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

hullo to atuldom

I am trying to wish two people on their birthday with this one post.

Yesterday, 15th October was the birth anniversary of Shankar Singh of the Shankar-Jaikishan duo.

He was born in Hyderabad in 1922 which means he would have been 95. He started his career with a theatre group before shifting to Prithvi Theatre. That is where he learnt to play the Tabla, and several other instruments like the Sitar, Accordion and Piano. Besides his work at Prithvi he also started working as assistant to Husnlal Bhagatram and nurtured ambitionof becoming an independent music director.He met a struggling Jaikishan Panchal, a harmonium player, outside the office of a Gujarati film director and instantly offered him a job at Prithvi without even consulting Prithviraj Kapoor. But Prithviraj honoured Shankar’s word and appointed Jaikishan as the Harmonium player of Prithvi Theatre.

It was here that they got to know Raj Kapoor and when Raj Kapoor debuted as director in 1948 with “Aag”. Ram Ganguly was the music director and Shankar and Jaikishan were the assistants. For RK’s “Barsaat”. Raj Kapoor took Shankar as the music director who insisted that on taking Jaikishan as partner and history was made. Their filmography contains a wide range of music that made Bollywood history. It has music of all genres. And they continued as a team till the untimely death of Jaikishan in 1971. But even after 1971 all the music composed by Shankar was credited to the duo. But today’s song is from a 1975 film so definitely it has to be a Shankar creation.

The second person who is being wished with this song is my childhood favourite. She is another of the persons whose appearance on the small screen makes me stop in my tracks/ chores even today. I was floored by her beauty from the first time I set my eyes on her in 1971/72. And am amazed at how she has managed to maintain herself even today as turns 69 today- cannot believe she is 69!!! Does not look it at all!!! Probably it is her constant riyaaz of dance- she is a classical dancer- that is the secret behind her looks.

She has been the darling of the audiences from her first Bollywood debut opposite Raj Kapoor in 1968. (she first faced the camera at 15 for Tamil film “Ithu Sathiyam” as a dancer and supporting actress). Now I know all the followers of this blog have understood that I am talking of my Basanti alias Hema Malini. And just so that this post doesn’t become very long I am not going to list all of my favourite Hema Malini films here. Neither am I going to list all her co-stars here. Nor am I giving a list of her songs which have been playing inside my head since morning. 😉

Let us get to the song straight away. It is from Sohanlal Kanwar’s “Sanyasi” (1975). The song is sung by Mukesh and Lata Mangeshkar. It is written by Vithalbhai Patel.

A strange coincidence the two people whose birthday is being celebrated with this song -both had their Bollywood debut with Raj Kapoor.


Song-Baali umariya bhajan karoon kaise (Sanyaasi)(1975) Singers-Lata, Mukesh, Lyrics-Vitthal Bhai Patel, MD-Shankar Jaikishan

Lyrics

baali
baali umariya bhajan karoon kaise
chadhhti jawaani jogan banoon kaise
baali umariya bhajan karoon kaise
chadhhti jawaani jogan banoon kaise
jhoothha
jhoothha guru ka vachan karoon kaise
saadhu hoon tera sajan banoon kaise
jhootha

ho o o

chaal meri bahki
nazar meri doli
chaal meri bahki
nazar meri doli
chhoot gaya bachpan
badal gayi boli
teri tu jaan
mujhe chhod de akela
main na ban paaunga saadhu se chhaila

ho o o
ho o o
maayaa
maayaa mein man ko magan karoon kaise

chadhhti jawaani
jogan banoon kaise
baali umariya bhajan karoon kaise
chadhhti jawaani jogan banoon kaise
baali

na ghar ki parwaah
na logon ka dar hai
na ghar ki parwaah
na logo ka dar hai
aisi kya teri hi chadhhti umar hai

jaane kyun tujh par na koi asar hai
teri aur meri baraabar umar hai
naazuk
naazuk kamariya sambhal chaloon kaise
saadhu hoon tera sajan banoon kaise
jhootha guru ka vachan karoon kaise
saadhu hoon tera sajan banoon kaise
jhootha

ho o o

baar baar tujhko ye kaise samjhaaun
baar baar tujhko ye kaise samjhaaun
tuhjse koi rishta main jod nahin paaun

laaj lage batiyaan main kaise bataaun
aise na ho main kunwaari rah jaaun
thhandi
thhandi ye man ki agan karoon kaise
saadhu hoon tera sajan banoon kaise
jhoothha guru ka vachan karoon kaise

chadhhti jawaani jogan banoon kaise
baali

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

Hullo to Atuldom

‘Saajan Mere Main Saajan Ki’ is a movie released in 1980. It was directed by Hiren Nag and produced by Ramraj Nahata. It had a star cast of Ashok Kumar, Raj Babbar, Raj Kiran, Rameshwari, Kaajal Kiran, Shashikala, Dina Pathak, Madan Puri etc. Songs were written and composed by Ravindra Jain. I have never seen the movie and so I have no idea what it was all about.

But one song from that movie has stayed in my memory. The playback for that song is by Manna Dey with Dilraj Kaur. What has stuck with me since I saw it on Doordarshan’s Chaayageet/Chitrahaar is the sight of Ashok Kumar and Shashikala living it up at a disco.

That was the period when Ashok Kumar used play a lovable old man who doesn’t mind enjoying himself occasionally with wine, women etc. All these would many-a-times be just to irritate a younger character or bring a wayward youngster to toe his line. But all his roles were very cute. Very often his partner would be the other lovable old man Pran, in addition he used to team up with Utpal Dutt, AK Hangal, and sometimes his team mate would be any actress with whom he has paired romantically in his younger days. Like in today’s song he is merrily dancing with Shashikala who herself was a dancing star in her younger days. Before this the two had appeared in ‘Khubsoorat’ as Sasur and Bahu. And yes, that film also is from 1980. 🙂 In this film, we see  Shashikala do a kathak piece as Dada Moni plays the tabla. I also remember Shashikala with Ashok Kumar in BR Chopra’s ‘Gumraah’ (1963) too.

I am sure many of the regular followers of this blog will remember that today is Dada Moni’s birth anniversary. He would have been 106. Let us remember him with this lively party song.

Song – Hi Honey. . . Hi Hi Honey (Saajan Mere Main Saajan Ki) (1980) Singer – Manna Dey, Dilraj Kaur, Lyrics – Ravindra Jain, MD – Ravindra Jain
Manna Dey + Dilraj Kaur
Male Chorus
Female Chorus
All Chorus

Lyrics

disco disco disco
disco disco disco
lets go on the dance floor
disco disco disco
disco

hi honey
hi hi honey
hi honey
hi hi honey
sweety sweety aisi beauty
humne dekhi na suni
sweety sweety aisi beauty
humne dekhi na suni

how funny
how how funny
o how funny
o how funny
jhoothi jhoothi naughty naughty
baaten tumse hi suni
jhoothi jhoothi naughty naughty
baaten tumse hi suni
hi honey
hi hi honey
hi hi honey
hi hi honey

lallall lall lalla
la la la la la la lala
lallall lall lalla
la la la la la la lala
lallall lall lalla

la la lal lal lalla
la la lal lal lalla
laaa laaa

ye to aap ka husn-e-nazar hai
ooo hooo
warna kya hain hum humko khabar hai
oo oo
kaun kahta hai dhalti umar hai
hooo oooo
har adaa me bala ka asar hai
baahon me baahen dono daalo
behak rahi hum sambhalo
o baahon me baahen dono daalo
behak rahi hum sambhalo
oooooo
hi honey
hi hi honey
hi hi honey
hi hi honey
tere mere jaisi jodi banegi aur na bani
jhoothi jhoothi naughty naughty
baaten tumse hi suni
hi honey
hi hi honey
hi hi honey
hi hi honey

dada moni
dada moni
its not so funny
not so funny
aish karogi miss malini
laila majnu
shirin farhad
in sabke sath zamana humen bhi karega yaad
haan jannat nasheen
unki roohen
hum se zinda dilon ko deti hain aashirvaad
preet ke rog me padke
dhak dhak dhak dil dhadke
preet ke rog me padke
dhak dhak dhak dil dhadke
hi honey
hi hi honey
hi hi honey
hi hi honey
jitni fine old wine
utna hi old honey
sweety sweety aisi beauty
humne dekhi na suni
hi honey
hi hi honey
hi hi honey
hi hi honey
hi honey
hi hi honey
hi hi honey
hi hi honey
hi honey
hi hi honey
hi hi honey
hi hi honey

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

डिस्को डिस्को डिस्को
डिस्को डिस्को डिस्को
लेट्स गो ऑन द डांस फ्लोर
डिस्को डिस्को डिस्को
डिस्को

हाए हनी
हाए हाए हनी
हाए हनी
हाए हाए हनी
स्वीटी स्वीटी ऐसी ब्यूटी
हम ने देखि ना सुनी
स्वीटी स्वीटी ऐसी ब्यूटी
हम ने देखि ना सुनी

हाओ फन्नी
हाओ हाओ फन्नी
ओ हाओ फन्नी
ओ हाओ फन्नी
झूठी झूठी नौटी नौटी
बातें तुमसे ही सुनी
हाए हनी
हाए हाए हनी
हाए हनी
हाए हाए हनी

लल्लल्ल लल्ल लल्ला
ला ला ला ला ला ला लाला
लल्लल्ल लल्ल लल्ला
ला ला ला ला ला ला लाला
लल्लल्ल लल्ल लल्ला

ला ला लल लल लल्ला
ला ला लल लल लल्ला
ला ला

ये तो आपका हुस्न ए नज़र है
ऊ हू
वरना क्या हैं हम हमको खबर है
ऊ ऊ
कौन कहता है ढलती उमर है
हू हू
हर अदा में बला का असर है
बाहों में बाहें दोनों डालो
बहक रहीं हूँ संभालो
बाहों में बाहें दोनों डालो
बहक रहीं हूँ संभालो
ओ ओ
हाए हनी
हाए हाए हनी
हाए हनी
हाए हाए हनी
तेरे मेरे जैसी जोड़ी बनेगी ना बनी
झूठी झूठी नौटी नौटी
बातें तुमसे ही सुनी
हाए हनी
हाए हाए हनी
हाए हनी
हाए हाए हनी

दादा मोनी
दादा मोनी

इट्स नौट सो फन्नी
नौट सो फन्नी
ऐश करोगी मिस मालिनी
लैला मजनूँ
शीरी फरहाद
इन सबके साथ ज़माना हमें भी करेगा याद
हाँ जन्नत नशीं उनकी रूहें
हमसे ज़िंदादिलों को देती हैं आशीर्वाद
प्रीत के रोग में पड़ के
धक धक धक दिल धड़के
प्रीत के रोग में पड़ के
धक धक धक दिल धड़के
हाए हनी
हाए हाए हनी
हाए हनी
हाए हाए हनी
जितनी फ़ाइन ओल्ड वाइन
उतना ही स्वीट हनी
स्वीटी स्वीटी ऐसी ब्यूटी
हम ने देखि ना सुनी
हाए हनी
हाए हाए हनी
हाए हनी
हाए हाए हनी
हाए हनी
हाए हाए हनी
हाए हनी
हाए हाए हनी
हाए हनी

हाए हाए हनी
हाए हनी
हाए हाए हनी


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.

