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

Archive for the ‘Rafi-Asha Bhonsle duet’ Category


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

Blog Day :

4456 Post No. : 15931

Today’s song is from the film Husn ka chor-53.

The film was made by Basant Pictures owned by Homi Wadia. He was the Producer, but surprisingly the film was directed by his elder brother J.B.H.Wadia (13-1-1901 to 4-1-1986 ). JBH had also written its story, screenplay and dialogues too. Another surprise was that this film was a Costume/action film. The brothers had separated in 1942 on the issue of Wadia Movietone continuing making stunt films or to start making social films. JBH wanted to make social films and Homi Wadia (22-5-1911 to 10-12-2004) advocated for continuance of stunt films. He separated from JBH and started his own Basant Pictures. The third surprise was that for the first (and the last) time JBH wrote part of the lyrics of one song in this film. Today’s song is that song.

The cast of the film was Usha Kiran, Mahipal, Brij Mohan (B.M.Vyas), Azeem Dalpat, Sardar Mansoor, Agha Shapoor, Bismilla etc.etc. The wadias, known for fantasy and stunt films, always made new stories by rehashing old stories from Arabian Nights. This was also one such movie. I had seen this film.

The lead pair was Mahipal and Usha Kiron. one speciality of Wadias was that in their films, the credits list used to be very lengthy ,as they were keen on writing almost every small actor’s names also.

Qamar(Mahipal) was a compulsive thief.Once he steals Princess Husn’s(Usha Kiran) jewels,but he is so dazed by her beauty and innocence that he returns her jewels.When several foreign Princes come to propose to her,he also goes there by disguising as a prince.Husn selects him,but the secret is revealed by Nadira(Lalita kumari),a dancer who loves Qamar.The king could not digest the selection by Husn. Qamar is put in Jail, from where he is rescued by Nadira and friends.One Faqir tells Qamar to become a real prince to win Husn.
Qamar sets out on a magic flying horse to meet Moon Fairy to get the Magic wish bowl.The Moon fairy is rescued by him from the custody of evil genie by killing the genie.

Meanwhile Husn’s father faces mutiny and death if Husn is not married to the Vazir. Qamar arrives on a flying carpet and takes away Husn to the Moon.
The End.

In the last scene this line is Flashed ” Heaven dwells in pure Hearts “.

It was great fun to watch such types of movies.The audience also participated in the ongoings on the screen by appropriately scolding, encouraging or clapping loudly.There was no need to think logically. It was pure entertainment, and a timepass.

Actor Brij Mohan aka B.M.Vyas was one artiste who started as a singer, became a drama actor and then ended up as a villain, character actor. B.M.Vyas was born as Brijmohan Vyas on Vijayadashami (22 October) day of 1920 in Churu, Rajasthan. He is the younger brother of the well-known poet and lyricist, Bharat Vyas. He was married at the age of 17 when his wife, Jamna was just 11. They had 71 years of marital bliss before Jamna passed away in 2008. They had six daughters and a son. After acting in over 200 films in various languages, Vyas quit acting in the early 1990s. Then he moved to his residence in Kalyan. Having seen various shades of life, Vyas lived a contented life with his children and grandchildren.

On 15 January, 1944, actor Prithviraj Kapoor realised his dream when Prithvi Theatre, his own drama company came into being. Mahakavi Kalidas’ classic Shakuntala was chosen to be their first performance. The play’s cast included Uzra Mumtaz (younger sister of Zohra Segal) to play Shakuntala, Prithviraj Kapoor to play Dhushyant, K N Singh was cast as Rishi Kanva, Shakuntala’s foster father, Sati Devi (Bijoya Ray’s sister, Ruma Guha Thakurta’s mother) as Gautami, caretaker of Kanva Ashram who raises Shakuntala, and Hemavati (Daya Kishan Sapru’s wife) to play Shakuntala’s friend Priyamvada, among others. A young, 24 years old, B M Vyas was recruited as a singer by the drama company to sing songs in their play at a monthly salary of 75 Rupees.

Once when rehearsals for their maiden show were in progress and Vyas was done with his singing rehearsals, he was watching rehearsals of the cast. One of his songs for the play was “Bitiya Rani Kahan Kahan Tapasvi Log, Milna Julna Rehgaya Nadi Naav Sanjog”. The cast was rehearsing for a scene which needed Rishi Kanva to recite a mantra in Sanskrit, but actor K N Singh was having trouble reciting it. Prithviraj was trying to help him but was also faltering in saying it perfectly. Vyas , an expert in Hindi and Sanskrit, having immense knowledge of Ved Mantra was witnessing the proceedings for two days. It was possibly the blessing of Goddess Saraswati that inspired him to say the mantra aloud. On hearing him intone the mantra with such Brahminical precision, Prithviraj was very impressed and asked him to help K N Singh in saying the mantra correctly. But soon K N Singh informed Prithviraj ji that he will not be able to speak Devbhasha (Sanskrit) and that he should look for another artiste for the role. Prithviraj asked Prithvi Theatre’s manager Ramesh Saigal to approach Vyas for the role. Vyas , who had already acted in a Rajasthani play Ramu Chanana earlier, readily agreed and stepped into the role and thus started his journey as an actor.

While the rehearsals were still on, Vyas suffered a personal tragedy and had to go back home in Bikaner, Rajasthan. There he fell sick with typhoid. Here rehearsals were in full swing as the play was to premiere on 9 March, 1945 at the Royal Opera House. The final date was about a month away so Prithviraj asked him to come back as soon as possible. Vyas returned with his wife though he was still unwell. On the day he resumed his rehearsals he couldn’t do much due to frequent blackouts. The medication he was on, did not seem to help him much. He remembers the doctor from Kalbadevi who treated him for free; with his medication, Vyas ji’s health improved considerably in just three days.

The final round of rehearsals was done and finally the day of Prithvi Theatre’s first play to be staged, arrived. For the first performance of Shakuntala, many known names of the film industry were present at Royal Opera House. In the scene where Rishi Kanva makes an entry on stage he was required to raise his hands for blessing but Vyas was still weak and his hands started shaking. He tried a lot to control them but to no avail. He then remembered that he had seen many old people whose hands and head would involuntarily shake, so he started to shake his head too. The end result was so effective that during the play’s interval Prithviraj came and hugged him. He asked him how he developed that body language, Vyas told him about his genuine problem. Prithiviraj told him that he did a wonderful job and should continue with the same every time the play was staged.

Vyas had a long association with Prithvi Theatre, from 1944 to 1955. During this period he toured with the group to various cities and got an opportunity to showcase his singing and acting skills in various plays like – Deewar, Pathan, Aahuthi, Gaddar, Kalaakar, etc. The dedication with which this iconic actor prepared for his roles can be observed from the fact that he could mouth dialogs from plays he participated in over six decades ago.

Vyas was interested in music since childhood. He is a self-taught singer. They had a Harmonium at home which Vyas learnt to play on his own. He liked to be around musically inclined people. He would listen carefully and learn. He fondly remembers the blind musician from his home town who would give him a free hand to play the various musical instruments he had. He never really had a Guru he could learn from but he says he learnt the art of teaching singing. He gave music tuitions when he was in Bikaner before moving to Mumbai.

In the early 1940s Bharat Vyas called his younger brother to Mumbai. Soon Vyas ji got the opportunity to act and sing as many as twenty songs for the Rajasthani play Ramu Chanana written by Bharat. Music Director Naushad Sahab’s assistant Ghulam Muhammad who hailed from Rajasthan was very impressed when he heard Vyas’s voice in the play. He took him to meet Naushad Sahab who was working on the soundtrack of the film Pehle Aap (1944). Vyas got an opportunity to sing a group song “Hindustan Ke Hum Hain, Hindustan Hamara; Hindu Muslim Dono Ki Aakhon Ka Tara” with established singers G. M. Durrani and Shyam Kumar along with a new singer Mohammed Rafi. Since this song was supposed to be sung by soldiers on screen, Vyas and Rafi Sahab had to wear heavy boots and do a rhythmic march while singing to give an effect of an army troop. Such effects could not be added to a song with the technology available then; it all had to be done in real time. However the first ever song Vyas sang for a film was “Alakh Niranjan, Jai Jai Jai Manaranjan” from Bhartrihari (1944) which was picturized on Arun Ahuja (Govinda’s father).

After Vyas joined Prithvi Theatre as a singer, he had to do regular riyaz at home. A music teacher who often heard him sing once asked if he would be willing to give music tuitions. Since his monthly salary was 75 Rupees then, Vyas agreed as this would give him additional income. The teacher took him to meet Jaichand Kapoor and soon Vyas started giving music tuitions to his elder son, Brijmohan. However his younger brother seemed more inclined and started learning music from Vyas. This youngster was none other than our legendary playback singer, Mahendra Kapoor who always acknowledged that B M Vyas was his first Guru.

Vyas gave playback in four films – Bhartrihari (1944, MD: Khemchand Prakash), Pehle Aap (1944, MD: Naushad), Maharana Pratap (1946, MD: Ram Ganguli) and Naulakha Haar (MD: R C Boral) before destiny took him on a different path. He remembers meeting Rafi Sahab years later who sweetly said “Pandit ji you changed our line (singing)” to which Vyas admitted that he did not see much of a future for himself in singing and hence switched to acting.

After Prithvi Theatre’s first play Shakuntala was staged, Devika Rani (owner of Bombay Talkies) was keen to know who played Rishi Kanva. When she saw the 24 yrs old Vyas she was surprised, she never expected to see such a young man. She offered him a role in a Bombay Talkies film to be directed by actor Jairaj but the film was never made.

When Ramesh Saigal moved away from Prithvi Theatre, he joined Chetan Anand’s company India Pictures as Production Manager. They were working on their next film Neecha Nagar (1946) when Ramesh Saigal offered Vyas a small role (protagonist’s elder brother) in the film. Prithvi Theatre never laid any restrictions on their actors; they could take outside work while working in their plays. Vyas was eager to face the camera and accepted the role with open arms. He is credited as ‘Vyas ji’s in this film. Soon he played a small role in Raj Kapoor‘s Aag (1948) where he is credited as ‘Brijmohan’. But the role that gave him recognition in the film industry was in Barsaat (1949) where he played actress Nargis’ father. For this film he is credited as ‘B. M. Vyas’. Thus Vyas ji’s film career took off and he never looked back.

