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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 : | 3838 | Post No. : | 14848 |
Mohammed Rafi – Duets – ‘अ’ से ‘ह’ तक (From ‘अ’ to ‘ह’) – 32
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
‘श’ – शम्मा पे परवाना जलने से डरता नहीं ॰ ॰ ॰
– – – –
फिर तेरी याद नए गीत सुनाने आई. . .
Yes, everyday. It seems there is a new song that you have sung for us, once again. Remembering you, everyday.
– – – –
Well, if the film name is ‘Shola Jo Bhadke’, it would not be a coincidence that this film is by Bhagwan Dada. Today’s song in this series is from this 1961 film.
The phenomenal success of the film ‘Albela’ (1951) and its songs, prompted Bhagwan Dada to try and replicate that success many times over the next few years. But sadly none of the spin offs really came any close to repeating the success of the original. As I try to trace the career path of Bhagwan Dada as a producer, after the film ‘Albela’ in 1951, he went on to produce and direct the following,
- ‘Jhamela’ in 1953, with Geeta Bali in female lead and music by C Ramchandra
- ‘Rengeela’, also in 1953, with Poornima in female lead and music by Jamaal Sen
- ‘Halla Gulla’ in 1954; Shakila and Sajjan are the lead pair and Bhagwan is playing second lead; music by Nisar
- ‘Pyaara Dushman’ in 1955; Jairaj and Nadira are the lead pair and Bhagwan is playing second lead; music by Nisar
- ‘Bhaagam Bhaag’ in 1956; Kishore Kumar and Shashikala are the lead pair and Bhagwan is playing second lead; music by OP Nayyar
- ‘Kar Bhala’, also in 1956; interestingly this film is also listed as a stunt film; Shashikala and Nasir Khan are the lead pair; music is by Chic Choclate
- And then, ‘Shola Jo Bhadke’ in 1961; Suresh and Radhika are the lead pair and music is by Nisar.
Starting with ‘Albela’ and up to ‘Shola Jo Bhadke’, all films listed above are produced and directed by Bhagwan Dada. After ‘Shola Jo Bhadke’, we do not find any more films being produced and directed by him. The magic of ‘Albela’, sadly could never be recreated.
I must make a note that Bhagwan Dada had directed his first film way back in 1938 (as a co-director for ‘Bahadur Kisan’), and turned a producer in 1942. He set up Jagruti Pictures as his production company, and produced and directed many stunt films. In 1947, he also set up his own Jagruti Studio. ‘Albela’ was the mega moment of his career. But after that, it was downhill all the way. ‘Shola Jo Bhadke’ was, in a manner of speaking, a last attempt.
The star cast of ‘Shola Jo Bhadke’ is listed as Suresh, Radhika, Anwar, Bhagwan, Poornima, Suryakant, Pratima Devi, Kesri, Prem Sagar, Shyam Lal, Vishwas, Baburao, Ram Bharose, Cukkoo and Helen. Geet Kosh lists seven songs for this film. Names of three songwriters are listed – Shyam Hindi, Saba Afghani and Tavish Mehmood. However, songwriter names are not assigned to individual songs, except one. Songwriter name for this song is not attributed. The person who has uploaded this song on YT has indicated the name as Tavish Mehmood.
Music for all the songs is by Nisar, a name that is same as Nisar Bazmi. The singing voices in this song are of Rafi Sb and Suman Kalyanpur.
Song – Shamma Pe Parwaana Jalne Se Darta Nahin (Shola Jo Bhadke) (1961) Singer – Mohammed Rafi, Suman Kalyanpur, Lyrics – [Unattributed], MD – Nisar Bazmi
Mohammed Rafi + Suman Kalyanpur
Lyrics
shamma pe parwaana jalne se darta nahin
shamma pe parwaana jalne se darta nahin
jaan chali jaaye magar bachke guzarta nahin
shamma pe parwaana jalne se darta nahin
yun to garajte hain sabhi kaun barasta hai
kaun barasta hai
baaten banaane ka yahaan bas yahi rasta hai
bas yahi rasta hai
ho oo oo oo oo
marne ka kehte hain magar. . .
marne ka kehte hain magar
koi bhi marta nahin
shamma pe parwaana jalne se darta nahin
jaan mein toofaan ko kahaan laate hain dilwaale
laate hain dilwaale
khelte maujon se guzar jaate hain dilwaale
jaate hain dilwaale
ho oo oo oo oo
darr ke jo ruk jaaye kabhi. . .
darr ke jo ruk jaaye kabhi
paar utarta nahin
shamma pe parwaana jalne se darta nahin
aaj se hum tere huye chaahe koi roke
chaahe koi roke
hum ne jo chaaha tha wohi baat rahi ho ke
baat rahi ho ke
ho oo oo oo oo
dil se agar dil na miley. . .
dil se agar dil na miley
pyaar sanwarta nahin
shamma pe parwaana jalne se darta nahin
shamma pe parwaana jalne se darta nahin
———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————
शम्मा पे परवाना जलने से डरता नहीं
शम्मा पे परवाना जलने से डरता नहीं
जान चली जाये मगर बचके गुजरता नहीं
शम्मा पे परवाना जलने से डरता नहीं
यूं तो गरजते हैं सभी कौन बरसता है
कौन बरसता है
बातें बनाने का यहाँ बस यही रस्ता है
बस यही रस्ता है
हो ओ ओ ओ ओ
मरने का कहते हैं मगर॰ ॰ ॰
मरने का कहते हैं मगर
कोई भी मरता नहीं
शम्मा पे परवाना जलने से डरता नहीं
जान में तूफाँ को कहाँ लाते हैं दिलवाले
लाते हैं दिलवाले
खेलते मौजों से गुज़र जाते हैं दिलवाले
जाते हैं दिलवाले
हो ओ ओ ओ ओ
डर के जो रुक जाये कभी॰ ॰ ॰
डर के जो रुक जाये कभी
पार उतरता नहीं
शम्मा पे परवाना जलने से डरता नहीं
आज से हम तेरे हुये चाहे कोई रोके
चाहे कोई रोके
हमने जो चाहा था वही बात रही हो के
बात रही हो के
हो ओ ओ ओ ओ
दिल से अगर दिल ना मिले॰ ॰ ॰
दिल से अगर दिल ना मिले
प्यार सँवरता नहीं
शम्मा पे परवाना जलने से डरता नहीं
शम्मा पे परवाना जलने से डरता नहीं
Main preetam ke gun gaaun
Posted on: January 20, 2019
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 : | 3838 | Post No. : | 14847 |
Today’s song is from a Mythological film Dev Kanya-46. The film was made by Vishnu Cinetone and was directed by its owner Dhirubhai Desai. Though there were 3 Lyricists, HFGK does not credit any song to any Lyricist. The melodious songs were composed by my favourite-or one of the favourites- MD Shyam Sundar (Gabba).
When I was a child, I was very fond of seeing Religious and Mythological movies. This was not because I was very religious minded, but because I liked the Trick scenes in these films. When I grew a little older, I was appointed the House Escort to a group of old relatives and women of the family whenever they wanted to see a movie- which was reasonably frequent. I would happily lead them as I too could see the film.
At that time I liked lilting, melodious songs, but not songs based on classical ragas. The reasons were, one- I never understood why the classical singers repeated one line several times and two- such singers’ names were obscure to me. It was only when I grew up as a young man ( sigh! That was a real long time ago ! ) I realised how classical music was India’s Heritage and in film songs they were made short and sweet too.
India has produced many Classical singers of repute. There are various Gharanas( styles) of Music and each had famous singers who created equally capable Shishyas (disciples) to maintain Gharana’s individuality. Before the advent of Talkie films and the spread of Film music, the classical music ruled the entertainment field. Many kings,Maharajas and Nawabs were the connoisseurs and patrons of classical music and supported this by appointing Raj Gayaks or Darbar Gayaks..
Over a period, Kings and Nawabs disappeared and Film music became popular with the common people. There was an unwritten dividing line between classical and Filmy music.Normally,no cross-overs were taking place, unless situations compelled. However, post Independence and the end of Royal patronage, classical music was relegated to background and only genuine lovers followed it. No wonder, the lure of lucrative film music attracted even the staunch classical maestros and we had many classical music experts-both Vocal and Instrumental, do a stint with the Film world.
Great Vocalists like M S Subbulaxmi, D V Paluskar, Bade Ghulam Ali Khan, Amir Khan, Bhimsen Joshi, Hirabai Badodekar, Manik Verma, Saraswati Rane, Shobha Gurtu etc, as well as Internationally famous classical Instrumentalists like Pt. Ravi Shankar, Bismilla Khan, Ali Akbar Khan, A R Qureshi etc made their Debuts in Hindi Film Music.Their participation enriched the HFM considerably. However, there were some staunch classical vocalists like Gangubai Hangal, Mogubai Krdikar, Kesarbai Kerkar etc, who, I believe, kept themselves away from films, though later on, their disciples did few film assignments.
I am not a classical music expert but from what I have read and understood, this was the situation. More knowledgeable readers can add their views as comments.