Toady’s song is from film ‘Achhoot’ (1940),sung by composer Gyan Dutt and singer actress Vasanti.

The second world war started from 1939, but its effects started being felt in India after 1940 only. The Government became alert and sensitive. Lots of restrictions were put on Imports and Exports. All exports to Germany and Japan were banned. Foreign travel came under Government microscope. Imports were restricted to only essential goods. Raw film stock came under Government control (and naturally became available freely in black market at exorbitant price). Taking advantage of the situation, Government declared that those film production houses who help Government in its war efforts, by making films with pro Govt. themes, would get raw film on priority.

Most production studios made films with Patriotic themes accordingly, spicing it with pro Govt dialogues to claim favours. Mahatma Gandhi ji too upped his efforts to Govt. in distress as much as possible by undertaking different Satyagrahas like the Salt Satyagraha, Burning of Foreign goods, Quit India Movement etc. At the same time Gandhiji took up movement against social evils to attract public support to his main cause.

One of the social evils, Gandhiji took up was entry of harijans in Hindu temples. He did satyagraha in Kerala, Nashik, Banares and some other places. Hindi film industry was alive to what was happening in the country and films on untouchability were made by big studios. Bombay Talkies produced ‘Achhoot Kanya’ in 1936 followed by Ranjit Movietone with their film ‘Achhoot ‘ in 1940. While ‘Achhoot Kanya’ had a sad ending, film ‘Achhoot’ had a happy ending.

Hindi film industry’s growth in the early years from 1920s to 1940s was contributed to by 2 major communities. One of them was the Gujarati businessmen who immediately identified this business as the future gold mine. The other major community was the local Marathi, who lent their brain and hard work to this industry. As the time went by, people from Punjab, UP, Bengal and other states of India joined hands to help this industry to prosper. However, till the mid 1950s it was the Gujarati Sethias who poured the finances. Financiers like Sampat Sheth, Gokuldas Pasta, Manik Sheth Patel, Chunilal Munim, Mangaldas Parekh, Abdulali Yusufali, Mohd Ali Rangwala, Chimanlal Desai, Bhogilal Dave, Mayashanker Bhatt etc. only supplied the money, but never dabbled in other departments nor did they learn anything about the film making, more than what was needed to get some profits.

One person, however, was different. CHANDULAL SHAH. He not only put crores of rupees in film making, but also learnt the technique and art of making films, direction, building organisations of producers, develop political connections and what not. He did everything that was needed to become a successful film maker and a leader in the industry. That is why Baburao Patel called him “Sardar”. Chandulal Shah made his company Ranjit Movietone, a force to recon with.

Chandulal Shah  belonged to Jamnagar-Gujrat. He was born on 13-4-1898. He was into the cotton trade and used to visit Bombay frequently. Later he started working in Bombay Stock Exchange. He used to visit the Laxmi Film Studios nearby to watch shootings.

On one occasion, the director of a silent film ‘Vimla’ (1925) fell very sick and on the recommendation of a solicitor friend, Chandulal Shah got an opportunity to to direct the remaining portion of the film. Impressed by his work style he was offered 2 more films. He left the Stock Exchange job and took up film line completely.

From Laxmi, he shifted to Kohinoor Film Company, where he met actress Gauhar Jaan Mamajiwala, who became his mate for the next 50 years till he died. Gauhar used to feature in his films. With Gauhar, he did ‘Gunsundari’ in 1927 and in 1934 (silent and talkie respectively).

This film was a tremendous hit and it helped them to establish their own film company, Ranjit Movies in 1929. In next 3 year’s time they made 39 silent films. After the advent of Talkie, they changed the name of Ranjit to Ranjit Movietone. Chandulal liked to do things only kingsize. Thus he established Ranjit studios with 4 large sound stages. He also hired around 300 people in the beginning. On average, they made 6 feature films every year. His studio was an assembly line production house. At any given time at least 5 to 6 films were being made in his studios. He had a big army of famous actors, writers, technicians, directors, music directors etc. on his payroll.

Actors like Gauhar Jaan, Bilimoria, Nirupa Roy, Motilal, Madhuri, Khursheed, and KL Saigal; music directors like Gyan Butt, Bulo C Rani, Khemchand Prakash etc.; lyricist and writers like Kidar Sharma, Pradeep, Saadat Hasan Manto and many others were on his payroll.

Chandulal was very proud of his empire and used to advertise “There are more stars in Ranjit than in the Heavens”. At the peak time,there were about 700 people employed in Ranjit and Government had opened a ration shop in the studio premises for the workers’ benefit ! Khemchand Prakash did 20 films in Ranjit, Gyan Dutt 15 films and Bulo C Rani did 10 films here.

From 1929 to 1963 Ranjit made 31 silent films, 120 Hindi talkie films, 1 Tamil and 1 Marathi film. Unfortunately, due to a major fire in the early 1950s, except 7 talkie Hindi films, all other films were destroyed without leaving any backup for them.

Chandulal Shah was an active person. Besides film making he took interest in many Cine Associations and also led delegations abroad. He was a keen gambler and a better, especially in horse racing and stock market. In 1944, in a single day he lost one crore twenty five lakh rupees in cotton betting and that was the beginning of his downfall. He had to mortgage all his and Gauhar Jaan’s properties, but it could not save Ranjit Studios from ruins. He returned to film direction to make money and his first film after a gap of 14 years was ‘Paapi’ (1953). It had the hit pair of those times – Raj kapoor and Nargis. For the first time Raj Kapoor did a double role. But the film flopped. Clearly the times were bad for Chandulal. All his kundali was topsy turvy ! He tried 3 more films, all failed. His last film was ‘Akeli Mat Jaiyo’ (1963). A man who once ruled an empire started travelling in local trains and bus.

Chandulal Shah died on 25-11-1975.

Gauhar Abdul Qayoum Mamajiwala was born on 19-11-1910 at Lahore in a family of Bohra Muslims of Saurashtra in Gujarat. Her family shifted to Bombay. She was beautiful, well educated, soft spoken and liked to read books. Soon she became proficient in Hindi, Urdu, English, Gujarati and Marathi. When her father’s business crashed and they had financial crisis, Homi Master, one of the family friends suggested that she work in films. Homi was a director in Kohinoor studios. She joined films at the age of 15 years and her first film (silent) ‘Fortune And Fools’ aka ‘Baap Ki Kamaai’ (1925) was a hit film. She had a two year contract with Kohinoor. Many of her films were hits.

Chandulal Shah, who was also directing films for Kohinoor, was attracted by her performance and gave her a role in ‘Typist Girl’ (1927), in which Sulochana (Ruby Myers) was the heroine. Thus started their partnership. Soon after the contract was over, a few people viz. Gauhar, Chandulal, Jagdish Pasta, hero Rajah Sandow and cameraman P Naik left Kohinoor and established Shree Sound studio producing films under the banner of Jagdish Films. Here they made 10 popular films and in 1929 separated to form their own Ranjit Studios.

Their first Silent film for Ranjit (shot in Krishna Studios) was ‘Pati Patni’. Very soon Ranjit had their own four shooting stages and well equipped studios. Ranjit’s first Talkie was ‘Devi Devyani’ (1931) in which Gauhar acted opposite Bhagwandas as the hero. Ranjit Studio became very big and films were made at the rate of one film every 16-20 days. They employed the best talent of the industry and Chandulal seemed to convert anything into gold, whatever he touched!

Gauhar was the partner, manager, producer and star actress of Ranjit. She maintained very good relations with her collegues and would use the common make up room with all other artists. She did 28 silent and 19 talkie films in her career. Her last film was ‘Achhut’ (1940), directed by Chandulal and the hero was Motilal. Chandulal Shah also stopped directing films for the next 14 years. Gauhar now only looked after the studios and Chandulal Shah. Though she was with Chandulal for 48 years, they never married. Actually, Chandulal was already married and had a son Naveen. His family stayed with him in Bombay, but Gauhar never objected to that. In 1944, Chandulal lost 1.25 crores in cotton trading in a single day and their fortunes changed. Everything, including their properties had to be mortgaged and sold later. Even in this crisis, Gauhar did not leave him and stayed attached till Chandulal Shah died in 1975.

Gauhar led the same cultured life away from the bustle of the film world from which she retired. She read a great deal, from philosophy to fiction, enjoyed historical novels and was an ardent moviegoer. She had a polished command of English, Urdu, Hindi, Gujarati and Marathi, and she enjoyed seeing foreign and Indian films. Her favorite foreign stars were Audrey Hepburn, Norma She­arer, Rita Hayworth, Frederick March and Clark Gable. Among Indian artistes she had a liking for Meena Kumari, Raakhee, Jaya Bhaduri, Sharmila Tagore, Sanjeev Kumar, Ami­tabh Bachchan and Rajesh Khanna. Her list of favorite directors in­cluded Cecil B de Mille, Samuel ‘Billy’ Wilder, William Wyler from Hollywood and amongst the Indian directors – Chandulal Shah, Hrishikesh Mukherjee, V Shanta­ram, Yash Chopra and Gulzar.

Gohar Mamajiwala died on 28-9-1985.

‘Achhoot’ aka ‘The Untouchable’  is directed by Chandulal Shah. He too had decided to quit direction and also active participation in film making. He was keen to concentrate on other activities like organisational responsibilities, cotton trade and his favourite addiction – betting. The film was promoted as a Nationalist film addressing Gandhi ji’s campaign against untouchability. The film was endorsed by Mahatma Gaqndhi and Sardar Patel, even before it was made. The cast of the film ‘Achhoot’ was Motilal, Gauhar, Sitara, Vasanti, Charlie, Dixit, Mazhar, Yaqub etc. Gauhar quit acting after this film, though she was still good looking. However, she wanted to concentrate on the management of Ranjit empire. The film’s story was….

