Archive for the ‘Manna Dey-Lata duet’ Category
Karam gat taarey naaheen tarey
Posted on: August 2, 2023
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.
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5492 | Post No. : | 17932 |
“Milan”(1958) was produced by Gulshan Bahl and directed by Kedar Kapoor for N C Films, Bombay. The movie had Nalini Jaywant, Ajit, Nishi aka Nishi Kohli, Hellen aka Helen(as spelt in the credit sequences),Tiwari, Maruti,
and Daizy Irani etc.in it. They were supported by Rajendar aka Rajendranath, Navmi, Hira Sawant, Sohan, Narbada Shankar, Tuntun, Jagadish Kanwal, Raja, B.D.Padha, Ramesh Tiwari, Kishore Sharma,Darshan Papaji, Baby Shobha. The movie also had a dog called Tiger in an important role.
“Milan”(1958) had eight songs in it according to HFGK. Seven songs have been covered so far. Here are their details:-
| SNo in Blog | Song Title | Singer/s | Lyrics | Posted On | Remarks | |
|---|---|---|---|---|---|---|
| 1526 | Haay jiyaa roye roye | Lata | Prem Dhawan | 28 June 2009 | ||
| 5044 | Saari duniya se poochhaa milaa na nishaan | Lata | Prem Dhawan | 22 November 2011 | ||
| 5400 | Tu hai mera yaar aur main hoon tera yaar | Shamshad Begam | Prem Dhawan | 5 February 2012 | Picturised on Daizy Irani and the dog “Tiger” | |
| 8368 | Ik meri galli ka ladka | Shamshad Begam, Rafi | Prem Dhawan | 18 July 2013 | ||
| 14371 | Maine kaha jee ye mausam hai suhaana | Rafi, Geeta Dutt | Prem Dhawan | 28 May 2018 | ||
| 16812 | Aaiye janaab baithhiye janaab | Geeta Dutt | Prem Dhawan | 5 February 2022 | ||
| 17361 | Ho lamba chauda jaat | Shamshad Begam, Rafi | Prem Dhawan | 21 January 2023 |
Here is the eighth and final song from “Milan”(1958). HFGK mentions this song as a duet sung by Manna Dey and Lata Mangeshkar. But Prakashchandra, who sent me the lyrics of this song discovered two versions of it. One is Manna Dey solo version (whose video is available) and the audio of duet version (as mentioned in HFGK). So it could well be the case that the Manna Dey solo version was there only in the movie and its records were not made that is why this verssion does not find mention in HFGK. I request our knowledgeable readers to throw light on this matter.
The video shows Ajit passing within a few metres of Nalini Jaiwant but not able to find her while a mendicant/ fakeer (I request our knowledgeable readers to help identify him) sings this song.
With this song, all the songs of “Milan”(1958) have now been covered in the blog. The movie thus joins the list of movies that have been YIPPEED in the blog.
Manna Dey solo version (Video)
Lata-Manna Dey duet version (audio)
Song-Karam gat taarey naaheen tarey (Milan)(1958) Singers-Manna Dey/ Lata-Manna Dey, Lyrics-Prem Dhawan, MD-Hansraj Bahl
Lyrics(Provided by Prakashchandra)
—————————-
Manna Dey version
—————————
laut chalaa..aa…aaa…aaa
manzil se raahee
waah qismat ke aey ae khel
ek qadam tu aur badhaataa aaa
to ho jaataa aa mel
jhoothi tasalli se tooney jo apnaa dil behlaayaa aa
kisee ke dil pe kya guzree
tu ye bhee jaan na paayaa
tu mud ke dekh zaraa aaa
tu mud ke dekh zaraa aaa
tu mud ke dekh zaraa aa aaa
shaayad bichchdey mil jaaye aey ae ae
ye din ab kyaa dekhegaa
jab ulajh gaye sab raahein..aen..aen
jo honaa hai aen
wohee hogaa
tu chaahey..aey ae laakh jatan karey aey ae
(karam gat taarey naheen tarey
karam gat taarey naaheen tarey
karam gat taarey naaheen tarey
karam gat taarey naaheen tarey ae ae
————————————
Lata Mangeshkar-Manna Dey duet version
————————————
aaj aaogey aey ae ae
kal aaogey aey ae ae
main to nis nit aat lagaaoon
piyaa jee main to nit nit aas lagaaoon..ooon
piyaa jee main to nit nit aas lagaaoon..ooon
roz bujhaaye
gham ki aandhee
phir bhee deep jalaaoon
piyaa jee main to nit nit aas lagaaoon
piyaa jee main to nit nit aas lagaaoon..ooon
dhool banee hoon main raahon kee
paaon mein pad gaye chhaa..aaley ae
dhool banee hoon main raahon kee
paaon mein pad gaye chhaaley ae ae
yoon hi barson beet gaye aey ae ae
yoon hi barson beet gaye
aaye na aanewaaley
piyaa jee main to nit nit aas lagaaoon
piyaa jee main to nit nit aas lagaaoon
inn raahon mein aen
kaahey paglee..ee…eee…eee
yoon hi ro ro marey aey ae
karam gat taarey naaheen tarey
karam gat taarey naaheen tarey
jo honaa hai wohee hogaa
tu chaahey laakh jatan karey aey ae
karam gat taarey naaheen tarey
karam gat taarey naaheen tarey
iss duniyaa waalon ko de kar
aashaa aur niraashaa/niraasaa…aaa…aaa
oopar waalaa dekh rahaa hai
chhipke sabhee tamaasaa..aaa
dukh sukh hai uss ke haathon mein aen aen
ho o o
dukh sukh hai uss ke haathon mein
tu kyon soch karey..aen
karam gat taarey naaheen tarey
karam gat taarey naaheen tarey
Aajaa re aajaa morey sajan aa
Posted on: February 23, 2021
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.
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4603 | Post No. : | 16232 |
Hullo Atuldom
12th February was the birthday of an Atulite. He has started a series to introduce missing movies of the ’70s, and just as well as movies of 70s will complete 50 years. It is unbelievable that movies that were part of our childhood are 50 years old.
‘Guddi’, ‘Andaz’, ‘Haathi Mere Saathi’, ‘Caravan’, ‘Anand’, ‘Anubhav’, ‘Parwana’, ‘Tere Mere Sapne’, etc all 1971 releases, all which I have seen multiple times. I am sure that these movies would be favourites of a majority of the followers of this blog.
