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Zulfon waalon se na bhool ke bhi pyaar keejiye

Posted by: Atul on: January 21, 2024

In: "Moonch/mustache song | "Nok-Jhonk" song | Body part song | Devnagri script lyrics by Sudhir | Duet | Guest posts | Lyrics contributed by readers | Post by Arunkumar Deshmukh | qawwali | Rafi songs | Shamshad Begam Rafi duet | Shamshad Begam songs | Songs of 1960s (1961 to 1970) | Songs of 1962 | Yearwise breakup of songs | Zulf song
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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5665

Post No. :

18168

Today’s song is from the film ‘Baghdad Ki Raaten’ (1962).

The film is labelled as ‘kalpanik‘, (काल्पनिक) meaning based on an imaginary story. I would have loved to meet the writer of this story, who had such fantastic imagination, but the film mentioned that the story was by the ‘Story Department ‘ of the banner/studio. That explains ! It is not possible to imagine such stories by one single person. The Arabian Night stories were supposed to be told by Scheherazade-wife of the King Shehriar of Persia- to her husband at the rate of one story a night for continuously 1001 nights, to avoid her death. I am sure even she would gladly embrace death after hearing the ‘Arabian Stories’ made by the imaginative story departments of Indian films ! In this one department, we easily defeat the rest of the world’s filmmakers !!

‘Raat’ is yet another favourite word of our filmmakers. A cursory look at the Film Title Index, one finds that there were 21 films made with titles starting with the word Raat. And then there were films with the word Raat, placed in the title elsewhere too like ‘Ek Raat’ (4 films), ‘Barsaat Ki Raat’ (4 films). I found even a ‘Meethi Meethi Raat’ (1991). Further titles were found like ‘Ek Aadhi Raat (2005), ‘Aadhi Raat’ (2 films), ‘Aadhi Raat Ke Baad’ (1965) etc. Then I found ‘Milan Ki Raat’ (1967). With curiosity, I proceeded to try to find ‘Honeymoon Ki Raat, but instead I found ‘Ek Raat Shaitaan Ke Saath’ (2004) and I hurriedly wound up my research !

The decade of the 60’s, though a part of the ‘Golden Period’ to some extent, suffered much due to conditions prevailing in the country. If you take a look at the number of films made from 1961 to 1970, you will find the number had come down substantially, compared to earlier or later decades. See this – 924 films in 1930-40, 1191 films in 1940-50, 1125 in 1950-60, 942 in 1960-70, 1243 in 1970-80, 1668 in 1980-90, 1713 in 1990-2000 and 2352 in 2000-2010.

The reasons for this low number in 60-70 period were many. Major reason was escalation in the cost of film production. The cost had gone up substantially compared to the period 1931 to 1960, in terms of payments to the actors, directors and the music directors, raw film was costlier and other reasons. Attraction of making color films was very expensive. By the end of the 60’s, color films occupied about 70 % of the films produced.

War with China in 1962, war with Pakistan in 1965, death of Nehru ji in 1964, Shastri ji in 1966 and a severe drought condition in the North and East India were reasons which disturbed the national economy. In 1960 itself, to help the Film Industry, the Film Finance Corporation was established, which gave loans for film production at only 5 to 6 % interest rates. Due to this the ‘New Wave Cinema’ had a boost, affecting mainstream films. With all this the number of films made dwindled. However, by the end of the decade i.e. by 1970 the Hindi films once again crossed the figure of 100’s mark (102 films), never to fall again below 100 ! In fact, after the year 2000, the number has always been above 200 films !!

Film ‘Baghdad Ki Raaten’ (1962) was directed by Nanabhai Bhatt, a veteran of such films. The music was by D Dilip alias Dilip Dholakia. He used several names like Dilip, Dilip Rai, Dilip Kumar, in addition to D Dilip and Dilip Dholakia. Contribution of Gujarat to the film industry is tremendous right from the beginning of the moving pictures era. The important fact is, this contribution was all pervading, i.e. in all departments of film making from production to distribution and in the music field it was in the form of singers and composers. Producers like Dalsukh Pancholi and Chandulal Shah, directors like Desai and Doshi, actors like Sanjeev Kumar and Nirupa Roy, MDs like Pransukh Nayak and Madholal Master right up to Kalyan ji Anand ji….the list will be endless !

However, in the music field, not all those who came from Gujarat were as famous or lucky as some others. Composers like Avinash Vyas, Ninu Mujumdar, Ajit Merchant – despite the quantity and the quality, never got counted among the ‘Top Of the Line’ composers. Another name of such a composer is that of DILIP DHOLAKIYA.

Dilipbhai, as he was popularly called, was born on 15-10-1921 at Junagadh in Gujarat. He took classical music training from well known Gurus and also completed BA degree with Sanskrit and Gujrati Literature as main subjects. From 1942 to 1944 he even worked in govt. office, but his intense desire for music made him leave the job and seek opportunities. He sang on All India Radio for 5 Rs. a song basis. He developed friendship with Snehal Bhatkar who was working in HMV that time, and cut a record of two songs. He sang along with Saigal in a chorus for ‘Bhanwaraa’ (1944). Later Shantikumar Desai and Ratan Lal gave him songs in ‘Kismatwala’ and later Chitragupta also gave him songs in ‘Sakshi Gopal’, ‘Mahasati Savitri’, ‘Naya Raasta’ etc.

In 1947, he was selected by Feroze Nizami to sing the famous song, “Yahan Badla Wafaa Ka” from ‘Jugnu’ (1947). Few rehearsals also took place. Due to the turmoil of independence activity in 1947, Mohd. Rafi was stuck in Jalandhar, Punjab. Just one day prior to the recording, Mohd. Rafi came to Bombay. Feroze Nizami gave the song to Rafi, which made lot of good to him. This was the first indication to Dilip Bhai that Luck was not with him.

Basically, he worked as assistant to SN Tripathi and Chitragupta from 1951 to 1972 and later from 1972,as arranger for Laxmikant Pyarelal up to 1988.

While not so successful in Hindi, he was quite popular in Gujrati as a singer and composer. His song “Taari Aankhni Afeeni” from the film ‘Divadandi’ (1950), under Ajit Merchant’s baton is hugely popular even today.

His first independent film in Hindi, as composer was ‘Baghdad Ki Raaten’ (1956), but the film got released only in 1962 ! In all he gave music to 8 Hindi films, ‘Bhakti Mahima’, ‘Saugandh’, ‘Teen Ustaad’, ‘Private Secretary’, ‘Dagabaaz’, ‘Veer Ghatotkach’ and ‘Mata Vaishno Devi’. The song “Miley Nain, Miley Chain” from ‘Private Secretary’ by Lata, became quite popular in those days. He used several names like, Dilip, Dilip D, Dilip Rai and Dilip Kumar for his songs and music.

He gave music to 11 Gujarati films from 1963 to 1984. There is not much information available about Dilip Bhai on the internet or in books. However the following is the summary of his life, from a website ‘Deshgujarat’ with thanks to them-

Gujarati film ‘Divadandi’ was released in year 1950. Though the film was not a superhit, its one song written by Venibhai Purohit, composed by Ajit Merchent and sung by Dilip Dholakia is superhit even today. The song is: “Taari Aankhni Afeeni”. Initially people misunderstood that this song was sung by Mukeshji.
His father used to play flute while his grandfather Manishankar used to sing kirtan and bhajan in Swaminarayan Mandir.
Shri Dholakia came to Mumbai in 1942 and passed BA.
He worked in Bombay government’s Home department for two years as clerk in the Accountant General’s office. While his office was located on first floor, the third floor in same building was occupied by All India Radio.
Born in 15 October 1921 in Junagadh, Shri Dilipbhai received education in Bahadurkhanji high school and Bahauddin College.
His father’s name was Bhogilal.
He loved songs on classical base.
In 1944, musician Khemchand Prakash’s brother Ratanlal gave him chance to sing in ‘Kismatwala’ film. His songs were “Gori Chalo Na Seena Ubhar Ke” and ‘Dekho Hamse Na Aankhen Ladaaya Karo”.
In 1946 he sang a song “Dukh Ki Is Nagri Mein Baba Koi Na Poochhe Baat” in film ‘Laaj’ under Ramchandra Pal’s music composition arrangement.
He sang Saigal’s 1944 song of film ‘Bhanwara’ s song Thukra rahi hai duniya in chorus. He was introducted to musician Snehal Bhatkar in HMV studio with whose help a record of two songs ‘Bhint Fadi Ne Piplo Ugyo’, and ‘Aadha Tel Aur Aadhaa Paani’ was made. In this record Dilip Bhai was singer and Venibhai Purohit was lyricist.
In 1948 Avinash Vyas gave chance to Dilip Bhai for two duet songs in film ‘Sati Son’. A name on record printed was Dilip Kumar. When Dilip Dholakia started his career as musician, he choose D Dilip as his identity. In 1960 he gave music in ‘Bhakta Mahima’ directed by K. Shankar under this new name.
From 1951 he became assistant of musician Chitragupt and worked with him till 1972. In this course the films that were worked out were ‘Insaaf’, ‘Kismat’, ‘Zindagi Ke Mele’, ‘Bhabhi’ (“Chal Ud Ja Re Panchhi Ki Ab Ye Desh Huva Begana“, and “Chali Chali Re Patang Meri Chali Re“), ‘Kali Topi Lal Rumal’ (“Laagi Chhoote Na Ab To Sanam“, “Daga Daga Vai Vai“, “Diwaana Admi Ko Banaati Hain Rotiyan‘) etc.
Moreover he worked as assistant of SN Tripathi. The tasks was assistant were very technical, such as writing notations, editing, providing creative inputs while composition of new creations.
Dilip Bhai composed 16 songs in ‘Bhakti Mahima’, that were sung by Lata ji, Usha ji, Manna Dey, Suman Kalyanpur, S Janki. In 1961 he gave music in ‘Saugandh’ film in which Jaimini Ganeshan (father of famous actress Rekha) ans Anjali Devi acted. One song of this film “Apne Liye Jiye To Zamaane Me Kya Jiye” was sung by Rafi ji, and “Chali Hawaayen Matwaari” was sung by Lata and Talat ji. He also composed six songs in Nanabhai Bhatt directed film ‘Teen Ustad’.
In 1962 he gave music in film ‘Baghdad Ki Raaten. While two songs of this film were sung by Geeta Dutt, one was by Shamshad Begam-Rafi. Dilip Bhai’s favorite writer for songs in those days was Prem Dhavan.
Dilip Bhai had Manna Dey and Rafi ji singing his song of film ‘Private Secretary’. The song was “Pyaar Ka Maara Hoon Main Julie“. After this he gave music in film ‘Dagaabaaz’ in 1970 with name of Dilip Roy. In this film one song was sung by Mukesh ji. One song sung by Mahendra Kapoor, “Chaand Bhi Sitaare Bhi Hain Bazm Mein” was written by Kaifi Azmi. Dilip Bhai gave music of ‘Vir Ghatotkach’ and ‘Mata Vaishnavi Devi’ with name as ‘Dilip Roy’.
Thus Dilipbhai gave music in eight Hindi films.
He started giving music in Gujarati films from 1963 in film ‘Satyavan Savitri’. He has given music in 11 Gujaati films. Some famous songs from these films are: “Milan Na Deepak Sau” (‘Mota Ghar Ni Dheekri’), “Maane Andhara Bolave”, and “Paglu Paglama Atvanu”, “Sathiya Puravo Dwaare”, “Dhanna Dhatudi Patudi”, “Bole Milan No Mor” etc.
He joined with Lakshmikant Pyarelal as assistant in 1972 and worked on this position for next 16 years.
Dilip Bhai’s last recording happened on 15 February 1988.

Dilip Dholakiya passed away on 2-1-2011.

The cast of the film was Shakila, Mahipal, Ratnamala, Ishwarlal, Leela Mishra, Neeru (Shanta kumari Jr., debuted in film ‘Adhikar’ (1954)), Master Bhagwan, Abu Hasan and others. The film had another name Abu Hasan and the coincidence was that a small time actor Abu Hasan acted in this film and his name was credited also. The story of this film is given here (please do not chuckle while reading it).

When king Harun Al Rashid was ruling there lived a rich merchant Abu Hasan with his mother and sister Zarina. He had founded a group of friends of his age to spend good times, having parties etc. After few years he stopped the parties as his mother advised. King’s son Prince Gul loved Abu hasan’s sister Zarina, but he met her as a gardener’s son – Jaffer.

The king’s Vazir wanted to become the king. He arrested the king. His Prince did not know this, he thought the king has gone on shikar. The Vazir also arrested Abu Hasan and the Prince Gul and left them in front of hungry lions. However the lions kept their heads on Abu Hasan’s feet but did not eat them, because Hasan had provided them food for many years.