In Shanti Nagar, Laxmi (Vasanti) lives with her parents. They are all untouchables. When there is a water shortage, the villagers prevent the family from taking water from  the only well, which is reserved for the upper castes. Disgusted and frustrated, Laxmi’s father embraces Christianity. Laxmi is adopted by a rich businessman, who takes her to city and gives her education. She (Gauhar) becomes modern and acceptable in high society. She is very friendly with the daughter of the businessman – Savita (Sitara). Problem arises when both girls fall in love with the same boy. To find a solution, the businessman sends Laxmi back to her village. She returns and meets her childhood saheli (Rajkumari) and boyfriend Ramu (Motilal). They are agitating for equal rights for harijans. Laxmi jumps into this and fights for harijans entry into village temple. There is a riot in which Ramu dies.

Villagers repent after Laxmi delivers a touching speech and as a redemption for their blunder, villagers open the doors of the Temple for Harijans. Laxmi wins the battle.(644)

This film has 9 songs. One song is already discussed and this is the second song. It is a good Bhajan. . .

 


Song – Deen Dukhi Ko Daan Diya To Kya Mila, Hari Ram Mila (Achhoot) (1940) Singer – Gyan Dutt, Vasanti, Lyrics – PL Santoshi, MD – Gyan Dutt
Gyan Dutt + Vasanti

Lyrics 

ram mila hari ram mila
ram mila hari ram mila
ram mila hari ram mila

deen dukhi ko daan diya to
kya mila
deen dukhi ko daan diya to
kya mila
hari ram mila hari ram mila
hari ram mila hari ram mila

bhookhe ko jo ann diya to
kya mila
bhookhe ko jo ann diya to
kya mila
hari ram mila hari ram mila
hari ram mila hari ram mila

bure ka badla bhala diya to
kya mila
bure ka badla bhala diya to
kya mila
hari ram mila hari ram mila
hari ram mila hari ram mila

hari ram mila hari ram mila
hari ram mila hari ram mila

hari ram mila to kya mila
is daas ko bhagwan mila
hari ram mila to kya mila
is daas ko bhagwan mila
is daas ko bhagwan mila
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
राम मिला हरी राम मिला
राम मिला हरी राम मिला
राम मिला हरी राम मिला

दीन दुखी को दान दिया तो
क्या मिला
दीन दुखी को दान दिया तो
क्या मिला
हरी राम मिला हरी राम मिला
हरी राम मिला हरी राम मिला

भूखे को जो अन्न दिया तो
क्या मिला
भूखे को जो अन्न दिया तो
क्या मिला
हरी राम मिला हरी राम मिला
हरी राम मिला हरी राम मिला

बुरे का बदला भला दिया तो
क्या मिला
बुरे का बदला भला दिया तो
क्या मिला
हरी राम मिला हरी राम मिला
हरी राम मिला हरी राम मिला

हरी राम मिला हरी राम मिला
हरी राम मिला हरी राम मिला

हरी राम मिला तो क्या मिला
इस दास को भगवान मिला
हरी राम मिला तो क्या मिला
इस दास को भगवान मिला
इस दास को भगवान मिला


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.

 

नभ: स्पृशम् दीप्तम्

Touch the Sky with Glory

What an appropriate motto this is, for the flying heroes of our national force that is responsible for the defense of our nation’s skies, and the keepers of our aerial security. The Indian Air Force, the aerial arm of our armed forces, celebrated its 85 anniversary yesterday – 8th October, 2017.

War is never a good thing. No one wins in a war. Everyone loses. Behind the victories claimed by the conquerors, there always are brutal losses which one does not speak of. But then, if a war is thrust upon someone, then standing up and fighting for what is right is the inevitable path to be taken.  The lines written by Kaifi Azmi in this song, express this so well,

jung rahmat hai ke laanat, ye sawaal ab na uthe
jung jab aa hi gayi sar pe to rahmat hogi

जंग रहमत है के लानत, ये सवाल अब ना उठे
जंग जब आ ही गई सर पे तो रहमत होगी

This post is a salute to the fearless warriors of our armed forces, and especially our Air Force, on this day of celebrating its 85 years of history.

The origins of the Indian Air Force are in the Royal Air Force of Great Britain. India was under the British rule in 1932, when the decision was taken to set up an auxiliary air force unit in India, under the larger umbrella of the Royal Air Force.

In 1928-29 the Government of India (under British rule) decided to induct some Indians in the Royal Air Force. The first six Indians selected to undergo two years of flying training at the Royal Air Force College, Cranwell were Subroto Mukherjee, Harish Chandra Sircar, Aizad Baksh Awan, Bhupendra Singh, Amarjeet Singh and JN Tandon. After completing their training at Cranwell, the Indian pilots passed through the Army Cooperation School at Old Sarum in Wiltshire. After the completion of their training, five of these men were commissioned into service with the Royal Air Force. JN Tandon, on account of his short stature, was reverted to a logistic role, and not commissioned for flying.

On 8th October, 1932, the Indian Air Force Act was passed by the Indian Legislative Assembly, and the Indian Air Force was born. The Indian Air Force was established as an auxiliary air force of the Royal Air Force. The new force adopted the uniforms, badges, brevets and insignia of the Royal Air Force.

The first five pilots commissioned into the IAF were the same five who had been inducted into the Royal Air Force after completing their training at RAF Cranwell – Harish Chandra Sircar, Subroto Mukerjee, Bhupendra Singh, Aizad Baksh Awan and Amarjeet Singh. All of them were commissioned as Pilot Officers. Subroto Mukerjee later went on to become the IAF’s first Indian Chief of the Air Staff.

On 1 April 1933, the Indian Air Force got its first flying machines – four Westland Wapiti biplanes. The IAF commissioned its first squadron, No. 1 Squadron, at Karachi (now in Pakistan) with five Indian pilots listed above. The Indian pilots were led by RAF Commanding officer Flight Lieutenant (later Air Vice Marshal) Cecil Bouchier.

Subsequent batches inducted before World War II included Aspy Engineer, KK Majumdar, Narendra, Daljit Singh, Henry Runganadhan, RHD Singh, Baba Mehar Singh, SN Goyal, Prithpal Singh and Arjan Singh. Here is another name that is very familiar to all – Arjan Singh went on to become the first and only Air Chief designated as the Marshal of the Air Force (MAF). He is the only five star officer in the history of our Air Force. MAF Arjan Singh recently passed away (16th September, 2017) in Delhi, at the age of 98.

In recognition of the services rendered by the IAF during the World War II, King George VI conferred the prefix “Royal” in 1945. Thereafter the IAF was referred to as Royal Indian Air Force. In 1947, when the British left the Indian sub-continent, and the partition of this country happened the military forces were also partitioned. On 15th August, 1947, the Royal Indian Air Force gave up 3 divisions which were geographically based in the newly formed territories of Pakistan, and the Royal Pakistan Air Force was born.

Although the nation supposedly attained independence on 15th Aug, 1947, it continued to be a Dominion within the British Commonwealth of Nations, which means that we as a nation, were actually still paying our allegiance to the British Crown. In January 1950, when India adopted their own Constitution, and became a republic, the prefix “Royal” was dropped and the force became truly the Indian Air Force. However, the person at the head of the Air Force continued to be a non-Indian till 1954. As per seniority and age, the Air Force continued with three more Air Chief Marshals from 1947 to 1954. In 1954, the last of the Birtish chiefs superannuated from the top position, and the mantle of the top official came to Air Marshal Subroto Mukherjee, the first Indian head of the Indian Air Force.

The IAF has seen serious action in the four wars that have been fought with Pakistan (1948, 1965, 1971 and 1999). The force was not utilized during the 1962 conflict with China, despite being the superior air power in the region at that time. China’s forays into the Himalayan regions were recent at that time and their air force did not have the reach to come up to the Indo-China borders. A lack of political will and vision, one may say, and the IAF was utilized only for supplying the front lines.

Although a child (in single digits) at that time, my memories of the 1965 war are still quite detailed. The Pakistan Air Force was supposedly the superior force, equipped with American supplied F-86 Sabre jets, with the Indian Air Force flying the comparatively puny Gnat and Mystere aircrafts. But the valor and the heroism of the Indian pilots is now the stuff of a very proud history. The supposedly puny Gnat fighter planes were responsible for downing 6 Sabre jets, and earned the nickname of ‘Sabre Slayers’. Names like Sqadron Leader Keelor (actually two brother flyers – Trevor and Denzill) and Flying Officer Nebb, became household heroes, as the news poured in every day about the victories of the Indian Air Force.

The force was led by Air Marshal Arjan Singh during this period of conflict. Retired and past officers of the Air Force remember him dearly as a valiant leader who led from the front. While the conflict was in progress, the Air Marshal refused to stay put in Delhi, and was constantly visiting the front line airfields, meeting his officers and pilots, each one of them personally. So many of his people have consistently mentioned his reaching out to his men, how he would remember the names of each one of them, how he would be interested in knowing the details of their exploits in the air. And not just that, he reached out personally to the families of the heroes, and taking care to connect with the widowed wives and children of the flyers who laid down their lives in action.

He put the interest and safety of his airmen before his own. Close friend and former Air Chief Marshal NC Suri narrates an episode that underlines this. The Canberra bomber planes, one of the planes with the IAF, had a peculiar design. The pilot’s seat was designed as an ejection seat (that allows the pilot to eject automatically from the aircraft, in case of an emergency). However, the navigator seat was not, and the navigator, in the time of an emergency, had to physically disengage himself from the seat, break open some window and jump out of the aircraft. Whenever Arjan Singh flew a Canberra, he would refuse to take out the safety pin of the pilot seat’s ejection mechanism, rendering it ineffective. In other words, he was also incapable of ejecting from the aircraft, if an emergency arose. ACM NC Suri adds “So here is a man who felt that his navigator was equally important to him, which was very remarkable.”.

Yes, ‘Touch the Sky with Glory’, a motto that MAF Arjan Singh believed in and also lived by. The saga of our nation’s Air Force is full of numerous such people and their acts of valor and heroism.

As a salute to the brave airmen of our Air Force, I present this rousing song of bravery and leadership, from the 1973 film ‘Hindustan Ki Kasam’. Folks will remember this film one of the very few films made on the theme of Indian Air Force, its airmen and their exploits and triumphs. The time frame it was released indicates that it covered the events of the then recent past, i.e. the 1971 war with Pakistan.

The song itself needs no introduction – it has been one of the most popular patriotic songs to emerge from Hindi films. The words are from the pen of Kaifi Azmi, and the rousing marching music comes from the baton of Madan Mohan. The singing voices are of Rafi Sb and Manna Dey. In the film, this song appears at 3 places. In the beginning when the titles start to roll, somewhat later once again when the war with the enemy is in full swing, and at the end, as the film comes to a close. Interestingly enough, the titles of the film do no start till almost twelve and a half minutes into the film. (So this song cannot be categorized as the film opening song.)

