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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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4083 Post No. : 15222

Today’s song is from film Gharbaar-53. The film was produced by Ratilal Vora for K.Pictures, Bombay.It was directed by Marathi cinema’s famous and successful director Dinkar D. Patil. The cast of the film was Surendra, Manhar Desai, Sulochana Chaterjee, Kuldip Kaur, Shakuntala, Shammi, Baby Naaz, Paro, Kathana, Gope and others. The film’s 8 songs were written by Indivar, Kaif Irfani and D N Madhok. The music was by Vasant Prabhu.

From the beginning of Talkie films, there have been the occasional actors, directors, producers, Lyricists and Music Directors – whose contribution to the Film industry had not been more than just ONE or TWO appearances. There were countless MDs with just one film. Some of the names for your information are, Master Mohan-Pati Bhakti-32, K R Gore-Bhool ka bhog-35, S P Mukherji-Jagran-36, Govindam-Jeevan Jyoti-37, K M Pawar-Paak Daaman-40, Pratap Mukherji- kisi se na kehna-42, Dinkar Rao-Beete din-47, Mukund Masurekar-Didi-48 etc etc. The book ” Dhunon ki yatra” by Pankaj Raag lists hundreds of such names from all decades.

Composer Vasant Prabhu was also one such person who got only one film in Hindi to make songs, Not because he was not capable, but because he was busier in Marathi films and he died at a very young age.

During my early times on this Blog, I had run a series titled, “Less known composers”, 7 years ago. I had discussed songs composed by almost unknown Music Directors like Shridhar Parsekar, Pt. Motiram, Bhushan, Kamal Rajasthani etc. In this series, the last name was Vasant Prabhu’s. 7 years ago, not much information was available on him – not even his real name or dates of birth and death. In last few years, more information and details are available about him. It is always like this. History gets updated with the availability of newer evidences, proofs and documents. So, here is the newly updated information on Vasant Prabhu now….

Vasant Prabhu was born on 19-1-1924. His real name was Vyankatesh Krishnarao Prabhu. His family belonged to Panemangrul, near Mangalore in Karnataka. His father owned many hotels in Bombay. Unfortunately his father lost all 14 hotels and the rich family had to stay in a chawl in Parel.

While still a young boy, he joined the Ganesh melas and used to sing songs on stage. His voice being sweet and the style lovable, he used to get “Once More’ many times. On one such occasion he got 26 times ‘Once More’ and while singing repeatedly his throat was damaged.

While still young,he learnt Kathak dancing and classical music. His elder brother acted in films. He too did child roles. This is when he became Vasant from Vyankatesh. He was a tall,handsome and well built young man.He wanted to become an Actor,so he went to kolhapur, then to Poona and finally landed in Bombay.

Here he did not get any actor’s role,but he joined HMV as a Music composer. Vasant kamerkar who also worked in HMV, helped him to get the job. While here, he started composing Marathi Bhavgeets. Vasant Prabhu, Lata Mangeshkar and Lyricist P.Savalaram ( Savlaram Patil) created many iconic Marathi songs from 1948 to 1965.

His first song was sung by Lata ji,” Ganga yamuna dolyat ubhya kaa…” (गंगा यमुना डोळ्यात उभ्या का) in 1949.This song became so famous overnight that after more than 70 years,even today, it is played on AIR and in almost every Marathi marriage in Maharashtra, by the Band.This is a song of Bidaai, sung so soulfully and the wordings are so meaningful that sensitive women start weeping listening to this song.

While at HMV, Vasant Prabhu also composed some NFS for Lata ji and Geeta Dutt in Hindi. One of Geeta ji’s songs,”Jamuna ke teer kanha aao” is extremely popular with Geeta lovers. ( There is a controversy about Nikhil Ghosh composing this bhajan. The references are divided. It is possible that Vasant Prabhu provided the tune,as he was already in HMV)

Vasant Prabhu’s name is written in Gold for the Marathi Bhavgeets that he composed with Lata and P.Savalaram. The 50’s decade was famous for their songs. In all 110 Bhavgeets were composed by Vasant Prabhu.

Vasant started his film career with Marathi film ‘Ram Ram pavhana’-1950, along with Lata Mangeshkar, choreographing few dances and composing its music too. From 1950 to 1968 he gave music to 22 Marathi films and 5 stage dramas, while doing private albums also.

He was the MD for most Marathi films produced by Lata ji’s ‘Surel Chitra Production company’. In film ” Vaadal” he composed a Thumari in such a wonderful manner that when this film was released in Nagpur the Audience wanted to listen to the Thumari again and again,and threatened to burn the theatre if not done so.Finally that Thumari was shown 5 times that day !

In another film,’Taaraka’, he made actress Sulochana Latkar do an item number in the film.Probably she danced the Item number first and last time in her life.

Singers like Phiroz Dastoor and Talat Mehmood also sang for his Marathi films.

In 1953 he did his only Hindi film “GHARBAAR”-53. There were 8 songs in the films sung by Rajkumari, Lata, Asha,Talat Mehmood and Surendra.

Vasant Prabhu was very honest,punctual,straight forward,disciplined and hot tempered.He never went to anyone to ask for work. Of course work always came to him.He used to compose his tunes lying down in his balcony.

Unfortunately, he got addicted to alcohol in young age and died on 13-10-1967. He was just 43 years old that time.

(Thanks to Madhu Potdar’s biography of Vasant Prabhu-“Manasicha chitrakar” ( मानसीचा चित्रकार ), the Marathi chitrapat Sangeetkar kosh and article by Sulabha Ternikar. )

Similarly, another actress in the cast – Shakuntala was also different than many others of her ilk, i.e. those who started as a child artiste. Right from beginning of the films,child artistes were required to do roles in the films. In the initial stages and also in later periods too, girls used to do Boys’ roles ( but never heard of vice versa ! ). We have the famous examples of Honey and Daisy Irani sisters. Many child stars acted in films till they became older or were not suitable for child roles. One such example was Junior Mehmood. It was quite natural that most of them wanted to continue acting in films as an adult too and many tried to become hero/ heroines. Unfortunately, only some of them could shine as heroes or heroines, while most child stars failed as adult Hero/Heroines.

Successful child artistes are few like Meena Kumari, Madhubala,Nargis, Shashi kapoor, Sachin etc, but you can count them on fingers, whereas the list of unsuccessful child artistes who tried to become adult Hero/Heroines is quite long.

Unlike Baby Tabassum, who could not become a successful adult Heroine in good films, there was another ‘Baby’ who became quite successful as an adult Heroine opposite well known actors under famous banners and left halfway due to her marriage. Her name is BABY SHAKUNTALA. She worked with well known actors like Kishore kumar, Bharat Bhooshan, Karan Dewan, Amarnath, Anant Marathe, Master Bhagwan, Abhi bhattachrya etc. She was also lucky to have worked under ace directors like V.Shantaram, Bimal Roy,Homi Wadia, kishore Sahu, Raja Nene, Gajanan Jahagirdar,Shahid Lateef etc. Born on 17-11-1932, she recently – 4 years ago – died on 18-1-2015 at Kolhapur.

The director of this film Dinkar D Patil was also one of those mentioned above, who visited Hindi films just for one or two films. He directed 2 Hindi films, but he was a very big name in Marathi cinema and a winner of Phalke award also.

Dinkar D. Patil (1915–2005) was a prominent Marathi film director, scriptwriter, and dialogue writer during the Golden Era (1950–1990) of the Marathi Film Industry. He directed, wrote scripts and dialogue for more than 60 Marathi films. He also directed two Hindi Films-Mandir-48 and Gharbar-53. He wrote his famous autobiography titled as Patlache Por (पाटलाचे पोर).

Dinkar Patil was born in a Maratha Patil family on 6 November 1915 in the village of Benadi near Kolhapur. From his childhood he was interested in Marathi stage shows, Marathi plays and cinema. He studied in Kolhapur and completed his B.A.
He started his film career doing assistant job in the Maharashtra Film Company owned by Baburao Painter at Kolhapur, and eventually became an assistant director to Master Vinayak and later transitioned into a film director. He directed and wrote scripts for more than 60 Marathi films.

His films depicting rural life with rural themes, he was considered an authority in both script writing and also directing. He wrote script and dialogue for 62 films and directed 35 films including two Hindi films, Mandir and Gharbar. He received a number of film awards including the prestigious Dadasaheb Phalke Award.

Dinkar Patil introduced Marathi Lavani folk dance in his films, which made his films more popular. He was closely related to Jayaprabha and Shalini Studio in Kolhapur. Also, he made valuable efforts in establishing Marathi Film City – Chitranagari in Kolhapur.

His famous autobiography titled as Patlache Por (पाटलाचे पोर) was published in 1984 in Marathi. More than 10,000 copies were sold during initial years after publication and now it is translated in many other Indian Languages.

He lived in Mumbai for most of his life but returned to Kolhapur with a desire to spend the last years of his life there. Due to attachment to the studios in Kolhapur namely Jayaprabha and Shalini, he reportedly expressed his last desire to immerse his ashes in the premises of the two studios namely Jayaprabha and Shalini Studio in Kolhapur as he was closely attached throughout his life. He died on 23-10- 2005 at the age of 90 in Kolhapur. ((adapted from wiki)

film Gharbaar-53 had 8 songs. Today’s song is the 3rd song to be presented here. By coincidence, all these 3 songs are presented by me, in last 7 years. Today’s song is sung by Asha Bhosle and Surendra. While Asha was the new struggling voice, Surendra was the fading voice of the earlier generation. After this song, he sang only twice – in film Gawaiya-54 and in film Pati Patni-66. That was the end of his singing.

