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

Archive for the ‘Expecting the beloved’ Category


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 : 3972 Post No. : 15057

Yesterday (2 june 2019) was Sunday. I for some reason thought that there was lots of time available with me and so I would do things that I had not done for ages. Sunday morning is the day when DD national presents ‘Rangoli’.

I used to be a regular watcher of this programme when I was based at Bilaspur. That was four to seven years ago. I have rarely watched this programme since.

On this ‘Rangoli’ programme on 2 june 2019, This presenter announced that the programme would have songs dealing with nature. I found that most songs were from 1990s from movies such as ‘Roja’ etc, with a couple of songs from 1960s. There was no value addition from the anchor on these songs while discussing the songs. May be I was expecting her too keep us enthralled like an Ameen Sayani or Nalin Shah. But then those days and those knowledgeable presenter have become rare to find. We should at least be thankful that Vividh Bharti still has good presenters with knowledge as well as passion for old songs.

I then thought that instead of finding fault in the presentation of ‘Rangoli’, I should look in the mirror. Even my articles in the blog has become routine. It is time to bring some zing and enthusiasm in my writeups.

Just as the ‘Rangoli’ programme covered mainly songs from 1990s, I too noted down the lyrics of some songs from 1990s. Somehow those songs of 1990s did not bring the same “kuchh kuchh hota hai” feeling in me. I decided to randomly pick a song from 1960s. This random picking gave me a song from ‘Phool Bane Angaarey’ (1963).

‘Phool Bane Angaarey’ (1963) was directed by Suraj Prakash for Asiatic Arts Productions Bombay. This movie had Mala Sinha, Raj Kumar, Johny Walker, Aashish Kumar, Shammi, Mumtaz Begam, Mukri, Nasreen, Tuntun, Sarita Devi, Laxmi, Leela Mishra, Chaman Puri, Ravikant, Mansaram, Bhalla etc in it.

The movie has six songs in it. Three of the most popular songs from the movie have been covered in the past.

The song under discussion, that I picked by lottery, is one that I had never heard before. But when I listened to this song, I quickly realised that my hunch about the difference in quality of songs between golden era songs and songs of 1990s was not misplaced. This forgotten and less heard song from 1960s sounded so sweet and lovely. And I had never heard this song before !

This song is sung by Lata. Anand Bakshi is the lyricist. Music is composed by Kalyanji Anandji.

It was one of the earlier songs penned by Anand Bakshi in his career. This song came in the era when classy lyrics were being written by several established lyricists. So Anand Bakshi, in a bid to make his mark among such talented lyricists came up with this gem of a song. It is ironic that many of his lesser quality songs are better known than this song.

Even the music director duo were relatively new on the scene. And in this song they have tried to create a Salil Chaudhary like effect. The song and its picturisation is reminiscent of Salil Chaudhary compositions of those years.

The song is picturised on Mala Sinha.

Yesterday (2 June 2019) gave me a feeling that I failed to utilise it to the full. Nevertheless, I noted down the lyrics of some songs from 1990s, that I will discuss next.


Song-Sambhal to le dil deewaana (Phool Bane Angaarey)(1963) Singer-Lata, Lyrics-Anand Bakshi, MD-Kalyanji Anandji

Lyrics (Provided by Prakashchandra)

dil deewaana
zara
thehar
jaana

sambhal to le dil deewaana
zara thehar jaana aa
sambhal to le dil deewaana
zara thehar jaana
abhi na saamne aana
zara thehar jaana
sambhal to le

main guzri umr ko waapas zara pukaar to loon
main apne aap ko thhoda bahut sanwaar to loon
libaas gham ka nigaahon se main utaar to loon
samaa to ho le suhaana zara thahar jaana
abhi na saamne aana
zara thehar jaana
sambhal to le

khushi bhi itni achaanak main seh na paaungi
main apne aap mein bas aaj reh na paaungi
jo tum se kehna hai mujhko
wo keh na paaungi
main yaad kar loon fasaana
zara thehar jaana
abhi na saamne aana
zara thehar jaana
sambhal to le

sataane waale
tumhen main bhi thhoda tadpaaun
talaash karte phiro tum mujhe
main chhup jaaun
hazaar kehne pe bhi saamne na main aaun
banaa loon koi bahaana
zara thehar jaana
abhi na saamne aana
zara thehar jaana

sambhal to le dil deewaana
zara thehar jaana
sambhal to le

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

दिल दीवाना
ज़रा
ठहर
जाना

संभल तो ले दिल दीवाना
ज़रा ठहर जाना
संभल तो ले दिल दीवाना
ज़रा ठहर जाना
अभी ना सामने आना
ज़रा ठहर जाना
संभल तो ले