We see a few characters in the video clip, especially in the first part. There is Rajkumar, Chetan Anand, Balraj Sahni, Veena, Vijay Anand, Priya Rajvansh, Parikshit Sahni etc. I have edited to present all the three parts of this song as a single clip. I have retained a few seconds of the scene just prior to the start of the first part – I really like the dialogue rendered by Rajkumar, just as the song starts.

So here is a salute and a tribute – to the daring ‘jaanbaaz’ flyers and the brave ground and support staff, that man this valiant Air Force – the safe keepers of the Indian airspace.

नभ: स्पृशम् दीप्तम्
Jai Hind.

[Ed Note: This song is the fourth and final one from this film to be posted on our blog. With this post, the film ‘Hindustan Ki Qasam’ joins the list of films with all songs posted.]

Song – Hindustan Ki Qasam  (Hindustan Ki Kasam) (1973) Singer – Mohammed Rafi, Manna Dey, Lyrics – Kaifi Azmi, MD – Madan Mohan
Rafi + Manna Dey
Chorus

Lyrics (Provided by Prakashchandra)

Part 1

[Dialogue]

hindustan ki kasam

hindustan ki kasam

hindustan ki kasam
na jhukega sar watan ka
har jawaan ki kasam
na jhukega sar watan ka
har jawaan ki kasam
hindustan ki kasam
ho ho o ho o o
hindustan ki kasam

[Dialogue]

o ho o o o
oho ho ho o o
ho ho o o o ho o o

jinhein pyaar hai watan se
wo jaan se khelte hai
khwaabon se khelte hain
armaan se khelte hain
miley raah mein jo toofaan
toofaan se khelte hain
na rukenge hum kisi se
is udaan ki kasam
hindustan ki kasam
ho ho ho o o o
hindustan ki kasam

o o o
ho ho ho o o
o o o ho ho ho

[Dialogue]

phir imtihaan na hoga
yoon imtihaan denge
khayenge zakham hans ke
khush ho ke jaan denge
mit jaayenge zubaan par
hum jab zabaan denge
hai issi mein shaan apni
issi shaan ki kasam
na jhukega sar watan ka
har jawaan ki kasam
hindustan ki kasam
ho ho o ho o o
hindustan ki kasam

ho o ho o o o
ho o ho o o o
ho o ho o o o

Part 2

jung rahmat hai ke laanat
ye sawaal ab na uthe
jung jab aa hi gayi sar pe
to rahmat hogi
aa haa
to rahmat hogi
door se dekho
na bhadke huye sholon ka jalaal
isi dozakh ke
kisi koney mein jannat hogi
aa haa
wo jannat hogi
jannat hai apni manzil
aasmaan ki kasam
na jhukega sar watan ka
har jawaan ki kasam
hindustan ki kasam
ho ho o ho o o
hindustan ki kasam

Part 3

dil hoga jitna ghaayal
utnaa magan rahega
duniya ko
yaad apnaa
ye baankpan rahega
lehraayega tiranga
jab tak razm rahega
yeh nishaan hai hamaara
iss nishaan ki kasam
yeh nishaan hai hamaara
iss nishaan ki kasam
hindustan ki kasam
hindustan ki kasam
na jhukega sar watan ka
har jawaan ki kasam
hindustan ki kasam
ho ho o o o
hindustan ki kasam
ho ho o o o
hindustan ki kasam
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

भाग १

हिंदुस्तान की कसम

हिंदुस्तान की कसम

हिंदुस्तान की कसम
न झुकेगा सर वतन का
हर जवान की कसम
न झुकेगा सर वतन का
हर जवान की कसम
हिंदुस्तान की कसम
हो हो ओ हो ओ ओ
हिंदुस्तान की कसम

[संवाद]

ओ हो ओ ओ ओ
ओहो हो हो ओ ओ
हो हो ओ ओ ओ हो ओ ओ

जिन्हें प्यार है वतन से
वो जाँ से खेलते हैं
ख्वाबों से खेलते हैं
अरमां से खेलते हैं
मिले राह में जो तूफां
तूफां से खेलते हैं
ना रुकेंगे हम किसी से
इस उड़ान की कसम
हिंदुस्तान की कसम
हो हो ओ हो ओ ओ
हिंदुस्तान की कसम

ओ ओ ओ
हो हो हो ओ ओ
ओ ओ ओ हो हो हो

[संवाद]

फिर इम्तिहान ना होगा
यूं इम्तिहान देंगे
खाएँगे जख्म हंस के
खुश हो के जान देंगे
मिट जाएँगे जुबां पर
हम जब जुबां देंगे
है इसी में शान अपनी
इसी शान की कसम
न झुकेगा सर वतन का
हर जवान की कसम
हिंदुस्तान की कसम
हो हो ओ हो ओ ओ
हिंदुस्तान की कसम

हो ओ हो ओ ओ ओ
हो ओ हो ओ ओ ओ
हो ओ हो ओ ओ ओ

भाग २

जंग रहमत है के लानत
ये सवाल अब ना उठे
जंग जब आ ही गई सर पे
तो रहमत होगी
आ हाss
तो रहमत होगी
दूर से देखो
ना भड़के हुये शोलों का जलाल
इसी दोज़ख के
किसी कोने में जन्नत होगी
आ हाss
वो जन्नत होगी
जन्नत है अपनी मंज़िल
आसमान की कसम
न झुकेगा सर वतन का
हर जवान की कसम
हिंदुस्तान की कसम
हो हो ओ हो ओ ओ
हिंदुस्तान की कसम

भाग ३

दिल होगा जितना घायल
उतना मगन रहेगा
दुनिया को याद अपना
ये बाँकपन रहेगा
लहराएगा तिरंगा
जब तक रज़्म रहेगा
ये निशान है हमारा
इस निशान की कसम
ये निशान है हमारा
इस निशान की कसम
हिंदुस्तान की कसम
हिंदुस्तान की कसम
न झुकेगा सर वतन का
हर जवान की कसम
हिंदुस्तान की कसम
हो हो ओ हो ओ ओ
हिंदुस्तान की कसम
हो हो ओ हो ओ ओ
हिंदुस्तान की कसम
हो हो ओ हो ओ ओ
हिंदुस्तान की कसम


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.

Today’s song is from a very little known film ‘Nirmal’ from 1952. During the period of the 50s, the film industries in all centres, i.e. Calcutta, Madras and Bombay were in full steam. The Partition had made a quantitative and qualitative change in the Hindi film industry. Many seasoned and successful artists had left India, creating a void suddenly. However, this proved to be an opportunity in disguise for many artists ‘waiting in the wings’ in the fields of  acting, film direction and music direction. The void was filled up almost immediately.

Many actors and actresses who used to play supporting roles, became lead players, assistant directors got a chance to become directors and a few new comers and chorus singers also got opportunity to become full fledged singers. Those who migrated from Lahore to India, started a new life here. Many businessmen (many of them black marketeers) who had earned lakhs of rupees during the war and the years of independence struggle as well, poured  money into the film industry. Thus, on all fronts, the film industry had new players, new investors and new topics for making films.

However, one change happened. The taste of Indian audience started to change in terms of music and the subject matter of the film stories. The few old players in music, who could not or did not cope up with the changing tastes of the audience, slowly faded out. Composers like Bulo C Rani, Khemchand Prakash, Hansraj Behl, SK Pal, Lachhiram, Madholal Master, Shankar Rao Vyas, Gobind Ram, Gyan Dutt, SD Batish, Nissar Bazmi, Khursheed Anwar, Ninu Majumdar etc. faded away by the mid 1950s. Many Muslim composers migrated to Pakistan. Composers who adapted themselves, like C Ramchandra, SD Burman, Hemant Kumar, Naushad etc. prospered for a longer period. New blood composers like Shanker-Jaikishen, Madan Mohan, OP Nayyar etc. bloomed quickly.

Same was the case with actors and actresses. Amongst these was one actress – Purnima. Born at Bombay on 2-3-1932 as Meher Bano, she was the daughter of a Lucknow Muslim mother and a Tamil Brahmin father – Ram Seshadri Aiyangar. He was working in the distribution office of producer director Kikubhai Desai (father of Manmohan Desai). While still in school Purnima started working in Hindi and Gujarati films from 1947 itself when she was hardly 15-16 year old. She got married to Shaukat Hashmi. After giving her a son and a divorce, he migrated to Pakistan.

In 1954, Purnima married producer director Bhagwandas Varma and stopped working. Her elder sister also had married producer director Nanubhai Bhatt. Their sons are Mahesh and Mukesh Bhatt. Purnima resumed working in films in 1957, when Bhagwandas was in financial difficulties. He died in 1962.

Purnima appeared as heroine or second lead in about 20 films. Her well known films are – ‘Thes’ (1949), ‘Patanga’ (1949), ‘Jogan’ (1950), ‘Gauna’ (1950), ‘Sagai’ (1951), ‘Baadal’ (1951), ‘Shagoofa’ (1953), ‘Pooja’ (1954), ‘Post Box No 999’ (1958), ‘Son of Sindbad’ (1958), ‘Kangan’ (1959), ‘Naya Kanoon’ (1965), ‘Guide’ (1965), ‘Budtameez’ (1966), ‘Humjoli’ (1970) etc. In all she acted in 152 films, though she claimed more than 200 films, in one of her interview. Her last film was ‘Sada Suhagan’-86, after which she retired. Her friends were Saira Bano, Shakeela and Dulari. Purnima died on 14-8-2013 in Mumbai.

There were two more Purnimas working in the film industry during the same years. One was Purnima Chaudhari who worked in 3 films in 1948. Another Purnima was an actress from Bengal, who acted only in films produced at Calcutta. She worked in about 9-10 films. Due to this, Purnima’s filmography gets mixed up many times.

Purnima’s  hero in the film ‘Nirmal’ was Amarnath (Bharadwaj). He is one of the ‘same name confusions’ victims. There were two Pt. Amarnath music directors, 1 actor Amar, 1 actor Amarnath and 1 actor/director K Amarnath. This Amarnath started his acting career in 1939 with Kidar Sharma’s ‘Dil Hi To Hai’. Graduating from doing small roles he was made the leading man in Dalsukh Pancholi’s film ‘Patjhad’, opposite to Meena (Shorey). The film was launched in 1947. Pancholi had to flee Lahore due to Partition riots, but he carried the negatives of the partially filmed ‘Patjhad’ with him. Though the film was censored in India in 1948, it seems it was never released.