Surendra ( 11-11-1910 to 11-9-1987) was a very successful actor singer. He was first projected by Sagar Movietone as Bombay’s answer to Calcutta’s Saigal. In his first film, Surendra has actually sung a Parody of Saigal’s song. What a way to begin singing career ! Surendra acted in 73 films. He sang 152 songs in 40 films.

Listen to this song and you will feel the contrast between a rising singer and a fading one.


Song- Khet pake ud ud jaa (Gharbaar)(1953) Singers- Asha Bhonsle, Surendra, Lyrics- D N Madhok, MD- Vasant Prabhu
Female chorus
All chorus

Lyrics

urr
hey
khet pake
ud ud jaa
dheeth na ban
?? mera ho piya
hey
khet suhaane
hari hari daaliyon ke beech lage motiyon ke daane

mere maula ki
hey mere maula ki rang maula jaane
hey mere maula ki rang maula jaane ho

khet pake
ud ud jaaye
dhheeth na ban
o kaaga
?? mera ho piya

o o o
o o o
idhar udhar khetiyaan hai
beech bahe paani
aji beech bahe paani
idhar udhar khetiyaan hai
beech bahe paani
kaise lage
aji aise lage
ho re jaise
jeewan ki raah mein
thhumak thhumak
aji thhumak thhumak chali jaaye jawaani
rok lo
ise rok lo

aa aa aa
aa aa aa
aa aa aa
rok lo
ise rok lo
ye chali kha ke kasam
ye chali kha ke kasam
paani ko aag lagaae mein

mere maula ki
hey mere maula ki rang maula jaane
o mere maula ki rang maula jaane ho

khet pake
ud ud jaa
dheeth na ban
o kaaga
?? mera o piya

o o o
o o o o
o o o o

o o o
o o o o
o o o
ghadi ghadi sar sar ki boliyaan suhaani
aji boliyaan suhaani
ghadi ghadi sar sar ki boliyaan suhaani
bole mera khet jaise
koi ishaare
chhup chhup ke
aji chhup chhup ke bole meeethhi baani
maang lo
aji maang lo

aa aa aa
aa aa aa aa
aa aa aa
maang lo
aji maang lo
ke meri jholiyon mein
ke meri jholiyon mein
tere liye umr bhar ke daane

mere maula ki
o mere maula ki rang maula jaane
o mere maula ki rang maula jaane ho

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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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4081 Post No. : 15220

Today’s song is from film Raami Dhoban-53. It is sung by Geeta Dutt, Shankar Dasgupta and chorus. The lyrics are by Ram Murthy Chaturvedi and the music was by a relatively less known composer, Hiren Bose. The film was made by Navkala Niketan-of Ramesh Vyas, the Producer. The film was directed by Hiren Bose.

It is very rare to see both the director of the film and its composer being the same. There are cases, when Producer/Director or Director/Lyricist or even Director/main actor being one and the same, but director and composer combination is not that common. In the 50’s decade, S N Tripathi, music director was a multi-faceted artiste. He was an actor, composer, director and a singer too. He had acted in 83 films,sang 13 songs in 7 films, directed 18 films and gave music to 107 films- composing 863 songs in all. He was the MD in all the 18 films, which he had directed- from Ram Hanuman Yuddha-57 to Sant Gyaneshwar-81.

Till S N Tripathi achieved this feat, Hiren Bose was considered a marvel. He acted in 6 films, directed 15 films, gave music to 3 films and wrote story and screen play in 2 films. I had first written on him 7 years ago. After that more details became available, hence here is his detailed information…

Born in Calcutta on 26-9-1903, Hiren completed his college education and learnt classical music & Rabindra sangeet to such proficiency that soon he earned titles of “Vidya Bhushan” and “Sangeet Ratna “. He wrote in Bengali papers and for Bangla films too.

In the years 1928 to 1932,Hiren had joined HMV as a Music Director. Here he became a close friend of Kazi Nazrul Islam and Dhiren das. Both kazi and Hiren wrote lyrics for songs in HMV .

Around 1929,a new , young and attractive singer came to HMV. Her name was KANAN BALA. She came for recording songs. Soon the handsome Hiren cast his spell on Kanan and she started considering him as her mentor in HMV. They were a quartet of friends, Kanan, Hiren, Kazi and Dhiren. In HMV Kanan recorded many songs set to tune or written by Hiren Bose.

In 1932,this team left HMV,on the issue of Royalty and joined the newly formed Megaphone Recording company. Here too after 2 years, this team left Megaphone and joined Columbia recording company. By 1934, Hiren wrote in his autobiography- JATI SMAR (My memories)-later that he had lost interest in Kananbala.

Hiren’s eyes were now set on a bigger Horizon -BOMBAY. He knew that remaining in Calcutta may not be suitable for him. Meanwhile he had met another struggler, ANIL BISWAS. Hiren advised him to go to Bombay for brighter future and also promised him all his help. Although,by then ANIL BISWAS was comfortably placed in Calcutta, he left for Bombay as per Hiren’s advise. Hiren Bose was a highly respected name in musical circles of Calcutta.

Hiren started working in Bombay. His fame as a versatile film person had already reached Bombay and he had no difficulty in getting work there. Hiren directed Dharam ki Devi-35,followed by Piya ki Jogan-36 and then Mahageet 1937. As per his promise he gave a chance to Anil Biswas to give music,independently to DHARAM KI DEVI-1935. As such earlier he had composed a song in Bharat ki Beti-35- “Tere poojan ko Bhagwan” sung by Rattan bai. But then he had shared the Music direction with Zande Khan. That song had become quite popular then.

Hiren Bose was very fond of acting in films and he also acted in MAHAGEET-1937. It was in this film that Anil Biswas FIRST introduced playback singing in a Bombay film. (In Calcutta R C Boral had started playback in 1935 itself). The FIRST ever Playback song in this film was ” Jeevan hai ek kahani,Duniya bhi hai ek kahani ” . It was sung by Anil Biswas and was filmed on Hiren Bose on the screen.Thus Hiren Bose’s name became a Historical name in Bombay film industry. This was how, Anil Biswas repaid the debt of Hiren Bose,in helping him to get established in Bombay Music field.

(Ref- ‘The early composers- Music beyond Boundaries by Dr. Ashok Ranade pp 183-186).

After Mahageet, Hiren Bose got an offer from Madras to direct a Telugu film- Bhakt Jaydev-1938,which he did successfully.

Hiren Bose kept on shuttling between Bombay and Calcutta,doing some films here and some there.He also acted in some Bangla films during that period. He was so versatile in many departments that he did acting, directing, lyrics, singing,and composing. His complete Filmography is not available but some details are available.

As a Director 15 films are to his credit-
Chup-31
Mahua-34
Dharm ki Devi-35
Piya ki Jogan-36
mahageet-37
Bhakta jaidev-38
India in Afica-39
Amar Geeti-40
Kabi Joydeb-41
Daasi-44
Banjarey-48
Sree Tulsidas-50
Ghungroo-52
Raami Dhoban-53
Ektara-57

He acted in
Rishir prem-31
Chup-31
Udayer pathe-44
Towards the Light-44
Sesh Raksha-44
Mahageet-37

As a writer-
Meerabai (s/Play and story)-32
Rajrani Meera(story)-33

As a composer
India in Africa-39
Kabi Joydeb-41
Raami Dhoban-53

After directing his last film Ektara in 1957, Hiren Bose lived a retired life. His last few years were mostly unhealthy and he spent time writing lyrics for geets in Bangla which were usually sung by Hemant Kumar, Kanan Bala and Suprova Sarkar.

Hiren Bose died on 18-6-1987 and one of the most versatile, multifaceted and multilingual artist disappeared for ever….

Film Raami Dhoban-53 was a version of the original film on this story- Chandidas, first made in 1932, with Durgadas Bannerjee and Uma Shashi, in Bangla language. This was a first Hit film for New Theatres. The music was by R C Boral. After 2 years, when Saigal came on the film horizon of India, the film was remade with him in the lead, in Hindi, in 1934. This was New Theatre’s first Hindi Hit film. This remake also gave a motion to the ‘Bilingual’ trend, set earlier by Prabhat film company, with its ” Ayodhyecha Raja” in Marathi and ” Ayodhya ka Raja” in Hindi in 1932 itself. This commercially viable and profitable trend continued, both at Bombay and Calcutta, for the next more than 20 years.

These days, there are not just Bilingual, but Multilingual remakes. But the difference is, today a Hit and Successful film in one language made elsewhere, is remade with same story, but different actors and locations. Earlier, on the same set and same time, two language films used to be shot with almost the same cast and location. Even the producer and director used to be the same for both the languages.

The Bangla film Chandidas-32 was directed by Debki Bose and the cinematographer was Nitin Bose. Later, Nitin Bose directed the Hindi remake in 1934 and it was a bigger hit than the Bangla version. This was, of course, because of the wider market for the Hindi version. I am not aware of any other film on this story made in any language in India.

It was almost after 20 years that a new film in Hindi was made on this story of Bangla Vaishnavite saint of the 15th Century. This time the lead was done by yet another Bangla actor Abhi Bhattacharya. The cast of the film Raami Dhoban-53 was Kamini Kaushal, Abhi Bhattacharya, Tiwari, Sankata Prasad, Sona Chatterji, Uma Devi, Prem Adib as a Guest artiste and many others.

Some actors are identified with an immortal character they played on the silver screen, e.g. Prem Adib as Shri Ram, V.Shantaram as Dr.Kotnis, Dev Anand in Guide, Guru Dutt in Pyaasaa, Meena Shorey as the Lara Lappa Girl etc. In my mind, the image of Abhi Bhattacharya is etched as the ideal Teacher in film Jagriti-1954. His face was such that it can not be imagined as a lover boy or a jumping jack running around trees with the Heroines. In film Jagriti, he fitted absolutely in the role of an ideal teacher. He did many types of roles in films, but his image for ever, was clubbed with Jagriti-54.