Today’s song is also sung by a classical singer who happens to be my favourite one- the great Saraswati Mane / Rane, under the baton of another great musician, Shyam Sundar. In the 40s and the 50s, the scions of Mane family, namely Sureshbabu Mane, Hirabai Badodekar and Sarswati Rane gave their contribution to the Hindi film music as well as Marathi Natyageet, Bhavgeet and cinema music.
Smt. Saraswati Mane/Rane alias Sakina [Chhotutai] was born in Miraj (4th October 1916). Sakina was the youngest daughter of the legendary maestro of the Kirana gharana, Ustad Abdul Karim Khan Sahib and Smt. Tarabai Mane. After separating from Karim Khan, Tarabai renamed all her children and Sakina became Kumari Saraswati Mane. The surname “Mane” was derived from her mother’s surname.Thus, Abdul Rehman became Sureshbabu mane, Krishna became Krishnarao Mane, Champakali became Hirabai Badodekar,Gulab became Kamalabai Badodekar. Krishnarao and Kamalabai were not singers. They only acted in films.
Saraswati was initiated into music by her illustrious brother Sureshbabu Mane. After about 1930, she also learnt from from her sister Smt. Hirabai Barodekar, Ustad Nathan Khan(1889-1946) of the Jaipur gharana and Prof. B. R. Deodhar of the Gwalior gharana.Working on stage in her mother’s ‘Nutan Sangeet Natak Mandali’, with luminaries like Bal Gandharva, Master Krishnarao, Vinayakbuwa Patwardhan, Sawai Gandharva and also stage drama singingThusThus like ‘Soubhadra’, ‘Sanchaya Kollol’ and ‘Ekacha Pyala’ brought her fame. Between 1929 and 1933 she cut several discs with the ‘Odeon’ label under the name of Kumari Saraswati Mane, rendering Hindi Bhajans and Marathi Bhavgeet.
In the meantime, she married Mr. Sunderrao Rane. In the early 1940’s, she made recordings as a playback singer for movies such as ‘Paisa Bolto Aahe’ (Marathi, 1943). She also acted in a Marathi film ‘Savitri’, and later took to playback singing for Marathi and Hindi films. She provided playback to over 50 films. She sang in almost all the films produced by Acharya P. K. Atre. Her song ‘Beena madhur madhur vacha bol’ in raga Bhimpalas from the Hindi/Marathi film ‘Ram Rajya’ (Prakash Films) was most popular. Her songs were heard all over North India. Younger listeners will probably remember her rendering Raga Shudh Kalyan with her grand daughter Shrimati Meena Faterpekar in the film ‘Bhumika’, directed by the renowned director Shyam Benegal.
Saraswati Rane cut over 200 songs on 78 rpm discs consisting of classical, light classical and film songs. She was probably one of the pioneering female playback singers of the Hindi film industry.
However, in order to concentrate on the performance of Hindustani classical music, at one point in time she virtually stopped accepting offers for playback singing. By then, she was a regular performer for All India Radio, and had also made several gramophone records with ‘Odeon’, ‘His Master’s Voice’, ‘Columbia’, and ‘Young India’ records, apart from her countrywide concert tours. Her renderings of Ragas Chandrakauns, Basant Bahar, Yaman and the immortal Marathi numbers ‘Ghanashyam Nayani Aalaa’, ‘Jaa Ghevuni Sandesh Pakhara’, the duets with her sister Hirabai Barodekar remain ever-popular. She also had the honour of singing the Maharashtra Geet on the very first Maharashtra Day, the 1st of May, along with her sister. She has also recorded a LP record of duet with her sister Heerabai Barodekar in 1960. She received several awards including the prestigious ITC Award 2006, presented at the ITC Sangeet Sammelan in Delhi.
She was very active in music circles and used to attend music programs and functions. She attended the Hirabai Barodekar birth centenary program at Sharada Sangeet Vidyalaya, Bandra in May 2006. She participated in this function and sang raga Todi. Smt. Saraswatibai Rane, the last living member of Ustad Abdul Karim Khan’s family passed away at Pune on Tuesday October 10, 2006.
If you see the cast of this film, you will see name of Leela Desai, Leela Chitnis, Ulhas, Wasti, Indira, Jillobai, Samson etc. Having two Leelas in one film was a coincidence, but having artistes of same name is a big problem for students of Hindi Film History. There were several Leelas operating at the same time in Hindi films, like Leela Desai, Miss Leela (Chandragiri/Pendharkar), Leela Gupte ( stunt film specialist), and Leela Mishra ( the eternal Leela mausi).
Leela Desai was the daughter of Dr. Umedbhai Desai-a Gujarati and his second wife Satyabala Devi- a Bengali from Bihar, who was a prominent singer of the 1930s. She was born in America, where her parents had gone for a 3 year trip. She grew up in India. She learnt dancing from Amla Devi-who married Uday shanker, Lachhu Maharaj and Sohan lal. She also learnt music in Morris College , Lucknow. Actress kamala Kumari of New Theatres had also learnt from here. In one of her stage performances in Lucknow, NT’s Director Hem Chander saw her and invited her to Calcutta for working in films.
She worked in the film President-37 as sister of Kamlesh Kumari,opposite Saigal. It was followed by Vidyapati-37, Dushman-38, Kapal Kundala-39 and Nartaki-40. She also did Adarsh Mahila-37 with Ideal Film company. Chimanlal Trivedi brought her to Bombay to act opposite Jairaj in film Tamanna-42. She acted in 5 films of Chimanlal Trivedi. After Tamanna, LeelaDesai acted in films like Sharafat-43, Paraya Dhan-43, Nagad Narayan-43, Inkaar-43, Mujrim-44, Miss Devi-44, Kaliyan-44, Meghdoot-45,Maharani Minal Devi-46, Magadhraj-46,Kamla-46, Dev kanya-46, Soorat-47 and last film Geet Govind-47.
She acted opposite leading actors like K L Saigal, Najmul Hasan, Jairaj, Pahadi Sanyal, Surendra, Chandra Mohan, Khalil, Baburao pendharkar etc etc. She worked under top directors like Debki Bose, Nitin Bose, kidar Sharma, Phani mujumdar and others. her sisters Monica Desai ( who married Phani Mujumdar) and Ramola were also in films. In a span of just 10 years, Leela Desai acted in 21 films and then left films. She settled in Darjeeling with her mother. Baburao Patel said this about Leela Desai….
“What shall be said of Leela Desai, who acted the part of the President’s sister, the mischievous school-girl, and who always took the active part in the love-making between her and Prakash Babu (Saigal)? I cannot find a single fault with her acting. She played up to Saigal splendidly. Even her eyes were most expressive. What naughtiness was in them? As a shameless hussy she could give points to any of your Hollywood actresses–and win. In the love-duet between her and Saigal it was she who always led. She was the personification of Mr. Bernerd Shaw’s pet notion that, in this eternal amorous game, it is the woman who leads the man on and not, as is commonly supposed, the other way about. From the moment she jumped down her school garden-wall and almost fell plump into the arms of Prakash Babu, who was sitting below chewing the end of his reflections anent his dismissal from his job, she never, in a manner of speaking, left him to himself. She would bring down the house with her: “Uske bad kya hua, Prakash Babu?” The poor man had to dance to her measure ever afterwards. When she found herself with him alone she gave us the impression of having fed on honey-dew and on the milk of paradise. Then, in addition to her sparkling dialogue and supremely ‘alive’ acting, she was gorgeous in her dancing performance. Her whole face was a mirror in which her thoughts were reflected. She was an imp of mischief from commencement to conclusion.”
As the time passes by, New becomes old and the old becomes older. New Generations do not know much about old films, actors etc. Actually Old Film is a relative term. A Teenager thinks, films of 70s and 80s are old stuff, Middle agers feel that films of 50 and 60s are old films and the old people feel old films means films of the 30s and 40s. For older generations, the old times are still fresh in their minds. Articles on old films and old actors revive their memories and they feel Nostalgic. Not everything that they enjoyed can be revived, but my attempts are to bring to light information about forgotten artistes of the bygone era, old time films and the people connected with them.
As time flows, Heroes become character artistes and then they fade out. There are hundreds of old time actors about whom absolutely no information is available. Intense search sometimes yields some results and one feels at peace with whatever is available. One such actor is Ulhas. For many years nothing was known about him except names of his films from HFGK. Over a period a little more about him came to light. Now we know that his real name was M.N.Kaul and that he was a Kashmiri Pandit. He worked in 155 films. Recently I found the following note on Ulhas in ‘ Chinar Shade’ Blog..
He was known as ULHAAS and his real name was M N Kaul.He belonged to a kashmiri Pandit family from Ajmer. As a young boy, he moved to Poona in 1937 and joined Prabhat Pictures as an actor. His first movie as an actor was ” Wahan “.He worked with stalwarts like A R Kardar and Sohrab Modi.
Chander Mohan Wattal , another actor of 1930s and 1940s helped him a lot to settle in films .In fact he intervened and requested V Shantaram for his role in “WAHAN”. Ulhaas remained loyal to Chander Mohan wattal for this favour till later’s death in 1949.
