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

Archive for the ‘Shamshad Begam Rafi duet’ Category


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

Blog Day :

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


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 :

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 ग

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


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 :

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


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 ( 97th 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


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

Blog Day :

4710 Post No. : 16416

———————————–————––—
Rafi Sahab’s Legendary Associations – 5
———————————–————––—
The fifth post in this series is taking care of 4 artists, who are majorly important and fruitful associations of first decade of Rafi Sahab’s career. First and foremost is the composer duo of Husnlal-Bhagatram who composed many melodious scores in late 40’s and early fifties. I counted 100 plus songs in the excel sheet of Rafi sahab’s songs, which are composed by Husnlal-Bhagatram. 45 of these are written by Qamar Jalalabadi. I found these 6 songs of this team’s duets sung by Mohammad Rafi and Shamshad Begum.

Song Movie (Year) Singer(s) MD Lyricist
Ladka Aur Ladki Mile Pyar Ka Gaana Chhoti Bhabhi(1950) Mohd Rafi, Shamshad Begum Husnlal Bhagatram Qamar Jalalabadi
Mere Dil Ko Jalaaya Na Karo Gauna(1950) Mohd Rafi, Shamshad Begum Husnlal Bhagatram Qamar Jalalabadi
Chod Diya Ghar Baar Rani Tere Liye Meena Bazaar(1950) Mohd Rafi, Shamshad Begum Husnlal Bhagatram Qamar Jalalabadi
Gori Bahon Mein Chudiyan Kaali Saja Lo Meena Bazaar(1950) Mohd Rafi, Shamshad Begum Husnlal Bhagatram Qamar Jalalabadi
Le Lo Ji Maharaja Dupatta Mera Saat Rang Ka Meena Bazaar(1950) Mohd Rafi, Shamshad Begum Husnlal Bhagatram Qamar Jalalabadi
Tera Mera Ho Gaya Prem Main Hun Saheb Tu Hai Mem Farmaaish(1953) Mohd Rafi, Shamshad Begum Husnlal Bhagatram Qamar Jalalabadi

As for pure duets of Rafi-Shamshad are concerned, I counted 150 in the list, out of which 94 are posted in the blog. There are many Punjabi films songs also in the 150 duets of Rafi-Shamshad. Apart from these there are many group songs of three or more singers, with these two stalwarts, who started the journey of duets right in 1946 and continued till late 60’s. There is no way I am not listing my favourite Rafi-Shamshad duets here.

Song Movie (Year) Singer(s) MD Lyricist
Solah Baras Ki Bhai Umariya Aag(1948) Mohd Rafi, Shamshad Begum Ram Ganguly Bahzad Lakhnavi
Mohabbat Mein Kise Maloom Tha Ye Din Bhi Aayega Paaras(1949) Mohd Rafi, Shamshad Begum Ghulam Mohammad Shakeel Badayuni
Bolo Ji Dil Loge-2 To Kya Kya Doge Patanga(1949) Mohd Rafi, Shamshad Begum C Ramachandra Rajendra Krishna
Leke Pehla Pehla Pyar Bharke Aankhon Men Khumaar C I D(1956) Mohd Rafi, Shamshad Begum O P Nayyar Majrooh Sultanpuri
Khat Khut Karti Chham Chhum Karti Gaadi Hamaari Mother India(1957) Mohd Rafi, Shamshad Begum Naushad Ali Shakeel Badayuni
Bheega Bheega Pyar Ka Sama Bata De Tujhe Jaana Sawan(1959) Mohd Rafi, Shamshad Begum Hans Raj Bahal Prem Dhawan

I found this song in the list credited to Pakeezah, but it is not available:

Song Movie (Year) Singer(s) MD Lyricist
Jayen To Kahan Jaaye Ab Tera Ye Deewana Hatkar (Unreleased) Pakeezah(1971) Mohd Rafi, Shamshad Begum Ghulam Mohammad Kaif Irfani

Guess what, there are exactly 151 songs in the list of Rafi sahab’s song where the lyricist is Qamar Jalalabadi. There seems to be perfect symmetry, here as I counted 151 for Rafi-Shamshad and 101 for rafi-Husnlal Bhagatram.