Seeing this, the Vazir was enraged and wanted to kill both, but Hasan’s friend group had come there with weapons and they attacked the Vazir. In the ensuing fight Vazir was killed. Abu Hasan, the king and Prince Gul were released. Gul married Zarina, Abu hasan married his love, court dancer Haseena and the king was reinstated. Abu Hasan was appointed Vazir now. Clap, Clap. The End !

Today’s song is a duet of Rafi and Shamshad Begum. Enjoy….

Song- Zulfon waalon se na bhool ke bhi pyaar keejiye (Baghdad Ki Raaten)(1962) Singers- Rafi, Shamshad Begum, Lyricist-Prem Dhawan, MD- Dilip Dholakiya
Female chorus
Male chorus

Lyrics

zulfon waalon se
na bhool ke bhi pyaar keejiye jee
zulfon waalon se
hoye moonchhon waalon pe
oye moonchhon waalon pe
kabhi na aitbaar keejiye jee
moonchhon waalon pe
moonchhon waalon pe
kabhi na aitbaar keejiye jee
muchho walo pe
zulfon waalon se
na bhool ke bhi pyaar keejiye jee
zulfon waalon se

o peechhe peechhe aayenge maare maare aap hi
o peechhe peechhe aayenge maare maare aap hi
naak ragdenge dar pe humaare aap hi
dar pe humaare aap hi
dar pe humaare aap hi
bheekh maangen to bhi
ae jee bheekh maangen to bhi
jootiyaan nisaar keejiye jee
moonchhon waalon pe
moonchhon waalon pe
kabhi na aitbaar keejiye jee
moonchhon waalon pe

kiske dum se haseenon ki ye aan baan hai
kiske dum se haseenon ki ye aan baan hai
moonchhon waalon ka in pe to ehsaan hai
inpe to ehsaan hai
inpe to ehsaan hai
arre karke ehsaan
dekh liya
karke ehsaan gaaliyaan hazaar leejiye jee
zulfon waalon se
zulfon waalon se
na bhool ke bhi pyaar keejiye jee
zulfon waalon se

ho jab se duniya bani hai
bas takraar hai yahi
ho jab se duniya bani hai
bas takraar hai yahi
hum to kahte hain yaaron ke pyaar hai yahi
ajee haan pyaar hai yahi
are haan pyar hai yahi
gar ye pyar hai to
haaye haaye haaye
arre arre arrey
gar ye pyaar hai to
tauba hazaar keejiye
zulfon waalon se
moonchhon waalon se
zulfon waalon se
na bhool ke bhi pyaar keejiye ji
zulfon waalon se
moonchhon waalon pe
kabhi na aitbaar keejiye jee
moonchhon waalon pe

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

ज़ुल्फों वालों से ना भूल के भी प्यार कीजिये जी
ज़ुल्फों वालों से
ओए मूञ्छों वालों पे
ओए मूञ्छों वालों पे
कभी ना एतबार कीजिये जी
मूञ्छों वालों पे
मूञ्छों वालों पे
कभी ना एतबार मूञ्छों वालों पेकीजिये जी
मूञ्छों वालों पे
ज़ुल्फों वालों से ना भूल के भी प्यार कीजिये
ज़ुल्फों वालों से

ओय पीछे पीछे आएंगे मारे मारे आप ही
ओय पीछे पीछे आएंगे मारे मारे आप ही
नाक रगड़ेंगे दर पे हमारे आप ही
दर पे हमारे आप ही
दर पे हमारे आप ही
भीख मांगें तो भी
ए जी भीख मांगें तो भी
जूतियाँ निसार कीजिये जी
मूञ्छों वालों पे
मूञ्छों वालों पे
मूञ्छों वालों पे कभी ना एतबार कीजिये जी
मूञ्छों वालों पे

किसके दम से हसीनों की ये आन बान है
किसके दम से हसीनों की ये आन बान है
मूञ्छों वालों का इन पे तो एहसान है
इन पे तो एहसान है
इन पे तो एहसान है
अरे करके एहसान
देख लिया
करके एहसान गालियां हज़ार लीजिये जी
ज़ुल्फों वालों से
ज़ुल्फों वालों से ना भूल के भी प्यार कीजिये
ज़ुल्फों वालों से

हो जबसे दुनिया बनी है
बस तकरार है यही
हो जबसे दुनिया बनी है
बस तकरार है यही
हम तो कहते हैं यारो के प्यार है यही
अजी हाँ प्यार है यही
अरे हाँ प्यार है यही
गर ये प्यार है तो
हाय हाय हाय
अरे अरे अरे
गर ये प्यार है तो
तौबा हज़ार कीजिये
ज़ुल्फों वालों से
मूञ्छों वालों पे
ज़ुल्फों वालों से ना भूल के भी प्यार कीजिये जी
ज़ुल्फों वालों से
मूञ्छों वालों पे कभी ना एतबार कीजिये जी
मूञ्छों वालों पे

Tags: 1962, Baghdad Ki Raaten, Dilip Dholakiya, Prem Dhawan, Rafi, Shamshad Begam

Gadhon par baithh kar hum shahar ke chakkar lagaayenge

Posted by: Atul on: September 9, 2023

Blog Day :

5531

Post No. :

17986

Today’s song is a comedy duet from the film Alibaba and 40 Thieves-1954.

Stories of Arabian Nights or 1001 Nights are so interesting that for many generations they have been a source of entertainment.Alibaba,Allauddin and Sindbad are the evergreen stories. Arabian Night stories evolved through a story which took place in Persia. King Shahriyar became a woman hater after he found that his wife was unfaithful to him. He not only killed her,but he started marrying a new girl every time and on the second day of Marriage the wife would be killed to avoid unfaithfulness.

The legend says that a beautiful young daughter of the Vizier-Scheherazade decided to marry the king Shahriyar,against wishes of her family. On the first night of marriage,she started telling him a story which she left unfinished. Curious to know the story’s end,the king postponed her killing. On every night Scheherazade employed the same technique-keeping the story unfinished. Thus she continued 1001 stories on 1001 nights. Finally the king changed his opinion and pardoned his wife.

During our school days stories of Alibaba, Sindbad,Allauddin and his magic lamp, Hatimtai, Gulbakawali and such other stories enchanted us. It seemed fantastic reading them. I doubt very much if today’s school children read these stories. Maybe only a few will be familiar with these names. Naturally, during our young age, there were many films also made on these stories.

These stories included Historical stories,love tales,tragedies.comedies,poems,eroticas,stories of Jinn,ghosts and apes,Sorcerers,magicians etc etc. places like Basara,Istanbul,Baghdad etc were frequently mentioned in these stories. A lot of films were made on different popular characters of Arabian Nights. Here is a short history of films made, it may not be complete but surely is an indicator of how the Indian film industry took advantage of readymade interesting stories. These stories were liked by not only children, but also millions of adults – like me, for example.

A cursory look at the Film Title Index-1913 to 2012 by Hamraz ji tells us that the most popular stories are on Allauddin, Alibaba and Sinbad as well as Gul E Bakavli, besides films on other not so well known characters. In the Silent film era, films on Alibaba were made in 1927 (2films), Allauddin in 1927 (2), 1928,1931 Sindbad in 1930(2) and Arabian Nights-1930. During the Talkie films, the first film on Alibaba was in 1932, then in 40,46,54(2),66,76,77,80 and 2004. On Aladdin in 35, 36, 39,41, 49,52 (2), 55, 57,58,66,78, 82(2). On Sindbad in 46(2),52(2),58,65 and 2000.

As always, the creative heads in the story departments of filmmakers invented titles like Alladin ka Beta, Alladin ki Beti, Aladdin and Laila. Similarly son and daughter were gifted to Alibaba and Sinbad and films made on them. The funniest title was ” Sindbad, Alibaba and Allauddin “-1965 ! On a quick check of HFGK entries for the 1940s decade we find that as many as 9 films were made in 1946 alone on these characters. Added were Baghdad ka chor, Hoor E Baghdad, Sher E Baghdad, Arab ka chand and Shah E Misr-in which actor Ajit debuted with his real name Hamid.

Most of these stories took place in the Middle East cities which were land locked. However, one character – Sindbad was a sailor and his stories of adventures and voyages to magical, strange and unbelievable places were mind boggling. He was equally popular as Alibaba and Allauddin.

Film Alibaba and 40 Thieves-1954 was made by Basant Pictures and it was directed by its owner Homi Wadia. The music was by the pair of S.N.Tripathi and Chitragupt. In his initial days, Chitragupt had been Tripathi’s assistant for a few years. He has also sung some songs under his baton. This film was first censored on 10-3-1954 as a B & W film. However, its colour version was again censored on 22-11-1956.

A Tamil remake of this film was made in 1956 by Basant pictures with local stars. S. Dakshinmoorthy had done the music orchestration of the Tamil songs which had used all tunes from its Hindi original. The cast of the Hindi film was Shakeela, Mahipal, B.M. Vyas, S.N.Tripathi, Maruti, Sharda Deulkar, Shalini, Ismail, Dalpat, Azeem, Sardar Mansoor and many more. The original story as appeared in “The Arabian Nights’ was adapted by J.B.H.Wadia, by changing its last part of events. His name is given as the Story Writer in the film credits. Finally, the story of the film was like this……..

Alibaba (Mahipal) lives in the city of Dil Pazir. His dancer friend Marjina (Shakila) notices that he pays great attention to his sister Salma (Shalini), after his elder brother Qasim (S.N.Tripathi) has usurped all his ancestral property. His friend Abboo (Maruti) loves Sitara (Sharda Deulkar), Salma’s companion.

When Alibaba goes to the jungle for wood cutting, he accidentally sees the dacoit Abu Hasan (B.M.Vyas) and notes the password to get into his cave of treasure. In the night, Alibaba quietly opens the cave door with the password and collects a lot of wealth and becomes rich. The cunning wife of his brother comes to know and gets him arrested. Margina cleverly gets Alibaba out of jail and they run away with Salma and Abboo.
Qasim goes into the cave, collects wealth but at the time of leaving forgets the password and is stuck inside. Abu Hasan comes and kills Qasim, severing his head from body. Alibaba sees this in his next visit to the cave and brings the dead body parts to his house. Marjina brings a blindfolded tailor who sews the body with the head. This news reached Abu Hasan. To corner and kill Alibaba, he visits his house as a Saudagar along with his 40 thieves hidden in sacks. Marjina recognises him and with the help of Sitara and Abboo, they throw all sacks in a deep valley killing all thieves. Then Marjina tries to kill Abu Hasan, but he tricks her and runs away with her to the hideout. In the climax, Alibaba rescues Marjina, kills Abu Hasan and in the end all is well.

Homi Wadia, the Director, was a man of principles. He separated from his brother on the issue of making the type of films and formed his own film company and studio – Basant Pictures. He was in love with his Heroine The Fearless Nadia. When his mother objected and opposed this marriage, he waited till the death of his mother in 1961 and then married Nadia, when they both were in their 50’s. Disgusted with the illegal strike in his studio, he closed his studio but did not compromise.

Homi Wadia (22 May 1911 – 10 December 2004) was a film director and producer in Bollywood (Hindi cinema). He was the co-founder of Wadia Movietone productions, established in 1933 and later after leaving Wadiatone, he founded Basant Pictures in 1942. In a career spanning five decades, he directed over 40 films, including Hunterwali (1935), Miss Frontier Mail (1936), Diamond Queen (1940) and fantasy film Hatim Tai (1956). He was also a founding member of the Film & Television Producers Guild of India, established in 1954. Homi Wadia was married to actress and stunt woman Fearless Nadia. Homi was the younger brother of JBH Wadia, who was himself a movie director.

Wadia was from a Parsi family, and his ancestors came from the shipbuilding family, Wadia family (Wadia Group) originally from Surat in Gujarat state of western India, which also built the British-wartime ship HMS Trincomalee (1817). His ancestors moved to Bombay in the 18th century. After completing his schooling, at age 16, he joined college for a day, but decided instead to join films, and started assisting his elder brother, director JBH Wadia.
Homi Wadia had a film career spanning 5 decades where he started as a cinematographer in Lal-e-Yaman (1933), the year he co-established Wadia Movietone with his elder brother JBH Wadia, film distributor Manchersha B. Billimoria, and brothers Burjor and Nadirsha Tata. However Tata brothers left the partnership within three years, the company continued production of film, documentaries and newsreels from its studios by Lowjee Castle, Mumbai, Wadia family mansion of his great grandfather Lovji Nusserwanjee Wadia, a noted shipbuilder, who founded the Wadia Group in 1736. The company even had its logo as a ship, honouring their family legacy.

