other music director comes even close to creating the fusion of the spoken sound and the music so seamlessly and so beautifully, and one is left wondering at the depth of this genius as he will move from one arrangement to another one, as the song moves from one antaraa to the next one.

Sajjaad Hussain – a name that many from even the same generation are unfamiliar with. A misfortune, I would say, to have lived in the same era and yet to have remained bereft of the astonishing musical creations, to have missed the experience of the ethereal modulations whose effects on the listener’s mind is both inexplicable and difficult to articulate. No doubt there are films like ‘1857’ (1946), ‘Khel’ (1950), ‘Sangdil’ (1952) and ‘Rustam Sohrab’ (1963), that many a mind would jump at recognition. But then what of the films like ‘Dost’ (1944), ‘Dharm’ (1945), ‘Tilasmi Duniya’(1946), ‘Kasam’ (1947), and ‘Sainyaan’ (1951). The films that are treasure houses of unparalleled and peerless melodies that will capture the senses and take the listener to unfathomable depths of emotions, and it becomes difficult to extricate oneself from the intricate extant of “Na Kehne Mein Dil Na Bas Mein Jawaani, Magar Dil Ki Mushqil Badi Hi Suhaani”. Or to draw oneself up from the depths of despair ensconced in “Ab Hain Khizaan Ki God Mein Roti Huyi Jawaaniaan”.

For those who savor this niche, the enchantment of “Ashqon Ka Ik Dariyaa Bahaa, Pyaasa Thha Dil Pyaasa Rahaa” simply does not go away. Neither does the dazzling incandescence of “Bujhaa Do Bujhaa Do, Bujhaa Do Sitaaron Ki Shammen Bujhaa Do” ever fail to illumine the deep gorges of the heart.

Since morning today, there are general and specific reminders and requests on Whatsapp; eventually it was an email by Atul ji that caught my eye when I opened my email box in the morning. Is there another gem from this peerless music director still awaiting and available? was the query. In a scramble, I started to search different places in my collection, and comparing with the list of posted articles. I was not sure whether there still would be one available. Around 2 pm I was in a position to reply to Atul ji that yes, I do have an un-posted song by him and that the post is now under preparation. 🙂

‘Dharam’ is a film from 1945, which carries 7 songs, all composed by Sajjaad Sb. So far we have been able to locate and post three of them. The fourth one comes online today. That leaves three more songs of this film to be posted. The good news is that for this film, all seven songs have been released on 78 rpm records, and their serial nos. are available. And the bad news – well, as far as my search and my enquiries have gone, the remaining three are yet to be traced anywhere in the public domain. Since the serial nos. exist, it is almost certain that they must be sitting in some private collections somewhere. More effort will be required to track them and get them.

The film is produced by Star Productions, Bombay, and is directed by Ramneek Desai. The songwriters are Baalam and Shewan Rizvi; however we do not yet have the specific information about lyricist for individual songs. The star cast of this film includes G Muhammad, Kumar, Premi, Ratan Bai, Leela Pandey, Madhuri, Maya Devi, Jamshed Ji, Ismail, Billimoria.

The singing credits, as per Geet Kosh, are Naseem Banu and Ratanbai. The available recording is not very clear. We have to strain to make out two voices, however there definitely are a few singing lines wherein one can clearly make out two voices singing together. I have made an attempt to color code lyrics, as per my comprehension, but I know it will not be accurate. I request other readers and friends to please help to make any corrections to the color coding of lyrics.

And so the celebration stands today. Birth centenary of Sajjaad Sb, and a very rare gem of a song composed by him is brought online. Memories are forever, the treasures of legacies are everlasting. So long as the sounds of these melodies continue to be heard. . .