मैं गुज़री उम्र को वापस ज़रा पुकार तो लूँ
मैं अपने आप को थोड़ा बहुत संवार तो लूँ
लिबास ग़म का निगाहों से मैं उतार तो लूँ
समा तो हो ले सुहाना ज़रा ठहर जाना
अभी ना सामने आना
ज़रा ठहर जाना
संभल तो ले

खुशी भी इतनी अचानक मैं सह ना पाऊँगी
मन अपने आप में बस आज रह ना पाऊँगी
जो तुमसे कहना है मुझको
वो कह ना पाऊँगी
मैं याद कर लूँ फसाना ज़रा ठहर जाना
अभी ना सामने आना
ज़रा ठहर जाना
संभल तो ले

सताने वाले तुम्हें भी थोड़ा तड़पाऊँ
तलाश करते फिरो तुम मुझे
मैं छुप जाऊँ
हज़ार कहने पे भी सामने ना मैं आऊँ
बना लूँ कोई बाहाना ज़रा ठहर जाना
अभी ना सामने आना
ज़रा ठहर जाना
संभल तो ले

संभल तो ले दिल दीवाना
ज़रा ठहर जाना
संभल तो ले

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

Blog Day : 3963 Post No. : 15044

Songs Repeated in Hindi Films – 1
– – – – – – – – – – – – – – – – – –

Reading the title of the post, you must be wondering – “ये क्या हो रहा है?” (“What is this going on?”). This song – who says this song is not yet posted. Goodness, this film is yippeee’d long back. So why are we re-posting this song? Sudhir seems to have taken up certain vice (or vices) with unlikeable after effects. 😀 😀

Well, no and yes. No – I have not taken up any such vices 🙂 that may impair my abilities to make decisions about posting songs. And yes – this song, from film ‘Madhumati’ of 1958, is already posted here on our blog. The film ‘Madhumati’ made its debut here on 1st May, 2009. The eleven songs of this film made their appearances over the subsequent four plus years, and film was yippeee’d on 4th Jul, 2013. This song originally appeared on 3rd May, 2009. ‘Madhumati’ is a done deal.

Of course your question still remains – “ये क्या हो रहा है?”. The answer to that follows.

I will try to make the long story short. Beginning of this month, Bakshi ji and I were in Bombay, to attend the annual two day seminar titled ‘Cine Music Beyond Entertainment’, which is arranged by our friend Shri Kushal Gopalka, every year. In one of the post session discussions, I came to know about a very interesting anecdote. The session was on the life and work of music director Vasant Desai.

The anecdote is about the 1971 film ‘Guddi’. The Geet Kosh lists three songs for this film,

The first two songs are penned by Gulzar. The third is a traditional bhajan, written by Meerabai, one of the greatest saints of the Bhakti Movement in India, which originated in India in the eighth century AD. Meerabai, who belonged to the royal family of Mewar (in Rajasthan) spent her time here on this sub continent, in the fifteenth century AD. Music for these three songs is composed by Vasant Desai. All three songs are in the voice of Vani Jairam. When the film released in theaters, it had only these three songs in it.

Now, one of the supervisory activities that the producer and distributor staff undertake, especially in the first one or two weeks of the film exhibition, is that they go to select cinema halls where the film is being shown. They will be present in the hall as the film is being shown, and they will also mingle with the crowd during intermission and at the end of the film. The objective is to pick up and gather live feedback about the film from the audience. It helps them to make some choices and educated decisions about the future exhibition plans.

One thing that happened during this exercise was that the team gathered feedback that sounded negative. One part was the use of only one playback voice, and that too a very fresh debut. Plus the overall summary of live audience feedback sounded disheartening and negative. Immediate discussions happened involving Hrishikesh Mukherji, the producers (Rupam Chitra) and the distributors. One recommendation that came out of these discussions was to somehow modify the mix of songs in the film. It was felt that the bhajan song (of Meerabai) should go. What should replace it? How to create a new song for the film at a short notice? Please note that this description of events is for the very first one or two days after the release of the film.