Abhi Bhattacharya ( 20/11/1922-11/9/1993) had a handsome and impressive personality. Belonging to the Bimal Roy camp,he debuted in 1947 with film Naukadubi from Bombay Talkies- a Bengali dominated production house. Some of his other notable films were Yatrik-52, Jagriti-54, Biraj Bahu-54, Anuradha-60, Aradhana-69, Seeta aur Geeta-72 etc etc. He worked with stalwarts like Bimal Roy, Satyen Bose, Nitin Bose,Guru Dutt, Ritwik Ghatak etc. In the later part of career he worked as Lord Vishnu and lord Shrikrishna in many Mythological films. He wrote one book too,”Destiny with Dadaji”. He acted in 166 films. His last film was ‘Professor ki padosan’-93. He died on 11-9-1993.

The story of the love between Chandidas and Raami was not an ordinary one. The other day I found this story on speakingtree.in, on the internet. Here it is….

Chandidas was the son of a Brahman priest. He was very handsome, charming and of a quiet countenance, but was forever lost in some world of his own. His father, tired of him, died, and Chandidas was forced to succeed him as the purohit of the local temple of a goddess.

Chandidas’ heart was never into these frivolities. He was devoted to Lord Krishna immensely. Then, one day, as he was sitting silently on the banks of the river in their village, his heart filled with sadness and disillusionment at the world. Legend has it that the Devi of the temple of their village appeared there, and told him that he would become a great poet and philosopher.

Then, when he was returning, he beheld a washerwoman washing clothes. When she got up, the two looked at each other, and it was love at first sight.

Chandidas thought that Rami, the washerwoman, was divinely beautiful. She was the source of strength and courage to him, just as Radha had been for Krishna. And this marked the beginning of Chandidas’ poetry.

Chandidas’s brother, who was ashamed of Chandidas because of his romantic involvement with the low-caste Rami, forced him to take part in a shudhikaran ceremony and purge himself of the sin of Rami’s touch. But just at that moment, Rami came, weeping and struggling as guards stopped her. ‘Chandithakur, would you leave me forever for society? Do I have just this much value for you?’

Chandidas was put in a dilemma. Here was the woman he loved like no one else, who always stood by him when people turned on him. And on the other side, the society his father had structured, and the people who revered his family, still stuck in social conventions and stupid rites and traditions.

Chandidas made his decision on the spot. He walked towards Rami, took her hand, and led her away from the village forever. They stopped at the house of Ganesha the singer, where Chandidas and Rami spent the rest of their lives singing hymns for Krishna and Radha.

Chandidas and Rami’s love cannot be described in words. It is a love which transcends all barriers, shatters all conventions, and ends in purity and total abandonment of the world – a spiritual domain. If it has to be compared to someone, then the love of Radha and Krishna stands apt. Like Radha, Rami was beautiful like none. Like Krishna, Chandidas was charming and handsome, but considered only Rami as the star in the soulless sky of his life. But there’s a crucial difference.

Radha and Krishna were separated by society’s cruel hands. Krishna, heeding social conventions, went on and married 8 principal wives and 16000 other women, while Radha was left waiting for him. While Chandidas and Rami, realizing that these norms were but binding cords on their necks, let go of everything and led their lives in perfect freedom and love.

However, the main emotion in both tales is true love, transcendental and all-encompassing. Love which has no trace of any animosity, expectations or jealousy, but is the very nature of the soul. It is this love, this inherent nature we all must strive to realize, and we’ll soon realize the difference this brings in our lives. Maybe, we would one day stare in the face of God!

Today’s song is the 6th song from this film to be discussed here. There were 14 songs in all, a large number indeed, considering that the average of songs in the 50s had come down to almost 6 to 7 songs per film. The song is very melodious. One finds lot of similarity between songs of Hiren Bose and Anil Biswas….may be because both used the folk tunes of Bengal in their music.


Song-Sun sun Dhobiya kahe re dhobaniya (Raami Dhoban)(1953) Singers -Shankar Daasgupta, Geeta Dutt, Lyricist- Ram Murthy Chaturvedi, MD- Hiren Bose
Female chorus
Male chorus
All chorus

Lyrics

chham chham chham chham chham
hey
chham chham chham chham chham
hey
chham chham chham chham chham
siya ram siya ram
ram ram siya ram
ram ram ram ram ram ram
sun sun dhobiya kahe re dhobaniya
sun sun dhobiyaa kahe re dhobaniya
chham chham chham chham chham

duniyaa gol hai
ghoom ghoom kar milte baarambaar
duniyaa gol hai
ghoom ghoom kar milte baarambaar
to phir hil mil kyun na karen
kyun na karen hum pyaar
to phir hil mil kyun na karen
kyun na karen hum pyaar
duniya gol hai
chham chham chham chham
siya ram siya ram
ram ram siya ram
ram ram ram ram ram ram
sun sun dhobiya kahe re dhobaniya
sun sun dhobiyaa kahe re dhobaniya

aa ha ha ha
a aa aa aa
lahron se milke khele machhariya
sajna se mil khele(?) mori najariya
lahron se milke khele machhariya
sajna se mil khele(?) mori najariya
bhaag tore jaage o mori sajni
bhaag tore jaage o mori sajni
bhaag tore jaage hamra balamva ganwaar
haay ram hamara balamava ganwaar

duniyaa gol hai
ghoom ghoom kar milte baarambaar
duniyaa gol hai
chham chham chham chham chham
hey
chham chham chham chham chham
hey
chham chham chham chham

duniyaa gol hai
ghoom ghoom kar milte baarambaar
duniyaa gol hai
ghoom ghoom kar milte baarambaar
to phir hil mil kyun na karen
kyun na karen hum pyaar
to phir hil mil kyun na karen
kyun na karen hum pyaar
duniya gol hai

chham chham chham chham chham
siya ram siya ram
ram ram siya ram
ram ram ram ram ram ram

sun sun dhobiya kahe re dhobaniya
sun sun dhobiya kahe re dhobaniya

kaanha se raadha mile chori chori
waise to bhi(?) mile chhaila se gori
kaanha se raadha mile chori chori
waise to bhi(?) mile chhaila se gori
bhola balmava hamaar o re piya
bhola balamva hamaar
chhup chhup ke khele shikaar
chhup chhup ke khele shikaar

to phir hil mil kyun na karen kyun na karen hum pyaar
to phir hil mil kyun na karen kyun na karen hum pyaar
duniya gol hai
duniya gol hai
chham chham chham chham chham
hey
chham chham chham chham chham
hey
chham chham chham chham chham


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4080 Post No. : 15219 Movie Count :

4183

Hullo Atuldom

“Khoon Ki Pukar” released in 1978 – censor certificate is dated 29-5-1978. It was directed by Ramesh Ahuja and produced by Tahir Husain’s T. V. Films Pvt. Ltd. It had a cast headed by Vinod Khanna and Shabana Azmi with Aruna Irani, Amjad Khan, Roopesh Kumar, Krishnakant and Pran as main supporting characters. The movie opens with the lines in “buland awaaz” (have always wondered whose voice it was)

khudi ko kar buland itna, ke har takdeer se pehle,
khuda bande se khud pooche, bata teri raza kya hai

which translates as

Make yourself so worthy that before deciding your fate God shall ask you what you wish for!

This was standard for all movies made by Tahir Husain. The movie’s songs were written by Hasrat Jaipuri (2) and Gauhar Kanpuri (5). Bappi Lahiri was the music director. The seven songs were rendered by Lata Mangeshkar (3 solos and 2 duets), Kishore Kumar (1 solo and 1 duet), Anuradha Paudwal (1), and Mohd. Rafi (only a duet).

I have been seeing this movie as and when time has been permitting over the last couple of days and this is what I have seen –

” After the murder of his wife, and his son’s kidnapping, Dr. Vidya Bhushan (Pran) decides to devote the rest of his life as a Poojary, living on the premises of a princely-donated temple, hoping and praying that one day he will be reunited with his estranged son. One day a wounded bandit named Sher Singh (Vinod Khanna) comes to the temple and Pran treats him back to health. He not only shields the man from the police, but also lies to the townspeople that the man’s name is Amrit, When Amrit recovers, he is grateful to Vidya for looking after him, and he falls in love with a town belle by the name of Shalu (Shabana Azmi). What Vidya does not know is that Amrit is really interested in the gold and jewellery hidden in a secret underground chamber below the temple; and what Amrit does not know is Shalu is seeking vengeance against Sher Singh for killing her father.”

From the above it is evident that the movie was a typical Bollywood-masala-movie relying heavily on the tried and tested ‘lost and found’ theme and ‘dacoits and revenge’ for additional leverage with the audience. Vinod Khanna and Shabana Azmi were a popular on-screen couple from the 1976 released “Shaque” to “Lahu Ke do Rang” which came in 1979 after which VK suddenly left everything and went off to Rajneesh Ashram. They did about 7 films as romantic pair and this must be one of the only movies were VK played a nasty dacoit after he turned to playing the main hero roles. Of course, this dacoit is the hero of the movie or as the stars of Bollywood like to say – character with grey-shades which gets reformed eventually, 😊

Today’s song is penned by Hasrat Jaipuri whose 20th anniversary was on 17th of September. On screen it is performed by Shabana and VK for a song sung by Lata and Kishore.
This song is also meant to wish Shabana Azmi on her 69th birthday. We all know that she was born on 18 September to poet Kaifi Azmi and his actress wife Shaukat Azmi. She is supremely talented and has won 5 National Awards for Best Actress over the years from her debut film “Ankur” in 1975 to 1999 for “Godmother”; she is also a Padma Award winner along with being a social and Women’s Rights activist.