Amarnath starred as hero in many other films like ‘Papiha Re’ (1948), ‘Swayam Siddha’ (1949), ‘Nai Bhabhi’ (1950), ‘Kamal Ke Phool’ (1950), ‘Sheesh Mahal’ (1950), ‘Jalte Deep’ (1950), ‘Nai Zindagi’ (1951) etc. Then he switched over to supporting roles. In all, he worked in 79 films (CITWF data). His last film was ‘Khiladi’ (1968).

All the songs of ‘Nirmal’ were written by Moti, BA. This film was a special film for lyricist Moti BA, because this was his last film as a lyricist. Yogilal Upadhyaya aka Moti BA was born on 1-8-1919 at Devariya, UP. He did his BA in 1938 and MA in 1941, in addition to BT and ‘Sahitya Ratan’ from Benaras University. He was scouted by Ravindra Dave and Sardar Ranjit Singh, emissaries of Dalsukh Pancholi. At that time he was working as a journalist. He went to Lahore and stayed there for 2 years, enjoying company of writers, poets and major stars. He wrote songs for films like ‘Kaise Kahoon’ (1945).

He came to Bombay and started writing songs for films like ‘Subhadra’ (1946), ‘Bhakta Dhruv’ (1947), ‘Ek Kadam’ (1947), ‘Amar Asha’ (1947) etc. Some of his other films are ‘Saajan’ (1947), ‘Nadiya Ke Paar’ (1948), ‘Sindoor’ (1947), ‘Rimjhim’ (1949), ‘Raam Baan’ (1948), ‘Ram Vivah’ (1949), ‘Veer Ghatotkach’ (1949), ‘Rajput’ (1951) etc. He was much in demand, but after ‘Nirmal’ he decided to go back to his hometown and teach. He taught Logic, English Literature and History from 1952 to 1980. He wrote 4 books and won several awards. He died on 18-1-2009 at Devariya.

There is an enigma about lyricist Moti, that though he had done MA, why was he known as Moti, BA ?

Moti, BA is one of the very few artists who left the film world to pursue what he loved – teaching. I can remember another example – Sr. Shashi Kapoor who left a lucrative career as a child artist to pursue his studies in mathematics. He became a maths professor in an American university teaching his favourite subject of maths.

The cast of ‘Nirmal’ was Purnima, Amarnath, Shyam Kumar, Shanta Kunwar, Mirza musharraf, Habib, Cuckoo etc. The story of film Nirmal is-

Nirmal (Amarnath) is an honest young man who loves Purnima (Purnima) and gets married to her. He is sent to Calcutta by his office. He goes alone, leaving wife to look after his ailing father. After few months, when father is very ill, Nirmal leaves for home. Grabbing this opportunity, Champaklal (Shyam Kumar), a colleague in his office, does a fraud and the blame comes to Nirmal. Police arrest Nirmal the day his father dies. The story details how the courageous Purnima goes to Calcutta and proves Nirmal innocent, with the help of some friends. (643)

The film has 8 songs. 2 songs are already discussed. This is the third song. It is a song with a very good tune. . .

 


Song – Tu Jo Mere Pyaar Ki Khichdi Pakaayega (Nirmal) (1952) Singer – Geeta Dutt, GM Durrani, Lyrics – Moti BA, MD – Bulo C Rani

 

Lyrics 

tu jo mere pyaar ki khichdi pakaayega
taapta rahega tu
aur koi khaayega
arre tu jo mere pyaar ki khichdi pakaayega
taapta rahega tu
aur koi khaayega
humre tumhere beech kaise koi aayega
humre tumhere beech kaise koi aayega
tu jo na khilaayegi
to kaise koi khaayega
tu jo mere pyaar ki khichdi pakaayega
taapta rahega tu
aur koi khaayega

dekho bulaanvungi saat kos aayega
kaun teri aankhon ka paani gir jaayega
khaali peeli aayega
khaali peeli jaayega
khaali peeli aayega
aur khaali peeli jaayega
taapta rahega tu
aur koi khaayega
tu jo mere pyaar ki khichdi pakaayega
taapta rahega tu
aur koi khaayega

aaya hoon tumhaare paas
khaali nahin jaane ka
wade ke khilaaf kaani kaudi nahin paane ka
tu bhi pachhtaayegi
hum bhi pachhtaayega
tu bhi pachhtaayegi
aur hum bhi pachhtaayega
taapta rahega tu
aur koi khaayega
tu jo mere pyaar ki khichdi pakaayega
taapta rahega tu
aur koi khaayega

hum to tere pyaar ka
halwa banaayega
baith ke tumhaare saath
gappa gapp
gappa gapp
gappa gap khaayega
maska lagaayega to halwa khilaayega
maska lagaayega to halwa khilaayega
varna kya. . .
taapta rahega tu
aur koi khaayega
humre tumhere beech kaise koi aayega
humre tumhere beech kaise koi aayega
tu jo na khilaayegi
to kaise koi khaayega
arre tu jo mere pyaar ki khichdi pakaayega
taapta rahega tu
aur koi khaayega

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

तू जो मेरे प्यार की खिचड़ी पकाएगा
टापता रहेगा तू
और कोई खाएगा
अरे तू जो मेरे प्यार की खिचड़ी पकाएगा
टापता रहेगा तू
और कोई खाएगा
हमरे तुम्हेरे बीच कैसे कोई आएगा
हमरे तुम्हेरे बीच कैसे कोई आएगा
तू जो ना खिलाएगी
तो कैसे कोई खाएगा
तू जो मेरे प्यार की खिचड़ी पकाएगा
टापता रहेगा तू
और कोई खाएगा

देखो बुलावुंगी सात कोस आएगा
कौन तेरी आँखों का पानी गिर जाएगा
खाली पीली आएगा
खाली पीली जाएगा
खाली पीली आएगा
और खाली पीली जाएगा
टापता रहेगा तू
और कोई खाएगा
तू जो मेरे प्यार की खिचड़ी पकाएगा
टापता रहेगा तू
और कोई खाएगा

आया हूँ तुम्हारे पास
खाली नहीं जाने का
वादे के खिलाफ कानी कौड़ी नहीं पाने का
तू भी पछताएगी
हम भी पछताएगा
तू भी पछताएगी
और हम भी पछताएगा
टापता रहेगा तू
और कोई खाएगा
तू जो मेरे प्यार की खिचड़ी पकाएगा
टापता रहेगा तू
और कोई खाएगा

हम तो तेरे प्यार का हलवा बनाएगा
बैठ के तुम्हारे साथ
गप्पा गप्प
गप्पा गप्प
गप्पा गप्प खाएगा
मस्का लगाएगा तो हलवा खिलाएगा
मस्का लगाएगा तो हलवा खिलाएगा
वरना क्या॰॰॰
टापता रहेगा तू
और कोई खाएगा
हमरे तुम्हेरे बीच कैसे कोई आएगा
हमरे तुम्हेरे बीच कैसे कोई आएगा
तू जो ना खिलाएगी
तो कैसे कोई खाएगा
अरे तू जो मेरे प्यार की खिचड़ी पकाएगा
टापता रहेगा तू
और कोई खाएगा


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.

Missing Films of 1960s – 35
– – – – – – – – – – – – – – –

Her name is listed as the fourth lady music director in Hindi cinema. But then, that is where the comparison ends. The first three names considered are Ishrat Sultana, better known as Bibbo, then Jaddan Bai, and then we have Khorshed Minocher-Homji, more popularly known as Saraswati Devi. These stalwart composers from the earlier decades (1930s and 40s) of Indian cinema, were formally trained in Hindustani classical music, which also defined their style and the types of songs they composed.

The other thing is the size of their work portfolio. Checking the Geet Kosh listings, one finds the following data. The name Ishrat Sultana appears for two films – ‘Adl e Jehangir’ from 1934 and ‘Qazzack Ki Ladki’ from (1937).  Then, the name of Jaddan Bai appears for 5 films in the 1930s. In case of Saraswati Devi, this number is 28 films, spread over 1930s and 40s. The actual number could probably be higher, since the Geet Kosh information is not complete for a number of films, especially for the first decade of talkie films. Nonetheless, we get a feel for the body of work of these two lady music directors.

The fourth name, and yes, I am talking about Usha Khanna – she is different from earlier three lady music directors identified above, in the following two respects. One, as per her own submissions, she has had no formal training in music, period. The closest she says she came to be taught music is her father, Manohar Lal Khanna, showing her the keys on a harmonium, for the basic notes of the sargam. Beyond that frugal basic introduction, Usha Khanna is a self taught music person, a fact that most certainly belies both the quality and the quantity of her musical creations. And the second – her longevity in the industry and the no. of films she has worked on. An active career that started in 1959, with the hit musical ‘Dil Deke Dekho’, and continued till at least 2003 with the film ‘Dil Pardesi Ho Gaya’. A musical journey that has lasted well over five decades, and in the process, she has worked for more than 250 films, in Hindi as well as some in other languages. These two factors make her stand apart in greater prominence, than her predecessor luminaries.

Greetings to Usha Khanna ji on her 76th birthday – 7th October, 2017.

And when we take a look at the years, another amazing aspect gets highlighted. Her first film is ‘Dil Deke Dekho’ in 1959. She was born in 1941. Goodness, she was all of eighteen years old when she accomplished her debut hit. That, my friends, is a remarkable showing indeed. Actually, she was introduced to Sashadhar Mukherji of Filmalya, by Indeevar ji. She was present for audition as a singer. On listening to her, S Mukherji ruled her out as a singer – no match for the voices of established artists like Lata ji and Asha ji. But when it was mentioned that she also composed music, it stirred the interest of Mukherji Sb. Not believing what he heard, he challenged her to create tunes for the mukhda lines suggested by him. He put her to this test again and again. After being satisfied with her introductory output, he assigned her as the music director for ‘Dil Deke Dekho’. The rest, my friends, is simply history.

With today’s post, I introduce to our blog, the film ‘Trip To Moon’ from 1967. The film is also known by the title ‘Chaand Par Chadaai’. The film is produced under the banner of Cauvery Productions, Madras and is directed by TP Sundaram. This is a Dara Singh film, notably produced in Madras. The cast of actors includes Dara Singh, Ratna, Bhagwan, Anwar Hussain, S Nazir, Helen, Padma, Kanchanmala and Rajrani etc. The music of this film is composed by Usha Khanna. Coming to the lyricists, the situation is quite interesting. Geet Kosh lists the song writers as SH Bihari, Asad Bhopali, Akhtar Romani and Javed Anwar, with an indication that there may be one more songwriter. Fortunately, this film is available. So when I checked the actual film, in the credits, three song writers are named, viz. SH Bihari, Asad Bhopali and a gentleman named Imam. There is this difference, which may be explained by noting that most listings in the Geet Kosh are based on the information booklets of the films. And yes, specific songwriter’s name for individual songs are not identified.

