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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 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.

Blog Day : 3774 Post No. : 14752

Today’s song is a very melodious duet by Surendra and Waheedan Bai, in film Alibaba-1940.

Alibaba’s story is from Arabian Nights stories and is one of the most popular stories around the world. No wonder, our film makers took up this story. Films with ‘Alibaba’ title were made in 1940, 1946 and 1976. Films with ‘Alibaba and 40 Thieves’ title were made in 1932, 54, 66, 80 and 2004. ‘Alibaba and Marjina’ was made in 1977. There may be some more which I have missed. Comparatively, more films were made on Alladin and his Magic Lamp. After all magic has its own attraction. Even in silent era films were made on these two characters.

After the successful film ‘Ek Hi Rasta’ (1939), Mehboob started work on ‘Alibaba’. He had made the beginning of his film career by acting in the silent film on Alibaba. He was one of the 40 thieves ! By now, due to his continuous success, Sagar Movietone had benefited much and he was highly respected in the company. Besides Mehboob, Sagar Movietone had a team of other directors like CM Luhar, Sarvottam Badami, Hiren Bose, Ramchandra Thakur etc. They too were making films for Sagar. However, their films were not as successful as those by Mehboob. In addition, the onset of Second World War had a negative impact on Sagar and it went into loss. Soon, the owners decided to close the company.

By this time, Mehboob was ready with all the arrangements to start the shooting of ‘Alibaba’. Closing down of Sagar was a shock to him. He approached Ardeshir Irani of Imperial and asked for permission to shoot his film there. Irani was very happy. The novice ‘extra’ who had worked in his company – without pay for first five months – had now become acclaimed top class successful Director. Irani was proud of Mehboob. He gladly permitted him to shoot his entire film there.

In the film ‘Alibaba’, Surendra was to do the double role of Alibaba and his son. Now, Mehboob needed two heroines. He selected Waheedan Bai and Sardar Akhtar. Akhtar was the youner sister of Bahar – wife of AR Kardar. In an article in Filmfare dated 16-8-1957, Mehboob wrote “the moment I saw Sardar Akhtar, I fell for her and knew that one day she will be my wife.” Sure enough, he married her later.

It was during the shooting of film ‘Aurat’ (1940), Mehboob was attracted towards Jyoti – sister of Waheedan Bai and one of the cast of Aurat – and he started spending time with her, having tea together, lunch together etc. Sardar Akhtar noticed this and played her cards well. She encouraged Jyoti to accept outside film offers lest she would be out of circulation. Then she poisoned Mehboob by telling him that Jyoti was not a good girl and that she was more interested in outside film roles. Consequently, Jyoti’s role in film ‘Aurat’ was reduced. By the time film ‘Aurat’ was completed, Akhtar had fully influenced Mehboob and then insisted on getting married. He too wanted it and they got married just before the film was released.

Mehboob had wanted to make ‘Alibaba’ in Hindi and Punjabi. Anil Biswas was his pet MD for so many films. He asked Anil da to do the music of Hindi and Punjabi versions. Anil da flatly refused saying that he did not know Punjabi. Even after lot of discussion, he was not ready. Mehboob left the matter as it is. After a week or so, there appeared a news in papers that “. . . Anil Biswas, a Bengali, gives music to Hindi films but can not give music to Punjabi films”. Someone showed this news to Anil Biswas. He was agitated and ran to Mehboob. Anil da said, “OK, I will give music in any language that you make films in. French, English, Arabic, Spanish – any language, but stop spoiling my reputation.”  Mehboob just smiled and said, “Ja Bangali ja. Punjabi gaanon ko music de “. Anil Biswas sought assistance from a Punjabi technician Shahji, who helped him to understand the basic naunces of Punjabi music. The music he ended up composing for the Punjabi version was much better than the one given to Hindi version, according to Anil Biswas himself !

Basic Arabian Night story was adapted for Hindi by Dr. Safdar Aah and for Punjabi, it was Lala Yaqub. The Punjabi lyrics were by Shah Aziz. For film ‘Alibaba’, Mehboob had 4 assistant directors, Chimankant Gandhi, Jagdish Coopal (he also did a small role in the film), Narwekar and Gazi Banwali.

Mehboob Khan came up from a very poor family and he had to struggle hard to reach this stage. So he knew how it feels to miss opportunities to make it big. He himself had lost the opportunity to become a hero twice. First when he was almost selected for ‘Alam Ara’ (1931), vacating for Master Vithal and second time for film ‘Shehar Ka Jaadu’ (1934), this time making way for debutante Motilal.

Mehboob helped many actors to start their careers or do a memorable role first time, in his films, like Sitara Devi, Aruna, Surendra, Maya Banerjee, Arun Ahuja, Harish Taranath, Sheikh Mukhtar, Jyoti, Waheedan Bai, Sardar Akhtar, Veena and Nargis. Mehboob also gave Raj Kapoor his first big and famous film – ‘Andaz’ (1949).

Mehboob was very strict but also kind hearted when it came to remembering people who had helped him in some way. Much of the shooting of ‘Mother India’ (1957) was in rural area of Bilimora, Kolhapur and Nashik. In village Shiroli, near Kolhapur, when the shooting was going on, a major portion of the harvest in the field of a farmer was destroyed. Mehboob Khan met that farmer, apologized and paid fully for all damages. Not only that, when he learnt that the farmer and his family has never seen Bombay, he brought all of them to Bombay , at company’s expenses, and showed them around for a week. In addition, when film ‘Mother India’ was to be released in Rajaram Talkies in Kolhapur, Mehboob wrote to the distributor at Kolhapur to invite the farmer’s family as a special guest for the film premier !

Mehboob Khan’s life is nothing short of a film story. There are many things which have to be brought to people to focus on his qualities. An illiterate village boy touching the sky with hard work and determination is his life story.

Today’s song is very melodious and I liked it. I am sure you too will like it.

[Acknowledgement: Most part of the write up uses the information from the books, ‘Mehboob Khan’ by Shashikant Kinikar and ‘Cinemacha Cinema’ by Isak Mujawar).


Song – Dil Ka Saaz Bajaaye Jaa  (Alibaba) (1940) Singer – Surendra, Waheedan Bai, Lyrics – Dr Aah Sitapuri, Music – Anil Biswas

Lyrics (Provided by Sudhir)

hmmmm mmmmm

aaaa aaaa
dil ka saaz bajaaye ja
aaaaaaa
dil ka saaz bajaaye ja
jis taar mein tere naghme hain
jis taar mein tere naghme hain
mizraab usi pe lagaaye ja
mizraab usi pe lagaaye ja
dil ka saaz bajaaye ja
aaaaaa
dil ka saaz bajaaye ja

ae. . . pyaare geet sunaaye ja
ae. . . pyaare geet sunaaye ja
baithi hoon ishq ke jhoole mein
baithi hoon ishq ke jhoole mein
main sadqe peeng badhaaye ja
main sadqe peeng badhaaye ja
ae. . . pyaare geet sunaaye ja
ae. . . pyaare geet sunaaye ja

ye beda paar lagaaye ja
ye beda paar lagaaye ja
dariya e mohabbat gehra hai
dariya e mohabbat gehra hai
haaaa aaa
dil ki naav chalaaye ja..aa..aa
dil ki naav chalaaye ja
har baar mujhe apnaaye ja
har baar mujhe apnaaye ja
ye mera tera farq mitey
ye mera tera farq mitey
tu dil mein yun hi samaaye ja
tu dil mein yun hi samaaye ja
ye mera tera farq mitey
ye mera tera farq mitey
tu dil mein yun hi samaaye ja
tu dil mein yun hi samaaye ja..aa..aa

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

हम्ममम मम्ममम

आsss आsss
दिल का साज बजाए जा
आsss
दिल का साज बजाए जा
जिस तार में तेरे नग़में हैं
जिस तार में तेरे नग़में हैं
मिज़राब उसी पे लगाए जा
मिज़राब उसी पे लगाए जा
दिल का साज बजाए जा
आsss
दिल का साज बजाए जा