It was not by design that I chose this song today. My aim was just to see if Shabana had worked in any movie produced by Tahir Husain and I landed on this. Why did I look for a Tahir Husain movie? Because I wanted to remember him on his 81st birth anniversary which is on 19th September. Tahir Husain – who was brother of Nasir Hussain and father of actors Aamir Khan and Faizal Khan. Tahir Husain also produced a few movies beginning with the 1971 “Caravan” till “Madhosh” in 1994. We have seen him in front of the camera in a few films directed by his brother Nasir Husain.

So, here is today’s song which starts with a couplet

ये इश्क़ नहीं आसान बस इतना समझ लीजिये
एक आग का दरिया है और डूब के जाना है

I have heard this couplet a number of times in my life and I decided to google to find its poet/ shaayar. First google came up with Jigar Moradabadi’s name, then I also found these lines attributed to Mirza Ghalib. Now I am confused. I hope there is someone in the followers of this blog who will tell who wrote this first. But Hasrat Jaipuri has begun the song with the couplet and let us enjoy it.

P.S.: I love the way Vinod Khanna walks dressed as the groom in the middle of the song. 🙂


Song-Ye ishq nahin aaasaan itna hi samajh leeje (Khoon Ki Pukaar)(1978) Singers-Lata, Kishore Kumar, Lyrics-Hasrat Jaipuri, MD-Bappi Lahiri

Lyrics

yeh ishq nahin aasaan
itna hi samajh leeje ae
ek aag ka dariya hai
aur doob ke jaana hai
samjhe buddhu
aah!nahin
nahin samjha

pyaar taqdeer jagmagaata hai
rang jeewan mein jamaata hai
pyar bandook toh nahin nadaan
sabko insaan yeh banaata hai
abhi bhi nahin samjhein
ab bhi bhi nahi samjha

mohabbat karke dekho
kisi pe marke dekho
mohabbat aag bhar de
ke patthar mom kar de
ooo
jab tak dil par chot na khaaye
pyaar ki manzil koi na paaye
tum dikhlaa do pyaar ki manzil
apni samajh mein kuchh nahin aaye

saathi mere ban jaana
samjhoge afsaana
saathi mere ban jaana
samjhoge afsaana
o jaane jaana pyaar ko na jaana
o jaane jaana pyaar ko na jaana
humse seekho pyaar ka jaadu chalaana aa
pehle aankh milaana,
phir gale se lagaana
samjhe
samajh gaya

jab se tum aayin zindgaani mein
lag gayi aag jaise paani mein
ek hulchal si ho gayi paida ha aa
meri khaamosh naujawaani mein

abhi toh ibtida hai
abhi dekha hi kya hai
mohabbat zindagi hai
mohabbat hi khuda hai
hoooo
lagti ho tum to pyaar ki devi
manmandir mein aan baso ji

aayi samajh mein pyar ki geeta
pyaar kiya bhagwan ko jeeta
main hoon tera deewaana
main hoon tera parwaana
main hoon tera deewaana,
main hoon tera parwaana
o jaane jaana pyaar maine jaana
o jaane jaana pyaar maine jaana

humse sikho pyar ka, jaadu chalaana aa
pehle aankh milaana
phir gale se lagaana
phir gale se lagaana

n n n n n n n n na


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

Blog Day :

4078 Post No. : 15217

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Blog 10-Year Challenge (2009-19) – Song No. 43
——————————————————————————————

Seven songs were posted ten years ago. The blog was in its childhood – “Bachpan Ke Din Bhi Kya Din The” 🙂  🙂 .

Only one of these seven was a debut song. The list given below has an interesting observation. All films that made an appearance that day, have since been yippeee’d. Except just the one that made its debut.

Ye Duniya Hai Yahaan Dil Ka Lagaana Kisko Aata Hai Shair 1949 2nd  Yippeee’d
Aaj Gaawat Man Mero Baiju Baawra 1952 6th  Yippeee’d
Ae Kaash Chalte Mil Ke Manzil 1960 3rd  Yippeee’d
Ek Baat Kahoon Wallah Ye Husn Subhan Allah Shrimaan Satyawaadi 1960 2nd  Yippeee’d
Dukh Aur Sukh Ke Raaste Bane Hain Sabke Waaste Hum Dono 1961 5th  Yippeee’d
Aap Jabse Kareeb Aaye Hain Noorjehaan 1967 Deb 3 of 8
Zindagi Khwaab Hai Jaagte Raho 1956 2nd  Yippeee’d

The film is ‘Noorjehaan’ from 1967. Containing eight very wonderful melodies, it is surprising that only three of them have as yet appeared here. With compositions created by the mind of Roshan, there still are very wonderful numbers waiting in the wings for their turn.

I bring on the 4th song of this film today. An all female duet which is decidedly a twin dance song on the screen, is such a wonderful presentation in the voices of Asha Bhosle and Usha Mangeshkar. The words are from the pen of Shakeel Sb.

Although the film is available, the video of this song is not yet available online. The interesting thing is that this audio only version which is available from Sa Re Ga Ma, is most likely the long version of the song from the sound track. It has three antaraas. As I checked the 78 rpm version of this song, sure enough, it has only two antaraas. The middle antaraa, as listed in the lyrics below, is not available in the 78 rpm recording.

The act of rebellion is the famous motif of the saga of Salim / Jehangir. That the crown and the throne was less important, in the face of the matters of heart, with this heir to the throne of Delhi. A school of historians who have studied the Mughal dynasty, have an opinion – that the persona of Anarkali and that of Noorjehan, that we have been introduced through the pages of history, were probably the same person. The thought here is that eventually Akbar had to give in to the wishes of his only son and Anarkali, the court dancer, became the queen of the Mughal empire. Although, Akbar had his consolation by ensuring that the chronicles of that period, being documented by the then current historians and writers, would write the story as he demanded. Is it speculation? Or is it the truth? Maybe one will never know for certain.

Song – Aa Gaya Lab Pe Afsaana-e-Aashiqi  (Noorjehaan) (1967) Singer – Asha Bhosle, Usha Mangeshkar, Lyrics – Shakeel Badayuni, MD – Roshan
Asha Bhosle + Usha Mangeshkar

Lyrics

aa gaya lab pe afsaana e aashiqui
ab kisi bhi fasaane ki parwaah nahin
aa gaya lab pe afsaana e aashiqui
aa gaya lab pe afsaana e aashiqui
ab kisi bhi fasaane ki parwaah nahin
hum to un se. . .
hum to un se mohabbat kiye jaayenge
ab hamen is zamaane ki parwaah nahin
ab hamen is zamaane ki parwaah nahin
ab hamen is zamaane ki parwaah nahin
aa gaya lab pe afsaana e aashiqui

aaj ae ishq saaya tera sar pe hai
taj kadmon mein hai takht thokar pe hai
taj kadmon mein hai takht thokar pe hai
aaj ae ishq saaya tera sar pe hai
taj kadmon mein hai takht thokar pe hai
mil gayin hain. . .
mil gayin hain hamen pyaar ki daulaten
ab kisi bhi khazaane ki parwaah nahin
ab kisi bhi khazaane ki parwaah nahin
ab kisi bhi khazaane ki parwaah nahin
aa gaya lab pe afsaana e aashiqui

zindagi mein bahaaren rahengi sada
hum ne ulfat ke gulshan mein pa li jagah
hum ne ulfat ke gulshan mein pa li jagah
zindagi mein bahaaren rahengi sada
hum ne ulfat ke gulshan mein pa li jagah
chaahe bijli. . .
chaahe bijli gire ya jaley aashiaan
ab hamen aashiaane ki parwaah nahin
ab hamen aashiaane ki parwaah nahin
ab hamen aashiaane ki parwaah nahin
aa gaya lab pe afsaana e aashiqui

bandagi kar rahe hain mohabbat ki hum
ye nahin jaante kya hai dair o haram
ye nahin jaante kya hai dair o haram
bandagi kar rahe hain mohabbat ki hum
ye nahin jaante kya hai dair o haram
jhuk gayi hai. . .
jhuk gayi hai zabin husn ke saamne
ab kahin sar jhukaane ki parwaah nahin
ab kahin sar jhukaane ki parwaah nahin
ab kahin sar jhukaane ki parwaah nahin
aa gaya lab pe afsaana e aashiqui
ab kisi bhi fasaane ki parwaah nahin

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

आ गया लब पे अफसाना ए आशिक़ी
अब किसी भी फसाने की परवाह नहीं
आ गया लब पे अफसाना ए आशिक़ी
आ गया लब पे अफसाना ए आशिक़ी
अब किसी भी फसाने की परवाह नहीं
हम तो उनसे॰ ॰ ॰
हम तो उनसे मोहब्बत किए जाएँगे
अब हमें इस जमाने की परवाह नहीं
अब हमें इस जमाने की परवाह नहीं
अब हमें इस जमाने की परवाह नहीं
आ गया लब पे अफसाना ए आशिक़ी

आज ए इश्क़ साया तेरा सर पे है
ताज कदमों में है तख्त ठोकर पे है
ताज कदमों में है तख्त ठोकर पे है
आज ए इश्क़ साया तेरा सर पे है
ताज कदमों में है तख्त ठोकर पे है
मिल गईं हैं॰ ॰ ॰
मिल गईं हैं हमें प्यार की दौलतें
अब किसी भी खजाने की परवाह नहीं
अब किसी भी खजाने की परवाह नहीं
अब किसी भी खजाने की परवाह नहीं
आ गया लब पे अफसाना ए आशिक़ी

ज़िंदगी में बहारें रहेंगी सदा
हमने उल्फ़त के गुलशन में पा ली जगह
हमने उल्फ़त के गुलशन में पा ली जगह
ज़िंदगी में बहारें रहेंगी सदा
हमने उल्फ़त के गुलशन में पा ली जगह
चाहे बिजली॰ ॰ ॰
चाहे बिजली गिरे या जले आशियाना
अब हमें आशियाने की परवाह नहीं
अब हमें आशियाने की परवाह नहीं
अब हमें आशियाने की परवाह नहीं
आ गया लब पे अफसाना ए आशिक़ी

बन्दगी कर रहे हैं मोहब्बत की हम
ये नहीं जानते क्या है दैयर ओ हरम
ये नहीं जानते क्या है दैयर ओ हरम
बन्दगी कर रहे हैं मोहब्बत की हम
ये नहीं जानते क्या है दैयर ओ हरम
झुक गई है॰ ॰ ॰
झुक गयी हैं ज़बीं हुस्न के सामने
अब कहीं सर झुकाने की परवाह नहीं
अब कहीं सर झुकाने की परवाह नहीं
अब कहीं सर झुकाने की परवाह नहीं
आ गया लब पे अफसाना ए आशिक़ी
अब किसी भी फसाने की परवाह नहीं


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

Blog Day : 4078 Post No. : 15216

“Chandu”(1958) was directed by Manju (Harold Lewis) for N R Productions, Bombay. The movie had Daljit, Meena, Shasikala, Pran, Gulab, Gope, Sunder, Om Prakash, Mehmood, Harun, Satish Batra etc.