Here is the total tally of these artists in the blog so far:

Artist Songs posted in the blog Total songs
Husnlal-Bhagatram 296 451
Qamar Jalalabadi 393 721
Shamshad Begam 713 1273

** Shamshad Begam’s posted songs are not yet updated, after the recent 4-5 posts of her songs.

Coming to the song under discussion, it is from the film’Gauna’ 1950. A very sweet chhed-chhad genre song, very early 50ish. I had not head this song too like many of Husnlal-bhagatram’s songs, until a few days ago. I had to post a Rafi-Shamshad duet, and it is was a melodious one composed by HB, it was a double ‘sone pe suhaaga’.

Following songs of Gauna (1950) have been covered in the blog:-

Song Date of posting
Ban ban ke mit gayin hain taqdeer ki lakeeren 26 February 2012
Aaj kisi se ho gayin aankhen chaar chaar chaar 22 October 2016

The song reminded me of this famous song.

While seeing to the Rafi-Shamshad duets in the excel sheet, I could see a few, that I have written the post myself, but I have listed only the songs that are readily recognisable and are part of my old film songs listening memory. With only 94 songs posted so far in the blog, there are at least 40 such sweet/meloncholy/mischievious/romantic duets that remain to be posted. Enough for another series, if any one is of the mind. Arunkumar Deshmukh Sir, is fond of the older duets of these two singers as has posted a lion’s share of the last few such duets.

Lastly, I cannot stop listening to the duets of these two, whenever I reach one. Even unknown songs are like fresh fruit juice. The khanak in Shamshad Begum’s singing, and the soft smooth tones of Rafi Sahab, make for a delightful duet, always.

Mere dil ko jalaaya na karo – Gauna (1950)

Song-Mere dil ko jalaaya na karo (Gauna)(1950) Singers-Shamshad Begum, Mohammed Rafi, Lyrics-Qamar Jalalabadi, MD-Husnlal-Bhagatram

Lyrics

Mere dil ko jalaaya na karo o o
mere dil ko jalaaya na karo
mere sang bolte nahin een
na bolo
mere sang bolte nahin een
na bolo
meri gali mein bhi ee
meri gali mein bhi aaya na karo o
mere dil ko jalaaya na karo

haha
badi aayi gali wali
dekh liya ra’ub teraa
kar chuki sawaal gori
sun lo jawaab meraa
gali tere baap ki nahin een
baap ki nahin
ho mujhe ankhiyaan dikhaaya na karo o
o o
mujhe ankhiyaan dikhaaya na karo

mere dil ko jalaaya na karo o
mere dil ko jalaaya na karo

achha meri baat suno
tab tumhen jaanen
ek baat tum maano
ek ham maanen
gali mein to aao baabuji ee
aao baabuji
mere sapnon mein aaya na karo o o
mere sapnon mein aaya na karo
mere dil ko jalaaya na karo

waah waah khoob soojhi
main na qaaboo aaungaa
gali mein bhi aaungaa aa
sapnon mein bhi aaungaa
jise nahin saathh rakhnaa aa
saathh rakhnaa
usse apnaa banaaya na karo o
usse apnaa banaaya na karo

mere dil ko jalaaya na karo o o
mere dil ko jalaaya na karo


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 :

4423 Post No. : 15836

Today’s song is from the film Sarkar-1951. If this was the title from the times after year 2000, one would find this movie made on some Political subject. But the year was 1951, just 4 years after Independence.

When I was a young boy of about 8-9 years, like most others of my age, I too was very fond of reading stories of Kings and queens. As I grew up, slowly my interest in such stories waned. As I was exposed now to a bigger, wider and different world, my interests rested in many other subjects and after a few years, I totally started avoiding such stories.

Till 1947, there were 562 Princely states. After getting Independence,all these states were merged with India, but the kings retained their status as “Raj pramukh” or the Head of their states, albeit for namesake. Indira Gandhi abolished their Privy purses ( salaries) in 1971 and gradually the remaining status of these heads vanished completely. For thousands of years, Indians lived under some or the other Kings. No wonder their minds liked stories of Kings and Queens. This trait was precisely picked up by the filmmakers and they made films, practically in every Genre, woven around a kingdom or kings, queens and vaziers.