There is one more movie that will complete 50 years this year. Its release date has been recorded on various internet sites as 1st July 1971, but the censor certificate has a date of 24th February 1970 i.e. exactly a year after its leading lady bade goodbye to this mortal world.
Madhubala- the beauty who charmed an entire generation of moviegoers. A beauty who had an infectious smile and near-musical laughter: – can anyone forget the laughter that precedes ‘haal kaisa hai janaab ka’ or the mischievous smile through ‘accha jee main haari chalo maan jaao na’ and ‘jaanu jaanu re chhupke kaun aaya tore angna’. Her eyes were so expressive. But write-ups about her say that she kept a low public profile and was not seen at film parties and premieres.
She was born Mumtaz Jehan Begum Dehlavi in Delhi on 14th February (which the world celebrates as valentine day in modern times) as fifth of eleven children to Ataullah Khan and Ayesha Begum. An out of work father first reached Delhi from Peshawar (now in Pakistan) and then to Bombay. A very young Mumtaz was first cast as a child actor in the 1942 release ‘Basant’ which was followed by ‘Mumtaz Mahal’,‘Phulwaari’, ‘Dhana Bhagat’, ‘Rajputaani’. Baby Mumtaz became Madhubala from “Neel Kamal” in 1947. It is said that baby Mumtaz and baby Mahjabeen became friends in the period they were child actors and grew up to be contemporaries – Madhubala and Meena Kumari. Madhubala is said to have been a fan of Meena and her voice.
Madhubala was one of the most popular, successful and highly paid actresses of the ‘50s and ’60s. She acted in 73 movies in a career spanning almost two decades though the ‘60s saw only five films of hers. She also produced three movie: – ‘Naata’ (1955), ‘Mehlonkekhwab’ (1960) and ‘Pathan’ (1962). She sang a song or two as baby Mumtaz in ‘Basant’. She was an enigma who was rarely seen at filmy functions or premieres, this was because she was an obedient daughter and submitted to the domination of her father. According to what Dilip Kumar has once said:- she was the only female star for whom crowds would gather at the gates of the studios where she was shooting. Many believe she was one of the most underrated actresses as her beauty attracted more attention than her talent. She was good at expressing a range of emotions through her eyes- comedy, pathos etc etc. In spite of being an iconic actress she never won any awards and was only nominated for her role in “Mughal-e-azam” but she reigned on the hearts of her fans.
She was unlucky in life and had a few heartbreaks before leaving this world and Kishore Kumar, whom she married in 1960, yearning for her. She died on 23rd February 1969 of congenital heart disease;an ailment for which there was no treatment when she was diagnosed in 1954 on the sets of a film being made in Madras. By the time heart surgeries were possible she was too weak to withstand and was confined to bed for nearly nine years. In 1966 she attempted to complete her part of work in the Raj Kapoor starrer “Chalaak” but that was also a strain for her fragile body. (Most of this information I have found on Wikipedia about an actress/ star who was on my dad’s list of favorites in those times).
The song with this post is from a movie that was shot sometime in the ‘50sand we have a very young Sunil Dutt romancing the princess “Jwala” (Madhubala). This movie is significant as it is the only movie of Madhubala that was shot in colour, “Mughal-e-azam” was partly in colour at the time of making, but “Jwala” was made as a colour movie. Sudhirji’s post gives us details about the movie which was essentially a ‘princess falling in love with a commoner who turns out to be a prince in exile’ story. Today’s song is written by Rajinder Krishan, tuned by Shankar -Jaikishan and sung by Manna Dey and Lata Mangeshkar.
February was the month of Madhubala’s birth and she would have turned 88. It is also the month she left the world at 36. We, her fans, can only fantasize how she would have looked as an octogenarian.
Audio
Video
Song-Aaja re aaja more sajan aa(Jwaala)(1970) Singer-Lata, Manna Dey, Lyrics-Rajinder Krishan, MD-Shankar Jaikishan
Both
Lyrics
aaja re aaja
more sajan aa
sapnon ki paalki mein dheere dheere aa
sajan dheere dheere aa
aaja re aaja
more sajan aa
sapnon ki paalki mein dheere dheere aa
sajan dheere dheere aa
kis ne hamaara naam le liya
pardon mein chhupne waale
saamne to aa
zara samne to aa
kis ne hamaara naam le liya
pardon mein chhupne waale
saamne to aa
zara saamne to aa
aaun to aaun kis tarha
koi baar baar roke
bol re sainya kaun hai jo mera pyaar roke
aaun to aau kis tarha
koi baar baar roke
bol re sainya kaun hai jo mera pyaar roke
mahal ye tera haal ye mera
rok raha hai na ja
aaja re aaja
more sajan aa
sapnon ki paalki mein dheere dheere aa
sajan dheere dheere aa
kis ne hamaara naam le liya
pardon mein chhupne waAle
samne to aa
zara saAmne to aa
main to hoon panchhi baAwra
tu baagh ki hai raani
donon hain rahi pyaar ke
aur ek hai kahaani
main to hoon panchhi baawra
tu baagh ki hai raani
donon hain raahi pyaar ke
aur ek hai kahaani
pankh laga ke saath uda ke
le chal mohe raaja
aaja re aaja
more sajan aa
sapnon ki palki mein dheere dheere aa
sajan dheere dheere aa
kis ne hamaara naam le liya
pardon mein chhupne waale
saamne to aa
zara saamne to aa
baandh ke dori preet ki
aa door kahin jaayen
phir koi bulaaye bhi
to laut ke na aayen
baandh ke dori preet ki
aa door kahin jaayen
phir koi bulaaye bhi
to laut ke na aayen
koi na dekhe
koi na jaane
mujh mein yoon samaa ja
aaja re aaja
more sajan aa
sapnon ki paalki mein dheere dheere aa
sajan dheere dheere aa
kis ne hamaara naam le liya
pardon mein chhupne waale
samne to aa
zara saamne to aa
aa aa aa aa aa
aa haa aa aa
aa ha haa
aa aa aa
aa haa aa
aa haa aa aa aa
O gori aaja gaddi vich baithh jaa
Posted on: August 12, 2020
This article is written by Sadanand Kamath, a fellow enthusaist 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.