When Bombay Talkies decided to start their New film BASANT, Ulhaas and Mumtaz Shanti were signed as lead pair.Again in the movie PARBAT pE APNAA DERA , he was signed as hero.
Thereafter , he started doing charactet roles. He played memorable character roles in GUIDE , AMAR, AADMI, ,SHAMA PARVANA, SEHRA, ZIDDI, GOONJ UTHI SHEHNAAYI, RANI ROOPMATI, DAKKA KI MALMAL, SAMRAAT PRITHVI RAJ CHAUHAN, KUNDAN, HEER.MIRZA GHALIB ,JHANSI KI RAANI , NAI UMAR KI NAI FASAL,SANGARSH , PREM PUJAARI, BADI DEEDI, DO AANKHEIN BAARAH HAATH, AMAR AND JOHAR MEHMOOD IN GOA .
In his 38 years of career, he acted in many hit movies. His last movie was Sawaal (1982).
The story of film Dev kanya-46 is…….
Beautiful Madalasa is the daughter of gandharvaraj of Gandharva Lok. Once she comes to Earth to enjoy its beauty. She meets Kumar Ritudhwaja, son of Samrat Shatrujit. They fall in love. Meanwhile the king of Pataal lok, Pataal Ketu sees her and abducts her to his Lok. Ritudhwaj comes to know this and goes to rescue her. In a battle ,he kills Pataal Ketu and marries Madalsa, with Narad Muni’s help. But the slain head of Pataal Ketu goes to his brother Taal Ketu and asks him to take revenge. Now Taal ketu abducts Madalasa. Kumar Ritudhwaja fights with him and kills him too. All is well now.
Let us now listen to the song by Saraswati Rane. Her song in film Ramrajya-43, Shobha-42 and Sargam-50 are my favourites. She sang only 26 film songs in 11 films.
Song-Main preetam ke gun gaaun (Dev Kanya)(1946) Singer-Saraswati Rane, MD-Shyam Sundar
Lyrics
Main preetam ke
main preetam ke
main preetam ke gun gaaun re
main preetam ke gun gaaun
pyaase ?? ki in ankhiyan ke
pyaase ?? ki in ankhiyan ke
nahin kabhi bhi jaati
nahin kabhi bhi jaati
khil khil badhti hi jaati hai
khil khil badhti hi jaati hai
jyon jyon darshan paati
jyon jyon darshan paati
maala japoon main naam ki unke ae ae
maala japoon main naam ki unke
charanan pe bali jaaun re
main charanan pe bali jaaun re
main preetam ke gun gaaun re
main preetam ke gun gaaun
unke hansne se khil jaati
jeewan ki phulwaadi
unke hansne se khil jaati
jeewan ki phulwaadi
unke charan kamal ki pooja se
unke charan kamal ki pooja se
pooja se hai mukti hamaari
man mandir ke devta
?? devta
aa aaa
sada unhin ko rijhaaun re
main sada unhin ko rijhaaun re
main preetam ke gun gaaun re
main preetam ke gun gaaun re
main
Phirte Hain Kab Se Dar-b-Dar
Posted on: January 19, 2019
- In: "Wanderer's Song" | Devnagri script lyrics by Avinash Scrapwala | Feelings of heart | Guest posts | Lover's Complaint | Lyrics contributed by readers | philosophical song | Poignant Song | Post by Avinash Scrapwala | Songs of 1980s (1981 to 1990) | Songs of 1984 | Vagaries Of Love | Yearwise breakup of songs
- 9 Comments
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3837 | Post No. : | 14846 |
It was in 1985 that after appearing my 12th exams, and as usual to take up some work in summer vacations, that I joined a Nagpur based Construction Company at Parli Vaijnath. Results for the exams were on favourable and I failed, so I continued working and after almost eleven months as the project was over, looking into my sincerity and dedication the site incharge recommended and arrange a job for me in Delhi based company working there for the expansion project. And going by the circumstances in a middle-class family, I dropped the idea of joining ‘regular education’ and instead thought that maybe I should opt for distance education – which however, become possible only after three and half years almost. . .
Well, when I joined this Delhi based company the first thing coming to my mind was travelling to Delhi and that way travelling India, because I had only visited Nagpur by that time, which was a big city for me other than the place where we were staying near Akola. I had not imagined then where I am heading to and how my life will be shaped or anything serious like that – I just kept going. I ended up working in this company for almost seventeen and half years.
After Parli Vaijnath the next destination for me was Koradi (Nagpur) for a short period, then to Kota (Rajasthan) for seven and half years, then to Phulpur (Allahabad) for two years, from there to Aonla (Bareilly) for almost six years. In between to Sonepat (Haryana) for a short period. Again Bareilly and from there to Ghaziabad (UP), this was again for a short period of six months, then to Mundra (Kachchh-Gujarat) in between Kandla-Adipur (Kachchh-Gujarat). I spent almost eleven years in Kachchh before I left a job – reasons are part of another article 🙂 , but mainly to prove myself that I can do anything 🙂 .
Couple of months I was without job when I got an opportunity to join a company of my very first boss, who had by then become an owner of a company. This was my coming back to roots – return to Maharashtra after almost twenty-seven years. I spent almost two years in Nagpur to return to Gujarat – to shift my wife and as my daughters were already studying there so that I can proceed for my first overseas job in Kenya.
***
As I left my home state for work in 1988, I was always thinking of getting back there to be with my parents to have a settled life after marriage. However, as years passed by it didn’t happen even after my trying and appearing for several interviews. This longing for going back to Maharashtra was still there for many years when I was a bachelor and till many years after I got married. But as years passed, and I continued with my job, I slowly lost the interest of going back to my home state or the neighboring state. Then it was like if not Maharashtra at least Gujarat where industries were flourishing and job opportunities were more.
During this period, I always used to think about my childhood friends and other peoples who were well settled at the nearby places in home state and living a well settled life. I was envious of them, because from my batch I think I was the only one who had to leave the state and had to struggle, and move from place to place.
In our family also, before me, only my youngest uncle who had joined army was the first person to leave the state and travel across India. All other relatives either paternal or maternal were settled in Maharashtra only. After my army man uncle and me, it was after many years that one of my cousins got an opportunity in Germany and he is there since many years now.
So, I was always dreaming about the ‘fursat ke raat din’ and in turn the ‘smooth life – the ‘sahal rastaa’. . . Let us read some lines about this, that Javed Akhtar has written in his poem ‘Doraahaa’ (taken from his book ‘Tarkash’ (Quiver) and transliterated in English). I remember these lines with reverence – these were recited by my Guru and Motivational Speaker Shri Rooshikumar Pandya ji in one of his programs I attended, and that is how I became aware of it.
ye jeewan ik raah nahin
ik doraahaa hai
pehlaa rastaa bahut sahal hai
is mein koi mod nahin hai
ye rastaa, is duniya se bejod nahin hai
is raste par miltey hai
reeton ke aangan
is raste par miltey hai
rishton ke bandhan
is raste par chalnewaale
kehne ko sab sukh paate hai
lekin
tukde tukde ho kar
sab rishton mein bant jaate hai
apne palle kuchh nahin bachtaa
bachti hai
benaam si uljhan
saanson ka indhan
jis mein unki apni har pehchaan
aur un ke saare sapne
jal bujhte hai
is raste par chalnewaale
khud ko khokar jag paate hai
upar-upar to jeete hai
andar-andar mar jaate hai
***
But then I get to travel many places, working new job environments, facing new problems, visiting new places, adjusting to the new environments, different cultures, different cuisines 🙂 ; I start enjoying this way. . .
And the motivating things were – thinking about armed forces who are way not only from their homeland but away from their families too? How they survive? People who get transferred on regular intervals? How they cope with it? Even government servants. Or we also have employees getting transferred every now and then within a short period of time, how they deal with it? What are their sufferings?
And, working at or visiting construction sites and places around them and the ‘sub-travel’ that happened during this, I was always reminded of the famous novel ‘Rangbhoomi’, by Munshi Premchand ji, and I used to think how years back he had written about the industrialization and its effects, and how it affects people’s behaviour staying away from their homes or had to leave their families in search of job and survival.
And I realized that my sufferings are not even a fraction of what these people were already going through in their lives.
***
After spending almost fifteen years (out of my home state Maharashtra where I left on 29.11.1988 to reach Kota then) in north India, I finally got a placement in a Delhi based company for their plant in Kachchh-Gujarat. I spent five and half years in one company and then shifted to another company in search of ‘growth’ – personal as well as professional.
When I made this change my HR head used to ask me that what change I got? Am I happy? And he was always telling me that ‘the sky is the same everywhere’. . .
Well, during those years I was reading and studying Sahir almost on daily basis and again somehow the circumstances at work were not giving me satisfaction. ‘Shaahi Ki Zanjeerein Todte Chalo’ – this song was daily going through my mind then, and as I shared it, it appeared on the blog on 02.12.2014 and within a week I ‘broke the shackles’ to put in my papers. I resigned without having another job in hand. I was ready to take new challenge but I didn’t expect of what it finally turned out to be for me.