The movie had six songs in it. One song has been covered in the past.

Here is the second song from “Chandu”(1958) to appear in the blog. This song is sung by Rafi and Geeta Dutt. Raja Mehdi Ali Khan is the lyricist. Music is composed by Bipin Baabul.

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


Song-Gore gore gaalon pe kaala ye til (Chandu)(1958) Singers-Rafi, Geeta Dutt, Lyrics-Raja Mehdi Ali Khan, MD-Bipin Babul
Both

Lyrics

aa ha ha ha
gore gore gaalon pe kaala ye til
kaala til
haaye mera dil
gore gore gaalon pe kaala ye til
kaala til
haaye mera dil
ha ha ha
ha ha ha
ankhiyon mein pyaar kare
jhilmil jhilmil
jhilmil jhilmil
haaye mera dil

ek do teen chaar paanch chhe saat aath
ginta rahe
tere liye ho jiya tere liye
nau das gyaarah baarah terah chaudah
pandarah solha
ginti rahoon
tere liye o piya tere liye

hoy ginti na gino madam
aa mujhse mil
aa mujhse mil
haaye mera dil
ha ha
aa ha ha
ha ha ha
ankhiyon mein pyaar kare
jhilmil jhilmil
jhilmil jhilmil
haaye mera dil

taaron ki chhaanv mein tere liye
chanda ke sang sang jaaga karoon

raaton ko jungle mein tere liye
majnu main ban ke ho bhaaga karoon
kisne kiya hai mera jeena mushqil
maine
haan
maine kiya hai tera jeena mushqil
jeena mushqil

haaye mera dil
aa ha ha
aa ha ha
ankhiyon mein pyaar kare
jhilmil jhilmil
jhilmil jhilmil
haaye mera dil

dil ki tijori se daulat luta
mere liye ho billo mere liye
haan samjhe na waah haan
daulat ko sadkon pe doongi bichha
tere liye ho ballo tere liye

seene pe rakh mere sone ki sil
sone ki sil
haaye mera dil
aa ha ha
ha ha ha

ankhiyon mein pyaar kare
jhilmil jhilmil
jhilmil jhilmil
haaye mera dil


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 : 4066 Post No. : 15202

Jaane Jaana Yoon Na Dekho Aaj Nafrat Se Mujhe” – this lovely lilting from the 1963 film ‘Faulaad’, is the creation of the songwriter Anjaan. A poet who has given us some of the most wonderful gems of the Hindi screen. Songs like “Pipraa Ke Patwaa Sarikhe Doley Manwaa” (‘Godaan’, 1963), “Bahaaro Thaam Lo Ab Dil, Mera Mehboob Aata Hai”(‘Namaste ji’, 1965), “Aap Ke Haseen Rukh Pe Aaj Nayaa Noor Hai”(‘Bahaaren Phir Bhi Aayengi’, 1966),  “Aaj Tumse Door Ho Kar, Aise Royaa Mera Pyaar”(‘Ek Raat’, 1967), and “Bina Badraa Ke Bijuriyaa Kaise Chamke”(‘Bandhan’, 1969) – and on to “Rotey Huye Aate Hain Sab, Hansta Hua Jo Jaayegaa. . .”(‘Muqaddar Ka Sikandar’, 1978), “Maano To Main Ganga Maa Hoon, Naa Maano Te Behtaa Paani”(‘Ganga Ki Saugandh’, 1978), “O Khaike Paan Barnaaras Waala” (‘Don’, 1978), “Pag Ghunghroo Baandh Meera Naachi Thi” (‘Namak Halaal’, 1982), “Gori Hain Kalaayi’aan, Tu La De Mujhe Hari Hari Choodiyaan” (‘Aaj Ka Arjun’, 1990). And many more.

Remembering Anjaan on the 22nd anniversary of his passing away, earlier this week (3rd September).

Today, I present another wonderful song penned by him – a song that has been forgotten and has remained obscure for decades. The film is equally obscure – ‘Lady of the Lake’ from 1960. The film is produced and directed by AM Khan, under his own banner of AM Khan Productions, Bombay. It is a fantasy cum stunt film. The list of actors includes Azad, Krishna Kumari, Shaam Kumar, Sherry, Jai, Neelima, Shahgul, Ram, Fani Tinchar, Jilani, Jameela, Baby Leela, OK, Avtar, Maqbool, Robert, and Burhan etc.

The film has nine songs shared between three songwriters. Five songs are written by Anjaan, one by Saba Afghani and the remaining three by Munshi Naayab. Two songs of this film are already represented on our blog.  Today’s song is also from the pen of Anjaan. Music for all the songs is composed by the music director duo of Suresh-Talwar.

The lyrics of this song have been sent in by Nitin Shah.

This song is a duet in the voices of Geeta Dutt and Mahendra Kapoor. Here is duet combination of two well known singers, who came together very rarely during their careers. There may probably be fifteen or maybe less, songs that they have sung together.

A wonderful lilting melody that should have been heard more often. I am sure you would agree.

 


Song – Sun Re O Chhalia, Boley Kya Paayaliya (Lady Of The Lake) (1960) Singers – Geeta Dutt, Mahendra Kapoor, Lyrics – Anjaan, MD – Suresh-Talwar

Lyrics (Provided by Nitin Shah)

sun re o chhaliya
boley kya paayaliya
chhed ke dil ke taar
sajanawa aaj na ja
balamwa aaj na ja
o tere bina ratiya
o re mann basiya
soona laage sansaar
sajanwa aaj na ja
balamwa aaj na ja

kab se baithi raah mein teri
baalam aas lagaaye
ho oo oo balam aas lagaaye
itne din ke baad miley bhi
to tum rahe paraaye
ho oo oo
do dil milne na paaye
behki adaayen
tujh ko bulaayen
dil hai bada beqraar
sajanwa aaj na ja
balamwa aaj na ja

jaadu ajab chalaaye gori
tera roop suhaana
ho oo oo tera roop suhana
pehli jhalak mili jab teri
dil ho gaya deewana
haaye ab isey kahaan hai jaana
ruk ja re ruk ja
palkon mein chhup ja
kar le ji bhar pyaar
sajanawa aaj na ja
balamwa aaj na ja
o sun re o chhaliya
boley kya paayaliya
chhed ke dil ke taar
sajanawa aaj na ja
balamwa aaj na ja

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

सुन रे ओ छलिया
बोले क्या पायलिया
छेड़ के दिल के तार
सजनवा आज न जा
बलमवा आज न जा
ओ तेरे बिना रसिया
ओ रे मन बसिया
सूना लगे संसार
सजनवा आज न जा
बलमवा आज न जा

कब से बैठी राह में तेरी’
बालम आस लगाए
हो ओ ओ बालम आस लगाए
इतने दिन के बाद मिले भी
तो तुम रहे पराये
हो ओ ओ
दो दिल मिलने ना पाये
बहकी अदाएँ
तुझ को बुलाएँ
दिल है बड़ा बेक़रार
सजनवा आज न जा
बलमवा आज न जा

जादू अजब चलाये गोरी
तेरा रूप सुहाना
हो ओ ओ तेरा रूप सुहाना
पहली झलक मिली जब तेरी
दिल हो गया दीवाना
हाय अबे इसे कहाँ है जाना
रुक जा रे रुक जा
पलकों में छुप जा
कर ले जी भर प्यार
सजनवा आज न जा
बलमवा आज न जा
ओ सुन रे ओ छलिया
बोले क्या पायलिया
छेड़ के दिल के तार
सजनवा आज न जा
बलमवा आज न जा


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

Blog Day : 4059 Post No. : 15192

“Chaalaak”(1973) was directed by T N Sharma and R K Bannerji for Film Dhara, Bombay. This “social” movie had Radha Saluja, Kiran Kumar, Alka, Jayshree T, Brahmchaari, Keshto Mukherji, Jagdeesh Raj, Brahm Bhardwaj, Master Ratan, Uma Dutt, Paresh Nanda, Moolchand, Banjara, Bachan Singh, Elizabeth, Suring=der Khanna, Sheikh, Bhola, Satyarani, Sudakshana Mukherji etc with guest appearances by Maruti, Hercules, Lalita Kumari, and friendly appearances by Ajeet, Gautam Sareen, P Jairaj and Danny Danjongpa.

The movie had five songs in it. Three of these songs have been covered in the past.