The last film made by the company was Raj Nartaki (1941) under the direction of Madhu Bose, thereafter V. Shantaram bought the studio in 1942 and established Rajkamal Kalamandir in the premises. Homi Wadia, who worked as a director of the company, went on to establish Basant Pictures in the same year, though initially as a film production house. Subsequently, he established a film studio under the same banner in 1947, which functioned till 1981. Eventually he progressed as an movie director, producer and also a drama actor and founded Basant Pictures (Basant Studios) Homi is particularly famous for his movies along with Nadia namely Hunterwali, Miss Frontier Mail and Hatim Tai. As a Director his first film was Veer Bharat-1934 and the last film was The Adventures of Allauddin-1979.

In 1981, he got into a labour dispute with union leader Datta Samant, unable to take on the dispute, he decided to quit filmmaking and closed down Basant Studios. He continued to live in Mumbai after his retirement. Even till late in his life, he remained active, and even after his wife Nadia died in 1996, he regularly visited Basant theatre in Chembur. He died at the age of 93, in Mumbai in 2004.

Today’s song is a comedy duet. Actor Maruti and Sharda Deulkar enacted this song on the screen. Interestingly, this song was also used again in the film Diler daku-1957 by Mohd. Shafi. Enjoy this song….

Song- Gadhon per baith kar hum shahar ke chakkar lagaayenge (Alibaba Aur chaalees chor)(1954) Singers-Rafi, Shamshad Begam, Lyricist- Raja Mehdi Ali Khan, MD – S.N.Tripathi – Chitragupt

Lyrics

gadhon par baith kar
hum shehar ke chakkar lagaayenge
ho hi isi kaabil
humen tumse mohabbat hai ye duniya ko bataayenge
ahahahaha
qurbaan jaun tumhaare bataane pe

dekho dekho hazur ye hai khatte angoor
aeji chhodo ye haath nahin aayenge
o meri jannat ki hoor
tu hai arabi khazoor
tere saaye mein zindagi bitaayege
dekho dekho huzoor
ye hain khatte angoor
aeji chhodo ye haath nahin aayenge

achcha lage hai mujhe o meri bulbul
gaana tera chahchahaana tera
achcha lage na mujhe
yoon peechhe peechhe aana tera
khilkhilaana tera
achcha lage na mujhe
yoon peechhe peechhe
aana tera
khilkhilaana tera
teri aankhen billur meethe meethe angoor
inhen sharbat banaake pi jaayege
dekho dekho huzur
ye hain khatte angoor
aeji chhodo ye hath nahin aayenge
o meri jannat ki hoor
tu hai arabi khazoor
tere saaye mein zindagi bitaayenge

bhoola nahin hai mujhe nazren jhuka kar
aana tera
muskuraana tera
mujhko bhi yaad hai pehla tamaacha
khaana tera
bhaag jaana tera
aahahahahawaah waah
mujhko bhi yaad hai pehla tamaacha
khaana tera
bhaag jaana tera
jo karegi guroor
hum ban ke langoor
tere koochhe me udham machaayege
dekho dekho huzoor
ye hain khatte angoor
aeji chhodo ye haath nahin aayenge
o meri jannat ki hoor
tu hai arabi khazoor
tere saaye mein zindagi bitaayenge
dekho dekho huzoor
ye hain khatte angoor
aeji chhodo ye haath nahin aayenge

Tags: 1954, Alibaba Aur Chaalis Chor, Maruti, Rafi, Raja Mehdi Ali Khan, S N Tripathi, Shamshad Begam, Sharda Deulkar

Ye phoolon ka mausam ye thhandee hawaayen

Posted by: Atul on: May 27, 2023

In: "Phool" song | Duet | expression of love | Feelings of heart | Guest posts | Post by Arunkumar Deshmukh | Rafi songs | Shamshad Begam Rafi duet | Shamshad Begam songs | Songs of 1950s (1951 to 1960) | Songs of 1952 | Yearwise breakup of songs
1 Comment

Blog Day :

5426

Post No. :

17798

Today’s song is from a dubbed film Jeevan Nauka-1952.

A cursory look at the Film Index book tells us that that the word JEEVAN is a favourite with film makers.As many as 36 Talkie films were made till 2012 with the word Jeevan at the Title’s beginning. Surprisingly I did not find a single Silent movie title with this word. This of course is not an indication in any way, because silent films used to have several titles in different states for the same film. (Just for the records, the word most used in the Hindi film titles happens to be ” Ek”, which is used in 206 film titles from 1931 to 2012 ! ).

Today’s film Jeevan Nauka-1952 is a dubbed Malayalam film. The original film name was Jeevithan Nauka-1951. This film is hailed as the first ever mega Hit Malayalam film. This film was made in Tamil and Telugu at the same time, with the original. The Hindi dubbed version came after one year, in 1952.

The First Talkie film in

The first talkie film in the language	Movie	Year
Hindi	Alam Ara	1931
Tamil	Kalidas	1931
Bangla	Jamai Sashti	1931
Marathi	Ayodhyecha Raja	1932
Telugu	Bhakta Prahlada	1932
Gujarati	Narsi Mehta	1932
Indian English	Karma	1933
Kannada	Bhakta Dhruv/Sati Sulochana	1934
Oriya	Seeta Vivah	1934
Punjabi	Sheila	1935
Assamese	Joymoti	1935
Malayalam	Balan	1938

You can see that while Hindi, Tamil and Bangla Talkie films came in 1931, Telugu in 1932, Kannada in 1934, the Malayalam film came only in 1938. Compared to Tamil and Telugu, the Kannada and Malayalam film industries were slow in development.

Just to compare, there were 15 Kannada films made in the 1930’s decade, 21 films in the 40’s and 70 films in the 50’s decade. This was the decade when Dr. Rajkumar appeared in Kannada films and its picture changed.

Malayalam films – only 2 silent films in the 30’s. The first silent film Vigath kumaran started shooting in 1928 but was finally released on 23-10-1930. The other silent film was Marthanda Varma-1933. Till 1947, there were only 3 Malayalm Talkie films. In the 50’s decade-6 films, in 60’s-30 films, in 70’s-40 and in the 80’s decade 127 talkie films. This was the decade when malayalam films became ‘Grown up’ and prospered. In the next 10 years Malayalam films won many national awards too !

Initially, like other South Indian films, Malayalam films depended on Hindi songs to copy into their films. The first mega hit film of Malayalam- Jeevithan Nouka-1951 had 14 songs and ALL were copies of popular Hindi songs. For example , it had a song copied from “Suhani raat dhal chuki” from the film Dulari-1949. Another song was copied from “Hawa mein udta jaaye” from the film Barsaat-1949.

However, when the Hindi version was dubbed, 2 MDs from Hindi were appointed. They were Shankar rao Vyas and Pt. Gobind Ram. They ensured that all the 13 songs of this film had new tunes. Both the MDs were on their waning side of careers, but all songs were good. The singers were Manna Dey, Rafi, Asha and Shamshad. Today’s song is the 4th song to appear here.

Since the film was dubbed, all the cast and the director was Malayalam, about whom we know not anything. Only MDs, Lyricists and the singers were from the Hindi industry. Today’s song is composed by Pt. Gobind Ram.

Pandit Gobindram was a trained musician from Lahore, and was equally popular in both Hindi and Punjabi films. Unlike other music directors of the Punjabi school, music composed by him did not typically reflect native Punjabi trends, but instead lay firmly in the category of mainstream 1940s’ music. We could very well say that he played a crucial part in shaping the music of the 1940s. His music is truly melodious and varied, with a unique combination of highly expressive tunes, yet very fun and foot tapping and rhythmically catchy. He is one of the music directors who used a very large number of singers, by my count, only second toGyan Dutt one of his worthy contemporaries. He excelled equally in composing happy, sad, romantic, serious, comical, classical, just any kind of songs. It is a pity that he has never received the attention that he deserved.

Among his landmarks are the introduction of an enormous contribution to making Shamshad Begum and Zohrabai the top singers in Hindi films. He recorded the maximum number of Hindi film songs with Shamshad Begum – 86 songs in 19 films. He was also one of the foremost music directors to encourage and bring forward great veteran Rafi Ji, and also introduced great singer Zeenat Begum to films. He has about 30 films to his credit and each one had equally superb music. Most popular singers of that period have graced his songs. His use of light music, Ghazals, Thumris and various popular music forms in films, provide a ready insight into the uniqueness of 1940s music, and with a slightly unique flavour of both his compositions as well as a tiny tinge of Punjabi style.

Pandit Gobindram started his career with Jeevan Jyoti (1937), which starred Shakuntala Bai, R. L. Monge and Urmila Devi. The film unfortunately went unnoticed. This was followed by another unsuccessful film, Khooni Jadoogar (1939). The 1940s was the true decade for Gobindram Ji. His Punjabi filmography is not properly available, but his first Hindi film in the 1940s was Himmat (1941). Today, it is remembered for being the second ever Hindi film of veteran singer Shamshad Begum , where she beautifully sang the traditional Dadra ‘Inhin Logon Ne Le Leena Dupatta Mora’ with Aziz , in her young, sweet but powerful voice. The famous song with the same lyrics in Pakeezah (1972) is largely a copy of this song. This was the first song composed by Gobindram that helped him gain recognition. Other songs from this film included ‘Is Jag Ke Sundar Natak Ka’,the first solo film song of Zohrabai from 1941 to 1950, and a beautiful duet by Ghulam Haider and Umraozia Begum , ‘Main Hoon Rani Ek Sunehri Nagri Ki’.

But it was his next film, Mangti (1942) in Punjabi, which made him one of the most sought after music directors of the 1940s. This was the debut film for top Lahori singer Zeenat Begum , apart from being the first film for famous heroine Mumtaz Shanti , and took both of them as well as Gobindram to the top notch. This film, which went on to become the first silver jubilee Punjabi film, played an important role in popularising Punjabi folk tunes and the use of a mix of original Hindi film music and Punjabi folk music in films. ‘Aawe Chan We’, ‘Mainoon Suttiyan Neend Na Aayi’, ‘Sapne Wich Mahi Aaya, ‘Tere Daras Di Pyasi’ and ‘Ud Ja Bholeya Panchiya’ (with Nandlal Nurpuri ) were some memorably melodious songs in which Zeenat shone under Gobindram . It is also worth remembering for being the first ever South Asian film to have a female Qawwali, ‘Baanke Nainanwaleya, Nainan Milanda’ by Zeenat and Rehmat Bai , a very enjoyable one. This legacy was continued only 3 years later in Hindi films, with the famous Qawwali of Zeenat (1945), ‘Aahein Na Bhareen’ (Noor Jehan , Zohrabai , Kalyanibai ). Other songs in this film were by the talented Shamshad Begum and Rehmat Bai .

Gobindram Ji worked with more than 30 lyricists during his career. With 56 songs in 8 films, his collaboration was the highest with Ishwar Chandra Kapoor . The films where the two worked together were Bholi, Chor, Doosri Shadi, Ghar Ki Izzat, Maa Ka Pyaar, Naseeb, Ratnavali and Sassi Punnu. Some of the other prominent lyricists he worked with include Bharat Vyas (Chor, Jalpari, Jeevan Nauka, Raj Mukut), Ram Murti Chaturvedi (Chor, Naseeb, Parinde, Ratnavali), Ramesh Gupta (Hamara Sansar, Jeevan Nauka), and Qamar Jalalabadi (Pagli, Sahara, Sarkar).

The story of the film was…..

Soman (Thikkurissi) is brought up by his elder brother Raju (Sebastian Kunjukunju Bhagavthar) and his shrewish wife Janu (Pankajavalli). Soman is in love with Lakshmi (B. S. Saroja), the daughter of a poor village performer Kaniyan (Adhimoolam) who belongs to a lower caste. Raju, employed by the zamindar (Nanukuttan) and Janu resent the inter-caste marriage between Soman and Lakshmi.

Lakshmi gives birth to a son and in the meanwhile Soman goes to the city in search of a job. Lakshmi who is left behind in the village faces harassment at the hands of the villagers. In the city, Soman is hit by a car driven by a rich young woman who takes him home and also employs him as the manager of her estate. Janu starts receiving Soman’s letters and remittances which start arriving. Janu does this by impersonating Lakshmi with the connivance of her brother Shanku (S.P.Pillai).