I was without job for almost two and half months. Here we go back to the remaining part of the poem of Javed Akhtar Saab,
doosraa rastaa
bahot kathin hai
is raste mein
koi kisi ke saath nahin hai
koi sahaara dene waala haath nahin hai
is raste mein
dhoop hai
koi chhaaon nahin hai
jahaan tassalli bheekh mein de de
koi kisi ko
is raste mein
aisa koi gaaon nahin hai
ye un logon ka rastaa hai
jo khud apne tak jaate hai
apne aapko jo paate hai
tum is raste par hi chalna
mujhe pataa hai
ye rastaa aasaan nahin hai
lekin mujhko ye gham bhi hai
tumko ab tak
kyun apni pehchaan nahin hai
(Javed Saab had written this poem to his daughter Zoya)
***
Somehow, luckily, I got an opportunity and a job in Nagpur and somehow bitter-sweet I survived those two years again to change for a new job for which I would have to stay away from my family. Somehow these days are also passing now and the assignment will be finished soon. Or I will part the ways again, as yet once again I am feeling to move to other ‘horizons’. . .
I don’t know if what happened in my case had also happened with other people too. When I left the job in Gujarat and came back to Nagpur to work in a company which was owned by my very first boss when he himself was in service in another small construction company then. Then the company I joined in Kenya is where one of my earlier bosses already working as a director and with whom I had worked at two project sites in India years earlier, and I was coming back to him after almost eighteen years.
I get to relive the ‘nostalgia’ (in different settings now though) of those years again when I was junior to them and even junior in my professional life and when I came back to them at least I had achieved something in my professional life.
Still, working in different professional organisations, the question remains – Am I satisfied? Am I successful? Have I excelled myself since my previous work settings and professional journey?
Am I satisfied where I have reached from where I started?
And naturally ‘satisfaction’ and ‘success’ parameters are different for each individual.
So, it cannot be measured 🙂 . Some may be ‘satisfied but not successful’ and some ‘successful but not satisfied’ (I had once read it somewhere 🙂 ). But of course, the yardstick varies from person to person.
justju jiski thi usko to na paaya hamne
is bahaane se magar dekh li duniya hamne
(Shaharyar)
***
Almost nine months back, my family had to shift from Anand to Vadodara as my daughter had got a job there. This was the first time in all these twenty-four years after my marriage that the ‘shifting’ of household was going to be done without me!! I remember one night when I was going to bed in my camp and was just looking at my room made from ‘China structure’ the thought just came to my mind was – how many ‘roofs’ have I changed till now – (Kiraaye ke makaanon se lekar apne makaan tak aur phir se kiraaye ke makaanon tak. . .).
What I had achieved so far. . . And most importantly what I have contributed so far wherever I had been?
I quote Javed Akhtar again, ‘Krishanchander’ from the collection ‘Tarqash’.
apni zindagi mein tumne kya kiya?
kisi se sachche dil se pyaar kiya?
kisi dost ko nek salaah di?
kisi dushman ke bete ko mohabbat ki nazar se dekha?
jahaan andheraa tha wahaan roshni ki kiran le gaye?
jitni der tak jeeye, is jeene ka kya matlab tha?
Or take this from Sahir, when Naresh Kumar Shaad interviewed Sahir
‘When and where were you born?’
Sahir’s reply was ‘Young man, this is a routine question. Instead, when you ask me that question, add ‘why were you born?’ (taken from Akshay Manwani’s ‘Sahir Ludhianvi -The People’s Poet’
***
I remember one of my Bengali colleagues who was with me at Kota and had knowledge about palmistry telling me that wherever I will be I will be loved and remembered there. . . “lekin paisa rahega nahin tumhaare paas“. The same thing was told to me by my landlord at Bareilly who had a knowledge of astrology, ‘beta, jo bhi kamaaoge kharch ho jaayega’ 🙂 .
But as I look back now, I feel happy about this journey till date;
ye ejaaz hai apni aawaargi ka
jahaan bhi gaye daastaan chhod aaye
(Habib Jaalib)
And yet once again I am facing the same question again ‘I have to go from where I am’ but where? The addiction to travel to different places and meet different peoples, new problems, new observations – will that allow me to settle?
jidhar jaate hain sab, jaana udhar achchhaa nahin lagta
mujhe paamaal raaston ka safar achchhaa nahin lagta
(Javed Akhtar)
Or take this conversation as mentioned by Javed Akhtar while elaborating on his poem ‘Aawaargi’ the conversation between a master and his servant, from a story by Albert Camus;
I am going away from here
Where are you going? (Servant asks the Master)
I am going away from here that is where I am going
And I am sure there are many who must have enjoyed their respective ‘aawargis’, and there must be many who are enjoying now and there will be many who will choose their path when their ‘dil’ says and enjoy their ‘aawaargi’. . . Here the ‘enjoyment’ is enjoying the ‘struggles’, the ‘sufferings’, the ‘hard work’, ‘the success’, the ‘failure’, the ‘regrets’, the ‘loneliness’, the ‘company’, ‘the good and bad decisions’, but keep going on and finding one’s own way in this journey of life. . . I had been fortunate to meet few of them in my life and they have contributed a lot to the society too and left a mark of themselves around the peoples and places they were with. . .
हमारे हर शऊर -ए -ज़िन्दगी का राज़ ठहरेगी यही आवारगी
कल बाइस -ए -एज़ाज़ ठहरेगी
– ओबैद आज़म आज़मी
(शऊर -ए -ज़िन्दगी = जीवन की समझ
बाइस -ए -एज़ाज़ = सम्मान का कारण )
***
Javed Akhtar’s take on ‘aawaargi’ begins with these lines from the nazm ‘aawaara’ by Majaaz Lucknowi.
shehar ki raat aur main naashaad-o-naakaaraa firoon
jagmagaati jaagti, sadakon pe aawaaraa firoon
I request readers to go through this link – ‘Aaawargi’ – and listen what Javed Akhtar had said about his poem ‘aawargi’ – the song we are enjoying today.
In Hindi movies, there are many songs and many famous ones too, having the word ‘aawaara’ used in them. However, I think that ‘Aawaara Hoon’ from ‘Aawaara’ (1951) and one non-filmy song of Bhupen Hazarika ‘haan aawaara hoon’ are the closer to the theme of ‘aawaargi’ as mentioned by Javed Akhtar. Let us see the following stanzas each taken from these two songs;
and
jahaan kahin dekhe zindagi ke rang
wahaan thehar gaya
aawaargi mein aawaargi ko
manzil bana liya
maine dekhi hai kahin
gagan choomti oonchhi ataari
aur khaaq chhaanti dekhi hai wahin
zindagi bechaari
kahin dekhi hai kabhi
chaukhaton par
jhoolti phulwaari
murjhaayi kahin
khil na saki
ik kali bechaareee
maine dekhn hain zameen pe kai
bujhte huye sooraj
jalta hai jo aakaash mein
wo raat ka taara hoon
haan aawaara hoon
Even the song “Aawaara Ae Mere Dil“is another nice song. I may be forgetting some other songs – the readers may please add to this list of ‘aawaargi’ theme.
***
Now let us consider the peoples involved in this creation – the song of today – and the phase they were passing through in each of their individual lives. Because this composition is overall so nice that I was in dilemma on whose anniversary or special occasion I should present it. But since the ‘first creation’ are the lyrics I thought it appropriate to be posted on the occasion of the birth anniversary of Javed Akhtar (17 January). Wishing him belatedly on his seventy fourth birth anniversary and wishing him a healthy and peaceful life ahead.
RD Burman the composer, I think, has given one his best and all-time great composition. And I would rate in the same category as “Zindagi Ke Safar Mein Guzar Jaate Hain Jo Maqaam“, “Raah Pe Rehte Hain, Yaadon Pe Basar Karte Hain“. Early eighties were the period when Pancham Da’s career was on the declining phase, though during this period to 1994 till ‘1942 A Love Story’ happened he had given many beautiful compositions to us.
Kishore Kumar was already ruling the roost then but somewhere he was eager to go back to his roots to Khandwa ‘chal re musaafir chal re ab apne garb ko chal re’. And somewhere in this song we can find from his voice that he was eager to return back to Khandwa as early as possible which did not happen as he passed away in 1987.
***
‘Duniyaa’ (1984) was directed by Ramesh Talwar for Dharma Productions, Pvt Ltd. It was produced by Yash Johar. Hiroo Johar was the associate producer of this movie. Naresh Malhotra was the Chief Assistant Director of this movie. Editing of this movie was done by the famous Waman Bhonsle and Gurudutt Shirali. This movie was passed by Censor Board on 18.09.1984.
It had Ashok Kumar, Dilip Kumar, Rishi Kapoor, Amrita Singh, Prem Chopra, Amrish Puri, and Pran. It also featured Satyen Kappu, Mac Mohan, Javed Khan, Arvind Deshpande, Sulbha Deshpande, Akbar, Dhumal, Master Rinkoo, Baby Pooja, and supported by many others. Pradeep Kumar, Kulbhushan Kharbanda and Om Puri makes a guest appearance in this movie, while Saira Banu appeared in a very special appearance in this movie.