He has had a long and very successful career of more than four decades and has been part of many memorable classics. He has always been a character artist who started his career with portraying old characters. His last film most probably was Maa (1991).Vyas was very keen to work with the great filmmaker V Shantaram and approached him for work. Shantaram was planning Do Aankhen Barah Haath (1957) and was busy casting actors to play six prisoners in the film. He did not tell him that he is Bharat’s younger brother who was the lyricist of the film. When Vyas approached him, Shantaram was initially a bit apprehensive due to his height but soon cast him as one of the prisoners, Jalia Nai. They had a month-long schedule in Kolhapur. When the reels were sent to Rajkamal Studios for processing, it was found that due to dirt particles on the lens there were lines all across the frame in all the reels and the whole month’s hard work had gone to waste. They had to reshoot the entire thing. Vyas had a tough time managing schedules due to this re-shoot as he had other films in hand too. My favourite scene of this film is where Jalia comes with an intention to kill the Jailor played by Shantaram himself. That scene showcases Vyas ji’s ability as a performer, his entire body language, facial expressions, use of eyes and voice in this scene is a class act, beyond words.

About the classic scene from Sampoorna Ramayan (1961) Vyas said when he was offered the role of Ravan he was thrilled, being Shastri in Sanskrit he had read so much about this mythological character. Hence he was really keen to play the part but Ravan is expected to have a powerful physique while Vyas ji had a lean frame. To overcome this hurdle he got cotton padded clothing made for the role to look fuller. The rising temperature due to lights in addition to studio heat, he would sweat profusely in those cotton padded cloths but he did not let it hinder his performance. That innovative scene where Ravan is interacting with his nine heads was a collective brainchild of Babubhai Mistry and Homi Wadia. Vyas had to enact from a fixed position in front of a stationary camera for fifteen days but the end result was very effective.

On being asked about the most memorable and satisfying moment from his entire career Vyas narrated this incident. Prithvi Theatre’s play Gaddar was being staged in which he was playing the role of Maulana. Once filmmaker Kidar Sharma came to see the play, and was very impressed with his dialog delivery in Urdu. He asked Vyas to meet him. Sharma was working on his next film Shokhian (1951) and was looking for an actor to play the role of Baba Ghani. He gave Vyas a long dialog written in Urdu which Baba Ghani had to say to inspire the soldiers who are running away from the battle field to come back. Vyas said that he can’t read Urdu. Sharma was surprised and asked then how he played the role of Maulana in Gaddar. He said he rehearsed his lines written in Devnagri script and played the part. He asked Sharma to get the dialog written in Devnagri, and promised to prepare and say them the next day.

Next day he said the lines with such perfection that Sharma gave him a small Silver Coin as a token of appreciation. After that Sharma would often ask him to say the lines whenever important people came to meet him. Once actor Dilip Kumar came and he was asked to say the lines in front of him as well. Dilip Sahab was very impressed and remembered that he had heard this voice before. Vyas told him that he may have seen Raj Kapoor’s Barsaat (1949) where he played actress Nargis’ father. Dilip Sahab then recommended Vyas ji’s name to play actress Naseem’s father in the film Baaghi (1953), produced by his brother Ayyub Khan. Fortunately copies of Shokhian (1951) are available and this scene is here for all of us to see. It was heartening to see Vyas recite the same dialogues with such enthusiasm even today, after almost sixty years.

B M Vyas acted in 175 films. His first film was Neecha Nagar-46 and last film was Oh,Darling ! yeh hai India-95.

Vyas ji left for a better world on 11 March, 2013. (Adapted from articles from Maitri Manthan and Blog beete hue din, with thanks.)

Today’s song is a comedy song, sung by Mohd. Rafi, Asha Bhonsle and chorus.


Song-Ho gaya tere Majnu ko Ishq ka bukhaar (Husn Ka Chor)(1953) Singers- Rafi, Asha Bhonsle, Unknown male voice, Lyrics-Raja Mehdi Ali Khan, MD-Bulo C Rani
Chorus
All

Lyrics

ho gaya ho gaya ho gaya ho gaya
ho gaya
ho gaya
tere majnu ko ishq ka
bukhaar bukhaar bukhaar
hmm hmm
haay haay re haaye re
hoye hoye re hoye re
haay haay re haaye re
hoye hoye re hoye re
ho gaya tere majnu ko ishk ka
bukhaar
bukhaar bukhaar
haay haay re haye re
hoye hoye re hoye re

zara apni nabz mujhe dikha aa
o mere beemaar
haay haay re haaye re

hoye hoye re hoye re
arre o mareez
khaaya thha kya

teer-e-nazar
teer-e-nazar
arre o mareez
piya thha kya

khoon-e-jigar
khoon-e-jigar
arre o mareez
dekha thha kya

arre patli kamar
haaye patli kamar
uyi tauba
tujhe bhoot ban ke
chimat gaya hai kisi ka pyaar
haay haay re haaye re

hoye hoye re hoye re

main koi hakeem bulaati hoon
tere dil ka dard mitaati hoon
main koi hakeem bulaati hoon
tere dil ka dard mitaati hoon

ae haseenaaa
ae hasena
waqt na bekaar ho
main mareez-e-ishq hoon
meri dawa parde mein ho
main mareez-e-ishq hoon
meri dawa parde mein ho
is tarah se kis tarah
karoon tera aitbar
haay haay re haaye re

hoye hoye re hoye re
haay haay re haaye re
hoye hoye re hoye re
hoye

mera majnu shor machaaye re
mera majnu shor machaaye re
mera sanam to bichhda jaaye re
ae ae ae ae
bichhda jaaye re
koi aaye re aaye re aaye
bachaaye re
paani ee
paani o paani
paani
ho ho paaaani
nahin kuchh jaan baaki
ab mohabbat karne waale mein

mohabbat karne waale mein
mohabbat karne waale mein

khuda bakhse bahut si
khoobiyaan ki marne waale mein

aji haan marne waale mein
aji haan marne waale mein ae ae

hoye hoye
hoye hoy re hoye hoy
ho ho hoy
utar gaya mere majnu ka ishk ka
bukhaar bukhaar bukhaar

haay haay re haaye re
hoye hoye re hoye re
haay haay re haaye re
hoye hoye re hoye re

haay haay re haaye re
hoye hoye re hoye re
hay hay re haye re
hoye hoye re hoye re
hoy hoy


This article is written by nahm, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in 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 :

4439 Post No. : 15881

Remembrance day of Jaikishan :
———————————–
Today i.e. 12th September, 2020 is 49th death anniversary of Jaikishan, a half of Shankar-Jaikishan.

I have just now read the detailed Wikipedia Page of Shankar-Jaikishan, so will reproduce some para’s which are worthy of mention in terms of Jaikishan’s death anniversary.

“Shankar Jaikishan enjoyed an unrivalled position in the Hindi film industry. During their heyday and even toward the later part of their career, they were the highest paid music directors in the industry. Barring stray exceptions, they were paid more than the leading actors and the promotional material of their films would give them more prominence than anyone else.”

“What can I say… my musical partner in life has gone, what is left of me to say anything more, I had never thought that at such an early age he would leave us all and go; Anyway his good qualities of maintaining goodwill, giving love and receiving love were innate in him and I too don’t have them in me. He used to regularly remind me of my innate quality of being in a boisterous mood all the time and always abrasive with some one or the other and so on and so forthwith…….”
(Shankar on Jaikishan’s death in an interview with AmeenSayani.)

The page also has this to say about Shankar Jaikishan, vis-à-vis different singers :

“Shankar Jaikishan combo worked above all of with Mohd Rafi and secondly Mukesh, and produced numbers of hits and unmatchable gems. Mohd Rafi was their favourite singer despite having good reputation with other playback singers of its time.”

I read somewhere else, that the mukhda of the song “Ye mera prempatra padh kar” from ‘Sangam’ was actually taken from the letter written by Jaikishan to his than fiancée “Priya”. So this could be the instance where Jaikishan unwittingly revealed that he is the composer of the block-buster song. This caused a rift between the two as Jaikishan broke the unwritten agreement between them, of not revealing which of them is the creator of any particular song. Here, Rafi Sahab is said to have intervened and solved the issue between Shankar and Jaikishan, and also later on between Lata Mangeshkar and Shankar in the mid 70’s.

But there is no doubt of the truth here when it is said that “Shankar-Jaikishan, along with other artists, composed “everlasting” and “immortal melodies” in the 1950s, 1960s, and early 1970s.[2] Their best work was noted for being “raga-based and having both lilt and sonority”.

All hindi film music fans agree that they changed the face of hindi film music with “Barsaat” and the success of the film and its music played a big role in this change.

The music I think was versatile and inspiring to new music directors. Theirs was a first of its kind duo, as far as I know who combined their talents and acumen with two lyrcists and made a fearsome foursome. They can also be called fabulous and formidable. They had to be, to be on top of the game for two decades. Shankar-Jaikishan can also be credited for starting the trend of version songs, one male and one female version. Contemporaries and seniors like Naushad and S.D.Burman rarely did it. Naushad in “Mere Mehboob” and S. D. Burman in “Sharmilee” and “Tere Ghar Ke saamne”. But in the later instance, it was both male solos.

I am actually trying to wrap up the long running series on Mohammad Rafi songs, so trying not to look for a Rafi Sahab song for posting on this occasion. But as luck would have it, I found this popular song from ‘Pyaar hi Pyaar’(1969). Moreover this song has a stamp of Shankar-Jaikishan signature style in the orchestration of the music. This is an Asha-Rafi duet, with the fast pace and beat. This is the manifestation of Asha Bhonsle making inroads in the Shankar Jaikishan cap, which started with “Teesri Kasam”. Shankar-Jaikishan were known for Lata only music scores through 50’s and not just for R.K. films. I think the exceptions to this were very rare and few, where Asha, Geeta Dutt or Shamshad Begum got to sing Shankar Jaikishan compositions. Suman Kalyanpur was one such alternative which Shankar Jaikishan tried, in mid- 60’s for duets with Rafi sahab.