As the newer generation emerged from the Post-Independence period and became adults, they had neither any affinity nor interest in stories of Kings. Their world was wider and hence their film choices were different. By the end of the decade of the 60’s, films woven around kings, kingdoms etc stopped being made regularly.

Now films were made on a variety of topics and themes. The film Genres of Action/Stunt, Costumes and Folk tales became nearly extinct and their place was taken over by crime, horror, music, comedy, action by Spl FX etc etc. The older generation audience compromised with the new changes and started enjoying the new types of films, based on day-to-day topics, called New Wave or Parallel Cinema.

The senior generation of actors who were known for their typical acting in Monarchical films, like Sohrab Modi, Prithviraj Kapoor, Premnath, Ajit etc, either disappeared with time and age or changed their style of acting. In due course of time, the entire set of old actors was replaced by New Generation actors. This is the rule of Times. Almost every 15-20 years, the set of actors and others like singers, composers,directors etc get replaced and suitable people take over.

Today’s film is one of those films, which had a Monarchic story. It was produced by Ramniklal Shah, under his banner of Mohan Pictures, which used to make Action/Stunt, Costume and Mythological films. The film was directed by a veteran K.Amarnath (1-12-1914 to 14-5-1983), who had 34 films to his credit as a successful Director, from Matwali Jogan-36 to Voh din yaad karo-1971. He is known for well known films like Gaon ki gori-45, Mirza Sahibaan-47, Bazaar-49, Beqasoor-50, Bara Dari-55, Naya Andaz-56, Bada Bhai-57 etc etc.

Amarnath is also known for renaming Ajit ( from Hamid Ali Khan), for launching Saleem Khan (Salman khan’s father and one of the famous Saleem-Javed story writers), Sanjay Khan, Minoo Mumtaaz, and Helen. Noorjehan did her last film in India-Mirza Sahibaan, under his direction.. He directed 3 Tamil films also. ( information from his site k.amarnath.com with thanks.)

The 9 songs from the film were written by Qamar Jalalabadi (9) and Mulk Raj Bhakri (3). The music was by Pt. Gobind Ram. The cast included Veena, Ajit, Shashikala, Ulhas, Usha Kiran, Murad, Cuckoo and many others. The story of the film Sarkar-1951 was….

Vikram was head of a Gypsy Group and he had brought up Vijay as his own son. Vijay was so versed in the art of handling swords, that even Vikram was forced to bend down before the swordsmanship of Vijay. . Vijay was son of the king of Ram Nagar who was killed by the usurper, the present king-this secret told by Vikram to Vijay when they actually reached the skirts of Ram Nagar. Vijay was furious to take revenge but Vikram advised him to take every step cautiously.

One night Vijay stealthily entered the palace and reached near the garden where the princess was witnessing a Dance. Cupid did his trick and without Caring to know who is who-Vijay and Princess became one is Love. Vijay returned to his Camp but his heart was with Princess Bella, the daughter of Vikram, who was also in love with Vijay, noticed this change but could not understand it. . Again next night Vijay went to the palace but he could not find the princess in the garden, in search of her, he reached her bed room. Princess was surprised to find him there but more she was pleased to meet him. Now Vijay realised the blindness of his love – he had given his heart to none other than the princess herself but he had to tell l her with a solemn heart that he had come to take off the head of the King-to take revenge of his fathers opposed him, challenged him Vijay was determined, he proceeded.

The prime minister also noticed the steps of Vijay-he drew his sword there was a duel between Vijay and the Prime minister. Hearing the noise, the king got up and saw a stranger in the Palace. Vijay thought best to flee away and he did. The King was surprised and became enraged to see an enemy in the Palace and that too with the Princess. He inquired from her but she could not satisfy him. King gave orders for the execution of the Princess. . When Vijay reached the Camp-Vikram and Bela found him bleeding-they smelt the wound of Love in his heart and Vikram instructed Bela to have a watch over Vijay.