One of the recommendations from the distributors was to include another song, preferably by Lata Mangeshkar. After quick discussions, it was decided to re-use the song of ‘Madhumati’. I really wonder how fast the decision and action taken process worked. Approvals were sought and taken – Bimal Roy’s estate, Salil Chowdhury et al. The team was reassembled, and the song was picturised. Apparently, the Meera bhajan was in the same setting in the film. At the party, Jaya Bhaduri is performing the Bhajan by Meerabai – “Hari Bin Kaise Jiyun Ri” – an expression of her waiting for Samit to come to the party. This song from ‘Madhumati’ fitted the emotional-expression criteria to the T.

The song was picturzed, it was edited into the film, replacing the bhajan, the censor certificate for revision to the film was applied for and taken. Multiple copies of the revised reel of the film was quickly processed and produced on emergency basis, and distributed to the theatres for immediate change to the film being shown. How fast this whole process worked – one may gauge the speed and success of this whole exercise from the fact that the revision appeared in the theatres before the first week of exhibition was complete, i.e. within the first 5 or 6 days only.

Now, interestingly, Vasant Desai was away from Bombay at that time. Important point to note is that this whole decision making and replacement process happened without the involvement of Vasant Desai, the music director.

Possibly many of our learned friends in this musical bandwagon may already be aware of this. I was not, so this was a startling discovery for me. I must add hurriedly that yes, I have seen this films, possibly more than once, but somehow I do not carry any memory of this song being present in this film.

The booklets of the film do not contain this song. And hence, the Geet Kosh also does not list this song. This song does not appear on the EPs/LPs of this film. This song has no other status in relation to this film, except that yes, it is included in the film. The credits at the beginning of the film remain unchanged. Vani Jairam is the only playback voice, and Vasant Desai is the sole music director. And so, the video of this song is the only evidence that this song is present in the film.

A very, very interesting episode. For me, it brought into very sharp focus, an idea that songs from earlier films are at times, re-used in later films. Before this discussion happened in Bombay, I was aware of one or two such instances. They were just interesting trivia in the mind. After this discussion highlighted this activity so sharply, an idea started to form in my mind. I started to search for more such instances. I searched through my own memory, I researched the remarks and footnotes in the Geet Kosh, and I discussed this with friends and collectors in our group and in my circle, trying to gather more information about such re-use of songs. And when I am able to gather a sizeable list, the thought came to the mind – this is a new series to discuss this very interesting facet of the Hindi film music.

As I am gathering information about such instances, I also became aware af the various modes of re-use. Yes, the re-use happens not only just ‘as is’, but there even are further variations on how this re-use may occur. As we proceed with the series, I will be highlighting and discussing these different re-use ‘styles’. It does make for a very interesting discussion.

And so, here is the first offering of this series. The song from ‘Madhumati’ of 1958 is re-used – as is, ditto, no change – 13 years later in ‘Guddi’ of 1971. Ah, I must correct myself. One change does happen. The original song in ‘Madhumati’ has three stanzas. The re-use version in ‘Guddi’ has only two stanzas. The first stanza of the ‘Madhumati’ version is left out.

This is the very first re-use ‘style’ – the song has been directly used and copied as is. No alterations, no additions, no other changes. Just get approvals, and simply insert the earlier song, as it fits into the storyline. This is the simplest form of re-use. I will be presenting more such instances moving forward.

So view this associated video clip, and listen to the original recording of this song, now being lip synced by Jaya Bhaduri. The scenario is so utterly different. The original setting in ‘Madhumati’ is mountains, forests, river and waterfall. The entire natural surroundings seem to be participating in the earlier picturization of the song. In this later ‘Guddi’ incarnation, this is just a song being sung at a party. The performer, very naturally, is just standing still, as the audience simply watches and waits for the song as it progresses. Absolutely minimal activity and movement in this scene.

Besides Jaya, we can also see Sumita Sanyal, Utpal Dutt and Vijay Sharma in the clip, as family members watching the impromptu performance. Samit Bhanj, for whose benefit and in whose wait, this song is being performed, is seen arriving at the party, just as the song gets started, and he thoughtfully waits just outside the entrance to the room, listening to the song being performed. Amongst the guests at the party, there are many familiar faces – of junior artists that are part of such scenes in films. But their names remain obscure.