ए॰॰॰ प्यारे गीत सुनाये जा
ए॰॰॰ प्यारे गीत सुनाये जा
बैठी हूँ इश्क़ के झूले में
बैठी हूँ इश्क़ के झूले में
मैं सदक़े पींग बढ़ाए जा
मैं सदक़े पींग बढ़ाए जा
ए॰॰॰ प्यारे गीत सुनाये जा
ए॰॰॰ प्यारे गीत सुनाये जा

ये बेड़ा पार लगाए जा
ये बेड़ा पार लगाए जा
दरिया ए मोहब्बत गहरा है
दरिया ए मोहब्बत गहरा है
हाsss आsss
दिल की नाव चलाये जा॰॰आ॰॰आ
दिल की नाव चलाये जा
हर बार मुझे अपनाए जा
हर बार मुझे अपनाए जा
ये मेरा तेरा फ़र्क मिटे
ये मेरा तेरा फ़र्क मिटे
तू दिल में यूं ही समाये जा
तू दिल में यूं ही समाये जा
ये मेरा तेरा फ़र्क मिटे
ये मेरा तेरा फ़र्क मिटे
तू दिल में यूं ही समाये जा
तू दिल में यूं ही समाये जा॰॰आ॰॰आ

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

Blog Day : 3773 Post No. : 14751

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 29
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

‘र’ – रात अंधेरी, गई गई गई ॰ ॰ ॰

– – – –

वो जब याद आए, बहुत याद आए ॰ ॰ ॰ 

Your own words are so prophetic. The memories of your songs, when they descend upon the mind – it is a deluge that covers the mind.

– – – –

Another day, another letter of the alphabet, and another fabulous duet – Rafi Sb and Asha Bhosle.

This song is from the 1960 film ‘Rangeela Raja’. This is a stunt film which was produced under the banner of Diamond Jubilee Films, and was produced and directed by Ismail. The cast of actors in this film is listed as Kumkum, Mahipal, Shashikala, Meenu Mumtaz, Bhagwan, Dhanraj, Jayant, Kammo, Uma Dutt, Chand Burque, Satish, Kesari, Zippy, and Pintu.

Geet Kosh lists eight songs of this film. One song is already showcased here, this is the second song of this film to come on board. All the songs have been penned by Asad Bhopali, and the music director is Pt Shivram. This song sounds like a group dance song which is celebrating some kind of success, emphasized by the opening lines of the song,

raat andheri,    gayi gayi gayi gayi
bhor suhaani,   bhai bhai bhai bhai

Another wonderful memory from the radio listening days. A zippy pace that picks up speed as the song comes to a close. And a quick mixture of singing voices and the chorus. Delectable creation. 🙂

Song – Raat Andheri Gayi Gayi Gayi  (Rangeela Raja) (1960) Singer – Mohammed Rafi, Asha Bhosle, Lyrics – Asad Bhopali, MD – Pt Shivram
Asha Bhosle + Mohammed Rafi
Chorus

Lyrics 

raat andheri
gayi gayi gayi gayi

bhor suhaani
bhai bhai bhai bhai

chhedo khushi ka taraana
aaya apna zamaana
aaya apna zamaana ji
raat andheri gayi gayi gayi gayi
bhor suhaani bhai bhai bhai bhai
chhedo khushi ka taraana
aaya apna zamaana
aaya apna zamaana ji

aaaa aaaaa aaaa aaa
aaaa aaaaa aaaa aaa
aaaa aaaaa aaaa aaa
aaaa aaaaa aaaa aa

duniya ka rang badalta hai
koi khush hai koi jalta hai
lall lall lall lall laa ho
lall lall lall lall laa
jalta hai koi to jalne de
tu apni gaadi chalne de
lall lall lall lall laa ho
lall lall lall lall laa
ye hai dhang purana
chhedo khushi ka taraana
aaya apna zamaana ji
hoy raat andheri
gayi gayi gayi gayi

bhor suhaani
bhai bhai bhai bhai

chhedo khushi ka taraana
aaya apna zamaana
aaya apna zamaana ji

aaaa aaaaa aaaa aaa
aaaa aaaaa aaaa aaa
aaaa aaaaa aaaa aaa
aaaa aaaaa aaaa aa

aa pyaar karen ji khul kar ke
kyon nain milaayen darr darr ke
lall lall lall lall laa ho
lall lall lall lall laa
darne ka zamaana beet gaya
koi har gaya koi jeet gaya
lall lall lall lall laa ho
lall lall lall lall laa
chhodo darna daraana
chhedo khushi ka taraana
aaya apna zamaana ji
raat andheri
gayi gayi gayi gayi

bhor suhaani
bhai bhai bhai bhai

chhedo khushi ka taraana
aaya apna zamaana
aaya apna zamaana ji
haa haa haa


raat andheri
gayi gayi gayi gayi

bhor suhani
bhai bhai bhai bhai

chhedo khushi ka taraana
aaya apna zamaana
aaya apna zamaana ji
raat andheri gayi gayi gayi gayi
(aaa haaa haaa haaaa)
bhor suhani bhai bhai bhai bhai
(oho ho ho hooo)
chhedo khushi ka taraana
(aaha haa haa)
aaya apna zamaana
(aaaa aaaa aaaa)
aaya pana zamaana ji

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

रात अंधेरी
गई गई गई गई
भोर सुहानी
भई भई भई भई
छेड़ो खुशी का तराना
आया अपना ज़माना
आया अपना ज़माना जी
रात अंधेरी गई गई गई गई
भोर सुहानी भई भई भई भई
छेड़ो खुशी का तराना
आया अपना ज़माना
आया अपना ज़माना जी

आsss आssss आsss आss
आsss आssss आsss आss
आsss आssss आsss आss
आsss आssss आsss आs

दुनिया का रंग बदलता है
कोई खुश है कोई जलता है
लल्ल लल्ल लल्ल लल्ल ला हो
लल्ल लल्ल लल्ल लल्ल ला
जलता है कोई तो जलने दे
तू अपनी गाड़ी चलने दे
लल्ल लल्ल लल्ल लल्ल ला हो
लल्ल लल्ल लल्ल लल्ल ला
ये है ढंग पुराना
छेड़ो खुशी का तराना
आया अपना ज़माना जी
होय रात अंधेरी
गई गई गई गई
भोर सुहानी
भई भई भई भई
छेड़ो खुशी का तराना
आया अपना ज़माना
आया अपना ज़माना जी

आsss आssss आsss आss
आsss आssss आsss आss
आsss आssss आsss आss
आsss आssss आsss आs

आ प्यार करें जी खुल कर के
क्यों नैन मिलाएँ डर डर के
लल्ल लल्ल लल्ल लल्ल ला हो
लल्ल लल्ल लल्ल लल्ल ला
डरने का ज़माना बीत गया
कोई हार गया कोई जीत गया
लल्ल लल्ल लल्ल लल्ल ला हो
लल्ल लल्ल लल्ल लल्ल ला
छोड़ो डरना डराना
छेड़ो खुशी का तराना
आया अपना ज़माना जी
रात अंधेरी
गई गई गई गई
भोर सुहानी
भई भई भई भई
छेड़ो खुशी का तराना
आया अपना ज़माना
आया अपना ज़माना जी
हा हा हा

रात अंधेरी
गई गई गई गई
भोर सुहानी
भई भई भई भई
छेड़ो खुशी का तराना
आया अपना ज़माना
आया अपना ज़माना जी
रात अंधेरी गई गई गई गई
(आ हा हा)
भोर सुहानी भई भई भई भई
(ओ हो हो हो)
छेड़ो खुशी का तराना
(आ हा हा)
आया अपना ज़माना
(आ आ आ आ)
आया अपना ज़माना जी


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

Blog Day :

3773 Post No. : 14750 Movie Count :

4034

na tu zameen ke liye hai na aasmaan ke liye
tera wajood hai sirf dastaan ke liye
 

palat ke su-e-chaman dekhne se kya hogaa
wo shaakh hi na rahi jo thhi aashiyaan ke liye

garaz paarast jahaan mein wafaa talaash na kar
ye shai bani hai kisi dusre jahan ke liye

Thus wrote Sahir Ludhianvi for the film ‘Daastaan’ (1972). Here he takes a cue from Allama Iqbal who said ….

na tu zameen ke liye hai na aasmaan ke liye
jahaan hai tere liye tu nahin jahaan ke liye

Ever the cynic….