Song – Chali Pawan Purvaai, Chali Pawan (Dharam) (1945) Singers – Naseem Banu, Ratanbai, Lyrics – [Unattributed], MD – Sajjaad Husain
Naseem Banu + Ratanbai

Lyrics

chali pawa. . .nn

chali pawa. . .nn
chali pawan
chali pawan purvaai
chali pawan
chali pawan purvaai
chali pawan

prem mein sapne lagey chamakne
prem mein sapne lagey chamakne
asha deepak (aise)(?) chhalakne. . .
asha deepak (aise)(?) chhalakne
kismet parwaane ki chamka. . .aai
chali pawa. . .nn
chali pawan
chali pawan purvaai
chali pawan
chali pawan purvaai
chali pawan

nadi kinaare. . .
prem pukaare
nadi kinaare
prem pukaare
o matwaare
nadi ki dhaaren
o matwaare
nadi kinaare
chala ye kis ki kismet mein
chala ye kis ki kismet mein
dagmag naiyya kaun hai waali
chali pawa. . .nn
chali pawa. . .nn
chali pawan
chali pawan purvaai
chali pawan
chali pawan purvaai
chali pawan..nn..nn

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

चली पवन॰॰नन

चली पवन॰॰नन

चली पवन
चली पावन पुरवाई
चली पवन
चली पावन पुरवाई
चली पवन

प्रेम में सपने लगे चमकने
प्रेम में सपने लगे चमकने
आशा दीपक (ऐसे)(?) छलकने॰ ॰ ॰
आशा दीपक (ऐसे)(?) छलकने
क़िस्मत परवाने की चमका॰॰ई
चली पवन॰॰नन
चली पवन
चली पावन पुरवाई
चली पवन
चली पावन पुरवाई
चली पवन

नदी किनारे॰ ॰ ॰
प्रेम पुकारे
नदी किनारे
प्रेम पुकारे
ओ मतवारे
नदी की धारें
ओ मतवारे
नदी किनारे
चला ये किसकी क़िस्मत में
चला ये किसकी क़िस्मत में
डगमग नैय्या कौन है वाली
चली पवन॰॰नन
चली पवन॰॰नन
चली पवन
चली पावन पुरवाई
चली पवन
चली पावन पुरवाई
चली पवन॰॰नन॰॰नन


This article is written by Raja, 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.

The 9th of June is the birthday of our beloved Arunkumar Deshmukhji, often fondly referred to as our in-house encyclopaedia. 🙂

Arunji, it takes me great pleasure to wish you a very happy birthday on this occasion – and I say this on behalf of all Atulites for whom you are a very special person.

Arunji, it would not be an exaggeration to say that ever since you got involved with this blog, it has gone to a totally different level altogether. When Atul started this blog in July 2008 (and I have been with it since then), his write-ups would describe the songs, the films and artistes to the best of his ability –  and, as always, Atul did a 100% sincere job of it (as he does even today).

But (and I am sure Atul will not mind my saying this), Atul’s knowledge (and mine too, for that matter) was nowhere close to being of the level required to make this blog anything like the treasure-house of information and trivia it has become today.

For that, credit has to go to truly knowledgeable people like you (and some others – I don’t need to take names, they know who they are). If this blog could sing, it would probably be singing to you, saying “Khuda jaane kaisi suhaani ghadi thi…meri zindagi mein huzoor aap aaye” (I’ve deliberately mixed two lines to construct this). 🙂

Arunji, thanks to your ever-insightful comments and posts, I feel my knowledge of Hindi films of yesteryear is much more enriched than it was before. You provide so much background information, not just on a film but on everyone involved with it, that it gives a completely different and comprehensive understanding of the subject under discussion.

Very importantly, for me at least, your inputs give me a sense of the times. If you’re talking about the 1930s or 1940s, the stories you narrate make me understand those times better. When you talk about Hyderabad under Nizam rule, it transports me to that period.

I will always have fond memories of how you took the trouble to dig out information to answer what I thought was an innocuous query about artistes who migrated to Pakistan post-partition. I’d put this query out there – and completely forgotten about it. About a year later, after doing a lot of research, you responded to me on e-mail with a reply. I can never forget that!

But that is how you are, Arunji. Not just thorough – also very thoughtful.

This is only one side of your nature. Apart from your tremendous knowledge (which is why we call you our in-house encyclopaedia :-)), your attitude towards life itself is something I admire a lot. You’re always looking at things positively, sharing jokes and other interesting snippets on life, participating as much as possible in everything.

Another thing I like a lot is that you don’t keep getting into “hamaare zamaane mein sab achha tha, aaj kal sab bekaar hai”  mode. 🙂 Whether a song is from 1930s or from 2017, you’re happy to appreciate it. Believe me, this is a very rare quality. 🙂

One of my fondest memories of recent years is that Bangalore gangout we had at Gajendraji’s place where finally the Bangalore gang got to meet you.