Before I close this write-up, another very interesting aside. The film ‘Guddi’ has already been yippeee’d on our blog, as of 20th March, 2013. That is, as per the Geet Kosh list of songs. But now, we have one more additional song from this film. A repeat, but nonetheless another song that is part of this film, performed by the actor(s) in this film. Another cateogry called for – ‘yippeee+‘ – finding more songs in a film that are officially listed for the film. 😀 😀 I am sure there are more than one such instances earlier also, when songs for certain films have been posted that do not appear in the official list of songs.

So. . . starting this interesting journey of repeat songs in Hindi films. I hope this thread will interest you.

Song – Aaja Re Pardesi Main To Kab Se Khadi Is Paar  (Guddi) (1971) Singers – Lata Mangeshkar, Lyrics – Shailendra, MD – Salil Chaudhry

Lyrics

aa jaa re. . . ae ae ae
pardesi

main to kab se khadi is paar
ye ankhiyaan thak gayin panth nihaar
aa jaa re. . . ae ae ae
pardesi
main to kab se khadi is paar
ye ankhiyaan thak gayin panth nihaar
aa jaa re. . .  pardesi

tum sang janam janam ke phere
bhool gaye kyun saajan mere
tum sang janam janam ke phere
bhool gaye kyun saajan mere
tadpat hoon main saanjh sawere oo oo
aa jaa re main to kab se khadi is paar
ye ankhiyaan thak gayin panth nihaar
aa jaa re. . . ae ae ae
pardesi

main nadiya phir bhi main pyaasi
bhed ye gehra baat zara si
main nadiya phir bhi main pyaasi
bhed ye gehra baat zara si
bin tere har saans udaasi oo oo
aa jaa re main to kab se khadi is paar
ye ankhiyaan thak gayin panth nihaar
aa jaa re. . . ae ae ae
pardesi

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

आ जा रे॰ ॰ ॰ ए ए ए
परदेसी

मैं तो कब से खड़ी इस पार
ये अखियाँ थक गईं पंथ निहार
आ जा रे॰ ॰ ॰ ए ए ए
परदेसी
मैं तो कब से खड़ी इस पार
ये अखियाँ थक गईं पंथ निहार
आ जा रे॰ ॰ ॰ ए ए ए
परदेसी

तुम संग जनम जनम के फेरे
भूल गए क्यों साजन मेरे
तुम संग जनम जनम के फेरे
भूल गए क्यों साजन मेरे
तड़पत हूँ मैं साँझ सवेरे ओ ओ
आ जा रे मैं तो कब से खड़ी इस पार
ये अखियाँ थक गईं पंथ निहार
आ जा रे॰ ॰ ॰ ए ए ए
परदेसी

मैं नदिया फिर भी मैं प्यासी
भेद ये गहरा बात ज़रा सी
मैं नदिया फिर भी मैं प्यासी
भेद ये गहरा बात ज़रा सी
बिन तेरे हर सांस उदासी
आ जा रे मैं तो कब से खड़ी इस पार
ये अखियाँ थक गईं पंथ निहार
आ जा रे॰ ॰ ॰ ए ए ए
परदेसी


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

Blog Day : 3727 Post No. : 14668

ये किसने गीत छेड़ा॰ ॰ ॰

There is always a freshness – a freshness as fresh as the cool early morning breeze. Pick up any film, and you will find this freshness wash all over you, as the music and the songs of that film play. Be it “Nadiya Kinaare Heraaye Aayi Kangna”, or “Naina Diwaane, Ik Nahin Maanen”, or “Thandi Hawaayen, Lehra Ke Aayen”, or “Ye Raat Ye Chandani Phir Kahaan”, or “Phaili Huyin Hain Sapnon Ki Baahen”, or “O Nigaahen Mastaana”, or “Mehfil Mein Aaye Wo Aaj Dheere Se”, or “Khoya Khoya Chaand”, or “Dil Ka Bhanwar Kare Pukaar”, or “Haule-Haule Jiya Dole”, or “O Mere Bairaagi Bhanwra”, or “Megha Chhaaye Aadhi Raat”, or “Sun Ree Pawan, Pawan Purvaiya”, or “Sandhyaa Jo Aaye Mann Ud Jaaye”. . . the list seems to be endless.