Whereas Iqbal was always motivational, Sahir had an inverted view of things.  Maybe this solitude and despair was because of ‘Pyasaa” or vice versa.  Take the instance of “Wo Sub’ha Kabhi To Aayegi“ in the film ‘Phir Subah hogi’ (1958). These verses are said to have inspired his contemporary Jaan Nisaar Akhtar to write the song “Gham Ki Andheri Raat Mein” in ‘Susheela’ (1966), with the lines,

gham ki andheri raat mein dil ko na beqaraar kar
sub’ha zaroor aayegi, sub’ha ka intezaar kar

Just last week, I was thinking about the Hindi poem I had written in 2016. It was published in my office magazine. This poem has some heavy references of Sahir’s songs.  And that I should write a post about Sahir Ludhianvi on his anniversary. But for some reason I had the impression that his death anniversary falls in June or July. I thought I will look up on the blog for the birth anniversary and if it is anytime soon I will write a post.

As it happened my office computer was out of order last week and it returned to work only on Friday and there is no lap-top currently in my use at home, I missed the opportunity to write this article on time. It was Raja ji’s article which alerted me to the fact of Sahir Ludhianvi’s death anniversary on 25th October.

Before I get to the song in hand, let’s take a look at my poem.  This is rather long and I am told it lacks something.  But this is the finished product:

कोशिश करने वालों की कभी हार नहीं होती ?

सुना मैंने के कोशिश करने वालों की कभी हार नहीं होती
सोचा के अपनी सी कुछ कोशिश मैं भी कर देखूं
कोशिश एक जद्द-ओ-जहद हालात को बेहतर करने की
कोशिश जो हर एक करे खुद को बेहतर इंसान बनाने की
कोशिश वो जो अपने परिवार की, सम्मान की रक्षा की
कोशिश के ऐसे जीऐं अपना स्तर उँचा हो नजर में खुदा की
कोशिश वो जो हो इज्जत से जीने की और इज्जतदार मरने की
फिर कहें
कि कोशिश करने वालों की कभी हार नहीं होती ।

फिर कहा किसी ने कि मरने की बात क्यू करें
मौत में कैसी इज्जत कैसी आबरू
क्यूं जब मर कर बाबुल से नजरें मिलाना है
तो जीना और मरना ऐसे रहे के अपना सर उँचा हो
ये ना हो कि बहू और बेटी को बाजार में खड़ा करे
और कहें कि
कोशिश करने वालों की कभी हार नहीं होती ।

शायद ये साहिर नें 1957 में लिखा हो के
“संसार की हरेक बेशर्मी
गुरबत की गोद में पलती है”
सोचने लगी के क्या ये आज भी सच है
कोई सोचे या नहीं, बात काबिले गौर है
क्यूं की
कोशिश करने वालों की कभी हार नहीं होती ।

और कहा साहिर ने के
“अवतार पयंबर जनती है,
फिर भी शैतान की बेटी है”
मुझे लगा जैसे आज मैं ही बैठी हूं
किसी टेलीविजन के ‘टॉक शो’ पर
और दुहार लगाई हूं “फ्रीडम ऑफ एक्सप्रेशन” की
वहां तक,
कोशिश करने वालों की कभी हार नहीं होती ।

आज का दौर हम सब ‘अय्याश’!
माडर्न और सैवी होने का हमें फक्र है

‘अय्याश’ इतना ‘ओल्ड फैशन्ड’ शब्द है,
की ‘हम अय्याश’ सुन कर सब चौंके,
अय्याश वो है जो ऐश में डूबा हुआ है
जिंदगी के मजे लेने में, जानों और पहचानों
“औरत ने जन्म दिया मर्दों को, मर्दों ने उसे बाजार दिया”
और तो
कोशिश करने वालों की कभी हार नहीं होती ।

मेरी बहनों और बेटियों, अपनी इज्जत अपने हाथ
जब खुद अपनी इज्जत करना सीख जाओ
के औरों को तुम्हारी इस्मत पर नजर डालते शरम आये
संघर्ष का सब से बड़ा मैदान यहीं है के
कोख में अपनी बेटी का कत्ल ना होने देना हरगिज
और ना खुद को शैतान की बेटी बनने दो,
बात बहुत बड़ी मेरी तुच्छ कलम कह गयी
सच है,
कोशिश करने वालों की कभी हार नहीं होती ।

ओ बाबुल प्यारे, मुझे नाज से लाड से पालने वाले
कल तू मुझे संजोता, संवारता था और ससुराल भेजता
कल मैं तेरी आँखों की चमक और पगड़ी का फक्र थी
आज ये हाल है, कि हम अपनी बेटियों को परदेसी कर देते हैं
ताकि वो अपनी पोजिशन बनाये दुनियाँ में
जाओ,
के कोशिश करने वालों की कभी हार नहीं होती ।

नतीजा ये की आज दुनियाँ की कोई गैर-जरूरी चीज नहीं
जिसे बेचने में मेरा इस्तेमाल नहीं होता
आज मैं हर अखबार में हर फिल्मी पोस्टर में
हर पल हर वक्त बेची और खरीदी जाती हूं
मजे की बात तो ये हुई के मुझे एहसास तक नहीं
की मैं हर लम्हे कितनी “निर्भय” हो गई इस बाजार में
पता है, कोशिश करने वालों की कभी हार नहीं होती
अगर ये मेरी और तुम्हारी हार नहीं है
तो कोई मुझे बताये कि ये क्या है?

ये कैसी कोशिश है
कि हर तरह से मेरी हार होती है ।

Sounds rather like a long story.  But the story is original and sort of a parody of the original ‘Koshish Karnewaalon Ki Kabhi Haar Nahin Hoti” by Harivansh Rai Bachchan.

Now moving to the song in hand, from the film ‘Begum Jaan’ (2017).  This is an adaptation of the original song in “Phir Subah Hogi”(1958) written by Sahir Ludhianvi.   Only a word in the mukhda is changed and the whole song in re-rendered by Arjit Singh and Shreya Ghoshal. Credit for the lyrics and composition is given to Sahir Ludhianvi and Khayyam.
(As per myswar.com  http://myswar.co/song_details/begum-jaan-2017-woh-subah-hami-se-aayegi-7 )

A big fan of Arjit Singh I am not and this particular rendition has not endeared him to me.  I believe singing has to be of words and uttering words in a loose manner somehow dilutes the impact.  I don’t know if the singing here was required this way due to the situation, as I haven’t seen the movie.   The background music is a haunting fall back on “Tadap Tadap Ke Iss Dil Se” (‘Hum Dil De Chuke Sanam’, 1999). While listening to this and the original by Khaiyyam I was reminded of “Dekh Lo Aaj Hum Ko Ji Bhar Ke” (‘Baazaar’, 1982) as well as “Najariyaa Ki Maari” (“Pakeezah”, 1971).

This is a tribute to the poet of such inimitable songs such as:

Tum Mujhe Bhool Bhi Jaao To Ye Haqq Hai Tum Ko

Tum Agar Mujh Ko Na Chaaho To Koi Baat Nahi

Chalo Ek Baar Phir Se Ajnabi Ban Jaayen Ham Donon

Jaane Wo Kaise Log Thhe Jin Ke Pyar Ko Pyar Mila

Mann Re Tu Kaahe Na Dheer Dhare

And many more such songs.

[Editor’s Note: The delay in publication is an oversight of the editors, the author had sent in this contribution just in time.]