I could say a lot more, Arunji, but I will end this post here and move on to the song for today.

It is a light-hearted C Ramchandra composition – from a film I happen to have seen. (I’ve usually more comfortable posting songs from films that I have seen).

The film is ‘Kaarigar’ (1958). Starring Ashok Kumar and Nirupa Roy, it is about the travails of Ashok Kumar, a craftsman. His experiences looking for a job, how his wife copes with the situation, how he gets cheated, and so on.

As I close, once again wishing you a very happy birthday, Arunji. Can’t thank the blog enough for bringing us together into the Atulite family.

Video (Fragmented)

Audio (Complete)

Song  – Boot Chappal Sandal, Mardaana Ya Zanaana (Kaarigar) (1958) Singer – Asha Bhosle, Usha Mangeshkar, Lyrics – Rajendra Krishan, MD – C Ramchandra
Chorus

Lyrics

boot chappal sandal
mardaana ya zanaana
hai sab ka ek ek aana
paalish hai ek ek aana

boot chappal sandal
mardaana ya zanaana
hai sab ka ek ek aana
paalish hai ek ek aana

na thugee hai na chori
halaal ka hai dhandha
na bheekh maange baabu
na maange hum chanda
paalish karte pait bharte
paalish karte pait bharte
chhod ke oopar waale ko
nahin kisi se darte
dabiya burush salaamat
hai apna yahi taraana
hai sab ka ek ek aana
paalish hai ek ek aana
boot chappal sandal
mardaana ya zanaana
hai sab ka ek ek aana
paalish hai ek ek aana

ragad ragad ke jooton ki
hum aise mael utaaren
nai naveli dulhaniya ko
jaise log sanwaare
ragad ragad ke jooton ki
hum aise mael utaaren
nai naveli dulhaniya ko
jaise log sanwaare
baat kahoon ik laala
hai joota tera saaf
lekin dil hai tera kaala
sachchi baat na maane
hai jhoothon ka zamaana
hai sab ka ek ek aana
paalish hai ek ek aana

boot chappal sandal
mardaana ya zanaana
hai sab ka ek ek aana
paalish hai ek ek aana

bhookh pet ko lagti jitni
utni karein kamaayi
kar nahin sakte bhalaa kisi ka
phir kyon karein buraai
bhookh pet ko lagti jitni
utni karein kamaayi
kar nahin sakte bhalaa kisi ka
phir kyon karein buraai
jooton ke daag hain dhote
aur taan ke lambi sote
saath na le ke jaaye
koi maal ya khazaana
hai sab ka ek ek aana
paalish hai ek ek aana

boot chappal sandal
mardaana ya zanaana
hai sab ka ek ek aana
paalish hai ek ek aana

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

बूट चप्पल सैंडल
मर्दाना या ज़नाना
है सबका एक एक आन्ना
पालिश है एक एक आन्ना

बूट चप्पल सैंडल
मर्दाना या ज़नाना
है सबका एक एक आन्ना
पालिश है एक एक आन्ना

ना ठग्गी है ना चोरी
हलाल का है धंधा
ना भीख मांगें बाबू
ना मांगें हम चंदा
पालिश करते पेट भरते
पालिश करते पेट भरते
छोड़ के ऊपर वाले को
नहीं किसी से डरते
डबिया बुरुश सलामत
है अपना यही तराना
है सबका एक एक आन्ना
पालिश है एक एक आन्ना
बूट चप्पल सैंडल
मर्दाना या ज़नाना
है सबका एक एक आन्ना
पालिश है एक एक आन्ना

रगड़ रगड़ के जूतों की
हम ऐसी मैल उतारें
नई नवेली दुलहनीया को
जैसे लोग संवारें
रगड़ रगड़ के जूतों की
हम ऐसी मैल उतारें
नई नवेली दुलहनीया को
जैसे लोग संवारें
बात कहूँ इक लाला
है जूता तेरा साफ
लेकिन दिल है तेरा काला
सच्ची बात ना माने
है झूठों का ज़माना
है सबका एक एक आन्ना
पालिश है एक एक आन्ना
बूट चप्पल सैंडल
मर्दाना या ज़नाना
है सबका एक एक आन्ना
पालिश है एक एक आन्ना

भूख पेट को लगती जितनी
उतनी करें कमाई
कर नहीं सकते भला किसी का
फिर क्यों करें बुराई
भूख पेट को लगती जितनी
उतनी करें कमाई
कर नहीं सकते भला किसी का
फिर क्यों करें बुराई
जूतों के दाग हैं धोते
और तान के लंबी सोते
साथ ना ले के जाये
कोई माल या खज़ाना
है सबका एक एक आन्ना
पालिश है एक एक आन्ना
बूट चप्पल सैंडल
मर्दाना या ज़नाना
है सबका एक एक आन्ना
पालिश है एक एक आन्ना


This article is written by Sadanand Kamath, 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.