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Blog Day : |
4408 | Post No. : | 15798 |
apni kahaani chhod jaa
kuchh to nishaani chhod jaa
kaun kahe iss or
tu phir aaye naa aaye
That is how Balraj Sahni left his mark as an outstanding method actor in most of his nearly 100 films in which he acted during the course of his 27 years of filmy career. Balraj Sahni started his filmy career as an actor almost at the same time as Dev Anand, Dilip Kumar and Raj Kapoor, the trinity of the golden period of Hindi film industry. But he had to struggle hard to establish himself as an actor in demand. It took him more than a decade to do so while his compatriot trinity had become the stars in early 1950s.
Balraj Sahni was very bitter about his early experiences in his filmy career. Having associated with IPTA and being a card member of the Communist Party of India, it was difficult to get roles in the films despite the success of ‘Hum Log’ (1951) and ‘Hulchul’ (1951) in which he had important roles. Those days, it was a fashion to brand any one as communist if he had difference of opinion with men of authorities. Since Balraj Sahni was already a member of Communist Party, many producers were wary of offering him roles. In a few films in which he got the roles, he was unceremoniously dropped later from the films either directly or indirectly by offering him smaller roles.
When I completed reading Balraj Sahni’s autobiography in Hindi, I was surprised as to how he got drawn into Hindi films when he had an impressive curriculum vitae before he became an actor in Hindi films. He completed his double M.A. in Hindi and English literature from Government College, Lahore and joined Shanti Niketan along with his wife, Damyanti Sahni to work with Gurudev Rabindranath Tagore. He worked there as a lecturer in Hindi and English. After two years, he and his wife shifted to Sewagram in Wardha to work with Mahatma Gandhi where he also worked as teacher in the institute run in Sewagram. In 1939, with the blessing of Mahatma Gandhi, he and his wife joined BBC London as a Radio Announcer and as a producer, respectively for their Hindi services. In 1944, Balraj Sahni and his wife landed back in Mumbai and got involved in Hindi plays under IPTA. From this point of time, both he and his wife got drawn towards acting in the films, that too not by their own volitions but through Chetan Anand, their close friend.
Balraj Sahni (01/05/1913 – 13/04/1973), was born as Yudhishthir Sahni in Rawalpindi in an Arya Samaji family. His father was a successful businessman – a wholesale cloth merchant who could afford to have a summer villa in Srinagar. In 1930, after completing his matriculation, he joined Government College, Lahore for B.A. His college days coincided with the advent of talkies during which he watched many Hindi and English films. He also participated as an actor in College’s dramatic society. By the time, he had completed M.A. in Hindi and English literature, he had developed an interest in literature rather than in acting in the films.
During four years of his stay in London, Balraj Sahni watched many English plays and Russian films which he felt was ahead of American films. Through Russian films, he got introduced to Marxism and Leninism. By the time, he and his wife returned to Mumbai in 1944, they had embraced Marxism. For some time, both of them stayed at Chetan Anand’s bungalow at Bandra whom he knew from his days in Government College, Lahore. Chetan Anand was also associated with IPTA where Balraj Sahni got acquainted with K A Abbas, Krishan Chandra, Phani Mujumdar, Prem Dhavan, V P Sathe, C P Joshi among others. In IPTA, K A Abbas who was writing a play ‘Zubeida’ selected Balraj Sahni to direct it. The play became a hit. This was the start of his long association with K A Abbas.
During his IPTA days, Chetan Anand offered him and his wife major roles in his maiden film ‘Neecha Nagar’ (1946) which was in the planning stage. However, Chetan Anand was not able to arrange the finances. So, the making of the film got delayed. During the same time, Phani Mujumdar offered him a small role of the hero’s friend in ‘Insaaf’ (1946). At first, Balraj Sahni was not enthusiastic to accept the small role. It was only after Phani Majumdar assured him that in his next film ‘Door Chalen’ (1946), he would give him a major role which he kept his words. Both the films did not click at the box office.
In the meanwhile, IPTA got a licence to produce a full-length feature film which K A Abbas used it for making ‘Dharti Ke Laal’ (1946). It was IPTA’s first and the last film. Both Balraj Sahni and Damyanti Sahni got major roles in the film along with other IPTA actors. This film also failed at the box office as the film’s release coincided with communal violence in Mumbai. However, the film was critically acclaimed both nationally and internationally. Thereafter, both Balraj Sahni and Damyanti Sahni worked in ‘Gudia’ (1947) in lead roles. However, soon after the completion of the film, Damyanti Sahni who also used to work with the slum dwellers in Mumbai as a part of her social work, fell ill. Due to adverse reaction of the medicines, she died in April 1947 at a young age of 26, leaving Balraj Sahni with two kids, Parikshit and Shabnam.
A devasted Balraj Sahni soon left Mumbai and started staying in his father’s summer villa in Srinagar while his kids were sent to Rawalpindi at his parent’s house. But within few months, the communal riots on the eve of the partition made Balraj Sahni and his parents with kids to come back to Mumbai leaving everything behind. While IPTA took care of him on his second coming, he also commenced shooting for ‘Gunjan’ (1948) in which he had got the offer of the lead role opposite Nalini Jaywant when he was in Srinagar.
In 1948-49, Balraj Sahni was mostly associated with IPTA plays and communist party activities. During this period, he got married to Santosh Chandok, his cousin who was a writer and actor in IPTA. During the rehearsal of the play ‘Signalman Dulee’, all IPTA members were called to participate in a procession taken by the communist party which had taken anti-Nehru stance, branding him to be an agent of British Government. Carried away by the party line, Balraj Sahni wrote and acted in an IPTA play ‘Jaadu Ki Kursi’ which was directed by Mohan Sehgal. The play was a satire on Pandit Nehru’s policies. During this time, Communist Party took out a procession in the street of Mumbai with slogan shouting and criticising Nehru’s policies. Balraj Sahni and other IPTA members had also joined the procession. There was lathi charge and police firings. Many prominent activists of IPTA such as Balraj Sahni, Majrooh Sultanpuri, Ali Sardar Jafri, Deena Pathak etc. were arrested and imprisoned in Arthur Road jail for 2 years.
Before his arrest, Balraj Sahni had got a major role in K Asif’s film, ‘Hulchul’ (1951) on the recommendation of Dilip Kumar. Shooting of the film had commenced but Balraj Sahni was in jail. With the good offices of producer, K Asif, Balraj Sahni got permission from the Jailor to join shooting during the day time under the police escorts. Incidentally, Balraj Sahni acted in this film in the role of a Jailor. The arrangements continued until the film’s shooting was completed.