Meanwhile Lakshmi leaves the village in search of Soman. During her wanderings Lakshmi sees her husband with a woman and suspects him of being disloyal. The young woman is none other than his employer. Lakshmi tries to kill her child and commit suicide but what saves her is the instinct of motherhood. Lakshmi gets together a band of beggars and organises a home for them. She uses her talent as an actress and collects funds for the home by staging plays. Back in the village life turns its tables on Raju and Janu, while her brother Shanku is killed. The real culprits, the zamindar’s advocate and his group of people mislead the police implicating Soman in the murder. During one of her plays, Lakshmi recognises her husband who is about to be arrested on the trumped up charge. Explanations follow and Soman is absolved of the false charge and the couple are reunited. Raju is helped out by Soman. Janu who has now become a beggar is recognised by Lakshmi. Regardless of what has happened in the past, Lakshmi takes Janu home. And all ends well.

Today’s song is a duet sung by Rafi and Shamshad.

(Some information for this post came from wiki,bombaymann2, Vidur Suri, The Hindu and my notes, with thanks.)

Song- Ye Phoolon ka mausam ye thhandi hawaayen (Jeewan Nauka)(1952) Singers- Shamshad Begam, Mohd. Rafi , Lyricist- Bharat Vyas, MD-Pt Govindram
Both

Lyrics

Ye phoolon ka mausam
ye thhandi hawaayen
ho o mere dil mein kaisi ye halchal machaayen
ye phoolon ka mausam
ye thhandi hawaayen
ho o mere dil mein kaisi ye halchal machaayen
ye saawan ke baadal
ye kaali ghataayen
ho o mere dil mein kaisi ye halchal machaayen
ye saawan ke baadal
ye kaali ghataayen
ho o mere dil mein kaisi ye halchal machaayen

main chanchal hirni hoon saajan
tum ho ban ke mor
main chanchal hirni hoon saajan
tum ho ban ke mor
main tumhre sapnon ki raani
tu mere chitchor
tu mere chitchor
ye rut hai suhaani
ye mast fizaayen
ho o mere dil mein kaisi ye halchal machaayen
ye phoolon ka mausam
ye thhandi hawaayen
ho mere dil mein kaisi ye halchal machaayen

is duniya se door sajaniyaa
in kheton ke paar
is duniya se door sajaniyaa
in kheton ke paar
ham tum mil kar aao basaayen
ek naya sansaar
ek naya sansaar
ye tirchhi nigaahen
ye baanki adaayen
ho o mere dil mein kaisi ye halchal machaayen
ye phoolon ka mausam
ye thhandi hawaayen
ho o mere dil mein kaisi ye halchal machaayen

Tags: 1952, Bharat Vyas, Jeewan Nauka, Pt Govindram, Rafi, Shamshad Begam

Jhoom jhoom kar bahaar naachey

Posted by: Atul on: April 10, 2023

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 :

5379

Post No. :

17646

#the Decade of Fifties –1951 – 1960 #
——————————————————————

Today 10^th April is the ‘Remembrance Anniversary’ of writer and lyricist Fauq Jami.

Not much information is available about this lyricist and I think he was a forgotten lyricist of his time.

As per information available on some sources on internet Fauq Jami has written songs for three movies i.e. ‘Guzaaraa-1954’, ‘Saawan Ko Aane Do-1979’ and one unreleased movie from the seventies (which we are going to introduced today).

When I became associated with this blog as a lyrics contributor I had shared a song from ‘Saawan Ko Aane Do-1979’ written by Fauq Jami. So, when I saw his name on the ‘anniversary page’ of the blog, I looked for information about him, but was unable to get more details except the names of the movies he had been lyricist for.

“Guzaaraa-1954” is the earliest movie where Fauq Jami has written two songs.

“Guzaaraa-1954” was directed by S.M. Yusuf for ‘Aina Pictures, Bombay’.

S.M. Yusuf was also the producer of this movie.

This movie was passed by Censor Board on 15.09.1954.

The cast of this movie included Karan Deewan, Paro, Jabeen, Mirza Musharraf, Chand Barq, Baby Naaz, Romi, S.M. Yusuf, Manju, Tiwari, Balam, Faizi, Sangeeta, Chhagan Romeo, Mehru and others.

(HFGK Vol-III (1951-1960) mentions that this was the first movie of actress Jabeen).

“Guzaaraa-1954” has eight songs written by Raja Mehdi Ali Khan-five songs, Fauq Jami-two songs and Munir Lakhnavi- one song. (These eight songs included one multiple version song).

Music for this movie was composed by Ghulam Mohammad.

Four songs from this movie have been posted on the blog so far. A detail of these four songs is as given below.

SNo.	Song Title	Lyricist	Singer/s	Posted On
01	Ban ban ke bigadti hai taqdeer gareebon ki	Raja Mehdi Ali Khan	Lata Mangeshkar	29.02.2012
02	Duniya ki haalat naram naram	Raja Mehdi Ali Khan	Mohd Rafi	29.02.2020
03	Rang rangeele pyaare pyaare laaye hum khilaune –Part-1	Raja Mehdi Ali Khan	Lata	15.03.2022
04	Rang rangeele pyaare pyaare laaye hum khilaune –Part-2	Raja Mehdi Ali Khan	Lata, Hridaynath Mangeshkar	15.03.2022

Today we present the fifth song from this movie and the first one (out of two) written by Fauq Jami for this movie.

This song is sung by Shamshad Begam and Mohd Rafi. Music is composed by Ghulam Mohammed. Only audio of the today’s song is available.

Today’s song is a nice duet song between two lovers looking forward for joyful days ahead assuring each other for the long lasting relationship.

The boy singing …

‘main prem nagar ki dharti par
ik sundar mahal banaaungaa aa
ik sundar mahal banaaungaa aa
jeewan ki pyaari raaton mein
aashaa ke deep jalaaungaa’

And the girl very aptly returning with

main mahal tumhaaraa
khushiyon ke
phoolon se roz sajaaungi
aur prem pawan ke jhonkon se
rangeen bahaarein laaungi …

We on the blog pay our tributes to Fauq Jami today.

I would request seniors on the blog and knowledgeable readers to throw more light on this movie, its songs, and add more biographical information about the lyricist Fauq Jami.

Song-Jhoom jhoom kar bahaar naache(Guzaara)(1954) Singers-Shamshad Begam, Rafi, Lyrics-Fauq Jami, MD-Ghulam Mohammad
Both

Lyrics

jhoom jhoom kar
jhoom jhoom kar
jhoom jhoom kar
bahaar naache
pawan phool barsaaye re ae
jhoom jhoom kar
jhoom jhoom kar
bahaar naache
pawan phool barsaaye re ae
rone ke din beet gaye
hansne ke zamaane aaye re ae
hansne ke zamaane aaye re ae
jhoom jhoom kar
jhoom jhoom kar
jhoom jhoom kar

ho o o o o o o o o o o
ahaa haa
la la laa aa
main prem nagar ki dharti par r r
ik sundar mahal banaaungaa aa
ho o o o o o o o
main prem nagar ki dharti
par
ik sundar mahal banaaungaa aa
ik sundar mahal banaaungaa aa
ho o o o o o o o
jeewan ki pyaari raaton mein
aashaa ke deep jalaaungaa
jeewan ki pyaari raaton mein
aashaa ke deep jalaaungaa
jeewan ke aakaash pe ab
khushiyon ke baadal chhaaye re ae
rone ke din beet gaye
hansne ke zamaane aaye re ae
hansne ke zamaane aaye re ae
jhoom jhoom kar
jhoom jhoom kar
jhoom jhoom kar

o o o o o o o o o o o
ahaa haa
la la laa aa
main mahal tumhaaraa
khushiyon ke ae ae
phoolon se roz sajaaungi ee
aa aa aa aa aa aa
main mahal tumhaaraa
khushiyon ke
phoolon se roz sajaaungi
phoolon se roz sajaaungi
o o o o o o o o
aur prem pawan ke jhonkon se
rangeen bahaarein laaungi
aur prem pawan ke jhonkon se
rangeen bahaarein laaungi
aaj huye sapne sab poore
kali kali muskaaye re ae
rone ke din beet gaye
hansne ke zamaane aaye re ae
hansne ke zamaane aaye re ae
jhoom jhoom kar
jhoom jhoom kar
bahaar naachein
pawan phool barsaaye re ae
jhoom jhoom kar
jhoom jhoom kar
jhoom jhoom kar

Tags: 1954, Fauq Jami, Ghulam Mohammad, Guzaara, Rafi, Shamshad Begam

Rang bhari holi aayi rang bhari holi

Posted by: Atul on: March 8, 2023

In: Duet | Festival song | Holi song | Rafi songs | Shamshad Begam Rafi duet | Shamshad Begam songs | Songs of 1940s (1941 to 1950) | Songs of 1950 | Yearwise breakup of songs
1 Comment

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 :

5346

Post No. :

17529

Today (8 march 2023) is Holi, the festival of colour. The mythology and history behind the festival are well known and need not be repeated.

Still there were some facts about Holi that I was not aware of. For example, I was not aware that Holi festival falls on Poornima (full moon day), which is the last day of the month of falgun (also called Phagun). This is in fact the last day of the Vikram Samwat Calender. The next day, viz firstd day of The month of Chaitra starts is the first day of the new year of Vikram Samwat.

This full moon day, third full moon of the year, is called worm moon in Western Astronomy circles.

That way, this festival of Holi is the reverse of Deepawali that falls on Amawasya, on the middle of the month of Kartik. In A way, Holi marks the beginning of summer whereas Deepawali marks the beginning of winter.

It is interesting how moon plays such important roles in determining the dates of India festivals.

Since Holi marks the beginning of Summer, so it means that days (that were still shorter than night) begin to get longer. Finally it is on 21 March 2023 that day and night become equal. It is called equinox.

Heavens this year have arranged for two interesting event on the occasion of Holi.:) Just before Holi, the world witnessed the sight of Jupiter and Venus coming close to each other in the evening sky. This was the most important astronomical event of the year.

on 24 march 2023, there will be venus eclipse, viz Moon will cover Venus just like it sometimes covers Sun to cause solar eclipse. It needs full moon to cause solar eclipse, but this venus eclipse will be caused by a thin dooj ka chaand. 🙂 This event is technically called Lunar occultation of Venus.

This festival is being celebrated for thousands of years, it predates even Vikram Samwat, which is 2080 years old. I wonder what calender was used to determine the date of Holi festival (and other festivals) before the Vikram Samwat.

On this occasion, here is a Holi song from “Hamaara Ghar”(1950).

“Hamaara Ghar”(1950) was directed by Nanabhai Bhatt for Hindustan Chitra, Bombay. The movie had Durga Khote, Umakant Desai, Veera, Agha, Meena Kumari, Geeta Bose, David, Jankidas, Ramesh Gupta etc in it.

The movie had seven songs in it. Six songs from the movie have been discussed in the blog in the past. Here are the details:-

Blog post number	song	Date of post	Singer(s)	lyricist
9270	Kahaan chale sarkaar (Hamaara Ghar)	9 January 2014	Shamshad Begam, Kishore Kumar	Rammurty Chaturvedi
13261	Chupke chupke dil mein mere aane waale ho (Hamaara Ghar)	21 May 2017	Geeta Dutt, Rafi	Asad Bhopali
14391	Chaandni chhitki huyi hai muskuraati raa hai (Hamaara Ghar)	4 June 2018	Geeta Dutt, Rafi	Anjum Jaipuri
15645	Teri tirchhi najar teri patli kamar (Hamaara Ghar)	7 June 2020	Rafi, Shamshad Begam	Bharat Vyas
15681	Chori chori mat dekh balam (Hamaara Ghar)	23 June 2020	Shamshad Begam, Rafi	Bharat Vyas
16436	Dekho to dil hi dil mein jalte hain jalne waale (Hamaara Ghar)	24 June 2021	Geeta Dutt, Shamshad Begam, Shanti Sharma	Anjum Jaipuri

Here is this joyous Holi song from “Hamaara Ghar”(1950). This song is sung by Shamshad Begam, Rafi and chorus. Bharat Vyas is the lyricist. Music is composed by Chitragupta.

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

With this song, the seventh and final song from the movie, all songs of “Hamaara Ghar”(1950) have been covered in the blog. This movie thus joins the list of movies that have been YIPPEED in the blog.

I take this opportunity to wish everyone a happy and safe holi.