Other authors have written about this; this and the daily routine of his morning walk – creating the rhythm with snapping of his fingers, and humming the melody softly in his breaths. That is where most of his masterpieces have come from – plucked out of the cool and fresh morning breeze during his morning walks. One can almost feel as if he saw the peacock when he contemplated on “Mann Mor Hua Matwaala. . .”. And one can feel the whiff of cold breeze in “Thandi Hawa Ka Shor Hai. . .” as the stanza lines of “Chupke Se Miley Pyaase Pyaase. . .”. Maybe it was an encounter with a dreamy eyed young lady that brought to life “Yaad Aa Gayin Wo Nasheeli Nigaahen. . .”. Or that the “Khoya Khoya Chaand. . .” melody came about on a day when the moon was still visible in the early morning gray skies. Conjectures all, but surely, the music came with the early morning breeze.

One also wonders where the eternity of melancholy came to him – “Pyaar Ne Kitne Sapne Dekhe. . .”, “Dukhi Mann Mere. . .”, “Bharam Teri Wafaaon Ka. . .”, “Badi Sooni Sooni Hai. . .”, “Jaane Wo Kaise Log The. . .”, “Jaayen To Jaayen Kahaan. . .”, “Saathi Na Koi Manzil. . .”, “1 . .”, “Tum Mujhse Door Chale Jaana Na. . .” – and many more. Maybe so, that these compositions simply cannot be believed to exist outside of Sachin Da’s regime.

Celebrating the anniversary of his birth today (1st October), I present this completely forgotten and unknown piece of music that is a very short song that plays when the credits of the film ‘Tere Mere Sapne’ (1971) are rolling on the screen. Practically all the songs that Sachin Da has sung for the screen, have all been accounted for on our blog. But not this one.

The unmistakable folk flavor, that is Sachin Da’s favourite genre, is present predominantly in this music piece. As the prelude of this music plays on, one is struck by how the maestro has melded the music with the sounds of machinery and the hammering sound of the miner’s picks and axes. Really remarkable.

ये किसने गीत छेड़ा
दिल मेरा नाचे थिरक थिरक॰ ॰ ॰

ये किसने गीत छेड़ा

 

Song – Phulwa Mangaao Zara Angna Sajaao Gori (Tere Mere Sapne) (1971) Singer – SD Burman, Lyrics – Neeraj, MD – SD  Burman

Lyrics

hey ey..ey..ey
phulwa mangaao zara angna sajaao gori
bichhde balam ghar aayenge

ye ey..ey..ey
jiyaha ye doley jaise neem ki hi pori
bichhde balam ghar aayenge
bichhde balam ghar aayenge

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

हे ए॰॰ए॰॰ए
फुलवा मंगाओ ज़रा अंगना सजाओ गोरी
बिछड़े बलम घर आएंगे

ये ए॰॰ए॰॰ए
जियाहा ये डोले जैसे नीम की ही पोरी
बिछड़े बलम घर आएंगे
बिछड़े बलम घर आएंगे


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

Blog Day : 3689 Post No. : 14596

Today’s song is from film ‘Divorce’ (1938) – aka ‘Talaaq’. The song is sung by Sheela, lyricist was Pt. Anand Kumar and the MD was Meer Saheb (assisted by Ramchandra Chitalkar). The cast of the film was Naseem Bano, Gajanan Jagirdar, Prem Adib, Sheela, Vimla, Navin Yagnik, Khan Mastana etc. The film was made by Minerva Movietone and directed by Sohrab Modi. Divorce was one of the 3 films Modi made based on social problems. First film was ‘Meetha Zafar’ on alcohol habit, ‘Divorce’ was on separation of a couple and ‘Bharosa’ was on a very taboo and sensitive issue like incest.

One name in the cast is of Gajanan Jagirdar. We all know the famous actor and director Gajanan Jagirdar (real surname Jahagirdar. B 2-4-1907 D- 13-8-1988), but few know that he was branded ‘unlucky’. ‘Padosi’ (1941) was Jagirdar’s first film with Prabhat film company. By the time the film was complete Shantaram and his some friends left Prabhat making it crippled. Second time Jagirdar worked in  film ‘Ramshastri’ (1944) for Prabhat, the important partner Vishnupant Damle died and Prabhat almost collapsed. The third time Jagirdar worked for Prabhat in film ‘Lokmanya Tilak’, the company was auctioned and closed down for ever ! When Jagirdar worked in “Shahir Parshuram”of Mangal pictures, the company went bankrupt and closed down. In 1953, top production company Alhad Chitra employed Jagirdar for a bilingual film, ‘Mahatma’ (1953), not only the film flopped, it drowned the company and the Producer Datta Dharmadhikari came on the road. For survival he started a roadside kitchen !