Story, Screenplay and dialogues of this movie were written by Javed Akhtar who also wrote the lyrics of the six songs in this movie. Music for this movie was composed by RD Burman. And I think this album can be included in one of the best of Pancham Da, as this movie has all good songs. Asha Bhonsle, Lata Mangeshkar, Kishore Kumar and Mahendra Kapoor gave their voices to the songs in this movie.
No video clip of this song is available so far. I have also not watched this movie and so do not know in which context this song might have appeared in the movie.
[Acknowledgements – Javed Akhtar’s book ‘Tarqash’, Javed Akhtar on Tata Sky Active – ‘Aawaargi‘ episode.]
Song – Phirte Hain Kab Se Dar-b-Dar (Duniya) (1984) Singer – Kishore Kumar, Lyrics – Javed Akhtar, MD – RD Burman
Lyrics
phirtein hain kabse dar-badar
ab is nagar
ab us nagar
ik doosre ke hamsafar
main aur meri ee ee aawaargi
naa-aashna har rehguzar
naa-meharbaan sabki nazar
jaayen to ab jaayen kidhar
main aur meri ee ee aawaargi
phirtein hain kabse dar-badar
ab is nagar
ab us nagar
ik din mili ik maahjabeen
tan bhi haseen
jaan bhi haseen
dil ne kahaa hamse wahin
khwaabon ki hai manzil yahin
khwaabon ki hai manzil yahin
phir yoon huaa
wo kho gayee
to mujhko zid si ho gayi
laayenge usko dhoondh kar
main aur meri ee ee aawaargi
phirtein hain kabse dar-badar
ab is nagar
ab us nagar
ye dil hi thha jo seh gayaa
wo baat aisi keh gayaa
kehne ko phir kya reh gayaa
ashqon ka dariyaa beh gayaa
ashqon ka dariyaa beh gayaa
jab keh ke wo dilbar gayaa
tere liye main mar gayaa
rotein hain usko raat bhar
main aur meri ee ee aawaargi
phirtein hain kabse dar-badar
ab is nagar
ab us nagar
ham bhi kabhi aabaad thhe
aise kahaan barbaad thhe
be-fiqr thhe aazaad thhe
masroor thhe
dilshaad thhe
masroor thhe
dilshaad thhe
wo chaal aisi chal gayaa
hum bujh gaye dil jal gayaa
nikley jalaa ke apnaa ghar
main aur meri ee ee aawaargi
phirtein hain kabse dar-badar
ab is nagar
ab us nagar
ik doosre ke hamsafar
main aur meri ee ee aawaargi
phirtein hain kabse dar-badar
ab is nagar
ab us nagar. . .
[Following stanza is not included in the song/movie.
It is part of the ghazal written by Javed Akhtar.]
aasaar hain sab khot ke
imkaan hain sab chot ke
ghar band hain sab got ke
ab khatm hain sab totke
kismet ka sab ye pher hain
andher hain
andher hain
aise huye hai be-asar
main aur meri aawaargi
———————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————
फिरतें हैं कबसे दर-बदर
अब इस नगर
अब उस नगर
इक दूसरे के हमसफ़र
मैं और मेरी॰॰ई आवारगी
ना-आशना हर रहगुज़र
ना-मेहरबान सबकी नज़र
जाएँ तो अब जाएँ किधर
मैं और मेरी॰॰ई आवारगी
फिरतें हैं कबसे दर-बदर
अब इस नगर
अब उस नगर
इक दिन मिली इक महजबीन
तन भी हसीं
जान भी हसीं
दिल ने कहा हमसे वहीँ
ख़्वाबों कि है मंजिल यहीं
ख़्वाबों कि है मंजिल यहीं
फिर यूं हुआ
वो खो गयी
तो मुझको ज़िद सी हो गयी
लायेंगे उसको ढूंढ कर
मैं और मेरी॰॰ई आवारगी
फिरतें हैं कबसे दर-बदर
अब इस नगर
अब उस नगर
ये दिल ही था जो सह गया
वो बात ऐसी कह गया
कहने को फिर क्या रह गया
अश्कों का दरिया बह गया
अश्कों का दरिया बह गया
जब कह के वो दिलबर गया
तेरे लिए मैं मर गया
रोतें हैं उसको रात भर
मैं और मेरी॰॰ई आवारगी
फिरतें हैं कबसे दर-बदर
अब इस नगर
अब उस नगर
हम भी कभी आबाद थे
ऐसे कहाँ बर्बाद थे
बे-फिक्र थे आज़ाद थे
मसरूर थे
दिलशाद थे
मसरूर थे
दिलशाद थे
वो चाल ऐसी चल गया
हम बुझ गए दिल जल गया
निकले जला के अपना घर
मैं और मेरी॰॰ई आवारगी
फिरतें हैं कबसे दर-बदर
अब इस नगर
अब उस नगर
इक दूसरे के हमसफ़र
मैं और मेरी॰॰ई आवारगी
फिरतें हैं कबसे दर-बदर
अब इस नगर
अब उस नगर॰ ॰ ॰
[नीचे दिया गया अंतरा, जो इसी नज़्म का हिस्सा है,
फिल्म के लिए रेकॉर्ड नहीं किया गया।]
आसार हैं सब खोट के
इमकान हैं सब चोट के
घर बंद हैं सब गोट के
अब ख़त्म हैं सब टोटके
किस्मत का सब ये फेर हैं
अंधेर हैं
अंधेर हैं
ऐसे हुए हैं बे-असर
मैं और मेरी आवारगी
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 : | 3836 | Post No. : | 14845 |
“Mera Jeewan”(1976) was directed by Vindu Shukla for Shreejee International, Bombay. This “social” movie had Vidya Sinha, Ambika Johar, Dushyant, Satyen Kappu, Jairaj, Shivraj, Viju Khote, Dinesh Hingoo, Padma Rani, Arvind Rathod, Baby Guddi, Sunita, Shekhar Purohit, Uday Kumar, Ranveer Raj, Jugnu, Anand Bihari,Harbans Pape, Pardesi, Amrit Patel, Madhavi, Master Ajay, Baby Sabiha etc. A K Hangal (friendly appearance) and Sulochana, Veena and Harindranath Chattopadhyay (special appearances) also figured in the movie.
The movie had four songs in it. Two songs from the movie have been covered in the past, including the title song which was the most popular song from the movie.
When I checked up on the four songs of this movie, I realised that all the four songs were quite popular during its time before they were forgotten.
Here is the third song from “Mera Jeewan”(1976) to appear in the blog. The song is sung by Asha Bhonsle. M G Hashmat is the lyricist. Music is composed by Sapan Jagmohan.
The song is picturised on Vidya Sinha as a “man mein laddoo phootna” genre of song. 🙂
I have not been able to get one word in the lyrics. I request our readers with keener ears to help fill in the blank/ suggest correction as applicable.
Song-Koi mere haathhon mein mehandi laga de (Mera Jeewan)(1976) Singer-Asha Bhonsle, Lyrics-M G Hashmat, MD-Sapan Jagmohan
Lyrics
Koi mere haathhon mein mehandi laga de
Koi mere haathhon mein mehandi laga de
aaj bole re lagan
jisko kehte hain dulhan
koi kaise sajaa de
Koi mere haathhon mein mehandi laga de
Koi mere haathhon mein mehandi laga de
aaj meri aankhon mein chamke pyaar ki jyoti
seep ke man mein muskaaye armaanon ke moti
khushiyon ke moti
pyaar ki jyoti
khushiyon ke moti
pyaar ki jyoti
aaj meri aankhon mein chamke
pyaar ki jyoti
aaj bole mera man
jisko kehte hain sajan
koi us’se milaa de
Koi mere haathhon mein mehandi laga de
Koi mere haathhon mein mehandi laga de
aaj suni kaanon ne mere
dil ki shehnaai
tod ke pinjra panchhi bhaaga
tooti tanhaai
suni shehnaai
tooti tanhaai
suni shehnaai
tooti tanhaai
aaj suni kaanon ne mere
dil ki shehnaai
jaise udti hai pawan
aur jhhoome re gagan
koi kaise uda de
Koi mere haathhon mein mehandi laga de
Koi mere haathhon mein mehandi laga de
aaj bole re lagan
jisko kehte hain dulhan
koi kaise sajaa de
Koi mere haathhon mein mehandi laga de
Koi mere haathhon mein mehandi laga de
Rehte Ho Meri Aankhon Mein
Posted on: January 17, 2019
- In: "Aankh" song | Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Guest posts | Krishna Kalle solo song | Krishna Kalle songs | Love song | Lyrics contributed by readers | Post by Sudhir | Songs of 1960s (1961 to 1970) | Songs of 1970 | Yearwise breakup of songs
- 2 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
3835 | Post No. : | 14844 | Movie Count : |
4060 |
Missing Films of 1960s – 91
– – – – – – – – – – – – – – –
Yet another obscure and unfamiliar film from 1970. The film is ‘Khooni Saaya’. Just as the name suggests, this is a stunt film – I am sure an effort to make a chilling crime thriller. What became of it, we have no idea.