Who was the first female music director in Hindi film Industry? The answer to this question has changed thrice during the last few years.

It was believed that Saraswati Devi (real name: Khorshed Minocher-Homji) was the first female music director who composed songs for ‘Jawaani Ki Hawa’ (1935), produced under the banner of Bombay Talkies. Subsequently, it was established that Jaddanbai, who composed the songs for ‘Talaash-e-Haq’ (1935) was the first female music director, her film having been released earlier than ‘Jawaani Ki Hawa’. It will be interesting to know as to which of the songs from these two films were recorded first on the respective film’s sound track.

The latest is that the first female music director of Hindi films was Ishrat Sultana who composed songs for the film ‘Adal-e-Jahangir (1934). In the absence of any proper documentation of the history of Hindi films, it is quite possible that some other name for the first female music director may prop up in future especially when it is a well-known fact that for many films of 1931-32, names of the music directors are unknown as of now.

Ishrat Sultana, the first female music director of Hindi films, was none other than Bibbo, her better known name as the popular actor-singer of 1930s and 40s. Probably, her transition from music director to actor-singer was demand-driven. During the initial period of the talkies, good female singers were in great demand from the studios as actor-singer. Bibbo was a trained singer. Her mother Hafeezan Bai was a singer and a courtesan in Delhi. With a photogenic face and the good singing ability, she was soon employed by Ajanta Cinetone as actor-singer with her first film ‘Rangeela Rajput’ (1933).

After working for 8 films of Ajanta Cinetone during 1933-36, Bibbo joined Sagar Movietone to act in ‘Manmohan’ (1936) which was supposed to be its answer to New Theatres’s ‘Devdas’ (1935). For this purpose, director Mehboob Khan had taken Surendra as actor-singer who was groomed as ‘Bombay Saigal’. The film became a hit and the lead pair of Surendra-Bibbo became popular. They worked together in as many as 7 films of which 5 films were regarded as box office hits. Some of her other films with Surendra under Sagar Movietone were ‘Jaagirdaar’ (1937), ‘Gramophone Singer’ (1938), ‘Dynamite’ (1938), ‘Seva Samaaj’ (1939), ‘Ladies Only’ (1939) etc.

By 1939, Bibbo had become one of the top actor-singers and her popularity had reached the zenith. Her popularity can be judged by the fact that in the film ‘Gharib Ke Laal’ (1939), there is a song which starts with her name amongst the names of many actors of that time. The song is “Tujhe Bibbo Kahun Ke Sulochana” sung as a duet in accompaniment with Mirza Musharraf.

After the closure of Sagar Movietone in 1939, Bibbo became a free-lancer during which she did ‘Sneh Bandhan’ (1940), ‘Laxmi’ (1940), ‘Sohag’ (1940) and ‘Akela’ (1941) etc. There was a gap in her filmy career during 1941-44.
It is said that towards of the end of 1930s, Bibbo got married to S Khalil, her co-actor during her stint with Ajanta Cinetone who also directed ‘Adal-e-Jahangir’ (1934) in which she composed songs under the name of Ishrat Sultana. They shifted their base to Lahore. They jointly produced ‘Qazzak Ki Ladki’ (1937) in which she composed songs along with Dr Samad. However, the film failed miserably and Bibbo had to came back to Bombay.

Her second stint in the film industry during 1944-47 was not as rosy as the first one. She mostly got the side roles in films such as ‘Pehli Nazar’ (1945) and ‘Sassi Punnu’ (1946). ‘Pehla Pyaar’ (1947) was her last film in India after which she migrated to Pakistan where she continued to work in films getting character roles till 1966. Bibbo died on May 25, 1972 in Karachi.