Vijay had no peace-he had to see the Princess-Bela allowed him to go but accompanied him. In the palace the Prime Minister had laid a plot-and the innocent lovers fell Victim. Vijay was arrested and thrashed into the dark cell where Sher Singh, loyal servant of the Late King, was locked up. They both came to know each other but were helpless. . Princess and Bela both tried to save Vijay from the execution- They secretly brought him out of the prison, but this was seen by the Prime Minister and he came to kill Vijay. Meanwhile the King too came there and the prime Minister killed the king and Vijay killed the prime Minister. Finally he and the princess get married and Vijay is crowned the king. All is well that ends well. [Source: Booklet]

The name AJIT evokes an image of a suited,Booted,suave,Corporate style Villain,who has a battery of assistants,typically named Michael,Robert,Peter and the like.He also carries a Black cat in his arms and moves with his moll, ‘Mona Darling’. This villain does not do any bad acts himself. He would mix with the Rich and the Famous,till a poor hero exposes him. One can also recall the flood of ” Ajit Jokes ” in the 80s and the 90s.

Ajit (Hamid Ali Khan) was born on 27-1-1922, in Shahjahanpur-UP. His father was the personal driver of Hyderabad Nizam. Ajit completed education,sold all his books and ran away to Bombay,to become a Hero. After doing some secondary roles in Shah e Misr, Sikandar, Aap Beeti, Hatimtai and Sone ki Chidiya, he became a Hero first time in film JANAMPATRI-1949, opposite Sudha Rao. While doing film Beqasoor-50, Director K.Amarnath gave him his new name AJIT. Till then he was Hamid in the credits,

When he became a hero, Raj, Dilip, Dev and Ashok kumar were in the First grade. Among the second grade were the heros like Karan Dewan, Suresh, Bharat Bhushan,or Shekhar. Ajit looked manly with his height and masculine figure. He worked in 195 films, out of which he was the Hero in about 40 films. He did maximum films -10- with Nalini Jayawant. He was so much accustomed to call her Nalini, that few times he called his own foreigner wife (an Ava Gardener look alike ) as Nalini and enraged by this, she gave him the divorce.
His other heroines were, Madhubala, Geeta Bali, Vanmala, Begum para, Rehana, Kamini Kaushal, Bina Rai, Veena, Jayashree, Nimmi, Meena Kumari etc.

From Mughal e Azam and Naya Daur, he started doing side roles. In Naya Daur, he matched Dilip kumar by all standards. He delivered dialogues like ‘ Rajput jaan se jaate hain, Vachan se Nahin (Mughal-e-Azam) and ‘ Dosti ke naam pe thook diya toone, voh bhi ek loundi ke khatir’ (Naya Daur) and the audience clapped !

From Suraj-1966 he turned a Villain and established his special brand of villainy. He modified and fine tuned the suave Pran’s style further,which became his trademark. Ajit acted in 195 films. Ajit died on 21-10-1998.

Here is what ” Independent” the London daily newspaper wrote in his obituary, on 27-10-1998-

” AJIT was Indian cinema’s most successful villain. Acting in over 200 films in a career which spanned nearly four decades, Ajit delivered his outrageously evil, double entendre one-liners with a deadpan face which inspired a genre of outlandish jokes and eventually made him into a national folk hero.

With his Clark Gable-style pencil moustache and imposing physique, Ajit gave a twist to villainy in Bollywood, India’s film capital city of Bombay. He ably portrayed the ruthlessly suave, archetypal thug constantly surrounded by an army of “heavies”. He was invariably accompanied by a vacuous moll named something like Silly Lilly or Mona Darling and a side-kick called Robert or Mike.

In one of his movies he nonchalantly confines the hero, already beaten to a pulp and chained to a dungeon wall, to a living hell by ordering him to be dipped into a drum full of liquid oxygen. “The liquid will not let him live and the oxygen will not let him die,” he cries. In another film he tells Mona Darling, “The password is `Legs’. Spread the word.”

Ajit’s dialogues were a hilarious mix of Hindi and pidgin English which captured the public’s imagination and led to hundreds of Ajit jokes that are still in circulation today. In one such quip Ajit is asked by his sidekick Peter to suggest a name for his newly born son. “Call him Re Peter,” comes the unblinking response. Ajit himself was vastly entertained by these jokes, which continued long after his retirement from films in the early Nineties. “I used to download them from the Internet and read them to him and he would laugh heartily,” said his son Zahid Ali Khan. ”

Today’s duet is by Mohd. Rafi and Shamshad Begum. It is a good song.