The film is produced under the banner of Jayant Films, Bombay and is directed by A Zahoor. The star cast is quiet a mix of unknown, unfamiliar names, with just a few familiar names. The list reads as Hercules, Rozeena, Ratan, Azad, BM Vyas, Habeeb, Dhanraj, Tara, Yusuf, Sabir, Babejani, Qamarjani, Master Zuber, Master Latif, Fazal Khan, Khurshid Khan, Julian, Musachina, Master Roshan, Fazlu, Ramzan, Manju, Aruna, Indira Bansal, and Sheikh.
The Geet Kosh lists 4 songs for this film. The music director is identified as Kamal Kant – an unfamiliar name. However, when I check out blog lists, one song of this music director is already present here. That song is from a film from 1983. As I check the Geet Kosh, I can locate 4 films with music by Kamal Kant, between the years 1970 and 1980. Besides this film, the other films are all mythological. Then the 1983 film ‘Kaun Hai Wo’ seems to be another cops and robber story.
The lyricist’s name is equally unfamiliar – Azeez Jamaali. Geet Kosh shows his name in one film from 1955, and then just this film in 1970. His name appears in our blog for the first time today.
The four songs listed have been released on 2 gramophone records. As I check for the availability, I find that just one record, i.e. two songs, have so far surfaced in the public domain. Checking with other collectors, I am drawing a blanks as far as the remaining two songs are concerned.
The singing voice is that of Krishna Kalle. Krishna Kalle has recorded close to 200 songs in Hindi films (which include songs for unreleased films also, as per Geet Kosh). Her singing career in films starts in the mid sixties, and carries on till the early eighties. In 1970, she was quite at the peak of her singing career.
The song presented is a love song, with the lady expressing her feelings for her beau – that her eyes are where he lives.
Rehte Ho Meri Aankhon Mein. . .
Song – Rehte Ho Meri Aankhon Mein (Khooni Saaya) (1970) Singer – Krishna Kalle, Lyrics – Azeez Jamaali, MD – Kamal Kant
Lyrics
rehte ho meri aankhon mein
palkon ki thandi chhaon mein
jeevan ka mere sahara
saajan hai pyar tumhaara
rehte ho meri aankhon mein
tum mere main hoon tumhaari
jaane ye duniya saari
tum mere main hoon tumhaari
jaane ye duniya saari
mehki hawaayen
behki fizaayen
geet milan ke gaayen
rehte ho meri aankhon mein
palkon ki thandi chhaon mein
jeevan ka mere sahara
saajan hai pyar tumhaara
rehte ho meri aankhon mein
dekho ji aise na dekho
nazron ko tum apni roko
dekho ji aise na dekho
nazron ko tum apni roko
uff ye nigaahen
dil mein samaayen
preet ki jyot jalaayen
rehte ho meri aankhon mein
palkon ki thandi chhaon mein
jeevan ka mere sahara
saajan hai pyar tumhaara
rehte ho meri aankhon mein
aaa aaaa
aaaa aaaaaa
aaaaa aaaaaaa
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
रहते हो मेरी आँखों में
पलकों की ठंडी छाँव में
जीवन का मेरे सहारा
साजन है प्यार तुम्हारा
रहते हो मेरी आँखों में
तुम मेरे मैं हूँ तुम्हारी
जाने ये दुनिया सारी
तुम मेरे मैं हूँ तुम्हारी
जाने ये दुनिया सारी
महकी हवाएँ
बहकी फिज़ाएँ
गीत मिलन के गायें
रहते हो मेरी आँखों में
पलकों की ठंडी छाँव में
जीवन का मेरे सहारा
साजन है प्यार तुम्हारा
रहते हो मेरी आँखों में
देखो जी ऐसे ना देखो
नज़रों को तुम अपनी रोको
देखो जी ऐसे ना देखो
नज़रों को तुम अपनी रोको
उफ़्फ़ ये निगाहें
दिल में समाएँ
प्रीत की ज्योत जगाएँ
रहते हो मेरी आँखों में
पलकों की ठंडी छाँव में
जीवन का मेरे सहारा
साजन है प्यार तुम्हारा
रहते हो मेरी आँखों में
आss आsss
आsss आsssss
आssss आssssss
Dil todne waale bata ke jaa
Posted on: January 16, 2019
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 : | 3834 | Post No. : | 14842 |
Today is the 93rd birth anniversary of O P Nayyar (16 january 1926- 28 january 2007).
According to my calculations, O P Nayyar worked in 73 movies and he composed 569 songs in these movies.
This blog has 472 songs from these movies. So, all 73 Hindi movies where O P Nayyar composed music are represented in the blog. 49 of these movies are already YIPPEED. 24 more of movies with O P Nayyar music are yet to be YIPPEED. In addition, one Non movie song composed by O P Nayyar has also been covered in the blog.
So, just under one hundred of O P Nayyar compositions remain to be covered.
Here is the filmography of O P Nayyar:-
| Movie | Year | No of songs in the blog | No of songs in the movie | Remarks |
|---|---|---|---|---|
| Aasmaan | 1952 | 8 | 8 | YIPPEED |
| Chham Chhama Chham | 1952 | 9 | 11 | |
| Baaz | 1953 | 8 | 8 | YIPPEED |
| Aar Paar | 1954 | 8 | 8 | YIPPEED |
| Mangu | 1954 | 4 | 4 | Md Shafi composed 3 other songs |
| Mehbooba | 1954 | 5 | 5 | Roshan composed 4 other songs |
| Baap Re Baap | 1955 | 11 | 11 | YIPPEED |
| Miss Coca Cola | 1955 | 8 | 8 | YIPPEED |
| Mr and Mrs 55 | 1955 | 8 | 8 | YIPPEED |
| Musaafirkhaana | 1955 | 8 | 8 | YIPPEED |
| Sabse Bada Rupaiyya | 1955 | 6 | 6 | Naashaad composed 3 other songs |
| Bhaagam Bhaag | 1956 | 10 | 10 | YIPPEED |
| Chhoomantar | 1956 | 10 | 10 | YIPPEED |
| C I D | 1956 | 7 | 7 | YIPPEED |
| Dhaake ki Malmal | 1956 | 7 | 7 | One song by Robin Chatterji |
| Ham Sab Chor Hain | 1956 | 9 | 9 | YIPPEED |
| Mr Lambu | 1956 | 8 | 8 | YIPPEED |
| Naya Andaaz | 1956 | 11 | 11 | YIPPEED |
| Shrimati 420 | 1956 | 8 | 9 | Tum to hamre man mein bhagwaan ban ke base ho- this balance song in untreceable as of now |
| Bade Sarkaar | 1957 | 4 | 4 | YIPPEED |
| Duniya Rang Rangeeli | 1957 | 8 | 8 | YIPPEED |
| Johny Walker | 1957 | 6 | 6 | YIPPEED |
| Maai Baap | 1957 | 6 | 6 | YIPPEED |
| Naya Daur | 1957 | 9 | 9 | YIPPEED |
| Qaidi | 1957 | 5 | 8 | |
| Tumsa Nahin Dekha | 1957 | 6 | 6 | YIPPEED |
| Ustaad | 1957 | 7 | 7 | YIPPEED |
| 12 o clock | 1958 | 7 | 7 | YIPPEED |
| Farishta | 1958 | 6 | 6 | YIPPEED |
| Howrah Bridge | 1958 | 8 | 8 | YIPPEED |
| Kabhi andhera Kabhi Ujaala | 1958 | 5 | 9 | |
| Mr Qartoon MA | 1958 | 5 | 8 | |
| Mujrim | 1958 | 8 | 8 | YIPPEED |
| Phagun | 1958 | 11 | 11 | YIPPEED |
| Raagini | 1958 | 8 | 12 | YIPPEED |
| Sone Ki Chidiya | 1958 | 8 | 8 | YIPPEED |
| Do Ustaad | 1959 | 8 | 8 | YIPPEED |
| Basant | 1960 | 10 | 14 | |
| Jaali Note | 1960 | 8 | 8 | YIPPEED |
| Kalpana | 1960 | 5 | 10 | |
| Mitti Mein Sona | 1960 | 7 | 7 | YIPPEED |
| Ek Musaafir Ek Haseena | 1962 | 12 | 12 | YIPPEED |
| Hongkong | 1962 | 9 | 9 | YIPPEED |
| Phir Wohi Dil Laaya Hoon | 1963 | 9 | 9 | YIPPEED |
| Kashmir Ki Kali | 1964 | 9 | 9 | YIPPEED |
| Mere Sanam | 1965 | 9 | 9 | YIPPEED |
| Akalmand | 1966 | 7 | 9 | |
| Bahaaren Phir Bhi Aayengi | 1966 | 6 | 6 | YIPPEED |
| Do Dilon Ki Daastaan | 1966 | 7 | 8 | |
| Love and Murder | 1966 | 2 | 6 | |
| Mohabbat Zindagi Hai | 1966 | 5 | 8 | |
| Saawan Ki Ghata | 1966 | 8 | 8 | YIPPEED |
| Ye Raat Phir Na Aayegi | 1966 | 8 | 8 | YIPPEED |
| CID 909 | 1967 | 6 | 6 | YIPPEED |
| Naseehat | 1967 | 3 | 6 | |
| Dil Aur Mohabbat | 1968 | 6 | 6 | YIPPEED |
| Hamsaaya | 1968 | 7 | 7 | YIPPEED |
| Kahin Din Kahin Raat | 1968 | 7 | 7 | YIPPEED |
| Kismat | 1968 | 5 | 5 | YIPPEED |
| Shrimaanji | 1968 | 3 | 6 | |
| Sambandh | 1969 | 5 | 12 | |
| The Killers | 1969 | 1 | 6 | |
| Aisa Bhi Hota Hai | 1971 | 1 | 4 | |
| Ek Baar Muskura Do | 1972 | 8 | 8 | YIPPEED |
| Pran Jaaye Per Vachan Na Jaaye | 1973 | 6 | 6 | YIPPEED |
| Taxi Driver | 1973 | 6 | 6 | YIPPEED |
| Khoon Ka Badla Khoon | 1978 | 1 | 8 | |
| Bin Maa Ke Bachche | 1979 | 1 | 6 | |
| Heera Moti | 1979 | 3 | 6 | |
| Muqaddar Ki Baat (UR) | 1983 | 1 | 8 | |
| Mangni | 1992 | 1 | 8 | |
| Nishchai | 1992 | 1 | 6 | |
| Zidd | 1994 | 1 | 7 | |
| Total | 473 | 569 | YIPPEEED movies=49 | |
As a tribute to O P Nayyar on the occasion of his birth anniversary, here is a song from “Raagini” (1958). This movie was produced by Ashok Kumar and Ganesh and directed by Rakhan for Ashok Productions, Bombay. This “social”movie had Ashok Kumar, Kishore Kuamr, Padmini, Jabeen, Baalam, Sundar, Nazeer Hussain, Achla Sachdev, Ameer Banu, Protima devi, Rajendra, Master Vinod, Baby Leela, Navmi, Ifthhikar, Jamal, Mirajkar, Kathana, < Bhardwaj, Narbada Shankar, Master Raja etc in it.