The song is a twin dance, which is being performed in some sort of a royal darbaar setting. The second dancer, who is lip syncing Kamal Barot’s voice, is a very young Padma Khanna (thanks Prakash ji, for the identification). I am not able to place a name to the first dancer. The dance seems to be a competition, as we can see some men who are possibly judges, as from their attire and appearance, and are holding paper and pencils in their hands. Watching this performance are Dara Singh and Bhagwan, seated in eminent seats, indicating they may be guests of honor. A lone person is sitting in some kind of a throne. He is wearing dark glasses, and I am not able to identify. I request friends and readers to help identify the first lady dancer and other actors visible in this clip.
[Ed Note: Nayan Yagnik ji has identified the gentleman wearing dark glasses as S Nazir. Prakash ji has identified the second dancer as Padma Khanna. Thanks to both.]

Greetings to Usha Khanna ji once again.

Enjoy this delightful twin dance song, that is one of the many keen memories from the radio listening days.

Song – Aap Hain Kya Aji Wo Aap Hain Kya  (Trip To Moon) (1967) Singer – Suman Kalyanpur, Kamal Barot, Lyrics – [Unattributed], MD – Usha Khanna
Suman Kalyanpur + Kamal Barot

Lyrics

aap hain kya
aji wo aap hain kya
aap hain kya
aji wo aap hain kya
yun jhuki jhuki aankhon ne kamaal kar diya
hai chori chori dil ka bura haal kar diya
vallah har kaam bemisaal kar diya
aap hain kya
aji wo aap hain kya
aap hain kya
aji wo aap hain kya
yun jhuki jhuki aankhon ne kamaal kar diya
hai chori chori dil ka bura haal kar diya
vallah har kaam bemisaal kar diya
aap hain kya
aji wo aap hain kya

kahiye janaab ye kya kiya
kyon dil se dil takra diya
hum ko bagair soche huye
kyon ae huzoor tadpa diya
ye addayen
ye ishaare
jitne qaatil
utne pyaare
lagne lagey dil pe teer ki tareh
aap hain kya
aji wo aap hain kya
aap hain kya
aji wo aap hain kya
yun jhuki jhuki aankhon ne kamaal kar diya
hai chori chori dil ka bura haal kar diya
vallah har kaam bemisaal kar diya
aap hain kya
aji wo aap hain kya

hum ek baar dekhen jidhar
lag jaaye aag pal mein udhar
zulfon ke jaal hain har taraf
jaayenge aap bach kar kidhar
humse itni berukhi kyon
dosti mein dushmani kyon
aisi na dijey hamen pyaar ki sazaa
aap hain kya
aji wo aap hain kya
aap hain kya
aji wo aap hain kya
yun jhuki jhuki aankhon ne kamaal kar diya
hai chori chori dil ka bura haal kar diya
vallah har kaam bemisaal kar diya
aap hain kya
aji wo aap hain kya

tumko bhi pyaar
humko bhi pyaar
yun na karo chhup chhup ke waar
hoga abhi har faisla
kiski hai jeet
kiski hai haar
tun jahaan ho
hum wahin hain
hum bhi tumse kam nahin hain
donon hain ek hi haseen bemisaal
aap hain kya
aji wo aap hain kya
aap hain kya
aji wo aap hain kya
yun jhuki jhuki aankhon ne kamaal kar diya
hai chori chori dil ka bura haal kar diya
vallah har kaam bemisaal kar diya
aap hain kya
aji wo aap hain kya
aap hain kya
aji wo aap hain kya. . .

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

आप हैं क्या
अजी वो आप हैं क्या
आप हैं क्या
अजी वो आप हैं क्या
यूं झुकी झुकी आँखों ने कमाल कर दिया
हाय चोरी चोरी दिल का बुरा हाल कर दिया
वल्लाह हर काम बेमिसाल कर दिया
आप हैं क्या
अजी वो आप हैं क्या
आप हैं क्या
अजी वो आप हैं क्या
यूं झुकी झुकी आँखों ने कमाल कर दिया
हाय चोरी चोरी दिल का बुरा हाल कर दिया
वल्लाह हर काम बेमिसाल कर दिया
आप हैं क्या
अजी वो आप हैं क्या

कहिए जनाब ये क्या किया
क्यों दिल से दिल टकरा दिया
हमको बगैर सोचे हुये
क्यों ए हुज़ूर तड़पा दिया
ये अदाएं
ये इशारे
जितने क़ातिल
उतने प्यारे
लगने लगे दिल पे तीर की तरह
आप हैं क्या
अजी वो आप हैं क्या
आप हैं क्या
अजी वो आप हैं क्या
यूं झुकी झुकी आँखों ने कमाल कर दिया
हाय चोरी चोरी दिल का बुरा हाल कर दिया
वल्लाह हर काम बेमिसाल कर दिया
आप हैं क्या
अजी वो आप हैं क्या

हम एक बार देखें जिधर
लग जाये आग पल में उधर
ज़ुल्फों के जाल हैं हर तरफ
जाएँगे आप बच कर किधर
हमसे इतनी बेरुखी क्यों
दोस्ती में दुशमनी क्यों
ऐसी ना दीजे हमें प्यार की सज़ा
आप हैं क्या
अजी वो आप हैं क्या
आप हैं क्या
अजी वो आप हैं क्या
यूं झुकी झुकी आँखों ने कमाल कर दिया
हाय चोरी चोरी दिल का बुरा हाल कर दिया
वल्लाह हर काम बेमिसाल कर दिया
आप हैं क्या
अजी वो आप हैं क्या

तुमको भी प्यार
हमको भी प्यार
यूं न करो छुप छुप के वार
होगा अभी हर फैसला
किसकी है जीत
किसकी है हार
तुम जहाँ हो
हम वहीं हैं
हम भी तुमसे कम नहीं हैं
दोनों हैं एक ही हसीन बेमिसाल
आप हैं क्या
अजी वो आप हैं क्या
आप हैं क्या
अजी वो आप हैं क्या
यूं झुकी झुकी आँखों ने कमाल कर दिया
हाय चोरी चोरी दिल का बुरा हाल कर दिया
वल्लाह हर काम बेमिसाल कर दिया
आप हैं क्या
अजी वो आप हैं क्या
आप हैं क्या
अजी वो आप हैं क्या॰ ॰ ॰


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.

“Delhi Junction”(1960) was produced by RL Sharma and directed by Mohammad Hussain for Nigaaristan (India) Films, Bombay. The movie had Ajeet, Shakeela, Nishi, Maruti, Manorama, Tiwari, Pran, Protima Devi, Murad, Rafiq, Kamal Mohan, Harun, Anwari Bai, Pal Sharma, Jagdish Kanwal, Nadir, Satish, Sadiq, Sarita, Kukku, Rajni, and Khurshid etc in it.

The movie had six songs in it that were penned by four lyricists viz. PL Santoshi, Prem Dhawan, Farooque Kaiser and Gulshan Bawra. 

Four songs have been covered in the blog.

Here is the fifth song from “Delhi Junction”(1960). This song is sung by Lata and Usha Mangeshkar. It is penned by Prem Dhawan. Music is composed by Kalyanji.

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

The audio of this song is not as good as it could be and the voices of the two singers (which otherwise are distinct) often cannot be separated from each other. Hopefully my colour coding is correct for the two voices.


Song-Kya karoon dil kahin pe kho gaya (Delhi junction)(1960) Singers-Lata, Usha Mangeshkar, Lyrics-Prem Dhawan, MD-Kalyanji

Lyrics

kya karoon
dil kahin pe kho gaya aa
jaane do
hona thha jo ho gaya aa

kya karoon
dil kahin pe kho gaya
kitna roka kitna toka
par sambhaala na gaya ho
kya karoon
dil kahin pe kho gaya
jaane do
hona thha jo ho gaya

kya khata thhi ye nazar ki
ya dilon ka josh thha aa

aankh milte ho gaya kya
kisko itna hosh thha
dekhti hi rah gayi main
dekhti hi rah gayi main
jaane kya ho gaya
ho o o
kya karoon
dil kahin pe kho gaya aa
jaane do
hona thha jo ho gaya

pyaar se na bach sakoge
phir ye darna kis liye ae

sochte thhe dil lagaa ke
aahen bharna kis liye
phir bhi dhokha kha hi baithhe
phir bhi dhokha kha hi baithhe
pyaar ho hi gaya
ho o o
kya karoon
dil kahin pe kho gaya aa
jaane do
hona thha jo ho gaya

kitna roka kitna toka
par sambhaala na gaya ho
kya karoon
dil kahin pe kho gaya aa
jaane do
hona thha jo ho gaya


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.

“Delhi Junction”(1960) was produced by RL Sharma and directed by Mohammad Hussain for Nigaaristan (India) Films, Bombay. The movie had Ajeet, Shakeela, Nishi, Maruti, Manorama, Tiwari, Pran, Protima Devi, Murad, Rafiq, Kamal Mohan, Harun, Anwari Bai, Pal Sharma, Jagdish Kanwal, Nadir, Satish, Sadiq, Sarita, Kukku, Rajni, and Khurshid etc in it.

The movie had six songs in it that were penned by four lyricists viz. PL Santoshi, Prem Dhawan, Farooque Kaiser and Gulshan Bawra. 

Three songs have been covered in the blog.

Here is the fourth song from “Delhi Junction”(1960). This song is a Rafi-Lata duet with chorus. It is penned by Prem Dhawan. Music is composed by Kalyanji.