Song – Wo Sub’ha Ham Hi Se Aayegi (Begum Jaan) (2017) Singer – Arijit Singh, Shreya Ghoshal, Lyrics – Sahir Ludhianvi, MD – Khayyaam
Arijit Singh + Shreya Ghoshal
Chorus

Lyrics

in kaali sadiyon ke sar se
jab raat ka aanchal dhhalkega aa
aaaa aaaaa aaaaaaaaa
jab dukh ke baadal pighlenge
jab sukh ka saagar chhalkega aa
aaa aaa aaa aaa
jab ambar jhhoom ke naachega
jab dharti naghme gaayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi

jis sub’ha ki khaatir jug jug se
ham sab mar mar ke jeete hain

aaa aaa aaa
jis subah ki amrit ki dhun mein
ham zehar ke pyaale peete hain
in bhooki pyaasi roohon per
ek din to karam farmaayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi

maana ke abhi tere mere
armaanon ki qeemat kuch bhi nahin

hmm hmm hmm
mitti ka bhi hai kuchh mol magar
insaanon ki qeemat kuchh bhi nahin
aa aa aa
insaanon ki izzat jab jhoothhe
sikko mein na toli jaayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi

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

इन काली सदियों के सर से
जब रात का आँचल ढलकेगा
आssss आssss आssssssss 
जब दुख के बादल पिघलेंगे
जब सुख का सागर छलकेगा
आss आss आss आss
जब अम्बर झूम के नाचेगा
जब धरती नग़मे गाएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी

जिस सुबहा की खातिर जुग जुग से
हम सब मर मर के जीते हैं
आss आss आss
जिस सुबहा के अमृत की धुन में
हम ज़हर के प्याले पीते हैं
इन भूखी प्यासी रूहों पर
एक दिन तो करम फरमाएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी

माना के अभी तेरे मेरे
अरमानों की क़ीमत कुछ भी नहीं
हम्ममम हम्ममम हम्ममम
मिट्टी का भी है कुछ मोल मगर
इन्सानों की क़ीमत कुछ भी नहीं
आs आs आs
इन्सानों की इज्ज़त जब झूठे
सिक्कों में ना तोली जाएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी


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

Blog Day : 3767 Post No. : 14741

“Qawwaali Ki Raat”(1964) was Directed by Durgesh Kumar and Santoshi for Durgesh Productions, Bombay. This “social” movie had Kumkum, Kamaljeet, Mumtaz, Deven Verma, Jagdeep, Mohan Choti, Murad, aruna Irani, Johny Whisky, Kamal Mehra, Parshuram, Mirza Musharraf, Tuntun, Balam, Kathana, Jerry, Jankidas, Baroon Van Hizi, Kingkong etc in it.

The movie had eleven songs in it and most were qawwaalis as can be guessed from the title. Ten songs from the movie have been covered in the blog.

The eleventh and final song from the movie was apparently not included in the movie. Only its audio was released and this song is available.

Despite the song being available, I was not taking it up because this song was a duet with Rafi’s voice in it. Seeing that Sudhir jee was covering Rafi duets in his marathon series “Rafi duets अ से ह तक “, I was not taking chances because in the past I have posted songs that Sudhir Jee had reserved for some special occasions and with my memory being what it is, I had forgotten about that.

So, I double checked. Sudhir Jee is now onto the letter य while this duet from “Qawwaali Ki Raat”(1964) begins with an earlier letter viz प which was already covered in the previous post. So this song was “safe” to be covered. 🙂

So, here is the eleventh and final song from “Qawwaali Ki Raat”(1964) to appear in the blog. The song is sung by Rafi and Asha Bhonsle. Shewan Rizvi is the lyricist. Music is composed by Iqbal Qureshi.

Here are the details of the earlier ten songs from the movie:-

Song Title

Post No.

Post Date

Husn waale husn ka anjaam dekh 1830 29-Aug-09
Jaate jaate ik nazar bhar dekh lo dekh lo 3336 13-Dec-10
Aa main bataaun tu hai kyaa 3770 11-Apr-11
Dil gaya dil ka aitbaar gaya 5214 29-Dec-11
Ae jaane jigar chilman se agar 5376 1-Feb-12
Kehne waale tu bhi keh le 5700 26-Mar-12
Wo chaand sa chehra liye chhat par tera aana 13126 7-Apr-17
Dekh kar meri taraf khaamosh ho jaana zara 14487 15-Jul-18
Meri bhi laaj rakh le sarkaar e Madina 14524 24-Jul-18
Mujhe tumse muhabbat hai 14558 8-Aug-18

This song, the eleventh and final song was excluded from the movie as far as I can tell. In case it was picturised, it would have been on the lead pair of Kamaljeet and Kumkum.

With this song,all the songs of “Qawwaali Ki Raat”(1964) are covered in the blog and the movie joins the list of movies that have all their songs covered in the blog.
PS-It has pointed out by Mr Sadanand Kamath that the video of this song is available. And the song is indeed picturised on the lead pair.
Audio

Video

Song-Pyaar ki hasraten khaaq mein mil gayin (Qawwaali Ki Raat)(1964) Singer-Rafi, Asha Bhonsle, Lyrics-Shewan Rizvi, MD-Iqbal Qureshi

Lyrics

pyaar ki hasraten khaaq mein mil gayin
pyar ki hasraten khaaq mein mil gayin
do kadam chalke do humsafar jal gaye
do kadam chalke do humsafar jal gaye
zindagi aag banti hai jis mod par
zindagi aag banti hai jis mod par
donon raahi usi mod par jal gaye

do kadam chalke do humsafar jal gaye

aisi bijli giri shaakh gulzaar par
aashiyaana bachaaya to par jal gaye
aashiyaana bachaaya to par jal gaye

kuchh na baaqi raha zindagi mein meri
kuchh na baaqi raha zindagi mein meri
ek dhuaan reh gaya dil jigar jal gaye
do kadam chal ke do humsafar jal gaye

aah roki to seene se shole uthhe
ban gaye ashq aankhon mein chingaariyaan
ban gaye ashq aankhon mein chingariyaan
do mohabbat bhare dil sulagne lage
yaani do aarzuon ke ghar jal gaye

do kadam chal ke do humsafar jal gaye

ashqe gham chashme nam se ye keh kar dhale
ashqe gham chashme nam se ye keh kar dhale
pyaar ki aag mein yoon na koi jale
pyaar ki aag mein yoon na koi jale
aatishe ishq mein koi shola nahin
aatishe ishq mein koi shola nahin
phir bhi is aag mein ghar ke ghar jal gaye

do kadam chal ke do humsafar jal gaye
donon raahi usi mod par jal gaye


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

Blog Day : 3763 Post No. : 14736

“Doraaha”(1952) was a “social” movie which was produced by Surjeet Chhabra and directed by Bal Chhaabra for Progressive Pictures, Bombay. The movie had Nalini Jaiwant, Shekhar, Dewan Sharar, Jagdeesh Sethi, Agha, Kamal, K N Singh, Protima Devi, Murad, Leela Mishra, Romesh Sinha, D D Luthra, Kusum, Bhagwandas, Kiran etc in it.

The movie had eight songs in it that were penned by three lyricists and sung by six singers.

Three songs have been covered in the past.

Here is the fourth song from “Doraaha”(1952) to appear in the blog. This song is a duet which is sung by Meena Kapoor and Shankar Dasgupta. Prem Dhawan is the lyricist. Music is composed by Anil Biswas.

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


Song-Tera mera mera tera pyaar ho gaya (Doraaha)(1952) Singers-Meena Kapoor, Shankar Das Gupta, Lyrics-Prem Dhawan, MD-Anil Biswas
Both

Lyrics

ho o o
o o o
Tera mera
mera tera
pyaar ho gaya
pyaar ho gaya
Tera mera pyaar ho gaya aa
Tera mera

mera tera
pyaar ho gaya
pyaar ho gaya
tera mera pyaar ho gaya

aayi chhup ke milan ki raaten
aayi chhup ke milan ki raaten
huyi dil se nazar se baaten
huyi dil se nazar se baaten

ho o o
o o o
Tera mera mera tera pyaar ho gaya
pyaar ho gaya
Tera mera pyaar ho gaya aa
Tera mera mera tera pyaar ho gaya

mera dil na raha mere bas mein
mera dil na raha mere bas mein
ik peer uthhi
ik peer uthhi
ik peer uthhi nas nas mein re
ik peer uthhi nas nas mein
ho o o
o o o
Tera mera
mera tera
pyaar ho gaya
pyaar ho gaya
Tera mera pyaar ho gaya aa
Tera mera mera tera pyaar ho gaya

tere naina jaadoo kar gaye tere naina
tere naina jaadoo kar gaye
ye do naina tere
ye do naina tere
ham ek nazar mein mar gaye re
ham ek nazar mein mar gaye
o o o
o o o
Tera mera

mera tera
pyaar ho gaya
pyaar ho gaya
Tera mera pyaar ho gaya aa
Tera mera mera tera pyaar ho gaya

mera dil hai amaanat teri
mera dil hai amaanat teri
tere bas mein piya
tere bas mein piya
tere bas mein jaan ab meri
tere bas mein jaan ab meri
o o o
o o o
Tera mera
mera tera
pyaar ho gaya
pyaar ho gaya
Tera mera pyaar ho gaya aa
Tera mera mera tera pyaar ho gaya
pyaar ho gaya
Tera mera pyaar ho gaya aa


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

Blog Day : 3760 Post No. : 14732

Surprise! Surprise!! Surprise!!!