Here is the fourth song from “Chaalaak”(1973). This song is sung by Asha Bhonsle, Kishore Kumar and chorus. Hasrat Jaipuri is the lyricist. Music is composed by Ganesh.

The song is picturised as a party song. I am unable to identify the lady lip syncing the song in Asha Bhonsle’s voice. Danny lip syncs in Kishore Kumar’s voice. I request our knowledgeable readers to help identify the lip syncing lady.

The music of the song sounds familiar but that is not because this music was heard earlier. That is because this music was heard years later in a Laxmikant Pyarelal composition, viz “gore nahin ham kaale sahi” in “Deshpremi”(1982). Or is it some other song. I request our knowledeable readers to tell us about the song where this music is reused.


Song-Piye jaa jiye jaa (Chaalaak)(1973) Singers-Asha Bhonsle, Kishore Kumar, Lyrics-Hasrat Jaipuri, MD-Ganesh
Both
Chorus

Lyrics

duniya phaani
duniya phaani
ho bahta paani
arre jawaani badi toofaani
hey duniya phaani
hey bahta paani
arre jawaani badi toofaani

ho
zindagi kya ik nasha hai
mastiyon ka jaam hai
hey zindagi kya ek nasha hai
mastiyon ka jaam hai
piye ja

o jiye ja aa
piya ja jiye ja
piya ja jiye ja

piye ja ja ja
jiye ja ja ja
piye ja jiye ja piye ja jiye ja

tu ru ru ru ru ru
tu ru ru ru ru
tu ru ru ru ru ru
ho o
tu ru ru ru ru
tu ru ru ru
tu ru ru ru ru ru
aaa

laalalalalalala
laalalalala

hey hey haa

jo maza hai yaar ki baahon mein
ham se poochh lo
arre haan jo maza hai yaar ki baahon mein
ham se poochh lo
aankhen tumhaari shaayaraana
lab hain tumhaare ya paimaana

ho
ho
ho
piye jaa
o jiye jaa
piye ja jiye ja
piye ja jiye ja
duniya phaani

haa
hey bahta paani
haa
arre ye jawaani badi toofaani
ho duniya phaani

main hi tera humsafar hoon
kaun chheenega mujhe
arre main hi tera humsafar hoon
kaun chheenega mujhe

kab se tumhi pe main fida hoon
dil ki tumhaare ye sada hoon
haa
haa
haa
piye ja
jiye ja aa
piya ja jiye ja
piya ja jiye ja
duniya phaani

haa
hey bahta paani
haa
arre jawaani
badi toofaani
ho zindagi kya
ik nasha hai
mastiyon ka jaam hai

piye ja ja ja
jiye ja ja ja
piye ja jiye ja
piye ja jiye ja

piye ja aa
jiye jaa aa
piye ja aa
jiye jaa
piye ja
jiye ja
piye ja
jiye ja
piye ja
jiye ja
piye ja
jiye ja


This article is written by Mahesh Mamadapur, 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 : 4057 Post No. : 15189

Mukesh and his co-singers – 5
————————————————

We remember Mukesh on his remembrance day today (22 July 1923 – 27 August 1976).

Needless to say, the post had to be special. But, when a singer has almost 80% of songs considered as hits and most of these songs already represented on the blog, what can be more special. Well, a few hitherto songs of Mukesh continue to be discovered with a great deal of exhilaration to his fans and old hfm lovers in general. I assume that the present song will make this post special.

It is well known that Mukesh has nil to very few duets with singers like Noorjahan, Amirbai Karnataki, Jagit Kaur, Khursheed, Parul Ghosh etc. With singers like Hamida Banu, Suraiya, Rajkumari, Surinder Kaur, Sitara Kanpuri etc, the numbers are again quite few. He does have sizable numbers with Lata, Asha, Suman Kalayanpur, Geeta Dutt etc.

A very interesting companion in singing in this discussion will be off course the versatile Shamshad Begum. I had almost taken it for granted that all songs of hers with Mukesh have been covered on the blog. But then one thing led to another and resulted in this post of which I am extremely happy. Not one but two duets have been discovered in the last few weeks. Before I proceed with revealing the songs, it is pertinent to mention the traceability aspects of these duets.

We go back to Sadanand ji posting the Mukesh number for MGR in the comments section. I decided to take up Dhaniram’s collaboration with Mukesh and as usual sent the query to Shri Harish Raghuvanshi ji (of Surat) enquiring if it was the sole song under the composer.

Harish ji did confirm the singularity of the case, but added a priceless info that there is a duet in Shole (1953) in which Mukesh has a duet with Shamshad Begum. He further stated that very few music lovers are aware of this duet. The context being Dhaniram being the other composer apart from Naresh Bhattacharya to have scored music for the film. When I searched for this duet on the internet, I came across a Hemant Kumar solo and his duet with Shamshad Begum. Not losing hope, I was lucky enough to find the full movie on youtube. I first decided to go through the credit titles if I could trace Mukesh.

The film titles are shown on a railway track with very poor background and the moving train literally pushing the titles out of the screen. With great difficulty, I saw all the titles and there appears no mention of any of the playback singers in the film. Here, I would seek more knowledgeable reader’s kind explanation as to why many of the old films never bothered to credit playback singers in the titles. I suppose this trend continued even in the sixties for quite a few films.

The print of the film is extremely poor in both voice and picturization. The saving grace being something is available to run through. In spite the bad print and poor audio what stands out is the impeccable grace and beauty of Bina Rai and the ever energetic and melodious voice of Shamshad Begum. Coming back to the bad print of the film Shole (1953), I decided to run the film arbitrarily at short intervals. Then for one of the duets with a rather long prelude, I could hear sound bites very familiar to me. Yes, it is undoubtedly Mukesh.

I was so excited that I noted the time at which this duet starts and closed the film. I went to the other room in my house where my wife was busy with our daughter in her studies. They had a cursory look at my face and instantly both asked what I was so delighted about. I told them about the discovery and they again became engrossed with the studies knowing very well that this guy has no better work to do. My daughter likes a few songs of Raj Kapoor sung by Mukesh and wife likes a few of his duets and solos, but they are never into these statistics and other aspects of old hfm songs as I am. Anyways, I was back to the same link and juncture and again savored what I was listening for the very first time; an unheard duet of Mukesh. Only the first couple of lines of the mukhda are sung by Mukesh and then Shamshad Begum takes over for the rest of the duet. Its an extremely melodious duet to listen.

Now coming to another strange feature, I found four different versions of this song. The below table is self-explanatory and I have provided links for each of the versions.

Version Singers YouTube link
Film Soundtrack Mukesh, Shamshad Begum https://youtu.be/G8gkPL4qc8o
Hemant Kumar https://youtu.be/mmoh60LfIsc
78 rpm record Hemant Kumar https://youtu.be/OuvVFrcTYuU
Hemant Kumar, Shamshad Begum https://youtu.be/zlzgIDgky7g
Full movie SHOLE (1953) https://youtu.be/W6ubiNUgZuQ

Now, if the film had Mukesh and the 78 rpm version songs had Hemant Kumar, it would have been quite understandable. But, Hemant Kumar having sung the film version of the solo makes the case quite intriguing. Did Mukesh walk out of the film after singing the duet? We may never know. What we do know is that during this period he was working in various departments such as acting, composing, producing etc. and these experiments costing him dearly in terms of getting offers to give playback arguably for the rest of his singing career.

Also, during late forties and early fifties, the void created by the passing away of KL Saigal in early 1947 was yet to be filled. Good friends Mukesh and Talat Mahmood were vying to fill the gap and they both failed. One can now say with much conviction that the void created by KL Saigal will remain till the end of days.

Coming back to the versions, both the film soundtracks have poor audio and the 78 rpm ones have better audio quality. For some reason, I personally feel the duet of the film soundtrack is the best amongst the four if a better copy is available to listen. The momentary pause that Shamshad Begum has in the film soundtrack is more appealing than in the version song. Now one may ask, pause is a pause and how it can be differentiated. Well, crazy music lovers have additional senses to assimilate such nuances in music. Long live such craziness. 🙂

Now we come to the important discussion on the combo of Shamshad Begum and Mukesh. Forget writing in detail about their association, the very mention of the two names together excites me to no end.  Mukesh and Shamshad Begum, two different styles, but when it came to duets the styles glued to form some glorious duets in the annals of HFM. At many places on the net it is mentioned that the singers have altogether 22-24 duets. I am happy to list 29 and here is the carcanet of the jewels.

A cursory glace at the table reveals that they have actively sung most of their 29 duets during a period of only for 4 years of their career. This aspect has much to be pondered about.