Song-Main maali ka chhokra (Sarkaar) (1951) Singers-Rafi, Shamshad Begam, Lyrics-Qamar Jalalabadi, MD-Pt Govindram

Lyrics

Main maali ka chhokra
hoy main maali ka chhokra
mera baag hai jamuna paar paar
mera baag hai jamuna paar
ho mera baag hai jamuna paar paar
mera baag hai jamuna paar
hoy tararararararara hoy
hoy main kisaan ki chhokri
hoy main kisaan ki chhokri
mera khet hai ganga paar paar
mera khet hai ganga paar
mera khet hai ganga paar paar
mera khet hai ganga paar

lelo kela aur naarangi
le lo laal anaar
baabu le lo laal anaar
jo bhi khaaye anaar hamaara
chadhe na usko bukhaar
jo bhi khaaye anaar hamaara
chadhe na usko bukhaar
do do aane
do do aane
do do aane
do do aane
le lo laal anaar yaar
mera baag hai jamuna paar
hoy main maali ka chhokra
mera baag hai jamuna paar paar
mera baag hai jamuna paar
hoy
hoy
teri anaar ??
sasti aur mazedaar
lelo sasti aur mazedaar
aao logon le lo isko
ik paise ki chaar
aao logon le lo isko
ik paise ki chaar
ik paise ki chaar chaar
mera khet hai ganga paar
hoy main kisaan ki chhokri
mera khet hai ganga paar paar
mera khet hai ganga paar

arre suno suno suno suno suno
Amritsar ke lo kharboooje
Kaashi ke amrood
bhaiyya Kaashi ke amrood
Poone ki mausambi le lo
wo bhi hai mauzood
Poone ki mausambi le lo
wo bhi hai mauzood
aur Kaashmeer ke seb khareedo
ek rupaye ke chaar
Kaashmeer ke seb khareedo
ek rupaye ke chaar
ek rupaye ke chaar chaar
mera baag hai jamuna paar
hoy main maali ka chhokra
mera baag hai jamuna paar paar
mera baag hai jamuna paar
hoy dekho dekho dekho dekho dekho
khet hai iska kitna maghanga
saste ka ye khaana
mere saste ka ye khaana
Changu khaaye
Mangu khaaye
khaaye boodhha naana
aur Mangla khaaye
Bindiya khaaye
khaaye sabhi zamaana
ek ek aana
ek ek aana
le lo ek ek aana
ek ek aana
ek ek aana
le lo ek ek aana
ek ek aana
ek ek aana
ek ek aana
ek ek aana
hurr
haa


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Blog Day :

4396 Post No. : 15771

Today is 31 july 2020. It is the 40th anniversary of the passing away of Mohammad Rafi ( 24 december 1924-31 july 1980) as all HFM lovers are only too aware. 31 july 1980 is a day which is still fresh in the minds of music lovers who were around at that time.

31 july 1880, a date exactly 100 years prior to 31 july 1980 was also an important day. It was on this day that Dhanpat Rai was born, who would later be known as Munshi Premchand (31 july 1880-8 october 1936), one of the most influential Urdu-Hindi author in modern Indian literature.

I have covered Munshi Premchand a few times in this blog. When one reads his creations, one is astonished at his vision, and his progressiveness. He was far ahead of the times in which he lived. He championed the cause of women empowerment, human rights and even animal rights at a time when these causes had not even become fashionable.

Munshi Premchand is considered an Urdu-Hindi literateur, but he was much more than just that. He was conversant in English as well. He was very well read in foreign literature. Translating foreign classics into Urdu and Hindi was one of his passions that has not received much attention from those who have studied him.

Munshi Premchand not only championed noble causes, he also practiced what he preached. After he separated from his first wife (with whom he was married as a child, in accordance with the then prevailing social practice), he married a widow, which was quite a revolutionary act those days.