After about 6 months of imprisonment, Balraj Sahni was freed from the jail. It is not known as to how he got released from the jail in 6 months but I feel that there must be some reason for remission in his jail terms and this was not liked by his party. He found to his dismay that the party has branded him as ‘traitor’ and some of his friends and acquaintances avoided meeting him. After some time, Balraj Sahani left IPTA and Communist Party of India due to difference of opinions. Those days, any party member having put forward a different opinion than the party line, used to be branded as ‘reactionary’, ‘traitor’ etc.
Notwithstanding leaving IPTA and Communist Party, Balraj Sahni remained a committed Marxist with ‘Das Kapital’ as his reference point rather than the communist ideaology. Things began to improve in his filmy career as soon as the tag of ‘communist’ against his name was obliterated. Despite film offers coming to him on a regular basis, he could do only few films as he selected mostly socially oriented films – like the role of unemployed and sickly Raj in ‘Hum Log’ (1951), the rickshaw puller, Shambhu Maheto in ‘Do Bigha Zameen’ (1953), the compassionate manager of an orphanage in ‘Seema’ (1955), the idealistic poet, Shrikant in ‘Sone Ki Chidiya’ (1958), a loving elder brother in ‘Chhoti Bahen’ (1959), a committed village doctor in ‘Anuradha’ (1960), a migrant Afghani, Abdul Rehman Khan in ‘Kabuliwala’ (1961) etc. However, as he advanced in age, he started getting the character actor’s roles during which time, he mostly worked in the mainstream Hindi films.
Sometime in 1950, Chetan Anand, the head of Navketan Films, invited Balraj Sahni to write screen-play and dialogues for ‘Baazi’ (1951) which he gladly accepted because it suited to his temperament as a writer. Guru Dutt, the director wanted to start the shooting of the film even before the script was ready. Balraj Sahni made it very clear to him that he would part with screen-play and dialogues only when it is complete in all respect. It was only when he gave the screen-play and dialogues duly bound, the shooting of the film commenced. Though ‘Baazi’ (1951) was a big hit on the box office, Balraj Sahni did not draw any benefit or pleasure from it as his screen-play and dialogues were changed without his consent as was the practice by most of the directors. So, he gave up the idea of taking up the assignment of screen-play writing any more. He also directed ‘Laal Batti’ (1957), the only film as a director during his filmy career. He also worked in some Punjabi films.
By the end of 1950s, Balraj Sahni had adjusted to the unorganized way of working in Bollywood. He was once called for shooting in the morning and he was sitting in the studio throughout the day without being called for a single shot. From then onwards, he decided to carry his typewriter for shooting so that he could use his free time for writing articles and short stories for the magazines. While working in Shanti Niketan in the late 30s, Balraj Sahni was advised by Gurudev Rabindranath Tagore that he should write articles and stories in Punjabi as a writer can effectively express his thoughts in his own mother tongue. Balraj Sahni took his advice seriously and learnt afresh writing in Gurumukhi.
Balraj Sahni major break through as an actor was in a neo-realistic film, ‘Dharti Ke Laal’ (1946). It was just a co-incident that his last film ‘Garam Hawa’ (1973) also happened to be a neo-realistic film. His son, Parikshit Sahni had said in an interview that the film had perfect pathos in almost every scene and dialogues delivered by his father.
And why not? If one sees the events happening in the film in a broader manner, Balraj Sahni had actually experienced them in reality. Towards the end of the film, he lost his young daughter Amina who commits suicide following her bad marriage. This had actually happened to Balraj Sahni about one year before the film’s shooting was completed. His daughter, Shabnam by his first marriage had returned to him after a divorce and died young due to a brain hemorrhage. All the pains in losing his daughter was reflected on his face in the film.
On his 60th birthday, Balraj Sahni was to make an announcement to leave the film industry and settled down in Punjab to devote rest of his life to the literature. For this, he had bought a cottage in Punjab which was being refurbished. But God wished differently. Just before a month of his 60th birthday and a day after completion of his dubbing for ‘Garam Hawa’ (1973), Balraj Sahni died of heart-attack on April 13, 1973. At the Juhu Crematorium, besides close family members, friends and film paternity, there was a large crowd of hotels workers, fishermen and others from the Juhu village whom he had financially helped to improve their living conditions.
Bhisham Sahni, Balraj Sahni’s younger brother and a renown theatre personality (remember his T V Serial, ‘Tamas’, 1988) has talked about his elder brother’s deep and abiding love for his family. He said that the scene from ‘Waqt’ (1965) in which Balraj Sahni sings ae meri zohra-zabeen, showering his love for his wife is the exact reflections of his exuberating nature which many have witnessed in his house. Sometime in mid-1960s, Balraj Sahni constructed his bungalow at Juhu mainly to accommodate his entire family under one roof and for the visiting relatives and friends.
Balraj Sahni had jokingly said in his autobiography that he got more chance to do romance with the heroines of the films when he did character actor’s roles than as a hero. One of the films in which as a hero, he romanced with Geeta Bali was ‘Sapan Suhaane’ (1961). The film was produced under the banner of K R Films which was directed by Kidar Kapoor. The star cast included Balraj Sahni, Geeta Bali, Kamini Kadam, Chandrashekhar, Helen, K N Singh, Leela Mishra, Bhagwan Dada, Praveen Paul, Keshav Rana, Tun Tun, Ram Mohan etc.
Four songs (out of 7) have been covered in the Blog. I am presenting the 5th song, ‘o gori aaja gaddi vich baith jaa’ from ‘Sapan Suhaane’ (1961). The song is rendered by Manna Dey and Lata Mangeshkar for Balraj Sahni and Geeta Bali. The song is written by Shailendra which is set to music by Salil Chaudhuri.
Acknowledgement:
Much of the information for this article has been drawn from:
1. ‘Meri Filmy Aatmkatha’ by Balraj Sahni (1974).