Found one more song, very popular in its times? No, even today. Perfect for the category – How come this song was not posted earlier? It is absolutely amazing that after 14730 posts (number of songs posted will be more as has been explained a few times before) we still find popular songs that are yet to make an appearance on the blog. What to do? Bollywood music is an ocean and we are still standing at the shores.

1973 was the year when Amitabh Bachchan tasted success in the form of Zanjeer. Rishi Kapoor made his debut with Bobby. The stars of the previous set were also in their prime and we had successful movies Anamika, Loafer, Daag, Chhupa Rustam, Raja Rani, Jugnu, Loafer, Do Phool, Banarasi Babu etc having their songs in that years Binaca Geetmala Annual List along with songs from Anuraag, Victoria No. 203, Do Chor, Raja Jani, Shehzaada, Shor, Mere Jeewan Saathi, Rampur Ka Laxman, Parichay, Yeh Gulistan Humara, Gora aur Kala which were movies that released in 1972 but whose songs were still popular in ’73 to figure in the “Saalaana List Of BGM”. The top song from that list is already on the blog- Yaari hai imaan mera yaar meri zindagi (Zanjeer). Songs number 3, 4, 5, 6, 7, 8, 9 & 10 are all on the blog how come only song number 2 got left out? Time to rectify the situation- here is song number 2 from the “Saalaana List Of BGM” as Ameen Sayani would call the list.

The song number 2 was written by Anand Bakshi and Laxmikant Pyarelal were the music directors. It was a favourite (still is I presume) among young love birds who long for privacy. The feeling that no outsider should intrude when one is with one’s beloved as also one doesn’t have to go out when the beloved is around. Does all this sound heavy, literature- kind of stuff. I will simplify it- “Baahar se koi andhar na aa sake, andhar se koi baahar na jaa sake”. Hmm now people understood where I am leading. Isn’t it surprising this song is not yet on the blog.

Raj Kapoor made “Bobby” after the debacle of “Mera Naam Joker”. A voracious reader of “Archie comics” Raj Kapoor thought of a teen-love story which was somewhat in keeping with those times. I remember a scene where Piloo Wadia – friend of the hero’s father- walks into an Irani Restaurant. She is seen by Raj (Rishi Kapoor’s name in the movie) & he rushes into the inner room with his girlfriend, to avoid being caught. He also asks Bobby (Dimple) to keep her feet off the ground as he knows that Piloo Wadia will peep from below the swinging- doors of the room. That is how youngsters used to be back then, possibly this behaviour was more out of respect to the elders or fear of being detected. “Bobby” was successful in bringing Raj Kapoor out of the red and to think that “Bobby” was a standard story of rich boy- poor girl, parents not accepting, lovers running away, and finally parents relent when the lovers threaten dire consequences.

“Bobby” was a departure from all of RK Film’s previous movies on many counts. Laxmikant Pyarelal replaced Shankar Jaikishan as music directors. Anand Bakshi replaced all of Raj Kapoor’s favourite lyricists. Finally, almost all of RK’s films showed the life of the common man with romance being an also-ran but Bobby was all about falling in love, misunderstanding between lovers, making-up etc.

Talking of Laxmikant Pyarelal reminds me today (3 november 2018) is the birth anniversary of Laxmikant- he would have turned 81. His teaming up with Pyarelal Sharma gave Bollywood a huge treasure trove of songs. The statistics page of our blog says that the treasure trove has 2901 songs of which 776 are posted. They hit the right chord with the audience from almost the start of their career as independent composers, having been assistants to Kalyanji Anandji, Sachin Dev Burman etc and even to R D Burman in RD’s debut “Chhote Nawab”. The friendship between RD and L-P was lifelong and RD played the Harmonica for LP’s songs in “Dosti” and Laxmikant made an appearance as himself in “Teri Kasam” which had music by RD.

So, let us remember Laxmikant with this song number 2 of the “Saalaana List Of BGM” or Binaca Geetmala Annual List. It was sung by Lata Mangeshkar and Shailendra Singh.


Song-Ham tum ek kamre mein band hon aur chaabhi kho jaaye(Bobby)(1973) Singers-Shailendra, Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

baahar se koi andar na aa sake
andar se koi baahar na jaa sake
socho kabhi aisa ho toh kya hon
socho kabhi aisa ho toh kya ho
hum tum mmmm
ek kamre mein band hon oo
aur chaabhi kho jaaye
hum tum ek kamre mein band hon oo
aur chaabhi kho jaaye
tere nainon ki bhool bhulaiyya mein
bobby kho jaaye
hum tum ek kamre mein band hon
aur chaabhi kho jaaye

aage ho ghanghor andhera
baaba mujhe dar lagta hai
peechhe koi daaku lutera
un
kyun dara rahe ho

aage ho ghanghor andhera
peechhe koi daaku lutera
upar bhi jaana ho mushqil
neeche bhi aana ho mushqil
socho kabhi aisa ho toh kya ho
socho kabhi aisa ho toh kya ho
hum tum
kahin ko jaa rahe hon oo
aur rasta bhool jaayen
o ho
ham tum kahin ko jaa rahe hon
aur rasta bhool jaayen
teri bainyaan ke jhoole mein sainyaan
bobby jhool jaaye

hum tum ek kamre mein band hon
aur chaabhi kho jaaye

aa haa aaa
aa haa aaa
aa aa aaa
aa aa aa aa aa

basti se door
parbat ke peechhe
masti mein choor ghane pedon ke neeche
andekhi anjaani si jagah ho
bas ek hum hon
dooji hawa ho
socho kabhi aisa ho toh kya ho
socho kabhi aisa ho toh kya ho

hum tum
ek jangal se guzren
aur sher aa jaaye
hum tum ek jangal se guzren
aur sher aa jaaye
sher se main kahoon
tumko chhod ke
mujhe kha jaaye
hum tum ek kamre mein band hon
aur chaabhi kho jaaye

aise kyun khoye khoye ho
jaage ho ki soye huye ho

kya hoga kal kis ko khabar hai
thhoda sa mere dil mein yeh darr hai
socho kabhi aisa ho toh kya ho
socho kabhi aisa ho toh kya ho
ham tum
yoonhi hans khel rahe hon
aur aankh bhar aaye
tere sar ki qasam tere gham se
bobby mar jaaye

hum tum ek kamre mein band hon
aur chaabhi kho jaaye
tere nainon ki bhool bhulaiyya mein
bobby kho jaaye

hum tum mmm
hum tum mmmm
ek kamre mein band hon oooo
ek kamre mein band hon ooo
aur chaabhi kho jaaye
aur chaabhi kho jaaye
aur chaabhi kho jaaye
aur chaabhi
kho jaaye
kho jaaye


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

Blog Day : 3757 Post No. : 14726

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 28
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

‘य’ – ये भीगी भीगी रात गगन पर तारों की बारात ॰ ॰ ॰

– – – –

हम बेखुदी में तुमको पुकारे चले गए ॰ ॰ ॰ 

Seems to be like another life time, that we have been waiting, and calling out for you, in the wilderness of nowhere. Alas, but it is not to be. . .