I have also tried to find if Shankar Jaikishan ever re-used their own tune to compose songs, but could not find any such songs. Their music was a huge commercial success, so no one else could try and copy their songs.

The song I am presenting in a party song, where Vijayanthi Mala is trying to make Dharmendra jealous, flaunting a dance partner. There are other popular Rafi solos in the film, but this would be the most popular, with the title song of the film ’dekha hai teri aankhon mein pyar hi pyar beshumaar’.


Song-Tu mera main teri duniya jaley to jaley (Pyaar Hi Pyaar)(1969) Singers-Asha Bhonsle, Rafi, Lyrics-Hasrat Jaipuri, MD-Shankar Jaiskishan

Lyrics

Tu mera
main teri
duniya jale to jalay
tu mera
o main teri
ha duniya jale to jalay
nananana
dil teraa
ho jaan teri
duniya jalay to jalay
dil teraa
jaan teri
duniya jalay to jalay

jhoom jhoom naache
mera pyaar bharaa dil
gun gun gaaye
iqraar bharaa dil
tujh se nigaahen milin
mil gayaa dil
phool ki tarah se meraa
khil gayaa dil
jhoom jhoom naache
mera pyaar bharaa dil
gun gun gaaye
iqraar bharaa dil
tujh se nigaahen milin
mil gayaa dil
phool ki tarah se meraa
khil gayaa dil
rut jawaan
pyaar bhari
ha duniyaa jalay to jalay
nananana
dil teraa
ho jaan teri
duniya jalay to jalay

aahaaaahaa
tu mera
o main teri
ha duniya jale to jalay
nananana
dil teraa
ho jaan teri
duniya jalay to jalay

waada nibhaane dekho
aaye hain sanam
lab pe duaayen laaye
tere liye ham
dil jo diya hai tujhe
phir kya hai gham
marta hoon tujhpe hi
apni qasam
arey waada nibhaane dekho
aaye hain sanam
lab pe duaayen laaye
tere liye ham
dil jo diya hai tujhe
phir kya hai gham
marta hoon tujhpe
apni qasam
tu meri
ha jal pari
duniya jalay to jalay

aahaaaahaa
tu mera
o main teri
ha duniya jale to jalay
nananana
dil teraa
ho jaan teri
duniya jalay to jalay

aahaaaahaa
tu mera
o main teri
ha duniya jale to jalay

roop ke sharaare hain
tere hi liye
saare yeh nazaare hain
tere hi liye
aankh ke ishaare hain
tere hi liye
baanhon ke sahaare hain
tere hi liye
roop ke sharaare hain
tere hi liye
saare yeh nazaare hain
tere hi liye
aankh ke ishaare hain
tere hi liye
baahon ke sahaare hain
tere hi liye
main tujhi par mari
ha duniya jalay to jalay
nananana
dil teraa
ho jaan teri
duniya jalay to jalay

aahaaaahaa
tu mera
o main teri
ho duniya jale to jalay
nananana
dil teraa
ho jaan teri
duniya jalay to jalay


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 :

4438 Post No. : 15879

Some years back, I recall having seen for the first time on the internet the photo features of Hindi film stars such as Madhubala, Nalini Jaywant and Begum Para in ‘Life’ magazine. These photographs were taken by the magazine’s well known photographer, James Burke in 1951 who was posted in India.  From the standard of 1951, these photographs would have ranked as bold. But one more actress also featured in that magazine – the featured photos were bolder than those of the stars I mentioned earlier. Subsequently, I had also seen her images appearing in ‘Filmindia’ magazines of 1948 and 1949. The actress in the photoshoot of 1951 was Mohana Cabral.

Today, September 11th is the 30th Remembrance Day of Mohana Cabral who died of heart attack this day of the year 1990 in France where she had been staying with her husband and daughter since 1986.

Mohana Cabral (03/02/1929 – 11/09/1990) whose real name was Mona Cabral, was born in Socorro in Bardez taluqa of North Goa in Konkani speaking Christian family. In early 1930s, the family shifted to Bombay (Mumbai) when her father changed his job to Bombay-based Hindustan Construction Company. Mohana did her initial schooling at Victoria High School in Mahim. Later. she was put in a boarding school in Pune where she completed her high school.  In Pune, she joined as a telephone operator in a telephone company. It is through connecting the long distance telephone calls that Mohana got acquainted with some of the film stars of that time including Nargis, Begum Para and Pratima Dasgupta.

Mohana got introduced to Kishore Sahu who offered her a role in his film ‘Saawan Aaya Re’ (1949) which was her debut film though ‘Aag’ (1948) was released first without her name being accredited in the film.  Kishore Sahu changed her name from Mona to screen name, Mohana which got attached with her during the rest of her life not only in films but also in the Konkani plays and singing career.

Sometime in 1948, Mohana got involved with Konkani ‘Tiatr’ in Mumbai. (‘Tiatr’ is a Portuguese word used in Goa for ‘theatre’ for the Konkani dramas encompassing music, dance, and singing. In a way, it is akin to Marathi ‘Sangeet Natak or musical dramas). Her debut Konkani drama was ‘Cortub Avoichem’ (1948) which was directed by the pioneer of Goan Konkani Tiatr, C Alvares, the producer, director, actor, song writer and the singer. In fact, Alvares was instrumental in encouraging girls to play the female roles in his dramas and introduced Mohana and her younger sister, Ophelia. In 1952, Mohana got actively involved with Konkani tiatr in Mumbai, mostly collaborating with C Alvares as an actor-singer and worked in about a dozen plays. Both the sisters were actor-singers in Konkani Tiatr in Mumbai and later in Goa. In fact, in Goa, Mohana is known more as a tiatrist than the Hindi film actress.

In 1951, Mohana met Edward Downing, a Royal Indian Air Force pilot in a hotel where the shooting of her film ‘Sansaar’ (1951) was in progress. They got married in 1951 and had a son, Mark. Unfortunately, her husband died in a plane accident in less than two years of their marriage. In 1955, Mohana got married for the second time with John D’frates who was working for the United Nations and got posted at Beirut.  With this posting, Mohana bid adieu to Hindi film industry. Her last shoot was for the film, ‘Insaaniyat’ (1955).

In Beirut, Mohana learnt Arabic and began producing dance programmes for Television. She also acted in a couple of dramas on Television. After spending many years in Beirut, her husband got posting in Vienna from where he retired in 1986. Post retirement, Mohana and her family settled in France. Mohana was very much interested in Goan Konkani Tiatr. She would regularly visit India on holidays and act in Konkani dramas in Goa. During the period of her visits, she had also cut a few discs of her non-filmy Konkani songs, some with her mentor, C Alvares.

Mohana died of a heart-attack in France on September 11, 1990 when she was 61. [Thanks for the inputs from Shishir Sharma’s Blog, ‘Beete Hue Din’ on Mohana posted on May 13, 2015 and an article in ‘The Navhind Times, Panaji, Goa dated April 6, 2020].

It is interesting to note from her filmography that how quickly Mohana established herself in Hindi film industry. In ‘Aag’ (1948), she had one song role though her first debut film was ‘Saawan Aaya Re’ (1949). In 1949, she had acted in as many as 6 films. 1950 was a blank year for her as probably she got associated with Konkani plays in Mumbai. In 1951 and 1952 she did 5 films each. 1953 and 1954 was again lean years for her. In 1955, she did 4 films before quitting the film industry. In all, she acted in 26 films in her short span of 6 years in the film industry. The full filmography of Mohana is given below:

1948: Aag.
1949: Chaar Din, Jagriti, Kamal, Patanga, Rimjhim, Saawan Aaya Re.
1951: Adaa, Naadaan, Nageena, Sagaai, Sansaar.
1952: Aashiana, Chham Chhama Chham, Najaria, Saloni, Saaqi.
1953: Shole.
1954: Danka, Dost, Shart.
1955: Insaaniyat, Marine Drive, Sau Ka Note, Teerandaz.
1956: Taksaal.

I had noticed in the advertisements of films for which she worked in 1949-50 that  her name was written either in bold or capital letters. That shows that Mohana was popular among the audience of that time and her name mattered for the success of the films. In most of her films, she got roles of a ‘side kick’ to the comedians like Gope, Agha and as a singer-dancer.  Her popularity can be gauged from the fact that in most of her films, Mohana will have at least one song picturised on her. Some of the songs picturised on her for which video clips are available for watching are listed below:

Raat ko ji haay raat ko ji chamke taare – ‘Aag’ (1948)

Pyaar ke jahaan ki niraali sarkaar hai – ‘Patanga’ (1949)

My my my my my dear – ‘Nageena’ (1951)

O baabu kaise dil karoon qaaboo – ‘Sagaai’ (1951)

Lucknow chalo ab raani – ‘Sansaar’ (1951)

Haseena sambhal sambhal ke chal – ‘Saaqi’ (1952)

O madam do se ho gaye ek ham – ‘Aashiana’ (1952)

Dil mera hai deewaana – ‘Shart’ (1954)

Mohana has also rendered two songs on herself in the film ‘Rimjhim’ (1949).

On the occasion of Mohana’s 30th Remembrance Day, I present a song “Aisi Nainwa Ki Laagi Kataar” from ‘Insaaniyat’ (1955) rendered by Mohammed Rafi and Asha Bhosle. The song is written by Rajinder Krishan which is set to music by C Ramchandra. The song is picturised on Mohana as a part of a ploy to wood wink a soldier to stripe out his uniform to be used for disguising Mangal (Dilip Kumar) as soldier to gain access to the prison to facilitate the release of Bhanupratap (Dev Anand).

In the video clip, there are only two stanzas where as the audio clip contains the full song of four stanzas. This is the 10th song to appear on the Blog out of 17 songs in ‘Insaaniyat’ (1955).