The movie had twelve songs in it. Eight of these songs have been covered.
Here is the ninth song from "Raagini"(1958) to appear in the blog. The song is sung by Asha Bhonsle. Jaan Nisaar Akhtar is the lyricist. Music is composed buy O P Nayyar.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Dil todne waale bata ke jaa (Raagini)(1958) Singer-Asha Bhonsle, Lyrics-Jaan Nisaar Akhtar, MD-O P Nayyar
Lyrics
dil todne waale bata ke ja
dil todne waale bata ke ja
dil todne waale bata ke ja
maine tera kya kiya
oye maine tera kya kiya
maine tera kya kiya
oye maine tera kya kiya
dil todne waale bata ke ja
dil todne waale bata ke ja
aa aa
ro ro ke maine pukaara tujhe
toone chhoda magar besahaara mujhe
ro ro ke maine pukaara tujhe
tune chhoda magar besaahaara mujhe
mujhko rulaake kaha chal diya
dil todne waale bata ke ja
dil todne waale bata ke ja
maine tera kya kiya
oye maine tera kya kiya
maine tera kya kiya
oye maine tera kya kiya
dil todne waale bata ke ja
dil todne waale bata ke ja
ye sooni raahen andhera sama
ye sooni raahen andhera sama
ye sooni raahen andhera sama
is dil ko maia leke jaaun kahaan
is dil ko main leke jaaun kahaan
jaaun kahaan haaye jaaun kahaan
dil todne waale bata ke ja
dil todne wale bata ke ja
maine tera kya kiya
oye maine tera kya kiya
maine tera kya kiya
oye maine tera kya kiya
dil todne waale bata ke ja
dil todne waale bata ke ja
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 : | 3832 | Post No. : | 14840 |
Whenever new technoloy is introduced, people feel threatened. But with time, this new technology not only makes life easy and more enriched, it opens up new employment opportunities.
Take movies for example. Initial movies were silent movies. They required technicians as well as actors.
Movies began to speak from 1927, and in India talkies began in 1931. It suddenly opened up new opportunities. Actors who were ony needed to show their face till then, were now required to speak, and sing as well. Suddenly many good looking actors with poor voices found themselves unemploed.
Movies began to speak, which meant they could speak in various languages and so different language movie industries came up. Language related artists, namely dialogue writers, and lyricists became essential for these movies. Since need of songs was felt so music directors and singers were needed.
As one can see, the “simple” advancement in technology opened up new opportunities and that changed the face of movies. Personnel skilled in languages suddenyly found themselves in demand.
Since Hindi movies came into existence in early 1930s, it followed that most artists of talkies were born in and around early 1900s. So, these early pioneers of Hindi movies were born some one hundred years ago. Many of such early pioneers have already completed their birth centenaries.
This blog began on 19 july 2008. Some Hindi movie stalwards who have completed their centuries after than date are Leela Chitnis, K N Singh, K Amarnath, Gope, Kidar Sharma, Jagmohan Sursagar, Gopal Singh Nepali, Khursheed Bano, Bhagwan Dada, Jaan Nisaar Akhtar, Anil Biswas, Lalita Pawar, G P Sippy, Zohrabai Ambalewali, S D Batish, Kishore Sahu, Hansraj Bahl, Bharat Vyas, Shakeel Badayuni, Chitragupta, Kamal Amrohi, Qamar Jalalabadi, Roshan, C Ramchandra etc.
Lots of artists will have their centenaries in the coming years.
The year 2019 has just begun. Birth centenaries of several artists will fall this year.
Today is 14 january 2019. It is the birth centenary of Kaifi Azmi (14 january 1919- 10 may 2002), who was born on this day exactly one hundred years ago. He was born in Azamgarh in Eastern UP which happens to be about 180 km away from the place where I am based at present.
In the past, when I was based in states like MP, Maharashtra and Chhatisgarh, such birth centenary artists appeared to be born “distant” lands, but ever since I arrived in UP in 2015, I find that many of these famous artists, mostly lyricists, were born in nearly places. For instance, Shakeel Badayuni’s birth centenary fell on 2016, and this place Badayun was about 40 km from Izatnagar, Bareilly where I was based at that time. Azamgarh is 180 km away from Gorakhpur. This year will see the birth centenary of Majrooh Sultanpuri, and guess what , Sultanpur is also nearly, some 200 km away. 🙂
Coming to Kaifi Azmi, he was born as Sayyad Akhtar Hussain Rizvi. Like many other persons of literature, he was influenced by communism and Marxism and his literature reflected that. He became a CPI member in 1943 and a member of Progressive Writers movement in 1945.
He was one of the first shaayars to join Hindi movies as a lyricist. His first movie as a lyricist was “Buzdil”(1951) where S D Burman was the music director. He penned three songs in the movie. All these three songs are already covered in the blog.
According to my calculation, Kaifi Azmi penned some 360 songs in 93 movies. His last movie was “Ek Alag Mausam”(2003) whose songs were released after he had already left for the heavenly abode.
Here is the filmography of Kaifi Azmi.