Jagirdar started as a freelancer in the industry, in the film studios of Prabhat Films and Minerva Movietone and later acted and directed in a number of films post his accidental debut ‘Jalti Nishani’  in 1932.  He was hand-picked by V Shantaram to act in ‘Jalti Nishani’ when actor DD Mane wasn’t able to say the Urdu dialogues onscreen properly. And even though he was only 25, he enacted the part of a 75-year-old with aplomb.

Jagirdar began acting on the stage as a young child. As he grew older, he formed Arun Players, a theatre group which enacted plays like Harindranath Chattopadhyay’s ‘Returned from Abroad’ to Anton Chekhov’s ‘The Cherry Orchard’.

Not bound to any one studio, he worked as a freelancer for most of the major films studios of the time — from Prabhat Films to Minerva Movietone. At Prabhat, he began with writing the  English inter titles for films. He also taught the Prabhat artistes Urdu dialogue delivery. He assisted Bhalji Pendharkar for a bit and directed a few films like ‘Begunaah’ (1937) for Master Vinayak’s banner Hans Pictures. Later, he moved on to work as a scenarist (screenwriter) for Minerva Movietone’s ‘Meetha Zahar’ (1938) and ‘Divorce’ (1938). He also worked with filmmaker PK Atre, both as actor and director in a few films.

For V Shantaram’s last film with Prabhat Films, the famed director took up the issue of communal tension in the country. Jagirdar played the Muslim character Mirza, while Mazhar Khan played the Hindu character, Thakur in the bilingual. ‘Padosi’ was a critical and commercial hit at the time.

‘Ramshastri’ (1944) was a landmark bilingual film on Peshwa Madhavrao’s chief justice and one of the last classics produced by Prabhat Films. The film went through three directors — Raja Nene, Vishram Bedekar shot portions of the film before Gajanan Jagirdar, who was playing the lead character Ramshastri Prabhune, took over to finish it. It is said that V Shantaram also directed parts of it.

In Asit Sen’s ‘Apradhi Kaun’ (1957), Jagirdar played double role as two brothers Shrinath and Dinanath. It was a fantastic opportunity for the actor. As the wealthy Shrinath who has   inherited all of the ancestral property, Jagirdar was cool and composed. Meanwhile, as the down-on-his-luck brother Dinanath, Jagirdar transformed himself and his body to differentiate the two. Jagirdar acted in 147 films, directed 17 films and wrote 13 songs in film ‘Sant Tulsidas’ (1934).

Prior to his career in films, Jagirdar was also a teacher and later also taught acting. He became the first principal of the Film and Television Institute of India (FTII) in 1960, but resigned after a year.

He wrote two autobiographies that were published in 1971 and 1986. Additionally, he also wrote a book on acting which explored the Konstantin Stanislavsky’s method to the craft.

The film’s songs were written by Pt. Anand kumar. He was born in Delhi in 1907. He was a producer, director, writer and lyricist. From childhood, he was not interested in studies in English medium. He was taught Urdu, Hindi and Sanskrit by his poor Brahmin Shastri father. When he was 15 year old, he entered a business. He was always discontented. He wanted to become an actor, but family resisted. He tried fasting and even suicide. Then he stole some money and ran to Bombay. He could not get into any studio and after money finished, he returned to Delhi, only to take more money and run to Bombay again. Even after this failure, he went back to Delhi and started writing stories.

His first book ‘Mera Haq’ became a hot seller and he started earning money. He was invited by film people and he went to Bombay nth time. He wrote stories, dialogues and Lyrics of scores of films and earned name and money. He produced a film ‘Zameen’ (1943), under his own banner Anand Brothers. He directed 5 films,including a hit marathi film, ‘Gora Kumbhar’ (1942). Some of his films as a Lyricist were ‘Suvarn Mandir’ (1934), ‘Katle Aam’ (1935), ‘Pratibha’ (1937) ‘Divorce’ (1938), ‘Saathi’ (1938), ‘Alakh Niranjan’ (1940), ‘Punarmilan’ (1940), ‘Charnon Ki Daasi’ (1941), ‘Raja Rani’ (1942) etc. As a writer some films were, ‘Divorce’ (1938), ‘Honhaar’ (1936), ‘Saathi’ (1938), ‘Vasantsena’ (1942), ‘Rang Mahal’ (1948) etc.