Video (Partial)

Audio (Complete)

Song – Aisi Nainwaa Ki Laagi Kataar (Insaaniyat) (1955) Singer – Mohammed Rafi, Asha Bhosle, Lyrics – Rajendra Krishan, MD – C Ramchandra
Mohammed Rafi + Asha Bhosle

Lyrics (Based on Audio Clip)

aisi nainwa ki laagi kataar
jiya kare khusar fusar
haan haan kare khusar fusar
aisi nainwa ki laagi kataar
jiya kare khusar fusar
haan haan kare khusar fusar
na marodo kalaiya hamaar
kangan mora churar murar
haan haan kare churar murar
na marodo kalaiya hamaar
kangan mora churar murar
haan haan kare churar murar
 
nainon mein lagaaun tohe kajara banaay ke
manwa ki dibiya mein rakh loon chhupaay ke
nainon mein lagaaun tohe
nainon mein lagaaun tohe kajara banaay ke
manwa ki dibiya mein rakh loon chaupaay ke
jataao na itna pyaar
ke mann mora surar surar
haan haan kare surar surar
aisi nainwa ki laagi kataar
jiya kare khusar fusar
haan haan kare khusar fusar
aisi nainwa ki laagi kataar
jiya kare khusar fusar
haan haan kare khusar fusar
 
dekho na dekho mohe tirchi nazar se
darr mohe laage tori patli kamar se
dekho na dekho mohe
dekho na dekho mohe tirchi nazar se
darr mohe laage tori patli kamar se
dekhi jab ke suratiya tohaar
kamar mori ghumar ghumar
haan haan kare ghumar ghumar
aisi nainwa ki laagi kataar
jiya kare khusar fusar
haan haan kare khusar fusar
aisi nainwa ki laagi kataar
jiya kare khusar fusar
haan haan kare khusar fusar
 
main tori bulbul tu mora kaaga
kaage se bulbul ka taanka hai laaga
main tori bulbul
main tori bulbul tu mora kaaga
kaage se bulbul ka taanka hai laaga
aa ja chalen ghataaon ke paar
udd jaayen furar furar
haan haan jaayen purur purur
aisi nainwa ki laagi kataar
jiya kare khusar fusar
haan haan kare khusar fusar
aisi nainwa ki laagi kataar
jiya kare khusar fusar
haan haan kare khusar fusar

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

ऐसी नैनवा की लागी कटार
जिया करे खुसर फुसर
हाँ हाँ करे खुसर फुसर
ऐसी नैनवा की लागी कटार
जिया करे खुसर फुसर
हाँ हाँ करे खुसर फुसर
ना मरोड़ो कलइयाँ हमार
कंगन मोरा चुरर मुरर
हाँ हाँ करे चुरर मुरर
ना मरोड़ो कलइयाँ हमार
कंगन मोरा चुरर मुरर
हाँ हाँ करे चुरर मुरर

नैनों में लगाऊँ तोहे कजरा बनाय के
मनवा की डिबिया में रख लूँ छुपाय के
नैनों में लगाऊँ तोहे
नैनों में लगाऊँ तोहे कजरा बनाय के
मनवा की डिबिया में रख लूँ छुपाय के
जताओ ना इतना प्यार
के मन मोरा सुरर सुरर
हाँ हाँ करे सुरर सुरर
ऐसी नैनवा की लागी कटार
जिया करे खुसर फुसर
हाँ हाँ करे खुसर फुसर
ऐसी नैनवा की लागी कटार
जिया करे खुसर फुसर
हाँ हाँ करे खुसर फुसर

देखो ना देखो मोहे तिरछी नज़र से
डर मोहे लागे तोरी पतली कमर से
देखो ना देखो मोहे
देखो ना देखो मोहे तिरछी नज़र से
डर मोहे लागे तोरी पतली कमर से
देखी जबसे सुरतिया तोहार
कमर मोरी घुमर घुमर
हाँ हाँ करे घुमर घुमर
ऐसी नैनवा की लागी कटार
जिया करे खुसर फुसर
हाँ हाँ करे खुसर फुसर
ऐसी नैनवा की लागी कटार
जिया करे खुसर फुसर
हाँ हाँ करे खुसर फुसर

मैं तोरी बुलबुल तू मोरा कागा
कागे से बुलबुल का टांका है लागा
मैं तोरी बुलबुल
मैं तोरी बुलबुल तू मोरा कागा
कागे से बुलबुल का टांका है लागा
आ जा चलें घटाओं के पार
उड़ जाएँ फुरर फुरर
हाँ हाँ जाएँ फुरर फुरर
ऐसी नैनवा की लागी कटार
जिया करे खुसर फुसर
हाँ हाँ करे खुसर फुसर
ऐसी नैनवा की लागी कटार
जिया करे खुसर फुसर
हाँ हाँ करे खुसर फुसर



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

Blog Day :

4396 Post No. : 15766

Hullo Atuldom

31st July, was that date in the monsoon of 1980, when the favourite singer of an entire generation left this world without any warning. There are anecdotes about the happenings of that date which keep surfacing now and then. We have heard that he was recording for Laxmikant -Pyarelal that day, a duet with Lata Mangeshkar, and was asked to stay back to record a songlet (if there is such a word) which was to play at the end of the movie and the words of that:

Tere aane ki aas hai dost
shaam phir kyun udhaas hai dost
mehki mehki phiza yeh kehti hain
tu kahin aas paas hai dost
tu kahin aas paas hain dost

seem like written for remembering this legend called Mohammad Rafi.

There is not a single day when a song played over the air-waves or on TV don’t remind us of his wonderful voice. There is not a single day when we don’t hum or sing a song that was a classic because he had sung it. There may be many who try to sing like him but God made only one Mohammad Rafi. Has anyone tried singing “kya hua tera waada, woh kasam woh iraada” in one breath, it is not easy. But when we hear Rafisaab render it, it feels like cakewalk. I will not even throw a challenge to sing “naache mann mora magan dhikna dhik dhik”. But I will definitely ask a Rafi clone to sing “yahoo, chahe koi mujhe junglee kahe” and follow it up with “champi tel maalish”. Both are fun songs abut they need a full-throated voice and range from lower to higher notes. I am not even going to list his soulful songs here; that would be really long and every single one as much on my personal playlist as the ones that I have mentioned here.

I would love to know how he modulated his voice to suit the on-screen actor. He was good for a Mehmood and Rajendra Kumar and sounded different in the same film. He sang for Guru Dutt and Johnny Walker and we could visualize the difference in the characters. No more examples as I have always said, I am not qualified or knowledgeable enough to comment or write about legends.

But I will definitely quote an Amitabh Bachchan song which said:

na phankaar tujh sa tere baad aaya, Mohammad Rafi tu bahut yaad aaya

Getting directly to today’s song. As

rasm e duniyaa bhi hai
maukaa bhi hai
dastoor bhi hai

I will just give the details of the song which is from the 1981 release “Ham Se Badhkar Kaun”. We have thus far, only one song from this movie which is this one. That means we haven’t visited this movie in the last nine years. Atulji has given the gist of this movie in that post in a single line- ‘run of the mill’. I will just add that it also relied on the lost-and-found theme. Today’s duet is Asha Bhonsle with Mohd.Rafi (duet number 533) performed on-screen by Mithun, Ranjeeta, Bhagwan Dada and chorus.

Video

Audio

Song-Dekho logon ye kaisa zamaana (Ham Se Badhkar Kaun)(1981) Singers-Rafi, Asha Bhonsle, Lyrics-Ravindra Rawal, MD-Ram Laxman
Chorus

Lyrics

Oh Tony,
Please leave me alone
I hate you

Oh no dear Tina
I love you

dekho logon
yeh kaisa zamaana
dil churaake bane woh begaana aa
dekho logon yeh kaisa zamaana
dil churaake bane woh begaana
koi roothhe dilbar ko manaana
usse jaakar samhjaana

okay
goriye
aisa chaahne waala toh
milta kismat waalon ko

shut up
dekho logon yeh kaisa zamaana
dil churaake bane woh begaana
dekho logon yeh kaisa zamaana
dil churaake bane wog begaana

iss ki kya sunte ho
yeh deewaana hai

aisa kya
bhanwara hai yeh mat samjho
parwaana hai

haye tauba
iss ki suno na yaaron
ye jhooth hai saraasar
is bewafa ko dekho
pehchhaan lo baraabar

main sachh kehta hoon kasam khaa kar
goriye aashiq ko apne sataao na
ab toh maan jaao na

dekho logon yeh kaisa zamaana
aise jhoothon se daaman bachaana aa
dekho logon yeh kaisa zamaana
aise jhoothon se daaman bachaana
inki har baat bahaana
dhokhe mein na aa jaana

arre yeh
lagta bhola bhala hai
lekin dil ka kaala hai

oh no
dekho logon yeh kaisa zamaana
dil churaa ke bane woh begaana
dekho logon yeh kaisa zamana
dil churaake bane wo begaana

meri bala se chaahe na maano ae jaanaa
arre ja ja ja a
yeh dil toh hai aur kisi ka deewaana
kya kya kya
jaane tamanna meri
sun lo tumse behtar hai
dil pyaar ka khazaana
maasoomiyat zewar hai
yeh ab sab kya chakkar hai
arre woh hamse badhkar kaun hai
dekhoon ik jhalak toh main

dekho logon yeh kaisa zamaana
dil churaake chala woh deewaana
haa aa dekho logon yeh kaisa zamana
dil churaake chala woh deewaana
koi roothhe dilbar ko manaana
usse jaakar samhjaana

yaaron inka puraana taanka hai
khaayaa humne jhaansa hai
la laaa
la la la la la la laaa
la laaa
la la la la laaa
la laaa
la la la la la la laaa
la laaa
la la la la laaa


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 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 :

4393 Post No. : 15760

———————————————–————————————
Blog 10-Year Challenge (2010-2020) – Song No. 44
———————————————————————————–

Ten years back on this day , viz on 28th July 2010, the blog saw as many as six songs being represented as given below;

Song Movie title-Year Remarks
Meri zindagi mein aate to kuchh aur baat hoti Kanyaadaan-1968 All songs covered
Tumhi mere mandir tumhi meri pooja tumhi devtaa ho Khaandaan-1965 Five songs posted
Taqdeer kaa fasaanaa jaakar kise sunaayen Sehra-1963 All songs covered
Ham hain raahi pyaar ke hamse kuchh naa boliye Nau Do Gyaarah-1957 All songs covered
Meri duniyaa lut rahi thi aur main khaamosh thaa Mr and Mrs 55- 1955 All songs covered
Jaayen to jaayen kahaan Taxi Driver -1954 All songs covered

Out of the six movies represented on the blog on that day five movies viz. ‘Kanyaadaan-1968’, ‘Sehra-1963’, ‘Nau Do Gyaarah-1957’, ‘Mr and Mrs 55-1955’, and ‘Taxi Driver-1954’ all their songs have already been covered and they have already landed in ‘Yipeeeee’ land. 😊

That leaves us only one movie i.e. ‘Khaandaan-1965’ which is still eligible to be considered for the ‘blog ten-year challenge’.