– – – –

Really spoilt for choices with the letter ‘य’. And I settle for this delightful twosome of a song – Geeta Dutt with Rafi Sb. The film is an obscure ‘Doctor Z’ from 1959. Produced and directed by Jaal, the films comes from the banner of Baliwala Films, Bombay. The star cast of this film is listed as Shakeela, Mahipal, Heeralal, Helen, Vinod Diwani, Krishna Kumari, Sundar, Mirza Musharraf, Dalpat, Tuntun, Nasreen, Shetty, Bhudo Advani, Homi, Rusi, Bismillah, Baburao Pehalwan, Radheshyam, Rafiq, Hanuman, Bala Ram, Dhondu, MK Hasan, Karandiker, and Sheetal Kumar.

The film has total of eight songs listed, out which, two songs, as per the Geet Kosh, are probably not released on gramophone records. The songs have been written by Akhtar Romani, and the music is by Manohar. This Manohar is the blind music director Manohar Lal Sonik, who was the senior partner in the team of music director duo – Sonik-Omi.

One song of this film is already present on our blog. It was posted on 9th Nov, 2011. And today, after almost full seven years, the second song of this film finds its place here.

The singing voices are of Rafi Sb, accompanied by Geeta Dutt. A delightful duet presented as a conversation between lovers, it is quite a treat to hear to this song. Listen and enjoy.

Song – Ye Bheegi Bheegi Raat Gagan Par Taaron Ki Baraat  (Doctor Z) (1959) Singer – Geeta Dutt, Mohammed Rafi, Lyrics – Akhtar Romani, MD – Manohar
Geeta Dutt + Mohammed Rafi

Lyrics 

ye bheegi bheegi raat
gagan par taaron ki baraat
chali kis paar hai
zara dil par rakh kar haath
bata de aise mein ye baat
ke kitna pyaar hai
ye bheegi bheegi raat
gagan par taaron ki baraat
chali kis paar hai
zara dil par rakh kar haath
bata de aise mein ye baat
ke kitna pyaar hai

o ho ho ho ho ho
o ho ho ho ho ho
o ho ho ho ho ho
ho ho..oo ho ho..oo

bhatke huye musaafir
manzil ko pa hi gaye
ulfat ke do safeene
saahil pea aa hi gaye
bhatke huye musaafir
manzil ko pa hi gaye
ulfat ke do safeene
saahil pea aa hi gaye
main kaise kahoon ye baat
ke aata sapnon mein har raat
koi dildaar hai
zara dil par rakh kar haath
bata de aise mein ye baat
ke kitna pyaar hai

jitna haseen hai mausam
utna hi tu bhi haseen
jee chaahe aaj ruk jaaye
saara zamaana yahin
jitna haseen hai mausam
utna hi tu bhi haseen
jee chaahe aaj ruk jaaye
saara zamaana yahin
de haat mein mere haath
ke chhoote ab na kabhi ye saath
yahi iqraar hai
ye kitni badi hai baat
ke tujhko pyaar hai mere saath
ke du dildaar hai
zara dil par rakh kar haath
bata de aise mein ye baat
ke kitna pyaar hai

ye bheegi bheegi raat
gagan par taaron ki baraat
chali kis paar hai
aa haa
zara dil par rakh kar haath
bata de aise mein ye baat
ke kitna pyaar hai

o ho ho ho ho ho
o ho ho ho ho ho
o ho ho ho ho ho
ho ho..oo ho ho..oo
ho ho..oo ho ho..oo
ho ho..oo ho ho..oo

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

ये भीगी भीगी रात
गगन पर तारों की बारात
चली किस पार है
ज़रा दिल पर रख कर हाथ
बता दे ऐसे में ये बात
के कितना प्यार है
ये भीगी भीगी रात
गगन पर तारों की बारात
चली किस पार है
ज़रा दिल पर रख कर हाथ
बता दे ऐसे में ये बात
के कितना प्यार है

ओ हो हो हो हो हो
ओ हो हो हो हो हो
ओ हो हो हो हो हो
हो होsss हो होss

भटके हुये मुसाफिर
मंज़िल को पा ही गए
उल्फ़त के दो सफीने
साहिल पे आ ही गए
भटके हुये मुसाफिर
मंज़िल को पा ही गए
उल्फ़त के दो सफीने
साहिल पे आ ही गए
मैं कैसे कहूँ ये बात
के आता सपनों में हर रात
कोई दिलदार है
ज़रा दिल पर रख कर हाथ
बता दे ऐसे में ये बात
के कितना प्यार है

जितना हसीं है मौसम
उतना ही तू भी हसीं
जी चाहे आज रुक जाये
सारा ज़माना यहीं
जितना हसीं है मौसम
उतना ही तू भी हसीं
जी चाहे आज रुक जाये
सारा ज़माना यहीं
दे हाथ में मेरे हाथ
के छूटे अब ना कभी ये साथ
यही इक़रार है
ये कितनी बड़ी है बात
के तुझको प्यार है मेरे साथ
के तू दिलदार है
ज़रा दिल पर रख कर हाथ
बता दे ऐसे में ये बात
के कितना प्यार है

ये भीगी भीगी रात
गगन पर तारों की बारात
चली किस पार है
आ हा
ज़रा दिल पर रख कर हाथ
बता दे ऐसे में ये बात
के कितना प्यार है

ओ हो हो हो हो हो
ओ हो हो हो हो हो
ओ हो हो हो हो हो
हो होsss हो होss
हो होsss हो होss
हो होsss हो होss


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

Blog Day :

3756 Post No. : 14723 Movie Count :

4023

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

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

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

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

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

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

 

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

Lyrics

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

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

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

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

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

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

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


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

Blog Day : 3755 Post No. : 14721

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

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

– – – –

हम इंतज़ार करेंगे ॰ ॰ ॰ 

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

– – – –

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

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

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

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

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

 

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

Lyrics 

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

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

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

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

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

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

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

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

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

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

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


This article is written by 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.

Blog Day : 3754 Post No. : 14719

Today’s song is the 3rd song from film Oonchi Haveli-55 to be discussed in the Blog. For the last 6-7 months, I have been discussing songs mostly from the decades of the 1930s and the 1940s. The last song from the 1950s that I discussed was on 3-3-2018, which for me was the 5th song from the decade of 1950s in this year. Looking back, I find that I had discussed a song from 1994 also in this year. Good songs, to whatever year they belong to, are my favourites. The only regret is that such songs have become few and far between. Good and meaningful Lyrics is another thing which has become scarce.

Today’s song is sung by Rafi. I strongly believe that God had given at least 10 different voices to this divine singer ! His special voice and style changed to suit the lip syncer on the screen and the song situation. His voice for Dilip Kumar was never the same as one he used for Johnny Walker.

Rafi came from a poor and humble background and had to struggle very hard to enter, sustain and reach the heights in Hindi Film Music. We all know that he came from a poor family but how his early life was spent is not known to many.

Punjab must be proud that two of its sons ruled Hindi cinema music for the first 50 years of its existence, which also happened to be its golden era. initially it was Saigal from 1933 to 1947 and then Mohd. Rafi-as if the baton was handed over by one statemate to another. Both started with humble beginnings and struggled hard to win their places in the History. Saigal, however, had less competition, but then the industry was also smaller. In case of Rafi, the competition was greater, but then the industry had also grown manifolds.

Born into a lower middle class Muslim family belonging to a non descript village in Punjab in 1924, Rafi did not have much education. It was confined to reading and writing in Urdu in Persian script. A little bit of multiplication, and his education was over. In leisure time, Rafi would take his and friends’ cattles for grazing- singing songs all the day.

Rafi did not have exposure to Radio until the beginning of Lahore Radio station in 1937. Of course wealthy people had their gramophones and he would listen to Indubala and Kamla Jharia songs coming from the Havelis and in the Bazaar area. Rafi sang many folk songs.