Today’s song is sung by Sheela.  Sheela (real name – Roshan Ara) was born on 13-3-1925 at Sholapur-Maharashtra. Her father was Station Master at Sholapur Railway Station.

Once Sohrab Modi had come to Sholapur with his drama company. He went to the station to do reservations and saw Sheela. They got to know each other and he proposed to give her roles in his films. Thus Sheela came to Bombay in 1936 and Joined Minerva Movietone as a singer/actress.

Her first film was ‘Khan Bahadur’ (1937), in which she sang and acted. Then came ‘Jailor’ (1938) in which she sang 4 solo songs under MD Mir Sahib. Then ‘Divorce’ and ‘Meetha Zahar’ came.

She became famous only after her songs in ‘Pukar’ (1939). ‘Bharosa’, ‘Wasiyat’ and ‘Sikander’ also gave her name and fame. In ‘Sikander’ she had 6 songs out of total 7 songs. The famous song “Zindagi Hai Pyaar Se” also has her voice in the chorus. She was heroine in film ‘Wasiyat’ (1940).

‘Ulti Ganga’, ‘Bhakta Raidas’, ‘Prithvi Vallabh’, and ‘Patharon Ka Saudagar’ were all Minerva films. She had also done films elsewhere – ‘Alladin and Wonderful Lamp’, ‘College Girl’, ‘Gaibi Gola’, ‘Jahan Ara’, ‘Keemti Qurbani’, ‘Sansar Naiya’, ‘Shaitan Ka Paash’ etc. After 1943, she almost stopped working. Only in ‘Beete Din’ (1947) and lastly in ‘Billi’ (1949)’ sang songs, which was a stunt film of Nadia and Cavas.

She had married the actor Rama Shukla, in 1947. He was a Kanauji Brahmin and the families had terrible opposition to their marriage. The marriage was by Registration. Only 4 friends were present in the marriage. They had one son and one daughter. Rama Shukla died by heart attack in the 50s.

Her voice had a peculiar mixture of muslim style of Amirbai Karnataki and Marathi slant of Shanta Apte.

There is an anecdote with one of her songs. When film ‘Pukar’ was in the making, C Ramchandra was working as an assistant to MD Meer Saheb. He has mentioned in his autobiography also that in the absence of Meer saheb, he used to insert his tunes to songs as Meer Saheb’s. This was known to many, except, may be, Meer Saheb himself. One of the very popular songs sung by Sheela “Tum Bin Hamri Kaun Khabar Le” was actually composed by C Ramchandra. This is supposed to be CR’s first composed song. The credit, of course, went to Meer Saheb.

The song is very sweet and is sung also nicely.

(Credits- Swaron ki Yatra, Cinerang by Mujawar, Film Directory, Hindi Film Singers by Prof Yadav, HFGK, MuVyz and my notes.)


Song – Wo Aayen Na Aayen Yahaan Sajni (Divorce) (1938) Singer – Sheela, Lyrics – Anand Kumar, Music – Meer Saheb

Lyrics (Provided by Sudhir)

wo aayen na aayen yahaan sajni
wo aayen na aayen yahaan sajni
ghar hum ko aaj sajaana hai
ghar hum ko aaj sajaana hai

wo dekhen na dekhen hamen un ko
wo dekhen na dekhen hamen un ko
dil apna aaj dikhana hai
dil apna aaj dikhana hai
wo aayen na aayen yahaan sajni
wo aayen na aayen yahaan sajni
ghar hum ko aaj sajaana hai
ghar hum ko aaj sajaana hai

chaahe tum to kahaani bahut hi padhi
chaahe tum to kahaani bahut hi padhi
hamen apne haal sunaana hai
hamen apne haal sunaana hai

un ko apni kehte kehte
un ko apni kehte kehte
un ke dar par mit jaana hai
un ke dar par mit jaana hai

is raah ki khaaq mili jo hamen
is raah ki khaaq mili jo hamen
un ke kadmon ka thikaana hai
un ke kadmon ka thikaana hai
wo aayen na aayen yahaan sajni
wo aayen na aayen yahaan sajni
ghar hum ko aaj sajaana hai
ghar hum ko aaj sajaana hai
wo aayen na aayen yahaan sajni. . .