Though I am regularly browsing the blog, I failed to notice that three songs of this movie ‘Khaandaan-1965’ were yet to be covered. This discovery came as a big surprise for me. I had a ‘bigger’ ‘surprise’ waiting for me, But they will be discussed some other time. For the time being, we will come directly to the today’s song and post.

‘Khaandaan-1965’ or ‘Khandan-1965’ was directed by A. Bhim Singh for ‘Vasu Films, Madras’. S. Ramanathan was the associate director of this movie and A. Hussain was his assistant. This movie was produced by Vasu Menon. It had Sunil Dutt, Nutan, Pran, Soodesh Kumar, Manmohan Krishna, Mohan Choti and Om Prakash, supported by Ravikant, Arundev, Mumtaz, Sulochana Chatterjee and Lalita Pawar.

Story of this movie was written by M.S. Solaimalai and dialogues were written by Rajinder Krishan who also wrote the lyrics for the songs in this movie.

A. Bhim Singh who was the director of the movie wrote the screenplay of this movie and he was also the editing supervisor of this movie. A. Pauldoraisingam was the editor of this movie.
N.S. Bedi was the Dialogue Instructor for this movie.

This movie had eight songs written by Rajinder Krishan and music was composed by Ravi. Lata Mangeshkar, Asha Bhonsle, Usha Mangeshkar, Manna Dey and Mohd Rafi had given their voices to the songs in this movie.

So far, the following five songs from “Khaandaan-1965” have been posted on the blog;

Song Posted On
Tumhi mere mandir tumhi meri pooja tumhi devtaa ho 28.07.2010
Kal chaman thaa aaj ek sehraa huaa 30.07.2011
Neel gagan par udte baadal aa aa aa 01.08.2011
Tu hoke badaa ban jaanaa apni maataa ka rakhwaalaa 09.03.2012
Aa dance karein 31.07.2014

Today’s song is the sixth song from this movie being presented on the blog. This enjoyable ‘teasing’ song is sung by Mohd Rafi and Asha Bhonsle and picturised on Sunil Dutt and Nutan in a ‘village fair’ or ‘mela’ set up where many other artists can also be seen participating in the picturization of this song.

Let us now enjoy today’s song …

Video

Audio

Song-Ho balle soch ke mele jaana (Khaandaan)(1965) Singers-Rafi, Asha Bhonsle, Lyrics-Rajinder Krishan, MD-Ravi
Male chorus
Female chorus

Lyrics

kahaan chali
kahaan chali
kahaan chali ee

mele
mele
mele
mele
mele ae

ho ballo
soch ke mele jaanaa
saaraa shahar teraa deewaana
tere roop ko de ke taanaa
badnaam naa karey ae

ho balle ae
samajh naa mujhko bholi
mera roop zehar ki goli
sun le
deewaanon ki toli
koi naam naa dhare

ho ballo
soch ke mele jaanaa
saaraa shahar teraa deewaana
tere roop ko de ke taanaa
badnaam naa karey ae

ho balle ae
samajh naa mujhko bholi
mera roop zehar ki goli
sun le
deewaanon ki toli
koi naam naa dharey ae

dhalke dupatwaa to
lat teri bikhrey ae
jhuk jaaye nainwaa
to roop tera nikhrey ae
dhalke dupatwaa to
lat teri bikhrey ae
jhuk jaaye nainwaa
to roop tera nikhrey ae

ho peechhe padi hai duniyaa saari
bairan laakh jatan kar haari
main to
ab tak rahi kunwaari
koi naam to dharey

ho ballo
soch ke mele jaanaa
saaraa shahar teraa deewaana
tere roop ko de ke taanaa
badnaam naa karey ae

o o o o o o
o o o o o o

aa aa aa aa aa
aa aa aa aa aa

o o o o o o
o o o o o o

aa aa aa aa aa
aa aa aa aa aa

duniyaa ke aankh mein
jawaani meri khatke
kitnon ke dil hai
nathaniyaa mein atke ae ae

duniyaa ke aankh mein
jawaani meri khatke
kitnon ke dil hai
nathaniyaa mein atke

haay
jab se saal solwaa laagaa
tera ang ang hai jaagaa
peechhe har dilawaala bhaagaa
koyi kaam naa kare ae

ho balle ae
samajh naa mujhko bholi
mera roop zehar ki goli
sun le
deewaanon ki toli
koi naam naa dharey ae

ho ballo
soch ke mele jaanaa
saaraa shahar teraa deewaana
tere roop ko de ke taanaa
badnaam naa karey ae

bruuuu brruu aa
aa a a ayeah

chakchak jhikchak

hadippaa
hadippaa

bruuu he he
hahahahaha


This article is written by Avinash Scrapwala, 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.

Blog Day :

4384 Post No. : 15741

Blog 10-Year Challenge (2010-2020) – Song No. 42
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From the three movies eligible for the ‘blog ten-year’ challenge today, we have already represented one today in the morning and taking this another one to add to the celebrations for today. This song is from the 1964 movie ‘Phoolon Ki Sej’ and it is sung by Mohd Rafi and Asha Bhonsle. This song is picturised on Mehmood and Shubha Khote, where the two lovers are singing and enjoying in their ‘famous’ style 😊

As mentioned in the earlier post total four songs were represented on the blog on 19.07.2010 including a song from this movie ‘Phoolon Ki Sej’ (1964).

Song  Movie title-Year  Remarks
 Aaj Hamen Ban Behad Bhaata  Amar Jyoti (1936)  06 songs posted
 Sataayega Kise Tu Aasmaan Jab Hum Nahin Honge  Sheesham (1952)  07 songs posted
 Main Rickshaw Waala  Chhoti Behen (1959)  All songs covered
 Aayegaa Koi Hamraaz Mere Pyaar Ka  Phoolon Ki Sej (1964)  05 songs posted

Two of the above listed films, i.e. ‘Amar Jyoti’ (1936) and ‘Phoolon Ki Sejh’ had made their debut on the blog that day.

‘Phoolon Ki Sej’ has total nine songs (including one three-part song) which are all written by Hasrat Jaipuri. Music for this movie is composed by Aadi Narayan Rao. Lata Mangeshkar, Asha Bhonsle, Mohd Rafi, Mukesh and Manna Dey had given their voices to the songs in this movie. So far, the following songs from ‘Phoolon Ki Sej’ have been posted on the blog;

Song  Posted On
 Aayegaa Koi Hamraaz Mere Pyaar Ka  19.07.2010
 Aa Tu Aa Zara Dil Mein Aa  06.07.2012
 Taaron Ki Aankhon Ka Taraa Tu  07.04.2013
 Aa Bhi Ja Rasiya  09.06.2014
 Jaane Mujhe Kya Ho Gaya  14.08.2017

Seven songs of this film have already been covered on the blog, including the multiple version song ‘Taaron Ki Aankhon Ka Taara Tu’. So now, song are now left to be covered. One song being posted today will leave this movie only one short of ‘Yippeeee Land’ 😊

When I checked the earlier song posts of this movie, I noted that one song from this movie Aa Bhi Ja Rasiya was covered by our respected late Bharatbhai under his ‘Raag Maalikaa’ series (this was song number 12 in that series).

On this day today when our blog is celebrating 12th birth anniversary I take this opportunity to remember and pay our tributes to Bharatbhai who is not with us this year to celebrate this occasion. We all miss him today.

But I am sure wherever he is, he is enjoying this ‘musical journey’ and showering his blessings to this blog and on all ‘Atulites’ today.

Lyrics for the today’s song were sent by Prakashchandra.

Let us now enjoy the today’s song …

Song – Pyaar Ko, Madhur Madhur Iqraar Ko, Arre Ye Duniya Kya Jaane (Phoolon Ki Sej) (1964) Singer – Mohammed Rafi, Asha Bhosle, Lyrics – Hasrat Jaipuri, MD – Adi Narayan Rao

Lyrics (Provided by Prakashchandra)

pyaar ko
madhur madhur iqraar ko

arre ye duniya kya jaane ae
ke hum to parwaane
bade hi mastaane ae
tumhaare deewaane

jhoomke
hansi khushi se jhoomke
miley nazar ke paimaane ae
wafaa ke afsaane
ke hum bhi deewaane ae
tumhaare parwaane

tum jo miley to
miley hain do jahaan
ke reh gayi duniya
jahaan thi wahaan
achchaa
arrey tum jo miley to
miley hain do jahaan
ke reh gayi duniya
jahaan thi wahaan
hamaari tumhaari amar dastaan
hamaari tumhaari amar dastaan
ho jhoomke
hansi khushi se jhoomke
miley nazar ke paimaane ae
wafaa ke afsaane
ke hum bhi deewaane ae
tumhaare parwaane

chaand nahin dekhoon
naa dekhoon aasmaan
baat hai jo tujh mein
woh un mein kahaan
waah waah
chaand nahin dekhoon
naa dekhoon aasmaan
baat hai jo tujh mein
woh unn mein kahaan
tumhaare hi dam se nazaare jawaan
tumhaare hi dam se nazaare jawaan
ho pyaar ko
madhur madhur iqraar ko
arre ye duniyaa kyaa jaane
ke hum to parwaane
bade hi mastaane ae
tumhaare deewaane ae

lo ab to giraa do
ada ki bijliyaan
ke main to sharmaaun
kahegaa kya samaa
haaye
ab to giraa do
adaa ki bijliyaan
ke main to sharmaaun
kahegaa kya samaa aa
jalegi ye duniya
mere meharbaan
jalegi ye duniya
mere meharbaan
ho o jhoomke
hansi khushi se jhoomke
miley  nazar ke paimaane ae
wafaa ke afsaane
ke hum bhi deewaane ae
tumhaare parwaane

pyaar ko
madhur madhur iqraar ko
arre ye duniyaa kya jaane
ke hum to parwaane
bade hi mastaane ae
tumhaare deewaane ae