2. Balraj – My Brother by Bhisham Sahni (1981).
3. Two Brothers – Balraj and Bhisham Sahni – Some experience in IPTA by Kalpana Sahni.
Video Clip:
Audio Clip:
Song-O gori aaja gaddi vich baithh jaa (Sapan Suhaane)(1961) Singers-Manna Dey, Lata, Lyrics-Shailendra, MD-Salil Chaudhary
Lyrics
o…o gori aaja gaddi vich baithh jaa
jaao ji koi kya kahega
o….o gori aaja gaddi vich baith jaa
jaao ji koi kya kahega
tu jaise phoolon waali daali..ee
goriye tu to hai naazon ki paali
gora rang jal jaaye na
na to main phoolon waali daali..ee
chhaliye na main hoon naazon ki paali
tu kisi aur ko bana
khadi tarsaaye main ko aaja aa aa
karoon kya jiya kahe na aa aa aaa
o…o gori aaja gaddi vich baith jaa
jaao ji koi kya kahega
o…o gori aaja gaddi vich baith jaa
jaao ji koi kya kahega
ye raahen meri anjaani..ee
nigaahon mein hai bachpan ki naadaani
mera dil kho jaaye na
ye raahen maana hai anjaani…ee
tere sang main jo hoon meri pahchaani
ye saathi chhod jaaye na ae ae
kahenge kya ye duniya waale ae ae
na dekho din mein sapna aa aa aa aaa
o…o gori aaja gaddi vich baith jaa
jaao ji koi kya kahega
o…o gori aaja gaddi vich baith jaa
jaao ji koi kya kahega
kah do doli leke aaun
bana ke dulhan tujhko ghar le jaaun
agar tu dil se kahe haan
agar tum doli leke aao…o
bitha ke palkon mein mujhko le jaao
mera dil kahe chaahe na
bhula mat dena apna waada aa aa
sanam ne kar to diya haan….. aan
o…o gori aaja gaddi vich baith jaa
jaao ji koi kya kahega
o…o gori aaja gaddi vich baith jaa
jaao ji koi kya kahega
Pyaar Hua Iqraar Hua Hai
Posted on: July 11, 2019
- In: "Dream of Wide Awake Eyes" | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | Lata song | Love song | Lover's tête-à-tête | Lyrics contributed by readers | Manna Dey songs | Manna Dey-Lata duet | Post by Sudhir | Song not figuring in HFGK | Song not mentioned in Hindi Film Geet Kosh | Song used in more than one film | Songs of 1970s (1971 to 1980) | Songs of 1979 | Songs reused again in subsequent movies | Yearwise breakup of songs
- 16 Comments
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.
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Blog Day : |
4010 | Post No. : | 15117 | Movie Count : |
4152 |
Songs Repeated in Hindi Films – 6
– – – – – – – – – – – – – – – – – –
The heart must have missed a beat – on reading the title of this post. Goodness. . . this wonderful iconic song, 65 years ago – it captured the imagination and the hearts of a generation, nay, many a generation of young hearts in love. This unforgettable song is imprinted on the sands of memory, never to be erased by any winds that may blow, till the end of life.
The golden age of melody was at its peak. The manner in which Shailendra knit together the words and lines of this love song – cannot be and has not been bettered since. The melody and the orchestration conceived by Shanker Jaikishan – the arrangement of the instruments, the preludes, the interludes, the rhythm – everything just perfect in this song. The renditions – Manna Da and Lata – the voices working together seamlessly – rising and falling in unison, and in apposition, complementing, merging – the “aa haa haa” lines going up all the way to the clouds. The lines
pyaar jo toota
saath jo chhoota
receding into the depths of somber apprehensions, and then suddenly a rising declaration of a resolution,
chaand na chamkega kabhi
the rendition volume going up all the way to the moon. The resolve expressed with such a dignified confidence in the nature’s machinations. The moon – no it will never stop shining, and thus, by implication, this love will never be broken, this companionship will never part. And suddenly, instinctively, unknowingly there is a lump in the throat and a warm moisture on the corners of the eyelids. Yes, yes – that is what love is – the poet, the music-waala, the singers – yes, they have got it just right, on the dot. Yes that is what love is, what it ought to be. Such noble souls lived in that golden era – who could feel it right, and conjure up an imagination, combining the words, the music and the sound – and then tell it to us so simply – that no further discourse would be necessary.
I am reminded of another quintessential song from the same film –
ramaiya vasta vaiya
maine dil tujhko diya
And once again, the simplest of words, the simplest verse one can conjure up – and there is no better way, no better words invented, before or since, to say – I love you.
And the scene, the depiction – the conceptualization – a master presenter is at work here. Here is an emotional entanglement coming to fruition in the hearts of two young people, almost at the very bottom of the ladder of social significance. A part time employee at a laundry, who has “borrowed” a suit that has come for cleaning, and his shoes are in tatters. A self employed teacher, who gives basic education to the underprivileged children in the backyard of her own home. But then love does not check on social status, or verify your bank balances, before making a burrow into the hearts. That love is simple. That love is without embellishments. That love is honest and innocent. That simply is love, and it happens, just happens.
The overcast skies, the lashing rains, the amused witness – the chaiwaala (tea seller), the incidental umbrella, the handy tootle that the young man plays, the happenstance of three cheruby toddlers in raincoats – all put together in a scenario that simply cannot now be erased from the memory’s palette.
The emotional expressions of the leading pair are just as consummate and accomplished as the scenario itself. The sharing of the umbrella becomes such a pivotal exchange. The young man offers it to the lady. And she hands it back, seeing him getting drenched. He takes it, but then sees that she is in the same plight, so immediately offers it back to her. She once again takes it, and with a helplessness writ large on her face, sees him getting drenched once again. And then the inevitable happens. With her eyes clenched, and her lips trembling with apprehension, she inches closer to him – dawning of the realization that one must share when there is a need. And the two come close now, holding the same umbrella – realizing that in love, one has to share, one has to hold together, and one has to steady each other against the squall of the winds and outpourings of this ruthless world.
And then the song begins – question by the young man, not specifically directed at her, but at himself too. And the lady answers, for both of them together – “. . . Maaloom Nahin Hai Kahaan Manzil . . .”. One of the supreme examples of cinema at its very best, in telling about emotions that shake a heart when the love is just starting to take baby steps in there. Marvellous . . . simply marvelous – much more than the best of the words can express.
Um. . . kind of got carried away with the original. 🙂
25 years after the release of the original, this song was used once again in the 1979 film ‘Salaam Memsaab’. And the manner of use is so very innovative. A little earlier, back in 1970, when ‘Mera Naam Joke’ was released, at the beginning of part II we see Raj Kapoor at the Bombay Carnival, hosting a bioscope stand, singing “Kehta Ha Joker, Saara Zamaana. . .”. And as he sings, he is operating the bioscope in which we are treated to clips of his earlier films, especially ‘Awaara’ and ‘Shri 420’. It is fun to watch those clips in fast forward mode.
In ‘Salaam Memsaab’, a similar presentation is used. A little background. Radha (role played by Zarina Wahab) and Sunder (role played by Asrani) are two young people, friends and in love. They are the street tamaasha people who sing and dance on the roadside to earn their living. Sunder has high aspirations, and wants to become rich quickly. Radha also has aspirations, but she is averse to making compromises with her principles of honesty and truthfulness. They work together, but this difference in their view of life generates arguments.