Premchand began his career as a writer in Gorakhpur. Gorakhpur turned out to be the place where he was at his most creative. Gorakhpur was also the place where he spent the happiest days of his life (1916-1921). He was leading a contented life in Gorakhpur as a government school teacher (Assistant Master at Norman High School, Gorakhpur) when he listened to the speech of Mahatma Gandhi on 8 february 1921, where Gandhi Ji exhorted Indians to give up government jobs as part of non-cooperation movement. Munshi Premchand acted on this call and resigned from his job (he has received a promotion while at Gorakhpur and had become Deputy Inspector of Schools). With the consent of his wife, he resigned from his government job. Rest of his life was largely a struggle to make both ends meet. All that did not affect the quality of his penmanship.

Premchand briefly dabbled in the then new art form of Talkies. But he failed to adjust to the ways of the movies and went back to his first love, viz writing.

Many of his writings later went on to be made into films (Hindi as well as other languages). I have discussed ‘Do Bailon Ki Katha’ (which was made into ‘Heera Moti’ (1958) in the past. I have also discussed ‘Idgaah’. ‘Gaban’ is another of his novel that has been made into a movie.

It was in 1924 that Munshi Premchand wrote ‘Rangbhoomi’. It is the story of a blind beggar called Surdas. This story was made into a Hindi movie in 1946. This movie ‘Rangbhoomi’ (1946) was produced and directed by Mohan Bhavnani for Bhavnani Productions, Bombay. The movie had KN Singh, Nigar Sultana, Jagdish Sethi, Sulochana Chatterjee, Maqbul, Navin Yagnik, Gope etc.

To pay tribute to both Munshi Premhand and Md Rafi, here is a song from ‘Rangbhoomi’ (1946). This song is a multiple part song. Part I is sung by Rafi and chorus, while part II is sung by Rafi, Sahmshad Begam and chorus. Pt Phaani is the lyricist. Music is composed by Premnath (music director).

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

Audio (Both parts)

Song-Kadam suye manzil badhaaye chala chal (Rangbhoomi)(1946) Singers-Rafi, Shamshad Begam, Lyrics-Pt Phaani, MD-Premnath (MD)
Male chorus
Female chorus
All chorus

Lyrics

———————–
Part I
———————–

kadam suye manzil badhaaye chala chal
kadam suye manzil badhaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal
kadam suye manzil badhaaye chala chal
kadam suye manzil badhaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal

teri raah tedhi
teri door manzil
teri raah tedhi
teri door manzil
museebat nayi
har kadam se mukaabil
museebat nayi
har kadam se mukaabil
pahaadon ko dhhaa dega himmat bhara dil
himmat bhara dil
pahaadon ko dhhaa dega himmat bhara dil
himmat bhara dil
tu har khauf isse mitaaye chala chal
tu har khauf isse mitaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal
Kadam suye manzil badhaaye chala chal
Kadam suye manzil badhaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal

chale na chale saath tere zamaana
chale na chale saath tere zamaana
sune na sune koi tera taraana
chale na chale saath tere zamaana
sune na sune koi tera taraana
rahe kaafilaa tera hardam rawaana
hardam rawaana
rahe kaafilaa tera hardam rawaana
tu duniya ko rasta dikhaaye chala chal
tu duniya ko rasta dikhaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal
Kadam suye manzil badhaaye chala chal
Kadam suye manzil badhaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal

—————————
Part II
—————————

chale na chale saath tere zamaana
chale na chale saath tere zamaana
sune na sune koi tera taraana
chale na chale saath tere zamaana
sune na sune koi tera taraana
rahe kaafilaa tera lekin rawaana
rahe kaafilaa tera lekin rawaana

tu duniya ko rasta dikhaaye chala chal
tu duniya ko rasta dikhaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal
Kadam suye manzil badhaaye chala chal
Kadam suye manzil badhaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal

sun ae naujawaan
sun ae naujawaan
tujhko jhukna nahin hai
sun ae naujawaan
tujhko jhukna nahin hai
unhen chhod de jinke ghutna nahin hai
unhen chhod de jinke ghutna nahin hai
tujhe raaste bhar mein rukna nahin hai
tujhe raaste bhar mein rukna nahin hai

tu kaandhe se kaandha milaaye chala chal
tu kaandhe se kaandha milaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal
Kadam suye manzil badhaaye chala chal
Kadam suye manzil badhaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal

tu aage badhe usko peechhe hataa de
peechhe hataa de
jo roke use thokaron se uda de
thokaron se uda de
khuda se jo kehta hai use tu kar ke dikha de
tu kar ke dikha de
tu har waar seene pe khaaye chala chal
tu har waar seene pe khaaye chala chal
tu har waar seene pe khaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal
Kadam suye manzil badhaaye chala chal
Kadam suye manzil badhaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal