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

प्यार को
मधुर मधुर इक़रार को
अरे ये दुनिया क्या जाने
के हम तो परवाने
बड़े ही मस्ताने
तुम्हारे दीवाने

झूम के
हंसी खुशी से झूम के
मिले नज़र के पैमाने
वफा के अफसाने
के हम भी दीवाने
तुम्हारे परवाने

तुम जो मिले तो
मिले हैं दो जहाँ
के रह गई दुनिया
जहाँ थी वहाँ
अच्छा
अरे तुम जो मिले तो
मिले हैं दो जहाँ
के रह गई दुनिया
जहाँ थी वहाँ
हमारी तुम्हारी अमर दास्तां
हमारी तुम्हारी अमर दास्तां
हो झूम के
हंसी खुशी से झूम के
मिले नज़र के पैमाने
वफा के अफसाने
के हम भी दीवाने
तुम्हारे परवाने

चाँद नहीं देखूँ
ना देखूँ आसमान
बात है जो तुझ में
वो उन में कहाँ
वाह वाह
चाँद नहीं देखूँ
ना देखूँ आसमान
बात है जो तुझ में
वो उन में कहाँ
तुम्हारे ही दम से नज़ारे जवां
तुम्हारे ही दम से नज़ारे जवां
हो प्यार को
मधुर मधुर इक़रार को
अरे ये दुनिया क्या जाने
के हम तो परवाने
बड़े ही मस्ताने
तुम्हारे दीवाने

लो अब तो गिरा दो
अदा की बिजलीयाँ
के मैं तो शरमाऊँ
कहेगा क्या समा
हाय अब तो गिरा दो
अदा की बिजलीयाँ
के मैं तो शरमाऊँ
कहेगा क्या समा
जलेगी ये दुनिया
मेरे मेहरबान
जलेगी ये दुनिया
मेरे मेहरबान

हो झूम के
हंसी खुशी से झूम के
मिले नज़र के पैमाने
वफा के अफसाने
के हम भी दीवाने
तुम्हारे परवाने

प्यार को
मधुर मधुर इक़रार को
अरे ये दुनिया क्या जाने
के हम तो परवाने
बड़े ही मस्ताने
तुम्हारे दीवाने


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

Blog Day:

4365 Post No. : 15692

Hullo Atuldom

Today I did a tiny research with the resources available at my disposal. I have inferred that the music duo Kalyanji Anandji have scored music for most of the movies where Feroz Khan was in the lead; till the time of Kalyanji’s passing in 2000. In fact, I found two Feroz Khan starring movies, on our blog, that are on the threshold of being yippeee’d. One has two songs left, but the album of that movie shows that Kalyanji-Anandji have given music for three sequences where there is no song. I am sure one music piece has Helen burning the dance floor, that is as brilliant as is the theme music for that movie. So for today we leave that movie alone and concentrate on the one that is one short of yippeee-hood.

That film is ‘Shankar Shambhu’ (1976). The four out of possible five songs from that move were posted thus:-

No. Song Title Post No. Post Date
1 Hum Lootne Aaye Hain Hum Loot Ke Jaayenge 11964 1-Apr-16
2 Aa Pahunchi Hai Is Mele Mein Saddi Aaj Sawaari 12492 25-Oct-16
3 Mera Dil Chura Kar Na Aankhen Churaa 15075 17-Jun-19
4 Gar Nibhaane Ki Himmat Na Thhi Aap Mein 15565 27-Apr-20

The final song of the movie is sung by Asha Bhonsle and Mohammad Rafi. It has Feroz Khan romancing Sulakshana Pandit in various locations. If my memory is right the couple have just got wet because they jump out of the boat on which they were having a joy ride in a lake to escape from constables led by Bhagwan Dada.

I don’t know what is there left to write about the music duo that the readers of this blog don’t know. So without much ado let us get to the song and thank Kalyanji Virji Shah (who would have been 92 today) and his brother Anandji Virji Shah for the treasure trove of songs that they have left for us to relish. And on the blog we have 583 from a possible 1435 songs i.e. not even halfway done.

With this post now, ‘Shankar Shambhu’ has all its songs on the blog.

Video

Audio

Song – Bheege Huye Jalwon Par Aise Na Nazar Daalo  (Shankar Shambhu) (1976) Singer – Asha Bhosle, Mohammed Rafi, Lyrics – Sahir Ludhianvi, MD – Kalynji Anand ji
Asha Bhosle + Mohammed Rafi

Lyrics 

bheege huye jalwon par 
aise na nazar daalo
bheege huye jalwon par 
aise na nazar daalo
bheege huye jalwon par 
aise na nazar daalo
dil chaahe idhar rakho 
par aankh udhar daalo
bheege hue jalwon par

in garam nigaahon se 
jazbaat bhadakte hain
in garam nigaahon se 
jazbaat bhadakte hain
ehsaas sulagta hai 
armaan dhadkate hai
ruk jaao 
ruk jaao
ruk jaao abhi dil par
itna na asar dalo
bheege huye jalwon par 
aise na nazar daalo
bheege huye jalwon par

soyi hui dhadkan ko 
khud tumne jagaaya hai
soyi hui dhadkan ko 
khud tumne jagaaya hai
saanso se pukaara hai 
nazaron se bulaaya hai
mat apni khataon ko
mat apni khataon ko 
ab aur ke sar daalo
oooo
bheege huye jalwon par 
aise na nazar daalo
bheege huye jalwon par

kab hamne kaha tumse 
hum tum pe nahin marte
kab hamne kaha tumse 
hum tum pe nahin marte
tum kuch bhi kaho tum par 
ilzam nahi dharte
bereham ho 
bereham ho
bereham ho qaatil ho 
ye qatl bhi kar daalo
hmmm mm hmm
hmmm mm hmm
dil chaahe idhar rakho 
par aankh udhar daalo

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

भीगे हुये जलवों पर
ऐसे न नज़र डालो
भीगे हुये जलवों पर
ऐसे न नज़र डालो
भीगे हुये जलवों पर
ऐसे न नज़र डालो
दिल चाहे इधर रखो
पर आँख उधर डालो
भीगे हुये जलवों पर

इन गरम निगाहों से
जज़्बात भड़कते हैं
इन गरम निगाहों से
जज़्बात भड़कते हैं
एहसास सुलगते हैं
अरमान धड़कते हैं
रुक जाओ
रुक जाओ
रुक जाओ अभी दिल पर
इतना ना असर डालो
भीगे हुये जलवों पर
ऐसे न नज़र डालो
भीगे हुये जलवों पर

सोई हुयी धड़कन को
खुद तुमने जगाया है
सोई हुयी धड़कन को
खुद तुमने जगाया है
साँसों से पुकारा है
नज़रों से बुलाया है
मत अपनी खताओं को
मत अपनी खताओं को
अब और के सर डालो
ओ ओ
भीगे हुये जलवों पर
ऐसे न नज़र डालो
भीगे हुये जलवों पर

कब हमने कहा तुमसे
हम तुम पे नहीं मरते
कब हमने कहा तुमसे
हम तुम पे नहीं मरते
तुम कुछ भी कहो तुमपे
इल्ज़ाम नहीं धरते
बेरहम हो
बेरहम हो
बेरहम हो क़ातिल हो
ये कत्ल भी कर डालो
हम्ममम म्मम हम्ममम
हम्ममम म्मम हम्ममम
दिल चाहे इधर रखो
पर आँख उधर डालो

 


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:

4326 Post No. : 15617

As a school going student, I was kept in strict discipline which meant going from home to school and back. No watching of movies. Even talking about movies and reading movie magazines were taboo. That did not prevent me from clandestinely reading movie magazines and books lying around the home that was apparently alright for elders to read.

It was in 1978, when I went to college and was allowed freedom as befitting a college goer. And I misused this freedom with abandon. I started watching movies left and right bunking college, as if making up for the lost time.

It was during this movie watching spree that I watched many old movies during their re runs. It included not only movies like “Sholay”(1975),”Deewaar”(1975), “Mera Gaaon Merra Desh”(1971) etc etc but also movies from earlier decades.

The movie halls where I watched most of these movies had names like Sujata, Sandhya, Vasundhara etc. But not all movie halls had feminine names. There was an old movie hall called Ratan Talkies. Closeby there was another movie hall called Rupashree which reputedly was the first movie hall of Bihar (which was opened way back in 1930s). Then there was Welfare cinema hall. These three cinema halls were closer to my residence than others. The farthest cinema hall was a “properly” named movie hall called Plaza. It was the kind of name that one found in big places like New Delhi. 🙂

It was in one matinee show in 1978 in Ratan Talkies that I watched “Kaajal”(1965). I did not have much clue about the movie. I found the movie boring in the beginning when I saw tragedy queen Meena Kumari and tragedy Kumar Raj Kumar in the movie. But then the songs began to appear one after the other. With every song, the reaction (mine as well as that of others) was, arre, this song is from this movie ! All iconic songs !

Since I had started my movie watching spree just recently, many actors were “new” for me. I watched Raj Kumar for the first time in this movie. Then there were many others whom I did not recognise at that time and regarded them as lesser actors. When I look back at the cast now, I realise that this movie had a galaxy of big names. The fact that it had Padmini, Mumtaz, Mehmood etc in it apart from the tragedy persons was lost on me. Then yesteryear legend Durga Khote was there too. Dharmendra was there whom I thankfully recognised, having seen him in a few movies earlier.