Near the beginning of the film, just about half hour into it, Radha chances to see a bioscope man, playing his machine near the Gateway of India. She gets in line and starts watching – she gets in when the song “Pyaar Hua Iqraar Hua Hai. . .” is starting to play. We can see her enjoying the show, and then as the lead pair comes on at the beginning of the song, she gets into a different dreamy dimension of fantasy, and instead of seeing Raj Kapoor and Nargis on the screen, she sees herself and Sunder there, performing the same song, singing and expressing their newly discovered love for each other. She is fascinated, and the entire song is replayed on the screen in front of her, performed now by the two new lovers.
This is a very innovative presentation. In the singing parts of the clip, we can see Radha and Sunder performing, and in the other parts of the clip, the director uses the original footage and scenes. The entire song moves back and forth between the now Radha and Sunder, and the earlier scenes. Very interestingly edited and put together. E.g. when the line “Phir Bhi Rahengi Nishaaniyan” is playing, the scene clips back to the original version and we see the three toddlers with raincoats, toddling through the rain. Readers may recall that in the original version, the three kids are the children of Raj Kapoor – Ritu, Randhir and Rishi. The clip cuts back and forth between the current version, shown in subdued colors and shades, and the original version shown in black and white. Very intelligently designed.
In her dream of wide open eyes, Radha sees herself and Sunder, in an exact image of the hero and heroine on screen. As one watches their movements and expressions, the effort has been made to create an exact replica not just of the scenario, but also of the performance and expressions. You can open up two windows in the video playing software, and play the two songs, this one and the original, side by side. One is amazed by the effort made by Zarina and Asrani to replicate the performance as nearly as possible. Ah, we know it is not Raj Kapoor and it is not Nargis. But still it is a very impressive performance to see.
The film ‘Salaam Memsaab’ is produced under the banner of Roshan Films, Bombay and is directed by Asrani himself. The cast of actors includes Asrani, Zarina Wahab, Ranjeet, Manju Bansal, Rahman, Keshto Mukherjee, Asit Sen, Jugnu, Leela Mishra, Sulochana (Senior), Tom Alter, CS Dubey, Arvind Rathore, Anand Girdhar, Amol Sen, Dilip Tahil, Nilu Arora, Master Jeetu, Yusuf, and Raju, with friendly appearances by Ashok Kumar, Sunil Dutt, Yogita Bali, and Rishi Kapoor. The songs of this film are written by Majrooh Sultanpuri and the music is by RD Burman. Seven songs are listed for this film which have been rendered by Mohamed Rafi, Kishore Kumar, Lata Mangeshkar and Asha Bhosle.
This song, being a reuse, is not listed in Geet Kosh. And as I mentioned in an earlier episode of this series, it is not easy to track down such re-use songs, unless one has actually seen the film(s). I had also written that since I started this series, I have been getting inputs from many friends, from our bandwagon and also from others in our music lovers group, about such reuse songs. Since these songs are generally not listed, such inputs from friends has really added many interesting reuse scenarios that I was not aware of.
Today’s song was sent in as a suggestion from Anekant ji. He is a regular contributor in our comments section, and I am sure all are familiar with him. Not being aware of this reuse song, I am delighted to get this input from him. A real wonderful song, and a real wonderful reuse after twenty five years – from 1954 to 1979 to 2019 – and forty more, when we are now reading about it once again. 🙂
A reuse that takes you into a fantasy land of a dream of wide awake eyes. I am sure all of us have had some similar experience some time or another in our lives. Apologies for the digression, but I just remembered another such on screen ‘dream of wide awake eyes’ which I just cannot resist mentioning. 🙂 For all those who have seen and remember ‘Chhoti Si Baat’ (1972). Yes, I am referring to the song “Jaaneman Jaaneman Tere Do Nayan”. Amol Palekar is watching the film in a theatre. Onscreen the song is being performed by Dharmendra and Hema Malini. And within a few seconds, Amol Palekar goes into this ‘dream of wide awake eyes’, and through his eyes, we see the song being performed on screen by himself and Vidya Sinha. The reverie is quiet painfully broken as the villain appears at the end of the song and hits the hero with a belt. (Just from that split second profile, my feeling has been that it was actor Manmohan, the villain I mean.)
Ah so, we have a new category of songs to mull over – ‘dream of wide awake eyes’. And I am sure the readers will recall many such songs in Hindi films – yes, we do that a lot. 🙂
Enjoy today’s wonderful reuse treat and let’s wait for the next – what more such entertaining surprises are coming up.