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

वो आयें ना आयें यहाँ सजनी
वो आयें ना आयें यहाँ सजनी
घर हमको आज सजाना है
घर हमको आज सजाना है

वो देखें ना देखें हमें उनको
वो देखें ना देखें हमें उनको
दिल अपना आज दिखाना है
दिल अपना आज दिखाना है
वो आयें ना आयें यहाँ सजनी
वो आयें ना आयें यहाँ सजनी
घर हमको आज सजाना है
घर हमको आज सजाना है

चाहे तुम तो कहानी बहुत ही पढ़ी
चाहे तुम तो कहानी बहुत ही पढ़ी
हमें अपना हाल सुनाना है
हमें अपना हाल सुनाना है

उनको अपनी कहते कहते
उनको अपनी कहते कहते
उनके दर पर मिट जाना है
उनके दर पर मिट जाना है

इस राह की खाक़ मिली जो हमें
इस राह की खाक़ मिली जो हमें
उनके कदमों का ठिकाना है
उनके कदमों का ठिकाना है
वो आयें ना आयें यहाँ सजनी
वो आयें ना आयें यहाँ सजनी
घर हमको आज सजाना है
घर हमको आज सजाना है
वो आयें ना आयें यहाँ सजनी॰ ॰ ॰


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

Missing Films of 1960s – 34
– – – – – – – – – – – – – – –

Yesterday, 25th July, was the anniversary of passing away of GS Kohli, the music director extraordinaire. He passed away in 1996, in Bombay.

A long time assistant music director to OP Nayyar, he had a short stint as an independent music director in the decade of 1960s. Despite a load of fantastic lilting songs in all his films – songs that became instant hits, very popular in their times, and still continue to be favourites of the lovers of the golden era of Hindi film music – he remained confined to B/C grade stunt films only. He continued to work as OPN’s assistant before, during and after his stint as an independent music director.
Read more on this topic…


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

Atul ji’s 10K Song Milestone Celebrations – 5
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Lata’s Songs NOT YET covered on our Blog – 19
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First, let me congratulate our leader of this Blog for the unsurpassed feat of posting so many songs in one Blog.  I had the rare opportunity to meet him personally in our ‘MumbAtulite’ meet.  My impression is that he does not speak much but when he does, he speaks straight and to the point. (You cricketers use the phrase ‘with the straight bat’, right?)  He is also ‘famous’, or rather ‘infamous’ (pardon me for using the word, but I am using it without any negative shade to it), for not attending most of the Atulite meets.  We all very well know that he plans very much to attend, but his work schedule does not allow him to do so and has to cancel at the last moment.
Read more on this topic…


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

Mohammed Rafi – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 28
– – – – – – – – – – – – – – – – – – – – – – – – – –

बहारों ने छेड़ा खुशी का तराना

The antecedents of this song are somewhat peculiar. As per available information, this song is listed in the Geet Kosh for the film ‘Aansoo’, an unreleased film from 1970s. Also, as I checked for online availability, I find that this song is posted for the film ‘Majboori’, that is listed for the year 1986. I went back and double checked other songs which are listed in the Geet Kosh for the unreleased film ‘Aansoo’, and sure enough, the songs listed in Geet Kosh figure in the film ‘Majboori’. The most likely scenario is that the film was started sometimes in the 1970s, with the title ‘Aansoo’, and the songs were created and released under that film name. The film would have been delayed inordinately, and finally found its release almost a decade later in 1986, albeit under a different title – ‘Majboori’.
Read more on this topic…


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

Sureeli Suman – 16
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This is the last but one song from the album ‘Swar Bahaar’, for which I have repeatedly discussed the details, in this series.  Music Director Shyam Sharma has provided appropriate lilting tune to the lyrics of Anjaan.
Read more on this topic…


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

Sureeli Suman – 15
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The original HMV of EMI group was renamed RPG, when purchased by the Goenka Group. Later on in 2000, this major music producing company was aptly named as ‘Sa Re Ga Ma’. During earlier years, it used to sponsor great artists to produce many non-film music albums. Later on, under the false pretext of changing music trends, but mainly due to commercial angles, such publications along with classical music albums ware slowly reduced to very near zero.
Read more on this topic…


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

The counter has been stuck at double one triple nine, for three days now. That, I am sure, will have beaten all the records in the books.
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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15200 song posts by now.

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

Total number of songs posts discussed

15221

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Movies with all their songs covered =1178
Total Number of movies covered =4183

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