The movie had eleven songs in it. Nine of these songs have been covered in the past. When I look at the writeups of these songs, I realise that the writeups do not do justice to the songs. So I think we need to add some more contents and spice to these writeups. So I request our regulars to contribute their observations on these iconic songs.

Following songs from “Kaajal”(1965) have been covered in the blog so far.

S N Song Song number in blog Date of posting
1 Tora man darpan kahlaaye(Kaajal)(1965) 818 27-Feb-2009
2 Choo lene do naazuk hothon ko(Kaajal)(1965) 828 2-Mar-2009
3 Ye zulf agar khulkar bikhar jaaye to achchaa (Kaajal) 1479 21-Jun-2009
4 Mere bhaiyya mere chandaa mere anmol ratan (Kaajal) 2837 24-Aug-2010
5 Aapke paas jo aayegaa pighal jaayegaa (Kaajal) 3588 2-Mar-2011
6 Samjhi thhi ye ghar mera hai (Kaajal) 7685 15-Mar-2013
7 Agar mujhe na milin tum (Kaajal) 8717 17-Sep-2013
8 Mehfil mein teri yoon hi rahe (Kaajal) 9367 28-Jan-2014
9 Muddat ki tamannaaon ka sila (Kaajal) 15429 27-Feb-2019

Here is the tenth song from “Kaajal”(1965) to appear in the blog. This song is sung by Rafi and Asha Bhonsle. Sahir Ludhianvi is the lyricist. Music is composed by Ravi.

This song is picturised as a “bhang” song on Mehmood and Mumtaz. Before I watched this song, I was not even aware that these two were in this movie.

Lyrics of this song were sent to me by Avinash Scrapwala.


Song-Zara si aur pila do bhang (Kaajal)(1965) Singer-Rafi, Asha Bhonsle, Lyrics-Sahir Ludhianvi, MD-Ravi

Lyrics(Provided by Avinash Scrapwala)

zaraa si aur pila do bhang
main aaya dekh ke aisa rang
ke dil mera dola aa
O hai ham bhola
zaraa si aur pila do bhang
main aaya dekh ke aisa rang
ke dil mera dola aa
O hai ham bhola aa
meri to akal huyi hai dang
ye kaisa badlaa tera dhang
ke tu tha bhola

o hai ham bhola aa
b b b b b drurrrrrr ha

mujhe samajh na tu bairaagi
maine aaj tapasya tyaagi ee
hmm hmm hmm hmm
aehe aehe
mujhe samajh na tu bairaagi
maine aaj tapasya tyaagi
tere roop ka jhatka khaa ke
meri soyi jawaani jaagi ee
meri soyi jawaani jaagi
ja hat jaa arey malang
kare kyun beech sabhi ke tang
ke tu tha bhola

o hai ham bhola aa
zaraa si aur pila do bhang
main aaya dekh ke aisa rang
ke dil mera dola
O hai ham bhola

(undeciphered words)
Tak dhum tak tak tak tum

Kyun thhaam ke dil ko tehle
Jo chot lagi hai sah le ae
Haay haay
Kyun thhaam ke dil ko tehle
Jo chot lagi hai sah le ae
Us baat pe ab zid kaisi
Jo baat na maani pehle
Jo baat na maani pehle

Kyun jhagde mere sang
Main tujhse haar chukaa hoon jung
Ke dil mera dola
o hai ham bhola aa
meri to akal huyi hai dang
ye kaisa badlaa tera dhang
ke tu tha bhola

o hai ham bhola aa

(undeciphered words)

mere dil se nikle haaye
gori kyun nakhre dikhlaaye

(undeciphered words)

mere dil se nikle haaye
gori kyun nakhre dikhlaaye
zaraa hans ke gale se lag jaa
tujhe kunwaara pyaar bulaaye
tujhe kunwaara pyaar bulaaye
tere man pe chadh gaya jang
yoonhi ab kyun chamkaaye rang
ke tu tha bhola

o hai ham bhola aa
zaraa si aur pila do bhang
main aaya dekh ke aisa rang
ke dil mera dola aa
O hai ham bhola

———————————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
———————————————————–

ज़रा सी और पिला दो भंग
मैं आया देख के ऐसा रंग
के दिल मेरा डोला आ
ओ है हम भोला
ज़रा सी और पिला दो भंग
मैं आया देख के ऐसा रंग
के दिल मेरा डोला आ
ओ है हम भोला आ
मेरी तो अक्ल हुयी है दंग
ये कैसा बदला तेरा ढंग
के तू था भोला

ओ है हम भोला आ
ब ब ब ब ब दृर्र्र्रर्र्र्रर हा

मुझे समझ न तू बैरागी
मैंने आज तपस्या त्यागी ई
हूँ हूँ हूँ हूँ
एहे एहे
मुझे समझ न तू बैरागी
मैंने आज तपस्या त्यागी
तेरे रूप का झटका खाके
मेरी सोयी जवानी जागी ई
मेरी सोयी जवानी जागी
जा हट जा अरे मलंग
करे क्यूँ बीच सभी के तंग
के तू था भोला

ओ है हम भोला
ज़रा सी और पिला दो भंग
मैं आया देख के ऐसा रंग
के दिल मेरा डोला आ
ओ है हम भोला आ

( अटपटे बोल )
तक धूम तक तक तक तुम

क्यूँ थाम के दिल को टहले
जो चोट लगी है सह ले ए
हाय हाय
क्यूँ थाम के दिल को टहले
जो चोट लगी है सह ले ए
उस बात पे अब जिद कैसी
जो बात न मानी पहले
जो बात न मानी पहले

क्यूँ झगडे मेरे संग
मैं तुझसे हार चुका हूँ जंग
के दिल मेरा डोला आ
ओ है हम भोला आ
मेरी तो अक्ल हुयी है दंग
ये कैसा बदला तेरा ढंग
के तू था भोला

ओ है हम भोला आ
( अटपटे बोल )

मेरे दिल से निकले हाए
गोरी क्यूँ नखरे दिखलाए

( अटपटे बोल )

मेरे दिल से निकले हाए
गोरी क्यूँ नखरे दिखलाए
ज़रा हंस के गले से लग जा
तुझे कुंवारा प्यार बुलाये
तुझे कुंवारा प्यार बुलाये
तेरे मन पे चढ़ गया जंग
यूंही अब क्यूँ चमकाए रंग
के तू था भोला

ओ है हम भोला
ज़रा सी और पिला दो भंग
मैं आया देख के ऐसा रंग
के दिल मेरा डोला आ
ओ है हम भोला आ


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.

Blog Day :

4322 Post No. : 15610 Movie Count :

4301

During the course of my exercise to pick up Hindi songs in Bangla films, I have gone through many Bangla films with their basic details such as the director, story writer, star cast, lyricist, music director, playback singers etc. In the list of lyricists in any Bangla film, if I find the name of the lyricist from Hindi films, I am almost certain that there would be at least one Hindi song in that Bangla film. In some cases, I found that though the name of the Hindi film lyricist was not mentioned, still one or two Hindi songs were found in such Bangla films.

During one of such exercise, I got to know of a Bangla film ‘Sorry Madam’ (1962). The film was directed by Dilip Bose. Although, I could not find the name of Hindi lyricist for the film, the names of playback singers like Manna Dey, Mukesh, and Asha Bhosle gave me a glimmer of hope that there could be at least one Hindi song in the film. The music director for the Bangla film was Ved Pal. But I scored a blank on this count. However, during the searching the songs on the internet, I came across not one but three Hindi songs under the film’s title ‘Sorry Madam’ (Unreleased). Some further searches on the internet revealed a story behind this unreleased film which I was not aware of it. The film was to be a remake of Bangla film ‘Sorry Madam’ (1962) which was a box office success. Hindi remake with the same title was to be produced and directed by Dilip Bose who had also directed its Bangla version. But the film remained unfinished because the director, Dilip Bose went into deep depression after a personal tragedy.

Dilip Bose started his filmy career as actor in Bangla films ‘Kashinath’ (1943) and ‘Bichar’ (1943). I could not get any lead as to what he did during 1943-1960. In 1960, he directed his first Bangla film ‘Dui Bechaara’ (1960). The next Bangla film which he directed was ‘Sorry Madam’ (1962) with Biswajeet and Sandhya Roy in lead roles. ‘Chaandi Ki Deewar’ (1964) was his first directorial venture in Hindi film. During his filmy career, he directed 5 Bangla films, 6 Hindi films and 10 Bhojpuri films. He also acted in about a dozen Bangla films which included Satyajit Ray’s ‘Charulata’ (1964). He also did some smaller roles in a few Bhojpuri films besides story and screen-play writing.

In 1979, after directing Hindi films like ‘Chaandi Ki Deewar’ (1964), ‘Sansaar’ (1971), ‘Thokar’ (1974), ‘Badnaam’ (1975) and ‘Sikka’ (1976), he decided to produce and direct the Hindi remake of his Bangla film ‘Sorry Madam’ (1962) with Raj Kiran and Kajal Kiran in the lead roles. Six songs, all rendered by Mohammed Rafi (some with Asha Bhosle) were recorded in December 1979 under the music direction of Chitragupt. However, Dilip Bose was struck with a personal tragedy when he suddenly lost his wife. Being a sentimental person, Dilip Bose was so much devastated by this tragedy that he went into deep depression for a long time and the film remained unfinished. After recovering from the depression, Dilip Bose concentrated mainly on directing Bhojpuri films. Dilip Bose died in 2002.

Even though 6 songs of the unfinished film ‘Sorry Madam’ (1979) were recorded in December 1979, no gramophone records or CDs were issued. So, they remained unavailable to the public. It was only after the death of the music director, Chitragupt in January 1991 that the tape containing the songs were discovered.  It was decided to release the song in an album. However, by that time, Hindi film music scene had changed and composition style of these six songs sounded old to the music companies who were not interested in releasing the songs. It was only after the success of ‘Veer Zara’ (2004) in which the old-style song composition of Madan Mohan became a hit that a fresh effort was made to release the songs. A music publishing company agreed to release the songs. The tape of the songs were sent to Belgium to digitally restore them to the highest sound quality. Thus,  the songs which were recorded in December 1979 had to wait for 30 years to get them released in an album ‘Teri Adaa’ in 2009.