Only the audio of this song is available. My guess is that this song is picturised on the lead pair of Shakeela and Ajeet. Nevertheless, I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Kehti hoon main sach sach (Delhi Junction)(1960) Singers-Lata, Rafi, Lyrics-Prem Dhawan, MD-Kalyanji
Chorus

Lyrics

ho ho ho ho
ho ho ho

aa aa aa aa
hahahaha

kehti hoon main sach sach
rehna zara bach bach
pyaar mein hain dhokhe bade
ae ji hone do
haathhon se gaya jo dil
jaayega kaleja hil
rona padega jo naina lade
ae ji rone do
ho kehti hoon main sach sach
rehna zara bach bach
pyaar mein hain dhokhe bade
ae ji hone do
hone do
hone do
hone do

l l l la l ll la ll la

bada hi naazuk dil ka sheesha hai
dil na kahin takraana
soch samajh lo
ae dilwaalon
phir na kahin pachhtaana
par jo maza hai
dil takraane mein
wo hi na tum ne jaana

kehti hoon main sach sach
rehna zara bach bach
pyaar mein hain dhokhe bade
ae ji hone do
hone do hone do hone do

poochho ji humse pyaar ki baaten
aashiq hain hum to puraane
phirte hain kabse
thhaam ke dil ko
husn ke hum parwaane

jahaan bhi jaaoge
thokaren khaaoge
bano na yoon deewaane
kehti hoon main sach sach
rehna zara bach bach
pyaar mein hain dhokhe bade
ae ji hone do
hone do hone do hone do

l l l la l ll la ll la
lalalala

berukhi itni bhi achchi nahin hai
chhodo ye gussa
aji chhodo

hum pe chalega na jaadu ye baaton ka
aur kahin sar phodo
nazron ke maare hain
hum to tumhaare hain
humse na naata todo

kehti hoon main sach sach
rehna zara bach bach
pyaar mein hain dhokhe bade
ae ji hone do
haathhon se gaya jo dil
jaayega kaleja hil
rona padega jo naina lade
ae ji rone do
rone do rone do rone do
l l l la l ll la ll la lala
l l l la l ll la ll la


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.

Regulars may have noticed that very few posts have appeared in the blog for the last few days, especially from me, despite the last few days being holidays.

No, I was not busy elsewhere. I had sufficient time for the blog, but I spent that time on doing background work on the blog.

Majrooh Sultanpuri completed 1000 songs in the blog as a lyricist on 1 october 2017, which was his birth anniversary. It was on the morning of that day that it struck me that I should go through the entire filmography of Majrooh Sultanpuri and write an article based on that. It took me nearly four days before I found myself prepared with my data about Majrooh Sultanpuri.

Instead of discussing all that information in one huge article, I have decided to break that up in smaller chunks of information to be discussed over several articles.

Majrooh Sultanpuri began his career as a HFM lyricist in 1946 and he continued writing lyrics till his death in 2000. That works out to an amazing career of 55 years !

One would feel badly let down if one decides to look up at the wikipedia entry for Majrooh Sultanpuri. Majrooh Sultanpuri, one of the biggest name amomg lyricists (if not the biggest) during the golden era of HFM deserved much better researched writeup than what is available in wikipedia. The wikipedia page mentions some 15 music directors with whom Majrooh Sultanpuri and picks Anand Milind and Jatin Lalit for special mention as notable collaborators with Majrooh Sultanpuri. That is blasphemy of the highest order !

The blasphemy continues further on the wikipedia page where it is mentions that Majrooh Sultanpuri worked with R D Burman in just nine films !

To put things in perspective, Majrooh Sultanpuri worked with 55 music directors according to my count. He penned songs in over 300 movies (the exact number is not known to me , though it is over 315). Various sources give figures of over 2000 songs for Majrooh Sultanpuri.

I went through the listings of HFGK part II to part V and noted down the detailed break up of all the songs penned by Majrooh Sultanpuri. For songs penned after 1980, I do not have any HFGK to go by. Something on the lines of HFGK has recently been printed recently for songs between 1981 to 1990, and that can be considered HFGK part VI, but I do not have that book with me at present. So, I have relied upon online sources, hoping that their information is accurate.

After counting all the songs, I feel that Majrooh Sultanpuri may have penned just over 1800 songs during his career. My estimate is lower than the estimates put up by other sources. I will discuss the break up of Majrooh Sultanpuri in detail in my writeups running into a few articles, beginning with this one.

The first movie where Majrooh Sultanpuri got to write lyrics was “Shahjahaan” (1946). Naushad was the music director. It was a K L Saigal starrer movie. So Majrooh Sultanpuri had the privilege of writing lyrics that were sung by K L Saigal. One of these sogs also had the voice of an up and coming singer caller Mohammad Rafi.

“Shahjahaan”(1946) had ten songs in it. Majrooh Sultanpuri penned seven of them. Majrooh Sultanpuri worked with Naushad in a total of nine movies. The break up is:

Naushad with Majrooh Sultanpuri
——————————–

S No Movie Year Songs in the movie Songs in the blog Songs by Majrooh Majrooh songs in the blog Remarks
1. Shahjahaan 1946 10 10 7 7 Movie YIPPEED
2. Keemat 1946 9 9 9 9 Movie YIPPEED
3. Naatak 1947 10 10 1 1 Movie YIPPEED
4. Andaaz 1949 10 10 10 10 Movie YIPPEED
5. Saathi 1968 8 8 8 8 Movie YIPPEED
6. Taangewaala 1972 7 2 7 2
7. Chambal Ki Raani 1979 4 1 2 1
8. Dharam Kaanta 1982 6 2 6 2
9. Guddu 1995 7 0 7 0
Total 71 52 57 40

Thus we see that Majrooh Sultanpuri penned 57 songs for Naushad in nine movies. 40 of these songs have been covered in the blog. Five out of these nine movies are already YIPPEED.

The second music director with whom Majrooh Sultanpuri worked was Ghulam Mohammad. They came together for the first time in “Doli”(1947). They worked together in six movies, with “Paakeeza””(1971) being their last collaboration.

Ghulam Mohammad with Majrooh Sultanpuri
——————————————————–

S No Movie Year Songs in the movie Songs in the blog Songs by Majrooh Majrooh songs in the blog Remarks
1. Doli 1947 9 3 4 1
2. Mehndi 1947 8 5 1 0
3. Hanste Aansoo 1950 11 6 3 2
4. Sheesha 1952 8 8 2 2 Movie YIPPEED
5. Do Gunde 1959 7 7 7 7 Movie YIPPEED
6. Paakeezaa 1971 9 9 2 2 Movie YIPPEED
Total 52 38 19 14

The next music directoror with whom Majrooh Sultanpuri got to work were Husnlal Bhagatram. They first came together in Romeo Juliet (1947) followed by Sartaj (1950) and Shama Parwaana (1954).

Husnlal Bhagatram with Majrooh Sultanpuri
————————–

S No Movie Year Songs in the movie Songs in the blog Songs by Majrooh Majrooh songs in the blog Remarks
1. Romeo Juliet 1947 8 3 1 0
2. Sartaaj 1950 9 3 6 3
3. Shama Parwaana 1954 11 11 11 11
Total 28 17 18 14

Ram Ganguly was the next music director who worked with Majrooh Sultanpuri. It was just one song, out of 8, in “Aag” (1948) that was penned by Majrooh Sultanpuri.

Ram Ganguly with Majrooh Sultanpuri
——————

S No Movie Year Songs in the movie Songs in the blog Songs by Majrooh Majrooh songs in the blog Remarks
1. Aag 1948 8 8 1 1 Raat ko jee chamken taare

Bulo C Rani worked with Majrooh Sultanpuri in three movies, viz. “Anjuman”(1948), “Najaare” (1949) and “Pyaar Ki Baaten” (1951)

Bulo C Rani with Majrooh Sultanpuri
————————

S No Movie Year Songs in the movie Songs in the blog Songs by Majrooh Majrooh songs in the blog Remarks
1. Anjuman 1948 12 4 12 4
2. Najaare 1949 16 2 2 0
3. Pyaar Ki Baaten 1951 11 8 1 1
Total 39 14 15 5

Vasant Desai worked with Majrooh Sultanpuri in “Sona” (1948) where one song was penned by Majrooh Sultanpuri. Their second and final collaboration was ten years later where all the seven songs were penned by Majrooh Sultanpuri in “Ardhaangini” (1958)

Vasant Desai with Majrooh Sultanpuri
——————————————————-

S No Movie Year Songs in the movie Songs in the blog Songs by Majrooh Majrooh songs in the blog Remarks
1. Sona 1948 8 0 1 0
2. Ardhaangini 1958 7 7 7 7
Total 15 7 8 7

Pt Govindram worked with Majrooh Sultanpuri just once, viz in “Nisbat” (1949).

Pt Govindram with Majrooh Sultanpuri
—————————————————–

S No Movie Year Songs in the movie Songs in the blog Songs by Majrooh Majrooh songs in the blog Remarks
1. Nisbat 1949 8 3 4 2

Naashaad worked with Majrooh Sultanpuri in two movies, viz. “Daada” (1949) and “Darwaaza” (1954).

Naashaad with Majrooh Sultanpuri
——————————-

S No Movie Year Songs in the movie Songs in the blog Songs by Majrooh Majrooh songs in the blog Remarks
1. Daada 1949 10 6 2 1
2. Darwaaza 1954 8 5 4 3
Total 18 11 6 4

Anil Biswas worked with Majrooh in eight movies, beginning with the musical blockbuster “Aarzoo” (1950).

Anil Biswas with Majrooh Sultanpuri
—————————————————

S No Movie Year Songs in the movie Songs in the blog Songs by Majrooh Majrooh songs in the blog Remarks
1. Aarzoo 1950 9 9 7 7
2. Aakaash 1953 7 6 1 1
3. Fareb 1953 8 8 8 8
4. Hamdard 1953 9 9 1 1
5. Jalliyanwaala Baag Ki Jyoti 1953 7 1 1 0
6. Waaris 1954 10 6 4 4
7. Heer 1956 14 14 11 11
8. Paisa Hi Paisa 1956 10 5 10 5
Total 74 58 43 37

Thus one can see that Majrooh Sultanpuri collaborated with nine music directors in the decade of 1940s. Overall, he worked in 16 movies in 1940s and he penned 71 songs in these movies. 47 of these songs have been covered in the blog.

Here is as yet un discussed Majrooh sultanpuri song from 1940s. this song is from “Dada'(1949). It is sung by Shamshad Begam and Surinder Kaur. This song, the seventh from the movie to appear in the blog, is the second and final song penned by Majrooh Sultanpuri for this movie.

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

In this part of the discussion of Majrooh Sultanpuri related statistics, I have covered the nine music directors who worked with Majrooh Sultanpuri in 1940s. In the next part, I will cover those music directors who began collaborating with Majrooh Sultanpuri from 1950s. I request our readers to point our errors/ additional facts etc in the data presented here.