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Blog Day :

4390 Post No. : 15753

“Laxmi Pooja”(1957) was produced and directed by Jayant Desai for Hemlata Pictures, Bombay. This “bhakti pradhan” (devotional) movie had Nirupa Roy, shahu Modak, Jeewan, Niranjan sharma, Anand Kumar, Babu Raje, Praveen Pal, Indira, Manju, Shree Bhagwan, Sukumar, Rajrani etc in it, with Minu Mumtaz in guest appearance.

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

Here is the second song from “Laxmi Pooja”(1957) to appear in the past. The song is sung by Shamshad Begam and Rafi. The song is penned by Bharat Vyas. Music is composed by Chitragupta.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the “remonstrating with the Almighty” genre of song.


Song-Itni si meri hai pukaar prabhu (Laxmi Pooja)(1957) Singers-Shamshad Begam, Rafi, Lyrica-Bharat Vyas, MD-Chitragupta

Lyrics

itni si meri hai pukaar prabhu
itna sa mera kehna
bhagwaan tere bhakton ko jagat mein
padta hai dukh sahna aa aa
itni si meri hai pukaar
sukh dukh se bhara sansaar
yahaan sab hanste huye sahna
jis haal mein raakhe gopal humen
usmein hi magan rehna aa aa
sukh dukh se bhara sansaar

dekh muraari tera pujaari
haare kahin na baazi
dekh muraari tera pujaari
haare kahin na baazi
jismein hai raazi maalik hamaara aa aa
jismein hai raazi maalik hamaara
hum sab usi mein raazi
humen kiska hai darr
humne to teri bhakti ka mukut pahna aa
jis haal mein raakhe gopal
humen usmein hi magan rahna aa aa
sukh dukh se bhara sansaar

duniya ke daata
o re vidhaata
tera vidhaan anoothha
aisa hamaare man ko laga re
tu aaj humse roothha

tera bharosa bhagwan agar kahin satiyon ke man se toota
pooja karega na koi teri
tu jag mein padega jhoothha
aaj koi abla ke bhaag ka
loot raha gehna
jis haal mein raakhe gopal
humen usmein hi magan rahna

bhagwaan tere bhakton ko jagat mein
padta hai dukh sehna


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 :

4380 Post No. : 15726

“Chandi Pooja”(1957) was produced by Dinu M Desai and directed by Raman B Desai for New Precious Pictures, Bombay. The movie had Nirupa Roy, Manhar Desai, Prem Adib, Shanta Apte, Malay Sarkar, Sapru, Pandey, Sangeeta, Narbada Shankar, Hansraj, Sudhir, Moni Chatterjee etc in it.

The movie had eight songs in it. Three songs have been covered in the past.

Here is the fourth song from “Chandi Pooja”(1957) to appear in the blog. The song is sung by Shamshad Begam and Rafi. Kavi Pradeep is the lyricist. Music is composed by Ajit Merchant. In this movie, all other songs were solos, and this song is the only duet song. Only the audio of the son is available. I request our knowledgeable readers to throw light on the picturisation of the song. My guess is that it was picturised on the lead pair of Nirupa Roy and Manhar Desai.


Song-Ae jee o jee kaho (Chandi Puja)(1957) Singers-Shamshad Begam, Rafi, Lyrics-Kavi Pradeep, MD-Ajit Merchant