His father decided to shift to Lahore- 50 miles away, for better earning. Like most Amritsaris, he too was an expert in cooking. He opened a Dhaba and soon did well. Later on he called Rafi to Lahore in 1941 Rafi got a job in a Hair cutting saloon. Whole day he would do people’s shaving, while singing songs. His customers were happy. One day, Programme Director of Lahore A.I.R. Mr. Jeewan lal Mattoo was passing by and he heard Rafi’s singing. Impressed with his enchanting voice, sweetness,range and tonal quality, he shocked Rafi with his offer. Rafi gave his audition next day and passed with flying colours. From March 1943, Mohd.Rafi became a Radio singer, at 35 rupees per song. ( six months later Surinder kaur also joined Lahore Radio).

After hearing his voice on Radio, Music Director Shyam sunder called him to sing in his Punjabi film ” Gul Baloch”. Before coming to Lahore, Rafi was married to his cousin, but his Father in law had told him that his wife will join him only after he starts earning decently. Even after that single song in a film, Rafi continued his shaving job in the saloon. Meanwhile Mr. Mattoo helped him to learn classical music. Also Master Inayat Hussain gave him training. Another teacher was Budh Singh Taan. Noorjehan, Umrao Zia and Zeenat begum were seniors to Rafi in Lahore, but they knew each others. He took training from Bhai Samund Singh and Bhai Santa Singh of local Gurudwaras. Rafi was a saintly person and a true Namazi, doing 5 times Namaz daily.

Rafi’s wife came to him after he became a Radio artiste. He had a large friends circle, who used to gather in his house. There were many Hindi and Punjabi films made in Lahore, but none of the composers thought of Rafi as a singer. Pt. Amarnath and Ghulam Hyder liked his voice and knew his talent. While shifting to Bombay, Ghulam Hyder invited Rafi to join him. Even from Bombay he sent him 2 calls. Finally on his second call, Rafi decided to shift to Bombay, lock stock and barrel, in 1945. In Bombay, till Jugnu-47 happened, Rafi sang few songs in films, but he made his living by singing in private Mehfils of wealthy Punjabis of Bombay.

Story of Rafi after Jugnu-47 is known widely. I just wanted to highlight his less known early days, before coming to Bombay. Some of this information is used from an article by H.S.Aujla in Apnaorg.

May be, because of his humble background and a struggle before he succeeded, he always had a soft corner for struggling composers. Unlike some other famous singers, he was always ready to help such composers, even if the money offered was below par. During his peak period also, poor B and C grade composers could approach Rafi with a request to sing their songs and Rafi rarely disappointed them.

Nissar Baazmi later went to Pakistan and became a big composer. Even Noorjehan and Mehdi Hassan considered it an honour to sing for him in Pakistan. As long as Nissar Baazmi was in India, he somehow remained a C-grade composer. And at the time he did Khoj, he was a nobody.

It was as a nobody in HFM that Baazmi approached Rafi to sing for the rendition of a composition for “Khoj”. He could only afford to pay Rs 50 to Rafi. Rafi charged Baazmi just the token Re 1. The result- Chanda ka dil toot gaya roney lage hain sitaare Just the shot in the arm that a struggling music director, as well as the lyricist (Raja Mehdi ali Khan) could have dreamed of !

Pandit Shivram was a small time composer as well. He too had only Rs 50 to offer Rafi for singing a song. In return, Rafi offered him as well as the music lovers this priceless song Daulat ke jhoothhe nashe mein ho choor (Oonchi Haweli)(1955) .

Rafi left his mark even in movies where Talat Mehmood was the main singer and Rafi got to sing sung one song. Take for instance Ghulam Mohammad composition Hai bas ki har ek unke ishare mein nishaan aur (Mirza Ghalib), S D Burman’s Manzil ki chaah mein (Devdas).

How Rafi could hold his own for a composer where other singers had given their best for him is tellingly illustrated in case of songs composed by Baabul. Manna Dey had sung two superb duets in in Reshmi Roomal, viz. Zulfon ki ghataa lekar saawan ki pari aayi (with Asha Bhonsle) and Aankh mein shokhi lab pe tabassum (with Suman Kalyanpur) . This movie also boasted the Talat Mehmood timeless classic Jab chaaye kabhi saawan ki ghata(Reshmi Roomaal)(1961). Mukesh too added his mite Reshmi Roomal through Gardish mein hon taare na ghabraanaa pyaare (Reshmi Roomaal) .

Next movie that Baabul got was “Naqli Nawaab” where the same hero Majoj Kumar was to lip sync the songs. Despite recording such awesome male playback songs in his previous movie, Babul switched to Rafi in “Naqli Nawaab”. Rafi was paid Rs 200 for this movie. The timeless classics that Rafi came up with were- Tum poochhte ho ishq balaa hai ke nahin hai (Naqli Nawaab) and Chheda jo dil ka fasaanaa( Naqli Nawaab) .

If Rafi’s created gems for Babul did the same for Babul’s erstwhile partner Bipin as well ! For Bipin Datta, Rafi sang Ye Bombay shahar ka badaa naam hai (Kya ye Bombay hai ?)

If music director Dulaal Sen is remembered today, then it is thanks to one “Black Prince”(1960) Rafi solo song viz. Nigaahein na phero chaley jaayenge ham (Black prince) .

C Arjun much later, told that he felt very proud that he had at least created a ghazal that could come somewhere near a Madan Mohan composition. I wanted special attention to this my coveted ghazal from my singer but all good singers available were bigger than the film for which I had composed it! revealed Arjun. It was with great hesitation, therefore, that I approached Rafi Saab to render my ghazal, so feelingly written by Indivar. And Rafi Saab, without bothering about the small payment we were in a position to make, said it was one of the best ghazals that had fallen to his lot and he would give it everything that he had.not ready to sing for a small time music director in a B grade movie. Rafi had no such qualms. He obliged C Arjun and came up with a rendition that ensured that this ghazal even till date in bracketed among the best ghazals of Hindi movies. This ghazal with Madan Mohanesque quality was Paas baitho tabeeyat bahal jaayegi (Punar Milan) .

Lala-Asad-Sattar three instrumentalists turned struggling music directors could get Rafi to sing for them and Rafi did what he always did- provided A grade song in a B grade movie-Main to tere haseen khayaalon mein kho gayaa (Sangram) .

Sapan Jagmohan made their debut as a music director duo with “Begaana”(1962). A good blueprint that the music director duo had created was converted into a memorable masterpiece by Rafi-Phir wo bhooli si yaad aayi hai(Begaana)(1963).

We have had many A grade compositions in B and C grade movies. A good number of such compositions are in Rafi’s voice and they came about because Rafi would put art before commerce and would sing for pittance no matter how “small” a movie or its music directors were. That is how we got Iqbal Quraishi’s composition Subah na aayi shaam na aayi(Cha Cha Cha) and Sonik-Omi offering Dono ne kiya tha pyaar magar(Mahua)(1969).

The Rafi touch could turn any disc into gold! The above information is based partly on an article written by Raju Bharatan for The Illustrated Weekly of India, Aug 93.

The music Director for film Oonchi Haveli-55 was Shivram or Pt. Shivram Krishna. He was one of those composers who could not get very famous, though he composed very well. Pt. Shivram Krishna was born at Jodhpur on March 22, 1927. He started learning music at the age of 8 under the tutelage of his father Master Tulsidas, who worked with Marwar Record Company, Jodhpur from 1934 onwards. He was later employed in the court of the Maharaja of Jodhpur, Umed Singh as a singer/musician. It was the name and fame of Khemchand Prakash that inspired him to try his luck in films. At the age of 16, he went to Lahore where he worked under Pandit Amarnath and Master Ghulam Haider for around three years, only to return to Jodhpur at the time of partition. From the year 1948 till 1950 he worked as a music director with His Masters Voice in Lucknow, and then made his way to Mumbai in 1951.

At Mumbai, Pt. Shivram was given his first break by V. Shantaram, who signed him for two of his films – Teen Batti Chaar Raasta (1953) and Surang (1953). The music of both the films was appreciated and the films became silver jubilee hits. Besides these, V. Shantaram gave him two more films in 1960 – ‘Phool Aur Kaliyan’ and ‘Kaale Gore’, the first winning the National Award for Best Children film, while the second remained unreleased. He used the voices of V. Shantaram’s daughters Charusheela and Madhura in children’s films.