‘Dynamite’ (alias name ‘Kis Ke Saajan’) (1938) was one of the films under the banner of Sagar Movietone in which Bibbo is paired with Surendra. The film was directed by Chimanlal Luhar. Others actors listed in the star cast of the film are Maya Bannerji, Yakub, Sankatha Prasad, Budho Advani, Jamu Patel, Qaiyam Ali, Pessi Patel etc. The film belongs to mystery/suspense genre. I have no idea about the story of the film. Going by a few photographs of the scenes from the film, it appears that Surendra had some sort of camouflage roles – one with Bibbo and another with Maya Bannerji.

The film had 7 songs written by Pandit Indra (6) and Zia Sarhadi (1) which were set to music by Anil Biswas. Here is the first song “Kaliyaan Raseeli Saiyaan Bhanwraa Ganwaar Hai’ sung by Bibbo and Surendra. The song is written by Pandit Indra.

I heard this song for the first time a few days back and liked it immensely. Going by the implicit meaning of the lyrics, Anil Biswas has given a soft touch to the composition of the song which have been rendered in line with its softness.

With this song, ‘Dynamite’ alias ‘Kis Ke Saajan’ (1938) makes its debut on our blog.


Song – Kaliyaan Raseeli Piya Bhanwra Ganwaar Hai (Dynamite) (1938) Singer – Bibbo, Surendra, Lyrics – Pandit Indra, MD – Anil Biswas
Bibbo + Surendra

Lyrics

kaliyaan raseeli saiyaan
bhanwraa ganwaar hai
kaliyaan raseeli saiyaan
bhanwraa ganwaar hai
kehti hain kaliyaan dekh deewaane
kehti hain kaliyaan dekh deewaane
do din dheeraj dhar mastaane
do din dheeraj dhar mastaane
hota huwa ye singaar hai
hota huwa ye singaar hai
bhanwraa ganwaar hai
kaliyaan raseeli saiyaan
bhanwraa ganwaar hai

jeewan mein ras dhaar bahegi
jeewan mein ras dhaar bahegi
pyaar bhari taqraar rahegi
pyaar bhari taqraar rahegi
swarg yahi sansaar hai
swarg yahi sansaar hai
bhanwraa ganwaar hai
kaliyaan raseeli saiyaan
bhanwraa ganwaar hai

chaatak pyaasa nadi kinaare
chaatak pyaasa nadi kinaare
rooth gayen hain bhaagya hamaare
rooth gayen hain bhaagya hamaare
dil ke ab armaan pukaare
dil ke ab armaan pukaare
toota huwa ye sitaar hai
toota huwa ye sitaar hai
bhanwraa ganwaar hai
kaliyaan raseeli saiyaan
bhanwraa ganwaar hai
———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–

कलियाँ रसीली सैंय्या
भँवरा गंवार है
कलियाँ रसीली सैंय्या
भँवरा गंवार है
कहती हैं कलियाँ देख दीवाने
कहती हैं कलियाँ देख दीवाने
दो दिन धीरज धर मस्ताने
दो दिन धीरज धर मस्ताने
होता हुआ ये सिंगार है
होता हुआ ये सिंगार है
भँवरा गंवार है
कलियाँ रसीली सैंय्या
भँवरा गंवार है

जीवन में रस धार बहेगी
जीवन में रस धार बहेगी
प्यार भरी तकरार रहेगी
प्यार भरी तकरार रहेगी
स्वर्ग यही संसार है
स्वर्ग यही संसार है
भँवरा गंवार है
कलियाँ रसीली सैंय्या
भँवरा गंवार है

चातक प्यासा नदी किनारे
चातक प्यासा नदी किनारे
रूठ गए हैं भाग्य हमारे
रूठ गए हैं भाग्य हमारे
दिल के अब अरमान पुकारे
दिल के अब अरमान पुकारे
टूटा हुआ ये सितार है
टूटा हुआ ये सितार है
भँवरा गंवार है
कलियाँ रसीली सैंय्या
भँवरा गंवार है


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 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.

Hullo atuldom

Hope all fine here.

Today (8 june 2017) I am posting a song which falls right in the category of “How come this is not yet posted?!?!” But that is how this blog of ours (Atul’s) is. Even after 13300 songs we still have songs for the “How come” category.