Song-Aa jaao phir zara meri bigdi ko banaane (Dada)(1949) Singers-Shamshad Begam, Surinder Kaur, Lyrics-Majrooh Sultanpuri, MD-Naashaad

Lyrics

o o o
aa jaao zara
aa jaao zara
phir meri bigdi ko banaane
aa jaao zara
dukh dard ke kisse hain bahut tumko sunaane
aa jaao zara
aa jaao zara
phir meri bigdi ko banaane
aa jaao zara

ujdi huyi duniya ko bhala kaise basaaun
khoyi hui kismat ko kahaan dhoondhne jaaun
dhoondhne jaaun
main dard bhari
dard bhare mere fasaane
hai kaun mera
hai kaun jo aaye
meri bigdi ko banaane
hai kaun mera

ulfat ko zamaane ki hawa raas na aayi
dil deta hai ro ro ke
tumhaari hi duhaai
haay duhaai
jeena hai ghazab haaye
sitam hain ye zamaane
aa jaao zara
aa jaao zara
phir meri bigdi ko banaane
aa jaao zara

dil tod diya hai ki
tamanna bhi na machle
bedard zamaane ki tarah
wo bhi to nikle
insaan nahin wo jo
mera dard na jaane
hai kaun mera
hai kaun
jo aaye meri bigdi ko banaane
aa jaao zara


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.

This post celebrates the 1000th song of Majrooh Sultanpuri on our blog.

rok sakta hamen zindaan e balaa kya majrooh
hum to awaaz hain deewaaron se chhan jaate hain

Powerful lines, written while he was in prison – no, not under the British rule; that happened back in 1946-47. This was a second time he was imprisoned c1950-51, under the regime of a free India. A poet with leftist leanings, his progressive writings were considered a threat by the British regime (which is understandable), and also considered a threat by then government of Morarji Desai (in Bombay). A song titled ‘Aman Ka Jhanda’ was sung at a meeting of poor labor class workers in the Parel area. Being the author, and the on stage presenter of this song, drew the ire of the establishment, and arrest warrants were issued in his name. He was arrested after being underground for some time, and sentenced to one year imprisonment. Morarji Desai suggested that he may render an apology for his writings, and he would be a free man. In response, the young revolutionary poet wrote this couplet.

rok sakta hamen zindaan e balaa kya majrooh
hum to awaaz hain deewaaron se chhan jaate hain

No walls of a prison
No tyranny of a jailer
Has the power to bind me
I am the voice (of conscience)
That permeates through
The walls of confinement
[Note: zindaan = jailer]

Remembering Majrooh Sb on the 98th anniversary of his birth today (1st October).

When born in 1919, he was named Asraar ul Hasan Khan. His father, who worked in the Police department, wanted him to have the traditional education, and learn to be a doctor. The young Asraar studied at the traditional Masrasa, and took up Unaani medicine, to become a ‘hakeem’. These are efforts made by the worldly wise in the family, to get the young man settled in life. But the voice of the revolutionary poet turned to be more strong and it was his shaayari that ascended to claim his life to be its own. Influenced and encouraged by the stalwarts of his era, namely Faiz, Majaaz and Jigar Moradabaadi, he found himself to be much more at home in mushairas and gatherings of writers. He came to Bombay to participate in one such gathering of poets. AR Kardar was present at this mushaira. The impressions made led to a meeting between Kardar, Naushad and this young poet. The outcome was the songs of the film ‘Shahjehan’. The rest, as is often said, is history.

The innings lasted for five and a half decades, probably the longest inning by a songwriter in the Hindi film industry. The body of work consists of more than 2300 songs written for almost 350 films over a period of 55 years. Songs that have entertained generation after generation of movie buffs and radio listeners. The longevity and the creativity can be gauged from the popularity of his writings at the two ends of this long 55 year spectrum. At one end of this spectrum are gems like “Yun To Aapas Mein Bigadte Hain Khafaa Hotey Hain” (‘Andaaz’, 1949) and “Sun Sun Sun Sun Zaalima. . .” (‘Aar Paar’, 1954), and at the other end are the contemporary innovative hits like “Baahon Ke Darmiaan. . .” (‘Khamoshi – The Musical’, 1996) and “Ae, Kya Bolti Tu. . . Aati Kya Khandaala” (‘Ghulam’, 1998). And in between these two ends are crammed a couple of thousand popular hit songs across the decades, that cannot be justifiably dealt with in a single article.

Romanticism apart, the writings of Majrooh touch upon the variety of human sentiments, and have carried an attraction that has appealed to generations. His creativity and his touch of the current in-vogue sentimentalism made him a successful partner of four generations of music directors from Naushad and Ghulam Mohammed all the way to Jatin-Lalit and AR Rahman. That is a prowess and a success that probably no other songwriter in the industry can lay a claim to.

For today’s celebration, I have picked this Mukesh – Usha Mangeshkar duet from the 1966 film ‘Mere Lal’. The music is created by the duo of Laxmikant Pyaarelal. Another significant reason to celebrate today’s anniversary is that we are on the 1,000th post of Majrooh Sb’s songs on our blog. Back in 1993, Majrooh Sb became the first songwriter in the film industry to be honored with the coveted Dada Saheb Phalke Award. And today, he becomes the first songwriter to breach the 1000th milestone on our blog.
[Note: Rajinder Krishan is very close, also in the 990s. The next closest is Anand Bakshi, still a little further behind at 875.]

Today’s song is a roadside tamasha song, as we see a roving entertainer with his trained monkey’s act, present a performance to the roadside public. And now we have a film song to go along with it. 🙂 The singing voices are of Mukesh and Usha Mangeshkar. The latter is singing for assistant of the lead performer.

In the video clip, we hear two antaraas. However, the longer more complete song is available as an audio clip only. Also, the Geet Kosh lists this song twice, and apparently, the second reprise of the song in the film is a solo sung by Usha Mangeshkar. This reprise has only one antaraa, which is a repeat of the first antaraa of the main part of this song. The lyrics noted are based on the longer audio version of the song.

I request the more knowledgeable readers to help identify this performer duo who enact this song on screen.

Note: Avinash ji informs us that the young assistant lip syncing the voice of Usha Mangeshkar, is Mahesh Kothare, who was later active in the Marathi film industry as an actor, producer and director.

Video

Audio (Longer)

Song – Jab Tak Ye Sansaar Nachaaye  (Mere Lal) (1966) Singer – Mukesh, Usha Mangeshkar, Lyrics – Majrooh Sultanpuri, MD – Laxmikant Pyaarelal
Mukesh + Usha Mangeshkar

 

Lyrics (Based on the longer audio version)

Part 1
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya

jab tak ye sansaar nachaaye
jab tak ye sansaar
jab tak ye sansaar nachaaye
jhoom jhoom kar naache ja
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya

jab tak ye sansaar nachaaye
jhoom jhoom kar naache ja
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya

arre waah mere baanke
naacho isi latak se
lachkaayo re qamariya
o zara aur matak ke
jag tujh pe hanse to
chal sar ko jhatak ke
zara aur mazey mein
pyaare thumak thumak ke
sar par topi laal sajaaye
sar par topi laal
sar par topi laal sajaaye
moonch taan kar naache ja
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya

tauba tera mukhda
haaye teri jawaani
o tera naach jo dekhe
prem nagar ki rani
mar jaaye sun sun ke
teri ghunghroo ki baani
andhi hai ye duniya
teri qadar na jaani
tujhko kya koi aaye na aaye
tujhko kya..aa
tujhko kya koi aaye na aaye
ghunghroo baandh ke naache ja
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya

arre dekh rukey naa
chaahe bahey paseena
o teri raah takey hai
kahin koi haseena
sapnon mein basar ho
chaahe kai maheena
shiqwa mat kariyo
pyaare yahi hai jeena
jab tak pag betaal na jaaye
jab tak pag betaal
jab tak pag betaal na jaaye
yun hi umar bhar naache ja
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya

jab tak ye sansaar nachaaye
jab tak ye sansaar
jab tak ye sansaar nachaaye
jhoom jhoom kar naache ja
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya

Part 2
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya

jab tak ye sansaar nachaaye
jab tak ye sansaar
jab tak ye sansaar nachaaye
jhoom jhoom kar naache ja
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya

jab tak ye sansaar nachaaye
jhoom jhoom kar naache ja
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya

arre waah mere baanke
naacho isi latak se
lachkaayo re qamariya
o zara aur matak ke
jag tujh pe hanse to
chal sar ko jhatak ke
zara aur mazey mein
pyaare thumak thumak ke
sar par topi laal sajaaye
sar par topi laal
sar par topi laal sajaaye
moonch taan kar naache ja
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya

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

भाग १
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या

जब तक ये संसार नचाए
जब तक ये संसार
जब तक ये संसार नचाए
झूम झूम के नाचे जा
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या

जब तक ये संसार नचाए
झूम झूम के नाचे जा
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या

अरे वाह मेरे बाँके
नाचो इसी लटक से
लचकायो रे कमरिया
ओ ज़रा और मटक के
जग तुझ पे हँसे तो
चल सर को झटक के
ज़रा और मज़े में
प्यारे ठुमक ठुमक के
सर पर टोपी लाल सजाये
सर पर टोपी लाल
सर पर टोपी लाल सजाये
मूंछ तान कर नाचे जा
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या

तौबा तेरा मुखड़ा
हाए तेरी जवानी
ओ तेरा नाच जो देखे
प्रेम नगर की रानी
मर जाये सुन सुन के
तेरी घुँघरू की बानी
अंधी है ये दुनिया
तेरी कदर ना जानी
तुझको क्या कोई आए ना आए
तुझको क्या
तुझको क्या कोई आए ना आए
घुँघरू बांध कर नाचे जा
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या

अरे देख रुके ना
चाहे बहे पसीना
ओ तेरी राह तके है
कहीं कोई हसीना
सपनों में बसर हो
चाहे कई महीना
शिकवा मत करियो
प्यारे यही है जीना
जब तक पग बेताल ना जाये
जब तक पग बेताल
जब तक पग बेताल ना जाये
यूं ही उमर भर नाचे जा
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या

जब तक ये संसार नचाए
जब तक ये संसार
जब तक ये संसार नचाए
झूम झूम के नाचे जा
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या

भाग २
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या

जब तक ये संसार नचाए
जब तक ये संसार
जब तक ये संसार नचाए
झूम झूम के नाचे जा
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या

जब तक ये संसार नचाए
झूम झूम के नाचे जा
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या

अरे वाह मेरे बाँके
नाचो इसी लटक से
लचकायो रे कमरिया
ओ ज़रा और मटक के
जग तुझ पे हँसे तो
चल सर को झटक के
ज़रा और मज़े में
प्यारे ठुमक ठुमक के
सर पर टोपी लाल सजाये
सर पर टोपी लाल
सर पर टोपी लाल सजाये
मूंछ तान कर नाचे जा
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 13600 song posts by now.

This blog is active and online for over 3300 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13654

Number of movies covered in the blog

Movies with all their songs covered =1024
Total Number of movies covered =3736

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Active for more than 3250 days.

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