Song – Pyaar Hua Iqraar Hua Hai (Salaam Memsaab) (1979) Singer – Manna Dey, Lata Mangeshkar, Lyrics – Shailendra, MD – Shanker Jaikishan
Manna Dey + Lata Mangeshkar
Lyrics
pyaar hua
iqraar hua hai
pyaar se phir kyun darta hai dil
pyaar hua
iqraar hua hai
pyaar se phir kyun darta hai dil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
pyaar hua
iqraar hua hai
pyaar se phir kyun darta hai dil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
pyaar hua
(aaa aaa aaa)
iqraar hua hai
(aaa aaa aaa)
pyaar se phir kyun darta hai dil
(aaa aaa aaa)
kaho ke apni preet ka
geet na badlega kabhi
tum bhi kaho is raah ka
meet na badlega kabhi
pyaar jo toota
saath jo chhoota
chaand na chamke ga kabhi
aaa haaa haaa
aaa haaa haaa
aaaaa haaa haaa
aaa aaa aaa
aaa aaa aaa
aaa aaa aaa
aaa aaa aaa
aaa aaa aaa
aaa aaa aaa
pyaar hua
iqraar hua hai
pyaar se phir kyun darta hai dil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
pyaar hua
(aaa aaa aaa)
iqraar hua hai
(aaa aaa aaa)
pyaar se phir kyun darta hai dil
(aaa aaa aaa)
raaten dason dishaaon se
kahengi apni kahaaniyan
geet hamaare pyaar ke
dohraayengi jawaaniyan
main na rahoongi
tum na rahoge
phir bhi rahengi nishaaniyaan
pyaar hua
iqraar hua hai
pyaar se phir kyun darta hai dil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
pyaar hua
(aaa aaa aaa)
iqraar hua hai
(aaa aaa aaa)
pyaar se phir kyun darta hai dil
(aaa aaa aaa)
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
प्यार हुआ
इक़रार हुआ है
प्यार से फिर क्यों डरता है दिल
प्यार हुआ
इक़रार हुआ है
प्यार से फिर क्यों डरता है दिल
कहता है दिल
रस्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
कहता है दिल
रस्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
प्यार हुआ
इक़रार हुआ है
प्यार से फिर क्यों डरता है दिल
कहता है दिल
रस्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
प्यार हुआ
(आ आ आ)
इक़रार हुआ है
(आ आ आ)
प्यार से फिर क्यों डरता है दिल
(आ आ आ)
कहो के अपनी प्रीत का
गीत ना बदलेगा कभी
तुम भी कहो इस राह का
मीत ना बदलेगा कभी
प्यार जो टूटा
साथ जो छूटा
चाँद ना चमकेगा कभी
आ हा हा
आ हा हा
आss हा हा
आ आ आ
आ आ आ
आ आ आ
आ आ आ
आ आ आ
आ आ आ
प्यार हुआ
इक़रार हुआ है
प्यार से फिर क्यों डरता है दिल
कहता है दिल
रस्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
प्यार हुआ
(आ आ आ)
इक़रार हुआ है
(आ आ आ)
प्यार से फिर क्यों डरता है दिल
(आ आ आ)
रातें दसों दिशाओं से
कहेंगी अपनी कहानियाँ
गीत हमारे प्यार के
दोहराएंगी जवानियाँ
मैं ना रहूँगी
तुम ना रहोगे
फिर भी रहेंगी निशानियाँ
प्यार हुआ
इक़रार हुआ है
प्यार से फिर क्यों डरता है दिल
कहता है दिल
रस्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
कहता है दिल
रास्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
प्यार हुआ
(आ आ आ)
इक़रार हुआ है
(आ आ आ)
प्यार से फिर क्यों डरता है दिल
(आ आ आ)
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 : | 3958 | Post No. : | 15035 |
“Jai Ambe”(1957) was produced by Shanti Kumar and D N Shukla and directed by Shanti Kumar for Mahesh Chitra Bombay. This “pauraanik” movie had Sulochana, Manhar desai, Sapru, Ramesh Sinha, Sheela Kashmiri, Niranjan Sharma, Kesri, Indira Bansal, Mridula, Shree Bhagwan, Kanchanmala, Dubey, Shalini, Heera Sawant etc in it with Guest appearances by Jeewan and Rajkumar( of pauraanik movies fame, different from Jaani fame Rajkumar)
The movie had nine songs in it. One song from the movie has been covered in the past.
Here is the second song from “Jai Ambe”(1957) to appear in the blog. This song is sung by Lata and Manna Dey, alongwith male and female chorus. Bharat Vyas is the lyricist. Music is composed by Pt Shivtam.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Kaali ghataayen aakaash mein jee ghir ghir aayen (Jai Ambe)(1957) Singers-Lata, Manna Dey, Lyrics-Bharat Vyas, MD-Shivram
Female chorus
Male chorus
Lata + Manna Dey
All chorus
Manna Dey + Male chorus
Lata + Female chorus
Lyrics
dig dig dig dig naiyya chale
purwaiyya chale
chhak chhaiyya chhaiyya ho
haiyya
dig dig dig dig naiyya chale
purwaiyya chale
chhak chhaiyya chhaiyya ho
haiyya
dig dig dig dig naiyya chale
purwaiyya chale
chhak chhaiyya chhaiyya ho
haiyya
ho o o
Kaali ghataayen aakaash mein jee
ghir ghir aayin
ghir ghir aayin
naiyya mori dagmag ho ke dole jee
ho naiyya mori dagmag ho ke dole jee
gori main tere paas hoon to
darr kaahe ka
darr kaahe ka
jhoolo jhoolo
lahron ke
hindole jee
ho
jhoolo jhoolo
lahron ke
hindole jee
dig dig dig dig
naiyya chale re
purwaiyya chale
chhak haiyya haiyya ho
haiyya
gahri nadiya door kinaara
chhod hamen mat jaiyyo re maanjhi
chhod hamen mat jaiyyo re
din bhar lahron sang khel ke
saanjh pade ghar aiyo re maanjhi
saanjh pade ghar aiyo jee
ho o o o
naao puraani gahra paani
peechhe na rah jaiyyo machhariya
peechhe na rah jaiyo jee
aanchal ki patwaar banaa ke
naiyya paar lagaiyyo machhariya
naiyya paar lagaiyyo jee
batiyaan tihaari gori
preet ka ras ghole jee
ras ghole jee
meethhi meethhi baansuriya
si bole jee
ho naiyya mori dagmag ho ke dole jee
dig dig dig dig
naiyya chale re
purwaiyya chale
chhak chhaiya chhaiyya ho
haiyya
ankhiyaan phadke jiyara dhadke
bijli kadke ambar mein
haay
bijli kadke ambar mein
le chal maanjhi haath pakad ke
aag lagi hai samandar mein
hoy aag lagi hai samandar mein
ho o o o o
baahar baahar dekh rahi kya
tanik to jhaanko andar mein
hoy tanik to jhaanko andar mein
devi banke bathhi tu gori
mere man ke mandar mein
hoy mere man ke mandar mein
bachpan ki ye preet hai jee
kabhi toote na
sang chhoote na
nit nit pyaar chadhhe jhakole jee
ho naiyya mori dagmag ho ke dole jee
dig dig dig dig naiyya chale
purwaiyya chale
Ho jee ho din holi ka aa gaya
Posted on: March 2, 2018
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 : | 3514 | Post No. : | 14115 |
Today (2 march 2018) is Holi, the festival of colours in India.
This happens to be the TENTH Holi festival for the blog. We discuss Holi songs from Hindi movies on this occasion. As many as 55 Holi festival songs have been covered during the last nine Holi festival occasions. Almost all well known Hol festival songs have already been covered. But seeing that Holi is the most popular festival for Hindi movies, ahead of the second placed festival of Deewaali, we still have a good number of Holi festival songs still left to be covered.
Take this song for instance. This movie “Ek Gaaon Ki Kahaani”(1957) had seven songs in it. The sixth and penultimate song from the movie was discussed two years ago. The seventh and final song had to be held back all these days because it happened to be a Holi festival song. It was lined up for 2017 Holi but it missed the bus on that occasion. So the next opportunity for this song being covered in the blog was the Holi of 2018 viz today.