This song features a girl/ lady/ actress/ heroine – call her by any name – who turns a year older today. She turns 60. Only 60!!!! But we get a feeling that she has been around for years. Why? Because she made her in 1973, meaning she was all of 16. Then what did she do? She just showed her back on the industry and went on to marry the reigning superstar of the times. As if that was not enough she went on to mother a beautiful baby when she was barely 17. And then one more baby later she decided to make a comeback into films and the audiences just received her with open arms, a full twelve years after her debut. And she won the filmfare award for best actress in both these films. I know I don’t need to tell that I am talking of Dimple Kapadia.

She was the eldest born to Betty and Chunnibhai Kapadia. She married superstar Rajesh Khanna six months before the release (28th September 1973) of Bobby her debut film. She returned to films in 1985 with Ramesh Sippy’s “Saagar” which had Rishi Kapoor as her co-star (once again, Bobby starred the two together.) She is an actress who has had opportunity to work with a few fathers and their sons. Vinod Khanna was her co-star in “Insaaf” in the 80s and Akshaye Khanna was her co-star in “Dil Chahta Hai” (2001); while Dharamendra was her co-star in “Batwara” and “Mast Kalandar” his son has acted with Dimple in umpteen movies like “Manzil Manzil”; “Arjun” & “Aag Ka Gola”.

She has had a few heroine centric roles in her career. I distinctly remember her introduction scene in “Bobby” – she opens the door to Raj (Rishi Kapoor) with batter flowing in her hands and streaking her forehead when she pushes an errant strand of hair away. It has been related in various interviews and writeups that Raj Kapoor was inspired for this from the way he himself saw Nargis for the first time ever way back in the 40s.

Today’s song is from “Bobby” which was a story of two teenagers from different classes who fall in love. The introduction scene happens when the rich man’s son Raj goes to meet his governess Mrs. Braganza (Durga Khote). Bobby is her granddaughter. Love blossoms between the two but the rich father resents this accuses the girls’s father-Prem Nath- of using his daughter to trap a rich Raj etc. The lovers then elope, try to commit suicide but are saved by Pran-the rich man; and Prem Nath. And all ends well. In the course of this simple love tory the movie had eight songs of which we have only three on this blog. Here is the 4th. It is written by Anand BakshiVithal Bhai Patel and Laxmi- Pyare were the music directors; playback was by Shailendra Singh and Lata Mangeshkar.


Song – Jhoothh bole kauwwa kaate (Bobby) (1973) Singers – Lata, Shailendra Singh, Lyrics – Vithalbhai Patel, MD-Laxmikant Pyarelal

Lyrics

jhoothh bole kauwa kaate
kaale kauve se dariyo
main maike chali jaaungi
tum dekhte rahiyo
main maike chali jaaungi
tum dekhte rahiyo
arre jhoothh bole
jhoothh bole kauwa kaate
kaale kauve se dariyo
main maike chali jaaungi
tum dekhte rahiyo
main maike chali jaaungi
tum dekhte rahiyo

tu maike chali jaayegi
main danda lekar aaunga
main danda lekar aaunga

tu danda lekar aayega
main kunwe mein gir jaaungi
main kunwe mein gir jaaungi
main rassi se khichwaaunga
main ped pe chadh jaaungi
main aari se katwaaunga
pyaar kare aari chalwaaye,
aise aashiq se dariyo
main maike chali jaaungi
tum dekhte rahiyo
main maike chali jaaungi
tum dekhte rahiyo
arre jhoothh bole kauwa kaate
kaale kauve se dariyo
main maike chali jaaungi
tum dekhte rahiyo
main maike chali jaaungi
tum dekhte rahiyo

tu maike chali jaayegi
main dooja byaah rachaaunga
main dooja byaah rachaaunga

tu dooja byaah rachaayega
haaye meri sautan laayega
main maike nahin jaaungi
main maike nahin jaaungi
main maike nahin jaaungi
re maike nahin jaaungi
arre tere sadke jaaungi re
maike nahin jaaungi
main saaton vachan nibhaaungi
re maike nahin jaaungi
arre maike nahi jaaungi
re maike nahi jaaungi

jhoothh bole kauwa kaate
kaale kauve se darriyo
main teri sautan laaunga
tum dekhti rahiyo
main teri sautan laaunga
tum dekhti rahiyo

jhoot bole kauwa kaate
kaale kauve se darriyo
main maike nahi jaaungi
tum dekhte rahiyo
main maike nahi jaaungi
tum dekhte rahiyo