I am presenting one of the six songs, “Dekho Ji Waado Karo Ke Door Kabhi Tum Na Rahoge” from the unfinished film ‘Sorry Madam’ (1979). The song is written by Kaafil Aazar which is set to music by Chitragupt.

[Acknowledgements:  Some of the information about the background history of the film with 6 unreleased songs are sourced from silkrd.files.wordpress.com and about Dilip Bose, from the book, ‘Cinema Bhojpuri’ by Avijit Ghosh.]

 

Song – Dekho Ji Ye Waada Karo (Sorry Madam) (UR) (1979) Singer – Asha Bhosle, Mohammed Rafi, Lyrics – Kaafil Aazar, MD – Chitragupt
Asha Bhosle + Mohammed Rafi

Lyrics

dekho ji ye waada karo..o..o
dekho ji ye waada karo. . .
ke door kabhi tum na rahoge
jaao ji ye waada kiyaa..aa
jaao ji ye waada kiyaa
ke doo..oor kabhi hum na rahenge
 
waada tumhaara mujhko payaara hai jaan se
chaaha hai tumko hum ne kitne armaan se
waada tumhaara mujhko payaara hai jaan se
chaaha hai tumko hum ne kitne armaan se
phoolon mein jaise khushboo
itne kareeb hain
phoolon mein jaise khushboo
itne kareeb hain
phoolon se khushboo se bhi
hum to khushnaseeb hain

ho oo
khushnaseeb hain
khaao meri aankhon ki kasam
khaao meri aankhon ki kasam
ke door kabhi tum na rahoge
jaao ji ye waada kiyaa..aa
jaao ji ye waada kiyaa
ke doo..oor kabhi hum na rahenge
 
itna sataaya thaa kyun dil mera loot ke
ab na rahungi main to tumse kabhi rooth ke
itna sataaya thha kyun dil mera loot ke
ab na rahungi main to tumse kabhi rooth ke
raaten sajegi apni palkon ki chhaaon mein
raaten sajegi apni palkon ki chhaaon mein
utarega chanda mere sapnon ke gaaon mein
ho oo
sapnon ke gaaon mein
dekhega ye chaand sadaa..aa
dekhega ye chaand sadaa
ke door kabhi hum na rahenge

dekho ji ye waada karo..o..o
dekho ji ye waada karo…..
ke door kabhi tum na rahoge
jaao ji ye waada kiyaa..aa
jaao ji ye waada kiyaa
ke do..oor kabhi hum na rahenge
ke do..oor kabhi hum na rahenge
ke do..oor kabhi hum na rahenge
ke do..oor kabhi hum na rahenge

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

देखो जी ये वादा करो॰॰ओ॰॰ओ
देखो जी ये वादा करो॰ ॰ ॰
के दूर कभी तुम ना रहोगे
जाओ जी ये वादा किया॰॰आ
जाओ जी ये वादा किया
के दू॰॰र कभी हम ना रहेंगे

वादा तुम्हारा मुझको प्यारा है जान से
चाहा है तुमको हमने कितने अरमान से
वादा तुम्हारा मुझको प्यारा है जान से
चाहा है तुमको हमने कितने अरमान से
फूलों में जैसे खुशबू
इतने करीब हैं
फूलों में जैसे खुशबू
इतने करीब हैं
फूलों से खुशबू से भी’
हम तो खुशनसीब हैं
हो ओ
खुशनसीब हैं
खाओ मेरी आँखों की कसम
खाओ मेरी आँखों की कसम
के दूर कभी तुम ना रहोगे
जाओ जी ये वादा किया॰॰आ
जाओ जी ये वादा किया
के दू॰॰र कभी हम ना रहेंगे

इतना सताया था क्यों दिल मेरा लूट के
अब ना रहूँगी मैं तो तुमसे कभी रूठ के
इतना सताया था क्यों दिल मेरा लूट के
अब ना रहूँगी मैं तो तुमसे कभी रूठ के
रातें सजेंगी अपनी पलकों की छाँव में
रातें सजेंगी अपनी पलकों की छाँव में
उतरेगा चंदा मेरे सपनों के गाँव में
हो ओ
सपनों के गाँव में
देखेगा ये चंदा सदा॰॰आ
देखेगा ये चंदा सदा
के दूर कभी हम ना रहेंगे

देखो जी ये वादा करो॰॰ओ॰॰ओ
देखो जी ये वादा करो॰ ॰ ॰
के दूर कभी तुम ना रहोगे
जाओ जी ये वादा किया॰॰आ
जाओ जी ये वादा किया
के दू॰॰र कभी हम ना रहेंगे
के दू॰॰र कभी हम ना रहेंगे
के दू॰॰र कभी हम ना रहेंगे
के दू॰॰र कभी हम ना रहेंगे


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Blog Day :

4305 Post No. : 15575

—————————————————————————
Blog 10-Year Challenge (2010-2020) – Song No. 25
—————————————————————————

Today is 1 may 2020, viz the first day of the fifth month of the year 2020.

When I look back on this day ten years ago, I find that three songs were covered that day (1 may 2010). These songs were :-

Song Movie title-Year Remarks
Uff ye Jawaani ye adaa Mehmaan-1974 03 of 06 songs posted
Tumhaari mast nazar gar idhar nahin hoti Dil Hi To Hai-1963 All songs covered
Pyaar to ik din honaa thaa Ek Shrimaan Ek Shrimati-1969 05 songs posted

So it means that two movies are eligible for “Blog Ten year challenge” today.

One of these two movies is “Mehmaan”(1974).

This movie had six songs in it. Three of these songs have been covered in the blog. The movie made its debut ibn the blog this day ten years ago !

Here are the three songs of “Mehmaan”(1974) that have been covered so far:-

Song Posted On
Uff ye Jawaani ye adaa 01.05.2010
Meri chaahat rahegi hameshaa jawaan 26.04.2012
Ram Raheem Krishn Kareem … 25.10.2017

I may have discussed three songs from the movie, but these songs were spaced several years apart. Second song from the movie was discussed in 2012 and the third in 2017.

So, despite covering three songs from the movie, I do not remember anything about this movie. So when I watched the song under discussion today, I had some great and inadvertent fun watching the picturisation. I could see a very young Rekha lip syncing in Asha Bhonsle’s voice, but who was the gentleman, jumping up and down. He appeared somewhat familiar ! And then it hit me, Arrey, it was Vishwajeet ! He was well past his prime by 1974, but he was still trying to turn the clock back rather valiantly. 🙂

The song starts as a motor boat song. Then the duo shift to a park, where the song becomes a classic running around the trees song- as I S Johar would have described it. 🙂

Then the duo jump over on a jeep. End of the song finds Rekha alighting from the jeep and walking off in a huff, determined not to go back to the jeep. But she quickly has a change of heart when she finds monkeys ahead. 🙂

Lyrics are by Sahir Ludhianvi. Normally known for penning songs espousing the caause of social justice, communal harmony, women emancipation and other such noble causes, Here he is called upon to pen a rather more mundane kind of a song- viz a romantic song. And the lyrics are quite cute. “Chhoona mat mujhe”- is the warning issued by the lady. “royegi jo chhoone waala koi na mila”- is the response. Then she relents and sets the terms that she is agreeable to this “chhoona” business provided it is carried out gently. 🙂

Quite an interesting and fun song, even if much of the fun is inadvertent. This is a song from nearly five decades ago. I have been watching this song and listening to it for the first time in true tubelight fashion. I got to watch this song only because the lyrics of this song were sent to me by Avinash Scrapwala.

Video

Song-Chhod arrey ja mujhe na pakad (Mehmaan)(1973) Singers-Asha Bhonsle, Rafi, Lyrics-Sahir Ludhianvi, MD-Ravi

Lyrics(Provided by Avinash Scrapwala)

Chhod
Arey ja
Mujhe na pakad
Chhod
Arey ja
Mujhe na pakad
Haaye
Meri jaan
Aise na bigad
Arey aise na bigad

Aha
Chhod
Arey ja
Mujhe na pakad
Haaye
Meri jaan
Aise na bigad arey aise na bigad

Oh
Chhod
arey ja ja
Mujhe na pakad

Karne ko kar chaahe jitne jatan
Chhoone nahin doongi tujhe apna badan
Karne ko kar chaahe jitne jatan
Chhoone nahin doongi tujhe apna badan
Chhoone nahin doongi tujhe apna badan
Hat
Arey maan
Peechhe nahin pad
Haaye meri jaan
Aise na bigad arre aise na bigad

Ho
chhod
Arey ja
Mujhe na pakad

Royegi jo chhoone waala koi na mila
Hmm
Karegi akele me naseebon ka gila
O ho
Royegi jo chhoone waala koi na milaa
Karegi akele mein naseebon ka gilaa
Karegi akele mein naseebon ka gilaa
Sun

haa
Idhar aa
Yoonhi na akad
Haaye meri jaan
Aise na bigad arey aise na bigad

Oh
Chhod
arey ja ja
Mujhe na pakad

Chhoona hai to seekh zaraa chhoone ka chalan
Aise nahin chhoo ke mera dukhe saara tan
Chhoona hai to seekh zaraa chhoone ka chalan
Aise nahin chhoo ke mera dukhe saara tan
Aise nahin chhoo ke mera dukhe saara tan
Door
Zaraa door door
Baazu na ragad
Haaye
meri jaan aise na bigad
Arey aise na bigad

ho Chhod
arey ja
mujhe na pakad
Haaye ae meri jaan
aise na bigad
Arey aise na bigad

Aah
Chhod


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TWELVE years. This blog has over 15900 song posts by now.

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

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(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

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Movies with all their songs covered =1224
Total Number of movies covered =4365

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