Here are the details of the six songs of “Ek Gaaon Ki Kahaani”(1957) that have been covered in the past.
|
Song Title |
Post No. |
Post Date |
| Jhoome re neela ambar jhoome | 1948 | 19-Sep-09 |
| Raat ne kyaa kyaa khwaab dikhaaye | 1955 | 20-Sep-09 |
| O haay koyi dekh legaa | 2081 | 23-Oct-09 |
| Kaana kubda langda loola buddha doctor aayega | 9382 | 1-Feb-14 |
| Chale thhumak thhumak taare | 10514 | 19-Nov-14 |
| Boley pihoo pihoo pee papeehara | 11967 | 2-Apr-16 |
Here is the seventh and final song of “Ek Gaaon Ki Kahaani”(1957) to appear in the blog. This “holi” festival song is sung by Manna Dey, Lata and chorus. Shailendra is the lyricist. Music is composed by Salil Chaudhary.
The song is picturised on Dhumal, Bipin Gupta, Abhi Bhattacharya, Mala Sinha, Jerry,I S Johar, Moolchand etc.
Lyrics of this song were sent to me by Prakashchandra (long back).
With this song, “Ek Gaaon Ki Kahaani”(1957) joins the list of movies that have all their songs covered in the blog.
Here is wishing everyone a happy and safe Holi 2018. Let there be many more Holi festivals and many more Holi festival songs for us to cover.
Video
Song-Ho jee ho Din holi ka aa gaya (Ek Gaaon Ki Kahaani)(1957) Singers-Manna Dey, Lata, Lyrics-Shailendra, MD-Salil Chaudhary
Male chorus
Female chorus
Lyrics(Provided by Prakashchandra)
holi hai ae ae
hey hey hey hoyye
sara ra ra ra ra ra rararara
sara raaa sara raaa saraa saraa raaa saraa
haayye ae ae ae ae ae
ho o o o o
ho ho
ho o o o o o
ho ho ho
ho ho o
hojee ho o o o oho o
din holi ka aa gayaa
rang daalo
hojee ho ho o
din holi ka aa gayaa
rang daalo
hojee ho o o ho oo
din holi ka aa gayaa
rang daalo
hojee ho o o ho ooo
(ho o o o o ho o o o)
hoyye
dhimm dhimaa dhimm dhol baajey
chhannkey manjeeraa
ho jee chhannkey manjeeraa
holi hai ae ae hai ae ae hai ae ae
dhimm dimaa dhimm dhol baajey
chhannkey manjheeraa
hey thummakk thummakk naachey
meri preet adheeraa
meri preet adheeraa
hojee ho o o o o ho o o o
saanwre ki dhun mein jaisey
naachey magan meeraa
ho jee ho o o o o ho o o o
din holi ka aa gayaa
rang daalo
ho jee ho ho o o o
din holi ka aa gayaa rang daalo
ho jee ho ho o o o
kahen ki saaraa raaa raa
kahen ki aur bajegi
kehen ki saraa raa raa
kahek ki aur bajegi
kehen ki saraa raa raa saraa raaa
raaa raaa raaa raa raa raaa
hoyye ae ae
laaj ki laali pe lagaa pyaar ka gulaal
dekho pyaar ka gulaal
laaj ki laali pe lagaa pyaar ka gulaal
laal laal gaal bhaye aur laal laal
bhayo aur laal laal
ho jee ho o o o o o o ho o o
maarey sharam ke
hai gori ka buraa haal
hojee ho o o o o
din holi ka aa gayaa
rang daalo
hojee ho o o ho
din holi ka aa gayaa
rang daalo
hojee ho oo o ho
kahen ki saraa raa raa
kahen ki aur bajengi
kahen ki saraa raa raa
kahen ki aur bajengi
kahen ki saraa raa raa
saraa raaa saraa raaa raa raa
hoyye ae
hhaaa hhaa
maar pichhkaari koyee bachke na jaa paaye
koyee bachke na jaa paaye
holi hai ae ae hai ae ae
maar pichhkaari koyee bachke na jaa paaye
aisaa malo
hoyye hoyye
aisaa malo rang
poorey baras yaad aaye
poorey baras yaad aaye
hojee ho o o o o ho o
do ghadi ka mel jaane
kaun kahaan jaaye
hojee ho o o o
din holi ka aa gayaa
rang daalo
hojee ho o o o
din holi ka aa gayaa
rang daalo
hojee ho o o
din holi ka aa gayaa
rang daalo
hojee ho o o o ho ooo
(ho o oo o o o)
O Beraham tere sitam
Posted on: December 9, 2015
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.
SHANKAR-JAIKISHEN IN THE 50s…Song No- 7
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The Lovers of old Hindi film music are spread all over the world in almost all countries of all the continents. It is not an exaggeration. Youngsters of the decade of the 60s and the 70s, who migrated to different countries, must be in their 60s and 70s now. They all are lovers of old music. They not only loved that music,but with the help of 78 RPM Records,Tapes and later with CDs, they kept the music alive even today. Let any famous singer got to any country for a stage show, the audience farmaishes are for old songs only. No show is successful without singing old songs.
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Ham dil ka kanwal denge jisko
Posted on: September 28, 2015
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 is 28 september 2015, a red letter day for HFM because it is the birthday of Lata Mangeshkar today who was born this day in 1929. The most shining jewel of a musically illustrius family, it goes withut saying that she has dominated Hindi playback singing for the last six decades or so. Many of the songs that have become integral parts of our daily lives as well as parts of our lives during special occasions have been sung by her.
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Dharti ambar neend se jaage
Posted on: June 23, 2015
- In: Devnagri script lyrics by Avinash Scrapwala | Duet | Feelings of heart | Guest posts | Lata song | Lyrics contributed by readers | Manna Dey songs | Manna Dey-Lata duet | Morning song | Post by Avinash Scrapwala | Songs of 1970s (1971 to 1980) | Songs of 1975 | Yearwise breakup of songs
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This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
#the Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 13 # Duet-2 – Lata Mangeshkar, Manna Dey
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Here is a pleasant duet sung by Lata Mangeshkar and Manna Dey from the 1975 Film ‘Chaitaali’.
I do not remember this movie now, but I think that I had watched it on ‘Doordarshan’ during early nineties.
As per information available in HFGK this is a Bimal Roy Productions presentation (produced by Mrs.Monabai Roy as per info on Wikipedia), directed by Hrishikesh Mukherjee.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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