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

झूठ बोले कौवा काटे
काले कौवे से डरिओ
मैं मैके चली जाऊँगी
तुम देखते रहिओ
मैं मैके चली जाऊँगी
तुम देखते रहिओ
अरे झूठ बोले कौवा काटे
काले कौवे से डरिओ
मैं मैके चली जाऊँगी
तुम देखते रहिओ
मैं मैके चली जाऊँगी
तुम देखते रहिओ

तू मैके चली जाएगी
मैं डंडा लेकर आऊँगा
मैं डंडा लेकर आऊँगा
तू डंडा लेकर आएगा
मैं कूँए में गिर जाऊँगी
मैं कूँए में गिर जाऊँगी
मैं रस्सी से खिचवाऊंगा
मैं पेड़ पे चढ़ जाऊँगी
मैं आरी से कटवाऊंगा
प्यार करे आरी चलवाये
ऐसे आशिक से डरिओ
मैं मैके चली जाऊँगी
तुम देखते रहिओ
मैं मैके चली जाऊँगी
तुम देखते रहिओ
अरे झूठ बोले कौवा काटे
काले कौवे से डरिओ
मैं मैके चली जाऊँगी
तुम देखते रहिओ
मैं मैके चली जाऊँगी
तुम देखते रहिओ

तू मैके चली जाएगी
मैं दूजा ब्याह रचाऊंगा
मैं दूजा ब्याह रचाऊंगा
तू दूजा ब्याह रचाएगा
हाए मेरी सौतन लाएगा
मैं मैके नहीं जाऊँगी
मैं मैके नहीं जाऊँगी
मैं मैके नहीं जाऊँगी
रे मैके नहीं जाऊँगी
अरे तेरे सदक़े जाऊँगी
रे मैके नहीं जाऊँगी
मैं सातों वचन निभाऊँगी
रे मैके नहीं जाऊँगी
मैं मैके नहीं जाऊँगी
मैं मैके नहीं जाऊँगी

झूठ बोले कौवा काटे
काले कौवे से डरिओ
मैं तेरी सौतन लाऊँगा
तुम देखती रहियो
मैं तेरी सौतन लाऊँगा
तुम देखती रहियो
झूठ बोले कौवा काटे
काले कौवे से डरिओ
मैं मैके नहीं जाऊँगी
तुम देखते रहिओ
मैं मैके नहीं जाऊँगी
तुम देखते रहिओ


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.

“Janam Janam Ke Saathi”(1965) was directed by Nand Kishore for M B Brothers, Bombay. The movie had Kamini Kaushal, Premnath, Lalita Pawar, Mubarak, Sheila Kashmiri, Durga Khote, Umakant, Maruti, Yakoob etc in it.

This by now forgotten movie had eight songs in it. Details of only four of these songs are avilable in HFGK. The songs of this movie are rare songs.

Here is the first song from “Janam Janam Ke Saathi”(1965) to appear in the blog. The song is sung by Suman Kalyanpur and Mukesh. D N Madhok is the lyricist. Music is composed by Gyan Dutt.

The song may be obscure, but what a lovely and magical song it is.

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

Gyan Dutt, who made his debut as a music director as far back as in 1937 with “Toofaani Toli” composed some 600 songs in 59 movies. This movie
“Janam Janam Ke Saathi”(1965) was Gyan Dutt’s last movie as a music director. I have a feeling that this movie could well be on the last few movies of D N Madhok (as a lyricist) as well.

Gyan Dutt bowed out of HFM scene with this beautiful composition in his last movie. Enjoy this forgotten gem !

With this song, “Janam Janam Ke Saathi”(1965) makes its debut in the blog.