Song-Rang bhari holi aayi rang bhari holi(Hamaara Ghar)(1950) Singers-Shamshad Begam, Rafi, Lyrics-Bharat Vyas, MD-Chitragupta
All chorus
Male chorus

Lyrics

hoy
rang bhari holi aayi
rang bhari holi
hoy
rang bhari holi aayi
rang bhari holi
rang bhari holi aayi
rang bhari holi
ho o o o o
man me umang nayi
tan mein tarang nayi ee ee ee
masti mein jhoom rahi jhoom rahi ee
masti mein jhoom rahi maston ki toli
hoy rang bhari
ho raani
rang bhari holi aayi
rang bhari holi

murli baaj rahi
radha naach rahi
hoye radha naach rahi
hoye radha nach rahi
murli baaj rahi man mein laag rahi
haye tan mein laag rahi
haaye tan mein laag rahi
ho o o o
jholi mein rang liye haathon mein chang liye
gokul ke gaanv chali, gaanv chali
gokul ke gaanv chali gwaalon ki toli
hoy rang bhari
ho raja
rang bhari holi aayi
rang bhari holi

dekho ji dholak baaje dholak baaje, dholak baaje
dekho ji gori naache gori naache gori naache
ek bani gokul ki gwaalan ek bana girdhaari
ho ek bana girdhari
ek ne jo chhodi pichkaari ek ki bheegi saadi
uyi
ek ne jo chhodi pichkaari ek ki bhigi saadi
uyi
arararararara

aaya phaagun ka mast maheena
chali gaanv ki toli hai
hoy aaya phaagun ka mast maheena
chali gaanv ki toli hai
beech bajariya naache gujariya aa aa
beech bajariya naache gujariya
gwalae karen thatholi hain
hoy aaya fagun ka mast mahina
chali gaanv ki toli hai

pichhle bair bhula kar dekho
gale mile humjoli hain
ek ne dooje ko rang daala
holi hai bhai holi hai

ho ho ho ho
ho ho ho ho
neele aakash tale phaagun ke phool khile ae ae ae
baagon mein bol rahi bol rahi ee
baagon mein bol rahi koyaliya boli
hoy
rang bhari
ho raani
rang bhari
ho raaja
rang bhari holi aayi
rang bhari holi
hoy
rang bhari holi aayi rang bhari holi
rang bhari holi aayi, rang bhari holi
rang bhari holi aayi, rang bhari holi

Tags: 1950, Bharat Vyas, Chitragupta, Hamaara Ghar, Rafi, Shamshad Begam

Jab teri nazar ke teer chaley

Posted by: Atul on: February 25, 2023

This article is the 17500^th song post for the blog.

Blog Day :

5335

Post No. :

17500

Movie Count :

4709

28 january 2023 saw song post number 17400 appearing on the blog. Today (25 february 2023) finds us reaching song post number 17500 on the blog.

Yes, this post is the 175^th century post for the blog. It has come in 28 days, which equals the number of days taken for the previous century. So this year 2023 has seen two centuries, both clocked in 28 days apiece. It is a vast improvement over the average days taken for the blog centuries of last few years. We are still far off from the all time record of a century in 11 days (achieved in 2011) but things are looking up as far as Blog daily strike rate is concerned.

The blog century posts now a days are decided at the last moment. The previous century post number 17400 was decided at the last moment, on the very day on which the song was covered. This song post number 17500 is no different.

Song post number 17400 was a duet song. So is the case for this song post number 17500. But that is the only similarity between the two century posts.

Post number 17400 was a duet sung by two obscure singers. That was the only duet sung by the singers in Hindi movies. The singers in the duet song of this post number 17500 are both legends in Hindi playback singing.

This song under discussion in this post is sung by Rafi and Shamshad Begam.

Why them and no one else ? There are good reasons for that.

As things stand in HFM, there have been only eight pair of singers in the Golden era of HFM who have sung over hundred duets. Seven pair of such singers have already completed their centuries in the blog. Rafi and Shamshad Begam were the only pair who had not reached their century of duet songs in the blog. With this post, they join the list and the list gets completed.

Here is the list of centurion duet singers in HFM during the golden era of HFM :-

Singing pair	Duet Songs in the blog	Remarks
Rafi-Asha Bhonsle	561	This pair holds the Record for highest number of duet songs
Rafi-Lata	349	Second highest number of duets. Almost all their duets covered in the blog
Kishore Kumar-Asha Bhonsle	268
Kishore Kumar-Lata	222
Mukesh-Lata	143
Rafi-Geeta Dutt	113
Rafi-Suman Kalyanpur	108
Shamshad Begam-Rafi	100	They reach 100 duets with this post

If one feels that there may be other pairs who may join the list in future, that is not the case. Among singers who were active during the golden era, the next duo with highest number of duets is Manna Dey-Lata Mangeshkar with 75. This figure represents their sum total of duets sung in HFM. All of them are already represented in the blog ! Likewise all duets sung by Talat Mehmood-Lata Mangeshkar (61) are already represented in the blog.

The song under discussion is from an obscure movie called “Noor e Yaman”(1956) also alternatively titled “Hatimtai Ka Beta”. This C grade movie was directed by Akkoo. The movie had Chitra, Juliaan, Ridkoo, Krishna Kumari, Heera Saawant, Sardar Mansoor, Ismail, Munshi Munakka, Bismillah, Mitthoo Mian, M. K. Hasan, Mohammed Ali, Mohammed Sandow, Abdulla, Korega, Yadav, Sukumar, Ratan Kumar, Raju, Sattar, Maqbool, Yusuf Azad Qawwal, Samar Roy, Habeeb, Shaikh Hassan, Babu Raaje, Adeeb, Wazir Mohammed Khan etc in it.

The movie had nine songs in it. They were sung by five singers, viz Shewan Rizvi, Yusuf Azad Qawwal, Shamshad Begum, Mohammad Rafi and Asha Bhosle. These nine songs were penned by three lyricists viz Akhtar Romani, Sartaj Romani and Raja Mehndi Ali Khan.

The movie is making its debut in the blog with this song. This movie becomes the 110^th movie of 1956 to find representation in the blog. The song is sung by Rafi and Shamshad Begam. Raja Mehdi Ali Khan is the lyricist. Bulo C Rani is the music director.

This song, an obscure song from an obscure movie, sounds like a forgotten gem. It is a song that deserves to be better known among music lovers.

Another blog century achieved. Time to take a fresh guard.

I take this opportunity to thank one and all who are fuelling the musical bandwagon in various ways and are helping it to reach newer and newer destinations with each passing days. May this bandwagon notch many more centuries and see many more interesting records en route.

Song-Jab teri nazar ke teer chale (Noor e Yaman)aka Hatimtai Ka Beta(1956) Singers-Rafi, Shamshad Begam, Lyrics-Raja Mehdi Ali Khan, MD-Bulo C Rani

Lyrics

jab teri nazar ke teer chale
kuchh idhar gaye
kuchh udhar gaye
kuchh idhar gaye
kuchh udhar gaye
mere pyaar bhare dil par na lage
sab kidhar gaye
sab kidhar gaye
kuchh idhar gaye
kuchh udhar gaye

jaao jee jaao jee
teeron ko dhoondh laao jee
laao jee laao jee laao jee
ishq mein tere ho gaye hum langde
na jungle mein bhagaao jee
jaao jee jaao jee jaao jee
kyun teer hamaare bikhar gaye
sab kidhar gaye
sab kidhar gaye
kuch idhar gaye
kuchh udhar gaye
mere pyaar bhare dil per na lage
sab kidhar gaye
sab kidhar gaye
sab kidhar gaye
sab kidhar gaye

poochho jee jaa kar inka pata
phoolon se bahaaron se nazaaron se
aabsaaron se gulzaron se
bas bas bas bas bas bas bas
poocha hai maine inka pata
arre
teri aankhon ke sitaaron se
rukhsaaron se
beemaaron se
bekaaron se lohaaron se
awaaron se ghamkhaaron se banjaaron se lakadhaaron se
lakadhaa aa aa aa aaro se
na jaane wo kidhar gaye

Tags: 1959, Bulo C Rani, Noor e Yaman, Rafi, Raja Mehdi Ali Khan, Shamshad Begam

Ho lamba chauda jaat

Posted by: Atul on: January 21, 2023

In: "Nok-Jhonk" song | Dance song | Duet | Guest posts | Post by Arunkumar Deshmukh | Rafi songs | Shamshad Begam Rafi duet | Shamshad Begam songs | Songs of 1950s (1951 to 1960) | Songs of 1958 | stage dance | Yearwise breakup of songs
1 Comment

Blog Day :

5300

Post No. :

17361

Today’s song is from the film Milan-1958.

Films having titles as Milan were made in 1946, 1958, 1967, and 1994. Then there was Milan ki Aag-1991, Milan ki Pyaas-1989, Milan ki Raat-1967 and Milan Talkies-2019. Even during the Silent era 2 such films were made, one in 1924 and the other in 1929. Milan-1946 had a historical value as it was made in Hindi and Bangla and was based on Tagore’s novel ” Noukadubi”. This was a Debut film for 2 Heroines, namely Meera Mishra and Ranjana- both opposite Dilip Kumar. The more famous film was Milan-1967, starring Sunil Dutt and Nutan and it was a remake of a hit Telugu film ” Mooga Manasulu”-1963. Its song ‘ Saawan ka mahina’ by Mukesh and Lata was very famous. It had a ‘rebirth’ story.

Film Milan-1958 was not actually based on a Rebirth story, but its story was about a loving couple separated and joined together after some years. The Indian audience loves such stories. That is why films having ‘ Happy Ending ‘ are made 100 times more than ‘ Sad Ending ‘ films ! When Saigal featured in the film ” Devdas’ in 1935, in which he died at the end, there was a wave of films in which the hero dies at the end. Dilip Kumar was a victim of such 8 consecutive films. Though his initial fame came with these films, it also stamped him as ” Tragedy King” and he had to consult a Psychiatrist and as per advice he shifted to Comedy films !

Film Milan-58 was directed by Kedar Kapoor. Kedar Kapoor was born on 2-9-1927. Not much information is available about him. Kedar joined the film line in 1945 and did a small role in the film Bhakta Prahlad-46. Working as an assistant to many directors, he started his career by directing the film Lal Pari-1954. In all he directed 35 Hindi films, mostly B and C grade. He specialised in Dara singh films. He directed 8 films of Dara Singh in the 60s. Some of his films were, Miss Cocacola-55, Changez khan-57, Senapati-57, Dara singh-64, Patanga-71 etc etc. His last film was Bekhabar-83. Kedar kapoor died on 5-6-1987.

The film was made by N.C.Films, a family concern and it was produced by Gulshan Behl-his brother. My sincere opinion is that there were only 2 MDs who were real melody makers. They were Hansraj Behl and Chitragupt. In every film atleast 50% songs used to be very melodious. Unfortunately, both of them never ranked in the “A” grade or within the first 5 to 10 MDs. This was because, barring some exceptions, they were never attached to any famous or well known film houses. That is how the film industry worked !

Hansraj Behl and his brother, Gulshan Behl founded N.C.Films, on their father’s name-Nihal Chand- and produced B and C grade movies to which Hansraj gave his music. Hansraj was known as Master ji, in the industry. Only two people were known as Master ji…one was Ghulam Haider and the other was Hansraj Behl. Hansraj usually worked alone and rarely used any assistant while giving music.

Hansraj is remembered for giving initial playback singing breaks to Asha Bhonsle and Madhubala Jhaveri. He also gave a chance to his own friend Verma Malik-Lyricist. Malik used to live with him initially, in Bombay. He composed music for 62 films from Pujari-46 to Badmashon ka Badmash-79. One film “Insaaf ka Khoon” was released after his death,in 1988.

Hansraj Behl is one of the music directors who became successful in the post independence era. He composed music for not only Hindi films but also for Punjabi films. Hansraj was born on 26th November 1916 in Punjab. He got his basic education in music from Pt. Chunnilal. Then he opened his music school in Lahore and he had some non-film records released under the label of HMV. In 1944 Hansraj came to Bombay to try his luck in the Hindi film industry as a music director.

After one year of struggle he got his first film Pujari, made by Ardeshir Irani, in 1946. He got films like Gwaalan and Phulwari in the same year, but all these films could not do well at the box office. Behl tasted success in 1947 with the release of Lakhon Mein Ek and Chheen Le Azadi. ‘Moti Chugne Gayi Re Hansi..’ sung by Shamshad Begum and Mukesh from the film Chheen Le Azadi became very popular. In 1948 he came up with four films – Chunariya, Mitti Ke Khilone, Pardesi Mehmaan and Satya Narayan, of which Chunariya’s music was a hit especially the song ‘Dil-e-Nashaad Ko Jeene Ki Hasrat Ho Gayi..’ sung by Lata Mangeshkar. The song which placed him among high class music directors was ‘Sab Kuchh Lutaya Hamne Aakar Teri Gali Me..’ sung by Mohammed Rafi and written by Mulk Raj Bhaakri.

In the year 1949, he came out with Chakori, Raat Ki Raani, Zevraat and few more films. Lata sang one of her favourite songs, ‘Haye Chanda Gaye Pardes Chakori Yahan Ro Ro Mare..’ in Chakori, which became very popular and it helped Hansraj to gain popularity among music lovers. ‘Jin Raaton Mein Neend Ud Jaati Hai..’ sung by Mohammed Rafi in Raat Ki Raani was a nationwide hit.