S. No Name of song Movie (year) Music Director Lyricist
1 kya jaadu hai tere paas piyaa Chehra (1946) M A Mukhtar I C Kapoor
2 O dil ko hasaane wale Shatranj (1946) Madhav Lal and Baldev Nayak G S Madhup
3 lut gayi laajo beech Chheen Le Aazaadi (1947) Hansraj Behl Pt Indra Chandra
4 Moti chugne gayi re hansi Chheen Le Aazaadi (1947) Hansraj Behl Pt Indra Chandra
5 aagre se odhni manga de Laakhon Mein Ek (1947) Hansraj Behl Pt Indra Chandra
6 raat ko ji haay raat ko ji  Aag (1948) Ram Ganguly Majrooh Sultanpuri
7 kaise bataaun unse Anjuman (1948) Bulo C Rani Majrooh Sultanpuri
8 kabhi dil dil se takraataa  Anokhi Ada (1948) Naushad Shakeel Badayuni
9 Bhool gaye kyun deke Anokhi Ada (1948) Naushad Shakeel Badayuni
10 Tere naaz uthhane ko jee Grihasthhi (1948) Ghulam Mohammad Shakeel Badayuni
11 aayi saawan ritu aayi Mela (1948) Naushad Shakeel Badayuni
12 dharti ko aakaash pukaare Mela (1948) Naushad Shakeel Badayuni
13 main bhanwara tu hai phool Mela (1948) Naushad Shakeel Badayuni
14 mera dil todne waale Mela (1948) Naushad Shakeel Badayuni
15 O janewale humko bhool na O Jaanewaale (1948) Ali Hussain Moradabadi
16 sajanwaa prem kahaani O Jaanewaale (1948) Ali Hussain Moradabadi
17 ho badi zulmi tamanna hai Dada (1949) Naashad Majrooh Sultanpuri
18 pyaar mein tumne dhokhaa Shabnam (1949) S D Burman Qamar Jalalabadi
19 tu mahal mein rehni waali Shabnam (1949) S D Burman Qamar Jalalabadi
20 tumhaare liye huye badnaam Shabnam (1949) S D Burman Qamar Jalalabadi
21 maine dekhi jag ki reet (Happy and Sad versions) Sunhere Din (1949) Gyan Dutt D N Madhok
22 hamse nain milaana BA paas Aankhen (1950) Madan Mohan Raja Mehdi Ali Khan
23 Jaao sidhaaro hey raadha Aarzoo (1950) Anil Biswas Majrooh Sultanpuri
24 ho kaale kaale baadal Apni Chhaaya (1950) Hanuman Prasad P L Santoshi
25 kehne waale kehte hain Bijli (1950) Khemchand Prakash Bharat Vyas
26 hato hato ji aati hain ham Dilruba (1950) Gyan Dutt S H Bihari
27 mohabbat karne waalon se Hanste Aansoo (1950) Ghulam Mohammad Shewan Rizvi
28 duniya ne chede kahaniyaan Ek Thha Raja (1951) C R Subbaraman Pt Sudarshan
29 Aye dil tu kahin le chal (multiple versions)

 

Shole (1953)

 

Naresh Bhattacharya

 

Kamil Rashid

Before I proceed to write on the above duets please note that song no 23 has SD Batish, 26 has Geeta Roy, Pramodini Desai and 27 has Rafi saab singing along with Mukesh and Shamshad Begum in the respective songs.

It would not be an exaggeration to state that Mukesh and Shamshad were pioneers in playback singing. I know it is more often used for Shamshad’s career, but let us not forget that Mukesh too started giving playback as early as 1944 with ‘Uss Paar’. Why ‘Uss Paar’ and not ‘Moorti’ or ‘Pheli Nazar’? Well, that could take another detailed post. 🙂

In the above list song number 1, 3, 4 and 5 are regular features on Radio Ceylon and are played to this day. 6 was of course the directorial debut of Raj Kapoor, with Ram Ganguly’s haunting scores – the songs of the film remain popular to this day. The next film of RK, as we are well aware, had a change in composers. Shamshad Begum had a cabaret solo in ‘Awara’ and a couple of not so popular songs for SJ thereafter.

10 by one of my favourite composers Ghulam Mohammed is a rare treat to hear. I only wish Mukesh has sung more songs for him.

8, 9 and 11 to 14 need no description and arguably are the best-known duets of the combo; the magician of these two films being none other than the great Naushad.

‘Shabnam’ under SD Burman had 3 duets of the combo with Mukesh giving playback for thespian Dilip Kumar. Needless to say, the songs of this film were a huge rage during those days.

21 under Gyan Dutt is an absolute masterpiece. The debut movie of Madan Mohan had the combo singing a comical duet at 22.

The other songs may not be very well known, but as I have said earlier it is the combination of the singers that make the duets lively and a pleasure to listen.

Quite a few of these duets have been covered by our Sudhir ji in his series on Mukesh wherein he covered the rare and difficult to trace songs at the beginning of Mukesh’s career. Again, as I have written earlier, in spite of the best efforts of Sudhir ji having covered all the songs of Mukesh till 1950, welcome discoveries continue to be uncovered and 2 is such an example. Sudhir ji has shared the audio with me and it will be posted on the blog in the very near future. 🙂

29 and probably the last duet of the combo is covered in this post and I have already written about the many facets of this song. In fact Sudhir ji has sent queries and sought clarifications from his collector friends to understand the existence of the multiple versions of this song in the film.

‘Shole’ (1953) was directed by BR Chopra for Hira Films. The movie had Ashok Kumar, Bina Rai, Purnima, Jeevan, Mohana, Manmohan Krishna, Mirza Musharaf, Romi, Naaz, Uma Dutt etc in it. The movie had two music directors viz Dhaniram and Naresh Bhattacharya. The present song is composed by the latter. The lyrics of this multiple version song are credited to Kamil Rashid.

The lyrics of the Hemant Kumar solo version are slightly different in the 78 rpm vs the soundtrack versions, but giving due credit to Hamant Da, I herewith, for obvious reasons, present the lyrics of only the film soundtrack version of Mukesh and Shamshad Begum

I thank Harish ji for all the help rendered in making this elusive duet of Mukesh appear on the blog. I also thank Sudhir ji and Atul ji for giving me yet another opportunity to present this post.

Lastly, on his remembrance day, I pay humble tributes to Mukesh whose mellifluous voice continues to regale listeners the world over.

Song – Ae Dil Tu Kahin Le Chal  (Shole) (1953) Singer – Mukesh, Shamshad Begum, Lyrics – Kaamil Rashid, MD – Naresh Bhattacharya

Lyrics

ae dil
ae dil
tu kahin
le chal
le chal

ae dil tu kahin le chal
le chal
le chal

ae dil tu kahin le chal
le chal
le chal

aa aa aa aa

ye door ki manzil se mujhe
kis ne pukara hai
bhatke hue raahi ko
yeh kis ka ishaara hai
aashaon ke sagar ka
shayaad wo kinara hai
aashaon ke sagar ka
shayaad wo kinara hae
ae dil wahin le chal
wahin le chal
wahin le chal

ae dil tu kahin le chal
tu kahin le chal
kahin le chal
kahin le chal

jahaan ishq ke hothon par
fariyaad na ho koi
majboor na ho koi
naashad na ho koi
taqdeer ki thokar se
barbaad na ho koi
barbaad na ho koi
ae dil wahin le chal
wahin le chal
wahin le chal

ae dil tu kahin le chal
tu kahin le chal
kahin le chal
kahin le chal

do dil jo judaa kar de
wo raat na aati ho
hothon pe shikaayat ki
koi baat na aati ho
jahaan gham ki ghata le kar
barsaat na aati ho
barsaat na aati ho
ae dil wahin le chal
wahin le chal
wahin le chal

ae dil tu kahin le chal
tu kahin le chal
kahin le chal
kahin le chal

le chal
le chal
le chal
le chal
le chal

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

ए दिल
ए दिल
तू कहीं
ले चल
ले चल

ए दिल तू कहीं ले चल
ले चल
ले चल

ए दिल तू कहीं ले चल
ले चल
ले चल

आ आ आ आ

ये दूर की मंज़िल से मुझे
किसने पुकारा है’
भटके हुये राही को
ये किसका इशारा है
आशाओं के सागर का
शायद वो किनारा है
आशाओं के सागर का
शायद वो किनारा है
ए दिल वहीं ले चल
वहीं ले चल
वहीं ले चल

ए दिल तू कहीं ले चल
तू कहीं ले चल
कहीं ले चल
कहीं ले चल

जहां इश्क़ के होठों पर
फरियाद ना हो कोई
मजबूर ना हो कोई
नाशाद ना हो कोई
तक़दीर की ठोकर से
बर्बाद ना हो कोई
बर्बाद ना हो कोई
ए दिल वहीं ले चल
वहीं ले चल
वहीं ले चल

ए दिल तू कहीं ले चल
तू कहीं ले चल
कहीं ले चल
कहीं ले चल

दो दिल को जुदा कर दे
वो रात ना आती हो
होठों पे शिकायत की
कोई बात ना आती हो
जहां ग़म की घटा ले कर
बरसात ना आती हो
बरसात ना आती हो
ए दिल वहीं ले चल
वहीं ले चल
वहीं ले चल

ए दिल तू कहीं ले चल
तू कहीं ले चल
कहीं ले चल
कहीं ले चल

ले चल
ले चल
ले चल
ले चल
ले चल


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4054 Post No. : 15186 Movie Count :

4172

Hullo To all in Atuldom

A very happy Janmashtami or Gokulashtami or Sri Krishna Jayanthi as it is called in the various parts of the country. It is celebrated with a lot of prasads, bhajans and jagrans (in some regions). Jagran means keeping awake. The thought behind this is that Lord Krishna was born in the dead of the night so the devotees keep vigil till that hour. As per mythology it was raining heavily at the time of the Lord’s birth and most of the country is having a good monsoon at this point.

The Srimad Bhagwat Puraan says- at birth the Lord was transported, hidden inside a basket by his father Vasudev, to the house of Nand in Gokul, across a swollen Yamuna. (As if in anticipation of the lord there is a flood alert along the banks of the river Yamuna this year.) The Lord grew up in the loving care of Nand and his wife Yashoda. His baal-leelas (playful pastimes as a child) are described in the 10th Canto of the Srimad Bhagwat Puraan. One of the acts described in great detail is ‘maakhan chori‘ – how the lord Loved to reach out to the pots of curds, milk and butter that used to be hung up in the kitchens of Gokul.