Song-De de de de mera dil (Janam Janam Ke Saathi)(1965) Singers-Suman Kalyanpur, Mukesh, Lyrics-D N Madhok, MD-Gyan Dutt

Lyrics

de de de de mera dil
phir hamse mil na mil saajanwaa
de de de de mera dil
phir hamse mil na mil saajanwaa

chhoti chhoti baat pe naa
rooth rooth jaya karo

ham jo bulaayen to chale aaya karo
chhoti chhoti baat pe naa
rooth rooth jaaya karo

ham jo bulaayen to chale aaya karo
paapi pet jo na ho na jaaun chhod tujhko
bolo bolo ri sajaniya karoon main kya

de de de de mera dil

o o
din khoye khoye
raat roye roye
teri kasam kate meri
tere pyaar ka sabr pade jo na ho
saans saans mein yaad teri
yaad teri

in jhoothi jhoothi baaton se
bane na kuchh mera
maine teri kasam
sach sach kaha

de de de de mera dil

o chanda gagan ke waasi
mujhe aasraa tera
o chanda gagan ke waasi
mujhe aasraa tera
paani ke relon se khelen
nisdin saajan mera aa
palchhin saajan mera
chali piya ji ki naav
chali piya ji ki naav
chanda saath saath jaao
mere man mein bharam sa uthhne laga
chali piya ji ki naav


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.

“Kaala Chashma”(1962) was directed by K Vinod for SBV Productions, Bombay. the movie had Manju, Amarnath, Madan Puri, Maruti, Jeevan Kala, Sheikh, Sheela Kashmiri, Abeela Kashmiri, Uma Dutt, Ravikant, Kundan, Ridku, Rani Kaushal, Rehana, Madan Khanna, Soni, Narinder, Prakash, Kailash etc. in it.

This movie had six songs in it. One song from the movie has been discussed in the past.

While discussing the first song from the movie, Sudhir Jee mentioned that with a title like this, he would have steered clear of the movie if he had been in a movie going age at that time. so those who are trying to find the age of Sudhir Jee has some clue that he was not of a movie going age when “Kaala Chashma”(1962) was released. 🙂

As far as I am concerned, I remember that wearing kaala Chashma was considered a style statement among young kids like me and we were always on the look out for such kaala chashma. We would feel jealous of fellow kids who somehow managed to get hold of this coveted item. 🙂

For all we know, this movie may have been meant for kids and those who were kids at heart and who took a fancy for kaala chashma. 🙂

Here is the second song from “Kaala Chashma”(1962) to appear in the blog. Like the first song that has appeared in the blog, this song too is a duet which is sung by Rafi and Kamal Barot. Bismil Ludhianvi is the lyricist. Music is composed by Sardul Kwatra.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song. My kid at heart mind suggests that the lady was not wearing “Kaala chamshma” in the picturisation of this song and that is how the gentleman could diagnose that her nain were “nasheele”. 🙂


Song-Nain nasheele honth gulaabi (Kaala Chashma)(1962) Singers-Rafi, Kamal Barot, Lyrics-Bismil Ludhianvi, MD-Sardul Kwatra

Lyrics

nain nasheele honth gulaabi
mukhda gora gora
roop tera hai chhalke
jaise ras ka bhara katora
mera rah rah ke dil machle
allah ji mera rah rah ke dil machle
dekh akeli
samajh ke bholi
kaahe daale dorey
haath nahin main aane waali
sunle o munhjore
chaahe dil mein tu laakh jaley
haaye haaye ji chaahe dil mein tu laakh jaley

o o o
neechi nazar ka hoon maara
phiroon main ban aawaara
teri kasam
o o o
hosh mein aa deewaane
sambhal mastaane
kaisi kasam

naagin si bal khaati kamar
aur chaal teri mastaani
jaise dharti pe chaand chale
haan haan ji mera rah rah ke dil machle
dekh akeli
samajh ke bholi
kaahe daale dorey
haath nahin main aane waali
sunle o munhjore
chaahe dil mein tu laakh jaley
haaye haaye ji chaahe dil mein tu laakh jaley

o o o
raat gujaaroon gin taare
o gori bin tumhaare
chain nahin
o o o
jaao ji jaao
na banaao
hamen na yoon sataao
nahin hai yaqeen

palkon se main kaanten chun loon
phool bichha doon raah mein
jo tu mil ke hai saath chale
allah ji mera rah rah ke dil machle
dekh akeli
samajh ke bholi
kaahe daale dorey
haath nahin main aane waali
sun le o munhjore
chaahe dil mein tu laakh jaley
haaye haaye ji chaahe dil mein tu laakh jaley


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What is this blog all about

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

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

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

Total number of songs posts discussed

13351

Number of movies covered in the blog

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

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