In 1950-51 he gave many hit songs with Lata Mangeshkar, Geeta Dutt and Suraiyya. Songs of Kisi Ki Yaad became very popular soon after the release of the film. ‘Koi Mujhko Na Bulaye..’ and ‘Tadapta Chhod Kar Mujhko Kahaan Tum Reh Gaye..’ both sung by Geeta Dutt and ‘O Jaane Wale Ye Kya Kiya..’ by Mohammed Rafi gained immense popularity. In 1952 he introduced Madhubala Jhaveri as a playback singer in Apni Izzat and Jaggu. Madhubala sang ‘Dil Mere Tera Diwaana..’ with Talat Mehmood and ‘Meethi Meethi Loriyaan Main Dheere Dheere Gaoon..’ (both Apni Izzat) featured her solo voice. In 1954, he again came out with musical films like Dost and Khaiber. ‘Aaye Bhi Akela Jaye Bhi Akela..’ from Dost (1954) sung by Talat Mehmood was among one of his memorable compositions.

He continued to give his best in films like Rajdhani, Milan, Miss Bombay, Changez Khan and Saawan. Songs like ‘Bhool Ja Sapne Suhane..’ from Rajdhani (1956), ‘Mohabbat Zinda rehti Hai..’ from Changez Khan (1957), ‘ Jab Raat Nahi Katti..’ from Changez Khan (1957), ‘Zindagi Bhar Gham Judaai Ka..’ from Miss Bombay (1957), ‘Haseen Ho Khuda To Nahi..’ from Mud Mud Ke Na Dekh (1960), ‘Bheega Bheega Pyar Ka Sama..’ from Saawan (1959) and ‘Tujhko Dhundu To Dhoondu Kahan..’ from Milan (1959) crossed all the barriers of success and Hansraj Behl’s name was on the lips of every music lover.

After all these successful films he continued to give music till 1969 but failed to give any hit because his later films were either stunts or fantasy films with little scope for having good music. His last hit song was an all time great creation ‘Jahan Daal Daal Pe Sone Ki Chidiya Karti Hai Basera..’ which was sung by Mohammed Rafi for the film Sikandar-e-Aazam in 1965.

Hansraj Behl died of Cancer in Bombay on 20-5-1984.

The cast of the film Milan-1958 was Nalini jaywant, Ajit, Nishi, Helen, Tiwari, Tun Tun, Narmada Shankar etc. Nalini Jaywant worked with Ajit in 10 films and with Ashok Kumar in 11 films. In this matter Nirupa Roy beats all Heroines. She worked with balraj sahani in 12 films, With Jairaj in 16 films, with Trilok Kapoor in 18 films and ….hold your breath, with Ashok Kumar, she worked in 21 Films ! (By the way she acted as Amitabh’s mother in 12 films too !).

The story of the film was….

Ajit and Nalini love each other and get married. They also have one son. While the son is growing up, they have serious differences and they separate from each other. Nalini , with her son, shifts to another town and works as a Nurse in a Hospital. Ajit gets involved with another girl-Nishi. After a few months, Nishi cheats Ajit and leaves him. Ajit gets disgusted with his life and leaves the town. By coincidence he too lands in the same town where Nalini and his son are living. They do not know about each other’s existence in the same town. One day, Ajit meets with an accident and is brought to the same hospital where Nalini is serving. She is shocked to see Ajit. She looks after him with care and as soon as he is well enough to be discharged, Nalini resigns from the hospital and packs her luggage to shift to another town- to be away from Ajit. Ajit enquires at the hospital about her address and goes to her house. Ajit begs her pardon and pleads her to be with him again. Both weep a lot together and then accept each other happily !

Today’s song is a duet by Rafi and Shamshad Begum, who have sung some of the best duets in Hindi films. Together, they sang 160 duets in their career. I am sure, more than 50 % will account for my favourites. Let us enjoy this duet now….

Song-Ho lamba chauda jaat jaat re khud ko samjhe Laat (Milan)(1958) Singers-Shamshad Begam, Rafi, Lyrics-Prem Dhawan, MD-Hansraj Bahl

Lyrics

ho lamba chauda jaat jaat re
khud ko samjhe laat
baat meri maane na
hoy dil leke bedardi
ab pehchaane na
makhna
hoy girgit jaisi naar
naar tu badle rang hazaar
pyaar ko jaane na
hota hai ik baar pyaar
tu maane na
meri banto

o o o
?? to nahin hai koi aur(??) jee
dekho dil ko na todo
o o o
o o o
koi ho
man hi jaayega koi aur jee
jaao peechha chhodo
tu lathhmaar ganwaar
bada hai
pyaar ka thhekedaar
baat meri maane na
hoy dil leke bedardi ab pehchaane na
o makhna

o o o
mere peechhe to pad gayi chhokri
dekho duniya waalon
o o o o
o o o o
main to karoongi tumhaare sang naukri
zara preet lagaa lo
o basre ki hoor
hoor
o khatte hain angoor
pyaar ko jaane na
hota hai ik baar pyaar
tu maane na
o banto

o o o o
dil diya hai to sadke jaan bhi
chaahe hamen aazmaa le
o o o o
o o o o
sachche pyaar ki hamen hai pehchaan jee
jaao dorey na daalo
??
per maane na
hoy dil leke bedardi
ab pehchaane na
hurrrr
o girgit jaisi naar
naar tu badle hai rang hazaar
pyaar ko jaane na
hota hai ik baar pyaar
tu maane naa
meri banto

ho lamba chauda jaat
jaat re khud ko samjhe laat
baat meri maane na
hey dil leke bedardi ab pehchaane na
o makhna

Tags: 1958, Ajit, Hansraj Bahl, Milan, Prem Dhawan, Rafi, Shamshad Begam

Zindagi sanwar gayi mastiyon se bhar gayi

Posted by: Atul on: July 7, 2022

Blog Day :

5102

Post No. :

17036

Today’s song is from the film ‘Sindbad the Sailor’ (1952).

During our childhood, when we were in school, we were fond of different stories. Our school books contained interesting stories of kings, explorers and great souls. In those days most children used to read outside school books. Some kids were lucky whose grandparents told them stories from mythology and history. This not only gave entertainment but also helped build up good values of life. Some children liked mythology stories, some liked historical and yet some others liked adventure stories. The joint family culture helped develop the right kind of mindset and value addition.

I was a keen reader and I used to read whatever came to my hands – be it a book, magazine or even a newspaper. However, my choice was stories of adventure. Up to 10-15 years of age I read stories of Aladdin, Alibaba, Sindbad, Hatimtai, Navnath stories, Vedic stories, Ramayan-Mahabharat stories, historical stories and such stuff. After that age, I switched over to reading detective and mystery stories by Edgar Wallace, Earl Stanley Gardner, Agatha Christie, Arthur Connan Doyle, Berkeley Grey, Rodrik Graham, Ellery Queen, Brett Haliday, Peter Cheney, Sax Rhomer etc. I know all these names will be Greek and Latin to today’s generation. Those days were different. Today’s scenario is different. there is neither comparison nor criticism. Times change, the world changes. That was good for us, today’s generation likes something else. It is OK.

My point is some stories in this world are evergreen. For them there is no generation barrier, no age difference, no time change. They are immortal, in a sense. Stories from Arabian Nights, Sherlock Holmes, Ramayan – Mahabharat, Greek stories like Helen of Troy etc are ‘all time favorites’. These stories have provided entertainment to several generations. Over the long years, maybe the stories have changed to some extent too. Nevertheless, their entertainment value has remained constant.

Aladdin, Sindbad, Alibaba etc. are stories from The Arabian Nights. The history and story of Arabian Nights is interesting. Stories of Arabian Nights or 1001 Nights are so interesting that for many generations they have been a source of entertainment. Alibaba, Aladdin and Sindbad are the evergreen stories. Arabian Night stories evolved through a story which took place in Persia. King Shahriyar became a woman hater after he found that his wife was unfaithful to him. He not only killed her, but he started marrying a new girl every day, and on the second day of marriage the wife would be killed to avoid unfaithfulness.

The legend says that Scheherazade, the beautiful young daughter of the Vizier, decided to marry the king Shahriyar, against wishes of her family. On the first night of marriage, she started telling him a story which she left unfinished. Curious to know the story’s end, the king postponed her killing. On every night Scheherazade employed the same technique – finish the story from the previous day, from within that story, start a new story, and then keep that one unfinished that night. Thus she continued 1001 stories on 1001 nights. Finally the king changed his opinion and pardoned his wife.

These stories included historical stories, love tales, tragedies, comedies, poems, eroticas, stories of jinn, ghosts and apes, sorcerers, magicians etc. Places like Basra, Istanbul, Baghdad etc. were frequently mentioned in these stories. A lot of films have been made on different popular characters of Arabian Nights. Here is a short history of films made, it may not be complete but surely is an indicator of how the Indian film industry took advantage of the ready made interesting stories. These stories were liked by not only children, but also millions of adults – like me, for example.

A cursory look at the Film Title Index-1913 to 2012 by Hamraz ji tells us that the most popular stories are on Aladdin, Alibaba and Sinbad as well as Gul E Bakavli, besides films on other not so well known characters. In the Silent film era, films on Alibaba were made in 1927 (2 films); Aladdin in 1927 (2), 1928, 1931; Sindbad in 1930(2) and Arabian Nights – 1930. During the Talkie films, the first film on Alibaba was in 1932, then in 40, 46, 54(2), 66, 76, 77, 80 and 2004. On Aladdin in 35, 36, 39, 41, 49, 52 (2), 55, 57, 58, 66, 78, 82(2). On Sindbad in 46(2), 52(2), 58, 65 and 2000.

As always, the creative heads in the story departments of filmmakers invented titles like Alladin Ka Beta, Alladin Ki Beti, Aladdin and Laila. Similarly son and daughter were gifted to Alibaba and Sinbad and films made on them. The funniest title was ‘Sindbad, Alibaba and Aladdin’ (1965) ! On a quick check of HFGK entries for the 1940s decade we find that as many as 9 films were made in 1946 alone on these characters. Added were Baghdad Ka Chor, Hoor e Baghdad, Sher e Baghdad, Arab Ka Chand and Shah e Misr – in which actor Ajit debuted with his real name Hamid.

The frame story of Sindbad is – In the reign of Haroon Al Rasheed, a poor porter (coolie) feels tired and sits on a bench in the garden of a rich person. There he complains to God why there are rich persons who do nothing and poor persons who toil all day. The rich person hears this and calls the porter inside his house. After providing him food etc. they start conversation and learn that names of both are same – SINDBAD. The rich Sindbad tells him how he became so rich and describes his 7 sea voyages one by one. Thus starts each voyage story in detail and in first person. Surprisingly, Sindbad’s is the only story about a sailor’s voyages in the entire 1001 stories of The Arabian Nights !

Today’s song is from one of my favorite films – ‘Sindbad the Sailor’ aka ‘Sindbad Jahaazi’ (1952). The English people always called him SINBAD, but in India he is the popular SINDBAD. The film was produced by Balwant Bhatt and directed by his younger brother Nanabhai Bhatt – an action film veteran. The cast included Naseem – who entered the films in the 1930s with a bang and titled as having a ”pari chehra” due to her beauty. She was on the last part of her career. (After the entry of Madhubala, the crown of Beauty went to her and she was called “The Venus”). Ranjan was the hero. There was Pran and Nirupa Roy – who along with Pran played the role of a Villain in this film. And to imagine that she was already famous for her roles in mythological and religious films ! But then Nirupa Roy had done some action and stunt films too, fighting and winning over big goons ! The rest of the cast consisted of regulars for such types of films.

The Music Director was again my favorite – Chitragupt, the genuine melody maker of Hindi films. This wonderful duet is sung by Rafi and Shamshad, as only they could sing such lovely song. Enjoy this melodious duet. . .