Following the success of his initial films, Pt. Shivram caught the attention of Dhirubhai Desai and Nakhshab Jarchavi, who signed him for their next films, Oonchi Haveli (1955) and Raftaar (1955) respectively. The songs of these two films were also quite successful. Then came Sati Ansuya (1956), another film by Dhirubhai Desai that started the trend and literally sealed his fate as a composer of mythological films. Barring Naya Kadam (1958), a social drama, and Rangeela Raja (1960), a stunt film, and the two children films by V. Shantaram, all the films he got after Sati Ansuya were religious/ mythological films. In all, out of the 23 films he composed for, as many as 14 were religious/ mythological films.

Despite composing some good songs for these films, the success he got with his initial films could not be repeated given the limited popularity of such films and similarity in the genre of songs. Barring a few songs from Shravan Kuman (1960), Kan Kan Mein Bhagwan (1963) and Sati Naari (1965), most of the songs are all but forgotten. ‘Tum Naacho Ras Barse’ by Mahendra Kapoor in Sati Naari fetched Pt. Shivram the Swami Haridas Award in 1966.

The last two Hindi films of Pt. Shivram were Sampoorna Teerth Yatra (1970) and Mahapavan Teerth Yatra (1975), both of which have the unique distinction of featuring what could be the longest Hindi film songs, running 45 and 70 minutes respectively. Both these songs were about the various places of pilgrimage in India and were almost similar in tune and structure. Interestingly, he had also composed two more songs on similar lines in Durga Pooja (1962) and Kan Kan Mein Bhagwan (1963).

Pandit Shivram gave music for various regional languages such as Rajasthani, Bhojpuri, Punjabi, Haryanvi, etc. He was the default composer for Rajasthani films all through the 1960s, starting with the first Rajasthani film Babasa Ri Ladli (1961). He also composed for several Marwari and classical music non-film albums. As a proficient Harmonium player, he teamed with table-nawaaz Ustaad Nizamuddin Khan to produce a classical album. Pandit Shivram was as good a vocal artist as he was a harmonium player. He sang in films like Oonchi Haveli, Rangeela Raja, Sati Ansuya, Badrinath Yatra, etc.

The lyricists Pt. Shivram worked with, were more or less decided by the films he worked in. While he worked with the likes of Asad Bhopali, Shevan Rizvi, Pyare Lal Santoshi, Nakhshab Jarchavi, etc. in his non-mythological films, predominantly ‘Hindi’ writers like Bharat Vyas, Kavi Pradeep, Neeraj, Madan Bharti and Pt. Indra wrote for his mythological films. Pt. Indra and Bharat Vyas were his prime contributors for Rajasthani films.

Pandit Shivram died in February 1980 leaving behind a family of musicians. His daughter Jayshree Shivram is a singer. Two of his sons, Jugal Kishore and Tilak Raj jointly composed for a few Hindi films, debuting with Bheegi Palkein (1983). His third son, Naveen Shivram had started his musical career with giving music for the serial Apnapan in 1999 and went to compose for a few small time Hindi films and some Rajasthani film and non-film albums as well. Another son, Mukesh, was also a composer and is no more. ( Information on Shivram, based on urgetofly.com and my notes.)

Now, here is a fun song from this film, sung by Rafi and chorus. Though Asha Bhosle’s name is also credited, I did not find any female voice in the song.
PS-Now Sadanand Kamath Jee has pointed out that this song is a two part song and Asha Bhonsle’s voice does appear in the second part of the song. So this song is a Rafi-Asha Bhonsle duet, after all.


Song- Baap gaaye Thumri aur Garba gaaye Maiyya (Oonchi Haweli)(1955)Singer- Rafi, Asha Bhonsle, Lyrics- Bharat Vyas, MD- Pt Shivram
chorus

Lyrics

baap gaaye thumri aur garba gaaye maiyya
jab aangna mein raas rachaenge ye rupaiya
ye chaandi ka kanhaiya ho chhan chhan chhan rupaiya
bhabhi gaaye bhim palaasi drupad gaaye bhaiya
jab aangana mein raas rachaenge rupaiya
ye chaandi ka kanhaiya ho chhan chhan chhan rupaiya

gol gol ye nagad narayan hove jiske paas
wo saare aalam ka baalam sab jan uske saath
ki duniya naak ragadti
ke duniya kaan pakadti
ki duniya jhuk jhuk kare salaam
baabuji parnaam
saahab ji salaam
seth ji raam raam raam raam raam
dekh ke saari duniya naache ta ta ta ta thhaiya
jab aangana mein raas rachaenge ye rupaiya
ye chaandi ka kanhiya ho chhan chhan chhan rupaiya

naram naram duniya laage jab garam garam ho jeb
rupaiye ki jhankaar mein bhaiya chhup jaate sab aeb
achcha
haha

zara dekh lo
ek hai saabat ek hai gaayab
ek khuli hai ek hoon hoon hoon
jaane saara gaam inko jaane saara gaam
par laxmi ki kirpa se inka kamalnayan hai naam
arre inka kamalnaian hai naam
ghuti hui hai khopadi
ghuti hui hai khopadi
par paas hai inke rokadi
safaachat sab baal uden
ye ganju ji ganjan hain
paisa inki aankh ka anjan
daanton ka manjan hai
par jeb kare jham jham to
inka naam keshranjan hai
ae bhaiyya inka naam keshranjan hai
ye kaaghji jawaan seena taan ke khade hue
ye laxmi ki duniya mein heere moti se jade huye
aa aa aa aa aa
dehradun ke cartoon
ye mahlon mein rahte
unchi haweli mein rahte
isiliye sab basti waale hastimal kahte
arre inko hastimal kahte
ke moorakh kahlaaye gyaani
ke phoohad kahlaaye raani
ki cheeku kahlaaye daani
ki ye sab rupye ki maaya
arey bhai waah waah waah waah waah
hoy besuri lugaayi bhi kahlaati hai suraiya
jab aangna mein raas rachaenge ye rupaiya
ye chaandi ka kanhaiya ho chhan chhan chhan rupaiya

o jee o jee
aji aao jee
main teri nayi naweli naar
tu mera albela bhataar
kiya sab tere liye singaar
aji aa jee

ho ho ho ho
kaho meri kaisi ankhadiyaan
ke jaise gulaab ki pankhadiyaan
daant ki kaisi jyoti hai
seep mein jaise moti hain
seep mein jaise moti hain

aur mere sar ke kaise baal
aji in ne to kiya kamaal
ke jaise saawan ke baadal
ke jaise bhanwron ka ho dal
ke jaise nainon ka kaajal
haay re wai wai wai wai wai
meethe meethhe lagte hon jo panchhi se baraiyya

kab
jab aangna mein raas rachaaye re rupaiyya
ye chaandi ka kanhiya ho chhan chhan chhan rupaiya

baap gaaye thumri aur garba gaaye maiyya
jab aangna mein raas rachaenge ye rupaiya
ye chaandi ka kanhaiya ho chhan chhan chhan rupaiya

aa aa aa aa aa
aa aa aa
maine laakhon ke bol sahe
chaandi ke chanda
haay re baandi ke banda
haaye re phaansi ke phanda
tere liye ae
maine laakhon ke bol sahe

saajan aaya hey sakhi
ee ee ee ee ee

waah waah waah
haan
kai manuhaar karo
thhal bhara gaz motiyaan aan
aur ooper nain dhara aa aa aa aa aa aa
ho chaandi ke chanda
haaye re baandi ke banda
haaye re phaansi ka phanda
tere liye ae
maine laakhon ke bol sahe

ikanni duwanni
chawanni athhanni
ikanni duwanni
chawanni athhanni
chhote mote maap hain
ki chhote mote maap hainhe
ye hain baal bachche iske
rupaiyya inka baap hai
rupaiyya inka baap hai
is kaljug ki duniya mein paar laage tab hi naiyya
jab aangna mein raas rachaenge ye rupaiya
ye chaandi ka kanhaiya ho chhan chhan chhan rupaiya


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

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

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