Lyrics

ae ji o
ji kaho
badi aaj ki daraawni hai raat
zara jaagte rehna
ae ji o
ji kaho
badi beimaan hai ye barsaat
zara bach ke rehna

aisa mat bolo ji
laage mohe darr
darr jo lage to gori aa jaao idhar
aisa mat bolo ji
laage mohe darr
arre darr jo lage to gori aa jaao idhar
tumhen kya khabar
badi door mera ghar
main hoon tere paas gori
phir kya fikar

ae ji o
ji kaho
kahin ho na jaaye aisi waisi baat
zara jaagte rehna
badi beimaan hai ye barsaat
zara bach ke rehna

aaj ki ye raat gori badi hai kathor
hamko bata do ji kab hogi bhor
aaj ki ye raat gori badi hai kathor
hamko bata do ji kab hogi bhor
gori tera dil hua kaahe kamzor
suna hai ke rehta hai yahaan ek chor
ae ji o
ji kaho
badi buri hoti chor ki zaat
zara bach ke rehna

badi aaj ki daraawni hai raat
zara jaagte rehna

kaale kale ghan dekho banen dushman
bade dhokhebaaz hain ye loot lete man
kaale kale ghan dekho banen dushman
bade dhokhebaaz hain ye loot lete man
koi to upaai karo kuchh to jatan
arre iske liye dena hoga pyaar ka vachan
ae ji o
ji kaho
dekho chhod na dena mera saath
zara jaagte rehna


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Blog Day :

4374 Post No. : 15715

“Apni Chhaaya”(1950) was directed by P L Santoshi for C R Productions. The movie had Cuckoo, Mumtaz Ali, Tiwari, Kanta Kumari, Balwant Singh, Sulochana Chatterji, Jawahar Kaul, Ramsingh, Mona, Sajjan, Dulari, Radha Krishnan etc in it.

“Apni Chhaaya”(1950) had ten songs in it. Three songs have been covered in the past.

Here is the fourth song from the movie. This song is sung by Shamshad Begam and Rafi. P L Santoshi is the lyricist. The movie had Husnlal Bhagatram and Hanuman Prasad as the music directors. Music of this song is composed by Hanuman Prasad.

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


Song-Khushi ki ye ghadiyaaan mubaarak mubaarak(Apni Chhaaya)(1950) Shamshad Begam, Rafi, Lyrics-P L Santoshi, MD-Hanuman Prasad Sharma

Lyrics

ye khushi ki ghadiyaan aan
mubaarak mubaarak
mubaarak mubaarak a a a k

khushi ki ye ghadiyaan
mubaarak mubaarak
khushi ki ye ghadiyaan
mubaarak mubaarak
khushi ki ye ye
khushi ki ye o
khushi ki ye ghadiyaan
mubaarak mubaarak

aa aa aa
huye door baadal l l l l
ghire thhe ae jo gham ke ae ae ae ae

zara dekhoon to
ghire thhe jo gham ke ae
nayi hasraton ke ae
sitaare hain chamke
aa haa
sitaare hain chamke
sitaare hain chamke

ye luta di hai sabne ye moti ki ladiyaan
luta di hai sabne ye moti ki ladiyaan
ye moti ki ladiyaan

ye moti ki ladiyaan
ye moti ki ladiyaan
ye moti ki ladiyaan
khushi ki ye ghadiyaan mubaarak mubaarak
khushi ki ye ghadiyaan mubaarak mubaarak
khushi ki ye ae
khushi ki ye o
khushi ki ye ghadiyaan mubaarak mubaarak

aa aa aa aa
aa aa aa
rahe ganga jamuna mein aen aen
jab tak ye paani ee ee

jab tak ye paani
rahe har jubaan par
tumhaari kahaani
tumhaari kahaani
tumhaari kahaani

ye sunaayegi bulbul
sune gul o kaliyaan
sunaayegi bulbul
sune gul o kaliyaan
sune gul o kaliyaan

sune gul o kaliyaan
sune gul o kaliyaan
sune gul o kaliyaan
khushi ki ye ghadiyaan mubaarak mubaarak
khushi ki ye ghadiyaan mubaarak mubaarak
khushi ki ye ae
khushi ki ye o
khushi ki ye ghadiyaan mubaarak mubaarak
khushi ki ye ghadiyaan mubaarak mubaarak


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over FOURTEEN years. This blog has over 17400 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2023) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

17401

Number of movies covered in the blog

Movies with all their songs covered =1341
Total Number of movies covered=4685

Total visits so far

  • 15,633,465 hits

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Historical dates

Blog Start date: 19 july 2008

Active for more than 5000 days.

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