Song- Zindagi sanwar gayee mastiyon se bhar gayee (Sindbad the Sailor)(1952) Singers- Shamshad Begam, Rafi, Lyricist- Shyam Hindi, MD- Chitragupta
Shamshad Begam + Rafi

Lyrics

zindagi sanwar gayi mastiyon se bhar gayi
jab se pyaar ki nazar dil mein hai utar gayi
zindagi sanwar gayi mastiyon se bhar gayi
jab se pyaar ki nazar dil mein hai utar gayi

baat nayi aa gayi
ho o o o o o
baat nayi aa gayi husn ke guroor mein
sar jhuka diya hai jo ishq ke huzoor mein
baat nayi aa gayi husn ke guroor mein
sar jhuka diya hai jo ishq ke huzoor mein
jaaneman wo aapki berukhi kidhar gayi
jab se pyaar ki nazar dil mein hai utar gayi

kaun hoon khabar nahin
ho o o o o o
kaun hoon khabar nahin
hosh kho chuki hoon main
bhool kar jahaan ko
teri ho chuki hoon main
kaun hoon khabar nahin
hosh kho chuki hoon main
bhool kar jahaan ko
teri ho chuki hoon main
ek din ki dillagi
kya se kya hai kar gayi
jab se pyaar ki nazar dil mein hai utar gayi

dil ko aaj kya hua
ho o o o o o
dil ko aaj kya hua
haath mein na aaye hain
dhadkanon ki taar par saaz saaz gaaye hai
dil ko aaj kya hua
haath mein na aaye hain
dhadkanon ki taar par saaz saaz gaye hai
kya kahu tumhe sanam dil pe kya gujar gayi
jab se pyar ki nazar dil mein hai utar gayi
zindagi sanvar gayi mastiyo se bhar gayi
jab se pyar ki nazar dil me hai utar gayi

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

ज़िंदगी संवर गई
मस्तियों से भर गई
जब से प्यार की नज़र
दिल में है उतर गई
ज़िंदगी संवर गई
मस्तियों से भर गई
जब से प्यार की नज़र
दिल में है उतर गई

बात नई आ गई
हो ओ ओ ओ ओ
बात नई आ गई
हुस्न के गुरूर में
सर झुका दिया है जो
इश्क़ के हुज़ूर में
बात नई आ गई
हुस्न के गुरूर में
सर झुका दिया है जो
इश्क़ के हुज़ूर में
जानेमन वो आपकी
बेरुखी किधर गई
जब से प्यार की नज़र
दिल में है उतर गई

कौन हूँ खबर नहीं
हो ओ ओ ओ ओ
कौन हूँ खबर नहीं
होश खो चुकी हूँ मैं
भूल कर जहान् को
तेरी हो चुकी हूँ मैं
कौन हूँ खबर नहीं
होश खो चुकी हूँ मैं
भूल कर जहान् को
तेरी हो चुकी हूँ मैं
एक दिन की दिल्लगी
क्या से क्या है कर गई
जब से प्यार की नज़र
दिल में है उतर गई

दिल को आज क्या हुआ
हो ओ ओ ओ ओ
दिल को आज क्या हुआ
हाथ में ना आए है
धड़कनों के तार पर
साज़ साज़ गाये है
दिल को आज क्या हुआ
हाथ में ना आए है
धड़कनों के तार पर
साज़ साज़ गाये है
क्या कहूँ तुम्हें सनम
दिल पे क्या गुज़र गई
जब से प्यार की नज़र
दिल में है उतर गई
ज़िंदगी संवर गई
मस्तियों से भर गई
जब से प्यार की नज़र
दिल में है उतर गई

Tags: 1952, Chitragupta, Rafi, Shamshad Begam, Shyam Hindi, Sindbad The Sailor

Aayi Mohan milan ki bela

Posted by: Atul on: March 18, 2022

Blog Day :

4991

Post No. :

16885

Today (18 march 2022), the blog had two guest posts so far, and both pertained to Holi. That created some confusion in my mind. I was under the impression that Holika dahan is on the night of 18/19 march and Holi is on 19 march 2022. To add to my confusion, I found out that Railway HQ in Southern Railway, Chennai was open today on 18 march 2022. It turns out that I was out of phase by one day from others. It turns out that even Chennai celebrates holiday today. It is only Southern Railway HQ in Chennai that has decided to work on this day. 🙂

When one looks at the festival category (on the right side of the blog), one finds that the blog has as many as 67 Holi related songs. The second most popular festival is Deepaawali (38 songs) and then Rakhi (24 songs). Looking at the nature of the festivals, it is not very difficult to guess why Holi is the most popular festival for Hind movie makers. It gives then a genuine reason to indulge in a song and dance sequence full of box office hit ingredients, viz color, revelry, two genders dancing together and getting wet thanks to coloured water sprinkled on them from pichkaari.

Even in real life, this festival is popular for similar reasons. And it is popular among trouble makers as well.

On this day, trains remain empty. It is so unlike the occasion of Deepaawali when trains run to full capacity and you cannot have berths in trains. I, not averse to act diferent from the masses, had once (nearly four decades ago)travelled by train on the day of Holi from Jamalpur to Patna and then from Patna to Ranchi. On normal days entering the train itself was a tall order. But on that day, I was perhaps the only occupant of those trains.

With 67 Holi songs under the belt of the blog, some people may feel that we have run out of Holi songs to cover. Nothing can be farther from the truth. There are still lots and lots of Holi songs that are not yet covered in the blog. I have already mentioned it earlier that HOli is the most popular festival among movie makers, and so Holi related songs keep appearing in Hindi movies even today. This genre of song is unlikely to go out of fashion in Hindi movies.

Prakashchandra himself has singlehandedly sent me dozens of Holi realted songs. Moreover, I have discovered some more Holi songs on my own. All these supply of Holi songs will last us for many Holi festivals. 🙂

The Holi song that accompanies this post is from “Banjaarin”(1960). This movie was produced and directed by Ratan KUmar for Ratan Produced by Ratan Kumar for Ratan Pictures, Bombay. The movie had Manhar Desai, Kanchan Kamini (Debutant), Lalita Kumari, Sunder, Indira Bansal, Chetan Kumar, Shree Bhagwan, Dalpat (in triple role), T.N.Sinha, Bagla, Murari, Prayag Dutt, Hari, Kapoor, Polson, Master Papoo, Bela, Paro, Laxminarayan, Rehana, Geeta, Meera etc in it.

The movie had 8 songs in it. Four songs have been covered in the past.

Here is the fifth song from “Banjaarin”(1960). This song is sung by Rafi, Shamshad Begam and chorus. Pt Madhur is the lyricist. Music is composed by Pardesi (or Pardeshi).

The song is picturised as a Holi festivity song on Manhar Desai, Kanchan Kamini, Lalita Kumari Sinha, Indira Bansal etc.

Lyrics of the song and other details were sent by Prakashchandra.

I take this opportunity to wish everyone a (somewhat belated) happy and safe Holi.

Remarks:- It was pointed out by Mr Partha Chanda, our regular visitor with a keen eyae that the same song was discussed under “Janam Janam Ke Phere”(1957) on 5 april 2020. On checking up, that indeed turned out to be the case. On further investigation, it turned out that the song was originally intended for “Janam Janam Ke Phere”(1957), but it could not be accomodated there. Finally this song was included in “Banjaarin”(1960) which had more or less the same starcast as “Janam Janam Ke Phere”(19557) with some changes.

I thank Nahm, our regular contributor, for pointing out this fact. Since this song was composed for “Janam Janam Ke Phere”(1957) so its lyricist is Bharat Vyas and music director is S N Tripathi, unlike other songs of “Banjaarin”(1960) where Pt Madhur is the lyricist and Pardesi is the music director.

I have now replaced the earlier post of 5 april 2020 containing the same song by another Rafi Shamshad Begam duet and penned by the same lyricist (Bharat Vyas).

(colour video link)

audio link:

Song-Aayi mohan milan ki bela (Banjaarin)(1960) Singers-Rafi, Shamshad Begam, Lyrics-Bharat Vyas, MD-S N Tripathi
All chorus

Lyrics(Provided by Prakashchandra)

ho ghanan ghanan ghan baajey mridang
ghanan ghanan ghan baajey mridang
rey jhanan jhanan jhanan jhankey kang
baajey rey sang
chhaayaa hai rang
dekho jamuna ke tat pe aey ae
jamuna ke tat pe
bansi ke bat pe
natkhat natwar bansi bajaaye
gori chori chori chori chori gopiyon ko bulaaye
koyi idhar se aaye
koyi udhar se aaye
koyi goree goreee goree goree gori
koyi kaaree kaaree kaaree kaaree kaari
koyi saanwari saanwari chhoree..eee
koyi saanwri saanwri chhoree
ho koyi saanwri saanwari chhoree
ho brij mein sohey raadhaa mohan
jaisey chaand chakori
ke chaand chakori
ke chaand chakoree..ee

aayee mohan milan ki belaa..aa
laagaa madhuban mein kaisaa melaa
ho o o
raadhaa bhee naachey
mohan bhi naachey
naache rey gaaon albelaa aaa
aayee mohan milan ki belaa
laagaa madhuban mein kaisaa melaa
ho o o
raadhaa bhee naachey
mohan bhi naachey
naache rey gaaon albelaa
aayee mohan milan ki belaa

koyi bajaaye jhaanjh jhamaajham
koyi bajaaye jhaanjh jhamaajham
koyi bajaaye manjeerey
koyi bajaaye jhaanjh jhamaajham
koyi bajaaye manjeerey
raadhaa jee ke pag mein jhanjhar
jhamak rahee dheerey dheerey
jhamak rahee dheerey dheerey
ho jhamak rahee dheerey dheerey

ho o o raadhaa hai naazuk jaisey chameli
mohan hai jaisey belaa
aayi mohan milan ki belaa
aayi mohan milan ki belaa
laagaa madhuban mein kaisaa melaa
ho o
raadhaa bhee naachey
mohan bhi naachey
naache rey gaaon albelaa
aayee mohan milan ki belaa

baaj rahee hai gwaalaniyon ki
paayaliyaa rey chhoom chhanan
paayaliyaa rey chhoom chhanan
ho
paayaliyaa rey chhoom chhanan
ho baaj rahee hai gwaalaniyon ki
paayaliyaa rey chhoom chhanan
oopar chamkey chaand poonam ka
neechey naachey brindaavan
neechey naachey brindaavan
ho o
neechey naachey brindaavan
ho o o bansee ke bat pe kaalindi tat pe
laagaa hai kaisaa jhamelaa
aayi mohan milan ki belaa
aayi mohan milan ki belaa
laagaa madhuban mein kaisaa melaa
ho o o
raadhaa bhee naachey mohan bhi naachey
naachey rey gaaon albelaa
aayee mohan milan ki belaa

Tags: 1960, Banjaarin, Bharat Vyas, Indira Bansal, Kanchan Kamini, Lalita Kumari Sinha, Manhar Desai, Rafi, S N Tripathi, Shamshad Begam

Baithhe hain tere dar pe

Posted by: Atul on: December 24, 2021

In: "Nok-Jhonk" song | Duet | Guest posts | Post by nahm | Rafi songs | Shamshad Begam Rafi duet | Shamshad Begam songs | Songs of 1940s (1941 to 1950) | Songs of 1946 | Yearwise breakup of songs
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This article is written by nahm, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 :

4907

Post No. :

16716

Remembering Mohammed Rafi Sahab ( 97^th birth anniversary )
——————————————————————————–

Aaaaaaa
Aaaaaa
Aaaaaaaaaaa
Aaaaaaaaaaa
Mahal udaas aur galiyaan sooni eee
Mahal udaas aur galiyaan aan
sooni eee
Mahal udaa…aas aur galiyaan aaan sooni eeeee
Mahal udaaaaas
Mahal udaaaaas re…
Ea… ea Mahal udaaaaas………s
Mahal udaaaaas
aur galiyaan so………….oni eeeeeeeee
Mahal udaaaas aur galiyaan sooni eee
Mahal udaaaas aur galiyaan sooni eee
Chup chup hain deewaarien ean
Dil kya ujdaa
Duniyaa ujdi ee
Rootth gayee hain bahaarien
Ham jeewan kaise guzaarien
Ho ooo
Mandir girtaa phir ban jaata aa aaa
Dil ko kaun sambhaale ae oo
Duniya ke rakhwaale
Sun dard bhare mere naale
Sun dard bhare mere naale
O Duniya ke rakhwaale ae
Rakhwaale ae ae ae
Rakhwaale ae ae ae
Rakhwaale ae ae ae ae

So many benchmarks and such milestones, no one has set them better than Rafi sahab. The way he touched the lives of each and every urdu/hindi listeners heart and minds, is unmatched and unprecedented, never to be repeated in human civilization. His voice breached the boundaries of languages and cultures too. And his fans following seems to increase over the decades.

His contribution towards the cohesion and integration of the post independent and partitioned India, is unaccountable. No one can even begin to count and record, how many hearts, his voice and his renditions of patriotic songs, religious songs of different belief systems touched. It is no less than what is the contribution of Lata Mangeshkar of Sachin Tendulkar towards the Indian national identity and our ability to hold our head high in front of the world as Indians. There were visionaries, far sighted leaders that gave direction to this country and it was a recognition of Rafi sahab’s calibre and his potential as a voice, to which the nation could relate to and identify, that made Nehru invite Rafi sahab to sing the song “Bapu ki amar kahaani’ at a time of such national turmoil.