Today’s song shows the day 2 of the Janmashtami / Gokulashtami celebrations that is very common in western India. It is from the 1979 Rajkumar Kohli directed Sunil Dutt- Reena Roy- Bindiya Goswami- Shatrughan Sinha starrer ‘Muqaabla’. It has songs penned by Verma Malik with Laxmi-Pyare as the music directors.  Asha Bhonsle, Kishore Kumar, Anwar, Mahendra Kapoor and Mohd. Rafi are the playback singers used in the movie. The movie was a typical romantic, masaala movie where Sunil Dutt and Shatru play gang leaders. I vaguely remember having seen it, possibly on television, and by the time I discovered it half the movie was over.

But here is the gist as given on IMDB.com:

Sheru (Shatrughan Sinha) and Vicky (Sunil Dutt) are two gang leaders. After a series of complications and mishaps both realize that they will be better off being friends and helping the poor and needy. They also fall in love with two separate women, one of them is Lacho (Reena Roy). When these two turn good guys, the bad guy’s leader Banwanri (Ranjeet) gets angry and vengeful. Fortunately, our two heroes get support from a honest police inspector (Premnath). Then Sheru finds out that Lacho really loves Vicky and his son, this embittered them both against each other. And the two again resume their old rivalry and hatred for each other.

As I said earlier, Janmashtami celebrations continue on to the second day in many parts of India. There are street corner scenes where in pots of goodies along with dahi are tied high up. Groups of youngsters make an attempt at breaking the pots, by making human pyramids and emulating Krishna’s habit of breaking pots which were tied up in the kitchens of yore.

In my younger days (there, I let the cat out of the bag, that I am not so young now though I like to think that I am still a bachcha 🙂 ) we used to have dahi-handi in our apartment complex between the two wings of flats. They used to be tied at a height of 1st floor. We needed a pyramid of three tiers to reach the handi. It was a very simple joyful day. Then as time went by, as in other spheres of life, commercialization set in the dahi-handi festival began to be conducted with prize money attached to the ropes of dahi-handi. This has further grown to the extent that there is this chowk (crossroad intersection) in Thane where the competition is held and the whole road is out of bounds for traffic for the day. And groups of youth practice for months on end to make pyramids which have seven or eight layers. There are numerous cases of people falling and breaking their limbs.  Lately there are also all girl groups in the contest. It is telecast live on all Marathi TV channels and makes for good viewing.

Dahi-handi was made popular in Hindi cinema by Shammi Kapoor in ‘Bluffmaster’ (1965) – the original “Govinda Aala Re, Aala, Zara Matki Sambhaal Brijbaala“.  Various heroes have copied him in subsequent years. In today’s song, we have Shatrughan Sinha and Sunil Dutt have a go at the handi along with Manmohan (in red shirt) and others who are not clear in this video. (A few years back Sonakshi Sinha also had a Govinda song to her name). The song is written by Verma Malik and Laxmikant Pyarelal are the music directors. Mohd Rafi and Kishore Kumar are the playback singers.  I couldn’t stop my smile when I saw Sunil Dutt dancing. Don’t know who the dance master was who gave him steps that were uncharacteristic of Duttsaab. Then Dr. Shreeram Lagoo enters the scene as the advisor of peace and I was desperately trying to recognize the actor in the light brown shirt with a head band who was trying to raise bets on who will break the handi. The finale of the song is the whole pyramid collapsing when this actor pokes a pin into the feet of one of the govindas (that is what the boys in the pyramid are called)

Govinda Aala Re!!!!

Song – Teen Batti Waala, Ae Govinda Aala  (Muqaabla) (1979) Singer -Mohammed Rafi, Kishore Kumar, Lyrics – Verma Malik, MD – Laxmikant Pyaarelal
Chorus

Lyrics (Provided by Prakashchandra)

teen batti waala
ae govinda aala
ae teen batti waala
he govinda aala
govinda govinda govinda
he govinda govinda govinda
rassi pe latki mitti ki matki
matki mein maal masaala
govinda
govinda
govinda teen batti waala
dekho matki phodne aala re aala

he laal patti waala
govinda aala
he laal patti waala
he govinda aala
govinda govinda govinda
he govinda govinda govinda
oopar latak ke niche patak ke
loot lo maal masaala
govinda
govinda
govinda lal patti waala
apni sena ko lekar aala re aala

baandh kataare daal do ghera
is matki par haq hai mera
baandh kataare daal do ghera
is matki par haq hai mera
sar koi uthaaye
sar ko jhuka do
haath uthe to
haath uda do
haathon ke tote ud jaayenge
hum se jo pad gaya paala
govinda
govinda
govinda teen batti wala
dekho matki phodne aala re aala

naam mera duniya pehchaane
bachcha bachcha mujhko jaane
naam mera duniya pehchaane
bachcha bachcha mujhko jaane
kadam uthe to
duniya jhukti
chalti hawa mujhe dekh kar rukti
mere haath se bach kar jaaye
bach kar jaaye
jaaye koi kismat wala
govinda
govinda
govinda lal patti wala
apni sena ko lekar aala re aala

govinda aala re aala
govinda aala re aala
is matki ko hum lootenge
govinda aala re aala
dekhna phir kayi sar phootenge
govinda aala re aala
hai muqaabla hum cha tum cha
koi na aaye beech mein chamcha
dekhta hoon mai tera hausla
kar doonga main abhi faisla
teen batti to jalti rahegi
lal patti bhi to chamakti rahegi
teen batti to jalti rahegi
lal patti bhi toh chamakti rahegi

[dialogues]

govinda govinda govinda govinda
he ae ae ae
govinda govinda govinda govinda
he ae ae ae
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda


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

Blog Day : 4047 Post No. : 15176

“Ummeed” (1971) was a movie that was started in early 1960s but it could be released only in 1971. By that time the actors figuring in the move had ended up being actors of yesteryears. A few of them had even passed away.

“Ummeed” (1971) was directed by Nitin Bose for Raja Films Bombay. The movie had Ashok Kumar, Nanda, Joy Mukherji, Leela Naidu, Tarun Bose, Leela Mishra, Chandrima Bhaduri, Hazara Singh, Parasram, Hussain, Ravikant, Nazeer Kashmiri, Ramesh, Laxmichhaaya, Jeewankala, Madhumati, Jankidas, Sabita Chatterji, Tuntun, Agha etc in it.

“Ummeed” (1971) was a movie that was started in early 1960s but it could be released only in 1971. By that time the actors figuring in the move had ended up being actors of yesteryears. A few of them had even passed away.

The movie had seven songs in it. Six of these songs have been covered in the past.

Here are the details of the songs from the movie that have been discussed in the past :-

S N Song Song number in blog Date of posting
1 Mujhe ishq hai tujhi se meri jaan e zindagaani 2988 18-Sep-10
2 Mera dil hai pyaar ka aashiyaan 3366 17-Dec-10
3 Insaan jee rahaa hai ummeed ke sahaare 4886 25-Oct-11
4 Aaja meri jaan tere qurbaan tera deewaana 5975 18-May-12
4 Hamne chaaha magar keh na paaye 12268 26-Jul-16
5 Thhodi si aur pi le 15118 12-Jul-19

Here is the seventh and final song from the movie. This song is sung by Asha Bhonsle and Usha Mangeshkar. Shakeel Badayuni is the lyricist. Music is composed by Ravi.

The song is picturised as a synchronised dance song on two female dancers. I am unable to identify them. I request our knowledgeable readers to help identify them.

With this song, all the songs of “Ummeed” (1971) have been covered in the blog and the movie joins the list of movies that have been YIPPEED in the blog.


Song-Dil ko bachaana baabu jee(Ummeed)(1971) Singers-Asha Bhonsle, Usha Mangeshkar, Lyrics-Shakeel Badayuni, MD-Ravi
Both

Lyrics

dil ko bachaana baabu ji
na aana tum kabhi haseenon ki gali
aankhen hain teer yahaan
zulfen zanjeer yahaan
aage tumhaari marzi
dil ko bachaana baabu ji
na aana tum kabhi haseenon ki gali
aankhen hain teer yahaan
zulfen zanjeer yahaan
aage tumhaari marzi
dil ko bachaana baabu ji

aaj kal husn waale
rehem karna na jaanen
apni apni chalaayen
doosre ki na maanen

aaj kal husn waale
rehem karna na jaanen
apni apni chalaayen
doosre ki na maanen

inko rakhna sambhaale huye zindagi
inse rakhna sambhaale huye zindagi
dil ko bachaana baabu ji
na aana tum kabhi haseenon ki gali
aankhen hain teer yahaan
zulfen zanjeer yahaan
aage tumhaari marzi
dil ko bachaana baabu ji

ishq waale bhi zaalim
kam nahin aaj kal ke
jab kahin husn dekha
rah gaye bas machal ke

ishq waale bhi zaalim
kam nahin aaj kal ke
jab kahin husn dekha
rah gaye bas machal ke

lut gaya dil to hoti hai haalat buri
lut gaya dil to hoti hai halat buri
dil ko bachaana babu ji
na aana tum kabhi haseenon ki gali
aankhen hain teer yahaan
zulfen zanjeer yahaan
aage tumhaari marzi
dil ko bachaana baabu ji

aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa

pyaar wo hai ke jiska do taraf ho nishaana
husn bhi baawafa ho
ishq bhi ho deewaana

pyaar wo hai ke jiska do taraf ho nishaana
husn bhi baawafa ho
ishq bhi ho deewaana

dil mile na to samjho qayaamat hui
dil mile na to samjho qayaamat hui
dil ko bachaana baabu ji
na aana tum kabhi haseenon ki gali
aankhen hain teer yahaan
zulfen zanjeer yahaan
aage tumhaari marzi
dil ko bachaana baabu ji
na aana tum kabhi haseenon ki gali
aankhen hain teer yahaan
zulfen zanjeer yahaan
aage tumhaari marzi
dil ko bachaana baabu ji


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15200 song posts by now.

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

Total number of songs posts discussed

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Movies with all their songs covered =1178
Total Number of movies covered =4183

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