He was the voice of pathos, the hope of values, the epitome of ‘watan parasti’, a cultural mixture of a binary, where he could keep his soul pure and his singing from the heart, in a country, which needed his punjabi large heartedness. And foremost of his qualities, which still oozes out of his resonating voice, singing praises to the hero’s love interest, singing songs of devotion and story-telling, reciting ghazals of classic and modern poets, in his honied sometimes velvety and sometimes silky and yet rustic, when the situation required, is his humbleness, sharaafat and purity of intentions.

During the last one and half year many things have changed in this world. At the peak of these changes, someone thought to make a video of the deserted places of a historical / romantic city of Venice. Its streets canals boats, by-lanes and loggias totally bereft of humans, as a backdrop to Rafi Sahab’s rendition of the final stanza of this iconic song, recorded in a live show. I have seen other live show renditions of the same song, where Rafi Sahab is giving this same unbelievably fantastic performance. The clip was widely shared on whatsapp, where I first saw it. The video is available on youtube, with the title “Mahal udaas aur galiyaan sooni”.

Live show cilps are given below:
Mahal udaas aur galiyaan sooni – live singing
Full song “O duniya ke rakhwaale” live

Both the above renditions and the recording in the doordarshan show, make it clear that, this was definitely a song, which was a regular in the riyaaz list of Rafi sahab. To sing it so consistently with the same dedication and voice for 3 decades is a miracle and yet not a miracle. Also, in the stage shows he is singing this ‘raag darbari’ bhajan maintaining the higher octave through-out, and playing the harmonium at the same time. The special prolonged aria of the last stanza was not part of original film song, but it was made so especially for the live shows on stage. It was the discipline and simplicity, which makes such great artists immortal.

I am giving here a list of some of the iconic songs rendered by Rafi sahab which I find unforgettable.
1. Basti basti parbat parbat gaata jaaye banjara
2. Yeh zindagi ke mele duniya mein kam na honge
3. Ramaiyya wasta waiyya
4. Watan ki raah mein watan ke naujawan shaheed hon
5. Raahi manwa dukh ki chinta kyun sataati hai
6. Zindabaad zindabaad ae muhobbat zindabaad
7. Woh jab yaad aaye bahot yaad aaye
8. Kar chale ham fidaa jaan-o-tan saathiyo
9. Tum jo mil gaye ho to yeh lagtaa hai
10. Na to kaarvaan ki talaash hai
11. Dil ke jharoke mein tujh ko bitthaa kar
12. Nain lad jaiyi hain to manwaa maan kasak hoibe kari
13. Tere mere sapne ab ek rang hain
14. Saathhi na koyi manzil
15. Apni to har aah ek toofan hai
16. Tu ne mera yaad na milaaya
17. Yehan badla wafaa ka bewafaai ke siwa kya hai
18. Tu ganga ki mauj main jamuna ka dhara
19. O duniya ke rakhwale
20. Tu kahan yeh bataa iss nasheeli raat mein
21. Aap ne yaad dilaaya to mujhe yaad aaya
22. Man re tu kaahe na dheer dhare
23. Din dhal jaaye haay raat na jaaye
24. Raha gardishon mein har dam mere ishq ka
25. Baar baar dekho hazaar baar dekho
26. Jiya ho jiya ho jiya kuchh bol do
27. Sar jo teraa chakraaye ya dil dooba jaaye
28. Jinhen naaz hai hind par wo kahaan hain
29. Bichhde sabhi baari baari
30. Chaudhvin ka chaan ho ya aaftaab ho
31. Zindagi bhar nahin bhoolegi wo barsaar ki raat
32. Heuy hain tum pe aashiq ham bhala maano buraa maano
33. Teri zulfon se judaayi to nahin maangi thhi
34. Apni to har aah ek toofan hai
35. Dil ki aawaaz bhi sun mere fasaane pe na jaa
36. Ehsaan tera hogaa mujh par dil chahta hai woh
37. Tum mujhe yoon bhulaa na paaoge
38. Aanchal mein sajaa lenaa kaliyaan zulfon mein sitaare bhar lenaa
39. Taarif karun kya uss ki jis ne tujhe banaaya
40. Nafrat ki duniyaa ko chhod ke pyaar ki duniya mein
41. Kya huaa teraa wadaa woh qasam woh iraada
42. Dar-e-dil dard-e-jigar dil mein jagaaya aap ne
43. Sukh ke sab saathhi dukh mein na koyi
44. Bichhde sabhi baari baari
45. Hai agar dushman dushman zamaana gham nahin
46. Chura liya hai tum ne jo dil ko
47. O haseena zulfon waali jaan-e-jahan
48. Kahaaniyan sunaati hai pawan aati jaati
49. Mera man teraa pyaasa mera man teraa
50. Badi door se aaye hain pyar ka tohfa laaye hain
51. Teri bindiya re aaye haaye teri bindiyaa re
52. Bahaaron phool barsaao mera mehboob aaya hai
53. Jo waada kiyaa wo nibhaana padegaa
54. Aap ke pehloo mein aa kar ro diye
55. Chalo dildaar chalo chaand ke paar chalo
56. Baabul ki duaaen leti jaa jaa tujh ko sukhi sansaar mile
57. Ye des hai veer jawaanon ka albelon ka mastaaon ka
58. Maan mera ehsaan ari naadaan ke main ne tujh se kiya hai pyaar
59. Deewaane hain deewanon ko na dar chahiye
60. Chaahunga main tujhe saanjh savere
61. Koyi jab raah na paaye mere sang aaye
62. Mere dost qissa yeh kya hogayaa
63. Suhaani raat dhal chuki
64. Huye ham jin ke liye barbaad woh ham ko chaahe karenna yaad
65. Meri kahaani bhoolne waale tera jahan aabaad rahe
66. Ek dil ke tukde hazaar huey koyi yehan gira koyi wahan gira
67. Apni aazaadi ko ham hargiz mitaa sakte nahin
68. Sarfroshi ki tamanna ab hamaare dil mein hai
69. Ho ke majboor mujhe uss ne bhulaaya hogaa
70. Rut hai milan ki saathhi mere aa re
71. Tum bin jaaun kahaan ke duniya mein aa ke
72. Patthar ke sanam tujhe ham ne muhobbat ka khudaa jaana
73. Tere bina soone sayan hamaare
74. Chale thhe saathh mil ke chalenge saathh mil ke
75. Aawaaz de ke hamen tum bulaao
76. Aisa mauqa phir kahan milegaa hamaare jaisa dil kahan milegaa
77. Banda parwar thaam lo jigar ban ke pyaar phir aaya hoon
78. Hai duniyaa ussi ki zamaana ussi ka mohobbat mein jo ho gaya ho kisi ka
79. Chhupne waale saamne aa chhup chhup ke mera jee na jalaa
80. Mere mehboob tujhe meri muhobbat ki qasam
81. Khoya khoya chaand khula aasmaan
82. Main zindagi ka saath nibhaata chala gayaa
83. Zara saamne to aao chhaliye chhup chhup chhalne mein kya
84. Kaali ghataa chhaayi prem rut aaye aayi aayi aayi aayi teri yaad aayi
85. Tasveer teri dil mein jis din se utaari hai
86. Chhup gaye saare nazaare oye kya baat ho gayi
87. Jo unn ki tamanna hai barbaad ho jaa
88. Tu hindu banegaa na musalmaan banegaa
89. Ek thha gul aur ek thhi bulbul
90. Dil mein chhupa ke pyar ka toofan le chale
91. Aaj mausam badaa beimaan hai badaa
92. Muhobbat kar ko jee bhar lo aji kis ne roka hai
93. Sun sun sun sun zaalimaa pyar ham ko tum se hogayaa
94. Insaaf ka mandir hai yeh bhagwaan ka ghar hai
95. Rim zhim ke geet saawan gaaye haaye bheegi bheegi raaton mein
96. Dil jo na keh sakaa wohi raaz-e-dil kehne ki raat aayi
97. Ae ji dil par huaa aisa jadoo tabiyat machal machal gayi
98. Udhar tum haseen ho idhar dil jawaan hai
99. Kahaan jaa raha hai tu ae jaane waale
100. Jab bhi yeh dil udaas hota hai jaane kaun aas paas hotaa hai
101. O door ke musaafir ham ko bhi saathh le le re
102. Duniya na bhaaye mohe ab to bulaa le charonon mein
103. Ae dil hai mushkil jeena yehaan zara hat ke zara bach ke yeh hai bambai meri jaan

I have missed scores of my personal favourites in the above list. For example, I have mentioned very few duets and few group songs.

The song I am presenting on this memorial day is from the 1946 film Sona Chandi. Tufail Faarooqui is the music director and Wali Sahab. This is a duet with Shamshad Begum having some conversation and the words in English “I am sorry”. This reminds me of an “once upon a time” famous quote; Angez chale gaye, yeh sorry aur thank you chhod gaye. Quite contrary to this saying, I found on my visit to UK, that the British never left it here, they gifted the etiquette’s (a legacy) to us and continued to make them their ‘takiya kalaam’.

It is true, the denizens of the old blighty are so polite that these words keep falling from their lips, what ever is the situation or occasion. They have kept quite and listened to Shashi Tharoor making those demands. I have every hope that the apology is a given. It’s taking its time, but it should be on the way. More on this topic in another post, as here we have a birthday event to celebrate.

This is short and sweet duet song with the nok-jhonk, which became more prevalent in the 60’s songs. But this is a 40’s song, making clear, the potential of a powerful voice which was to become a backbone of future playback singing.

My list of iconic Rafi songs is incomplete, so the readers and commentators can help me complete the list.

Song-Baithhe hain tere dar pe (Sona Chaandi)(1946) Singers-Rafi, Shamshad Begam, Lyrics-Wali Sahab, MD-Tufail Farooqui
Both

Lyrics

Baithhe hain
tere dar pe
kuchh kar ke uthhenge ae
police uthhaayegi yaa ham
mar ke uthhenge
ya ham
mar ke uthhenge
ya ham
mar ke uthhenge

(knock knock)
Kya hai
Zara didi ko bulaao
Achchha !

Didi
Woh majnu aaye hain
Arey keh do ham ghar pe nahin hain
Achchha…

Wo kehte hain
ham ghar pe nahin hain
Achchha, yeh baat hai.
Haan haan, yahi baat hai

Teri deewaar pe
Teri deewaar pe
Hasrat ki nazar karte hain
Teri deewaar pe
Hasrat ki nazar karte hain
Khush raho ehl-e-watan
Ham to safar karte hain
Khush raho ehl-e-watan
Ham to safar karte hain

Tumhen kya ho gaya kya pyaare
Tumhen kya ho gaya kya pyaare

Dil ki raftaar balaa ho gayaa
I am sorry
Dil ki raftaar balaa ho gayaa
I am sorry
baithhe bithhlaaye ye kya ho gayaa
I am sorry
baithhe bithhlaaye ye kya ho gayaa
I am sorry

Ee ee ee
Main ne to
Aankh machauli hi kari
Thhee eee lekin
Khwaa-ma-khwaa mujh pe fidaa ho gayaa
I am sorry
Khwaa-ma-khwaa mujh pe fidaa ho gayaa
I am sorry
Khwaa-ma-khwaa mujh pe fidaa hogayaa
I am sorry

Haa aaaan
Teri nazron ne kiyaa
Mujh pe yoon kaalaa
haa…aan jaadoo oo
Aadmi se tu gadhaa ho gayaa
I am sorry
Aadmi se tu gadhaa ho gayaa
I am sorry
Aadmi se tu gadhaa ho gayaa
I am sorry

Tere chehre pe
?? huaa jaata hai
Tere chehre pe
?? huaa jaata hai
Jaise ke ghat ke diya
Jaise ke ghat ke diya
ho gaya
I am sorry
Jaise ke ghat ke diya ho gaya
I am sorry eee eeee

Tags: 1946, Rafi, Shamshad Begam, Sona Chaandi, Tufail Farooqui, Wali Sahab

Older Entries

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

Archive for the ‘Shamshad Begam Rafi duet’ Category

Zulfon waalon se na bhool ke bhi pyaar keejiye

Gadhon par baithh kar hum shahar ke chakkar lagaayenge

Ye phoolon ka mausam ye thhandee hawaayen

Jhoom jhoom kar bahaar naachey

Rang bhari holi aayi rang bhari holi

Jab teri nazar ke teer chaley

Ho lamba chauda jaat

Zindagi sanwar gayi mastiyon se bhar gayi

Aayi Mohan milan ki bela

Baithhe hain tere dar pe

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