| Movie | Year | MD | Songs of lyricist in the blog | Song penned by lyricist in movie |
|---|---|---|---|---|
| Buzdil | 1951 | S D Burman | 3 | 3 |
| Bahu Beti | 1952 | S D Batish | 1 | 7 |
| Gul Bahaar | 1954 | Dhaniram | 0 | 1 |
| Hatim Tai Ki Beti | 1955 | A R Qureshi | 1 | 2 |
| Naata | 1955 | S Mohinder | 1 | 1 |
| Sakhi Hatim | 1955 | A R Qureshi | 1 | 5 |
| Shaahi Chor | 1955 | Dhaniram | 1 | 1 |
| Laal e Yaman | 1956 | A R Qureshi | 1 | 6 |
| Sultaana Daaku | 1956 | Bipin Baabul | 0 | 2 |
| Yahudi Ki Beti | 1956 | Kamal Mitra | 1 | 7 |
| Zindagi | 1956 | Md Shafi | 1 | 7 |
| Jannat | 1957 | Husnlal Bhagatram | 0 | 6 |
| Lala Rukh | 1958 | Khayyam | 7 | 7 |
| Chaalis Din | 1959 | Baabul | 5 | 8 |
| Kaaghaz Ke Phool | 1959 | S D Burman | 6 | 6 |
| Apna Haath Jaggannath | 1960 | S D Burman | 8 | 8 |
| Chor Darwaaza | 1960 | Frank | 1 | 6 |
| Ek Ke Baad Ek | 1960 | S D Burman | 8 | 8 |
| Razia Sultaana | 1961 | Pt Lachchiram | 1 | 2 |
| Shama | 1961 | Ghulam Mohammad | 12 | 12 |
| Bijli Chamke Jamuna Paar | 1962 | S N Tripathi | 0 | 7 |
| Naqli Nawab | 1962 | Baabul | 2 | 2 |
| Shola aur Shabnam | 1962 | Khayyam | 2 | 3 |
| Haqeeqat | 1964 | Madan Mohan | 7 | 7 |
| Idd Ka Chaand | 1964 | A R Qureshi | 1 | 9 |
| Kohra | 1964 | Hemant Kumar | 5 | 5 |
| Main Suhaagan Hoon | 1964 | Pt Lachchiram | 4 | 4 |
| Do Dil | 1965 | Hemant Kumar | 7 | 7 |
| Faraar | 1965 | Hemant Kumar | 6 | 6 |
| Anupama | 1966 | Hemant Kumar | 5 | 5 |
| Bahaaren Phir Bhi Aayengi | 1966 | O P Nayyar | 1 | 1 |
| Daak Ghar | 1966 | Madan Mohan | 3 | 6 |
| Uski Kahaani | 1966 | Kanu Roy | 2 | 2 |
| Aakhri Khat | 1967 | Khayyam | 6 | 6 |
| Ghar Ka Chiraag | 1967 | Madan Mohan | 4 | 6 |
| Mera Bhai Mera Dushman | 1967 | Khayyam | Unknown | Unknown |
| Naunihaal | 1967 | Madan Mohan | 4 | 7 |
| Anokhi Raat | 1968 | Roshan | 1 | 1 |
| Saat Hindustaani | 1969 | Laxmikant Pyarelal | 1 | 4 |
| Satyakaam | 1969 | Laxmikant Pyarelal | 3 | 3 |
| Daghabaaz | 1970 | Dilip Roy | 1 | 1 |
| Ek Bulbula Paani Ka | 1970 | Jaidev | 0 | 1 |
| Heer Raanjha | 1970 | Madan Mohan | 8 | 8 |
| Maa Ka Aanchal | 1970 | Madan Mohan | 6 | 6 |
| Maharaja | 1970 | Madan Mohan | 2 | 2 |
| Saat Phere | 1970 | Sudhir Sen | 1 | 6 |
| Chhoti Bahu | 1971 | Kalyanji Anandji | 1 | 1 |
| Do Boond Paani | 1971 | Jaidev | 4 | 5 |
| Parwaana | 1971 | Madan Mohan | 6 | 6 |
| Saaz aur Sanam | 1971 | Chitragupta | 0 | 5 |
| Shaan e Khuda | 1971 | Iqbal Qureshi | 0 | 2 |
| Baawarchi | 1972 | Madan Mohan | 4 | 6 |
| Mangetar | 1972 | Sudhir Sen | 1 | 6 |
| Paakeezah | 1972 | Ghulam Mohammad | 1 | 1 |
| Rivaaz | 1972 | Shankar Jaikishan | 0 | 1 |
| Shair e Kaashmir Mahzoor | 1972 | Prem Dhawan | unknown | unknown |
| Sultaana Daaku | 1972 | Madan Mohan | 2 | 4 |
| Alam Ara | 1973 | Iqbal Qureshi | 0 | 7 |
| Garm Hawa | 1973 | Aziz Ahmad Khan Warsi | 1 | 1 |
| Hanste Zakhm | 1973 | Madan Mohan | 5 | 5 |
| Hindustan Ki Kasam | 1973 | Madan Mohan | 4 | 4 |
| Naina | 1973 | Shankar Jaikishan | 1 | 1 |
| Asliyat | 1974 | Madan Mohan | 0 | 2 |
| Faasla | 1974 | Jaidev | 1 | 4 |
| Sankalp | 1974 | Khayyam | 4 | 4 |
| Dhoop Chhaaon | 1977 | Shankar Jaikishan | 0 | 1 |
| Dil Aur Patthar | 1977 | Iqbal Qureshi | 1 | 6 |
| Kanneshwar Rama | 1977 | B V Karanth | 0 | 2 |
| Ooperwaala Jaane | 1977 | Laxmikant Pyarelal | 0 | 2 |
| Shankar Hussain | 1977 | Khayyam | 1 | 1 |
| Inspector Eagle | 1978 | Madan Mohan | 1 | 3 |
| Subhash Chandra | 1978 | Aparesh Lahiri | unknown | unknown |
| Toote Khilaune | 1978 | Bappi Lahiri | 5 | 5 |
| Angaar | 1980 | Sonik Omi | 0 | 2 |
| Shaitaan Mujrim | 1980 | Ratandeep Hemraj | 1 | 1 |
| Suraag | 1980 | Bappi Lahiri | 2 | 6 |
| Aakhri Mujra | 1981 | Kalyanji Anandji | 0 | 1 |
| Kaanoon aur Mujrim | 1981 | C Arjun | 1 | 1 |
| Deedaar e Yaar | 1982 | Laxmikant Pyarelal | 0 | 2 |
| Lakshmi | 1982 | Usha Khanna | 0 | 2 |
| Arth | 1983 | Jagjit Singh | 3 | 3 |
| Razia Sultaan | 1983 | Khayyam | 1 | 1 |
| Bhaavna | 1984 | Bappi Lahiri | 1 | 5 |
| Ham Rahe Na Ham | 1984 | Bappi Lahiri | 1 | 6 |
| Kahaan Tak Aasmaan Hai | 1984 | Raghunath Seth | 0 | 7 |
| Ek Pal | 1986 | Bhupen Hazarika | 0 | 2 |
| Naseehat | 1986 | Kalyanji Anandji | 0 | 1 |
| Main Aazaad Hoon | 1989 | Amar Utpal | 1 | 1 |
| Phir Teri Kahaani yaad aayi | 1993 | Anu Malik | 0 | 1 |
| Tamanna | 1997 | Anu Malik | 0 | 1 |
| Chaand Grahan | 1997 | Anu Malik | 4 | 7 |
| Khamoshi | 2002 | Jagjit Singh | 0 | 1 |
| Ek Alag Mausam | 2003 | Ravi | 0 | 5 |
| Total movies=93 | 199 | 360 | ||
As can be seen from the filmography, Kaifi azmi has penned many memorable songs that need no introduction. For instance, who can forget the songs of “Kaaghaz Ke Phool”(1959), “Haqeeqat”(1964), or the songs of “Kohra”(1964) and “Anupama”(1966). In “Heer Ranjha”(1970), he not only penned the lyrics but also the dialogues, the dialogues being entirely in verse ! One can look at his filmography and recall the songs from those movies.
On the occasion of his birth centenary, here is a song from “Bahu Beti”(1952). This movie was directed by C L Dheer for Badoda Theatre Limited Bombay. This “social” movie had Geeta Bali, Amarnath, Jaswant, Vijaylaxmi, Rashid, Leela Mishra, S Nazeer, Nazirabai etc in it.
This movie had seven songs in it. Six songs were penned by Kaifi azmi and one by Vishwamita Adil. One song from the movie has been covered in the past.
The first song from the movie was deleted from the movie because of objections of censors. Those were the days when censors could often by quite sensitive towards matters that are taken in their stride today. The lyrics of the song were considered objectionable by the censors. Just imagine, a song penned by Kaifi Azmi was deleted from the movie because its lyrics were found objectionable !
The song luckily continued to remain in the records.
Just as fortuitously, this song happens to be 200th song of Kaifi Azmi appearing in the blog.
Here is this special song from Kaifi Azmi, on the occasion of his birth centenary. This song is sung by Geeta Dutt. Music is composed by S D Batish. Since the video of the song is not available, one can only gess about the picturisation. Seeing that Geeta Dutt’s voice appears in six out of seven songs, one can assume that she had sung for Geeta Bali, the lead actress of the movie. By that assumption, it would seem that this song was picturised on Geeta Bali. Nevertheless, I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Mose chanchal jawaani sambhaali nahin jaaye (Bahu Beti)(1952) Singer-Geeta Dutt, Lyrics-Kaifi Azmi, MD-S D Batish
Lyrics
mose chanchal
mose chanchal
mose chanchal jawaani sambhaali nahin jaaye
mose chanchal
o mose chanchal
mose chanchal jawaani sambhaali nahin jaaye
koi chupke se aaye
koi man ko lubhaaye
koi aakar jawaani ko sang le jaaye
mose chanchal
mose chanchal
mose chanchal jawaani sambhaali nahin jaaye
gudgudaati hai tanhaai hardum mujhe
chhedta hai akele mein mausam mujhe
raat sapne dikhaaye
bhor kaanon mein gaaye
thhandi thhandi hawa mora ghoonghat uthhaaye
mose chanchal
o mose chanchal
mose chanchal jawaani sambhaali nahin jaaye
naachti hain chaman mein hawaayen nayin
seekh lin aaj dil ne aaj adaayen nayi
koi hilmil ke gaaye
koi painge badhaaye
koi majboot baahon mein jhoola jhulaaye
mose chanchal
o mose chanchal
mose chanchal jawaani sambhaali nahin jaaye
more nainon se masti barasne lagi
ujli ujli si ye maang dasne lagi
koi chunri audhaaye koi jhumar pahnaye
koi ujli si maang mein sindoor lagaaye
mose chanchal
o mose chanchal
mose chanchal jawaani sambhali naheeen jaaaaye
Nayi nayi pehchaan re
Posted on: January 13, 2019
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 : | 3831 | Post No. : | 14839 |
Today’s song is from a film Jagriti-1949. This film was made by Veerendra Chitra. The director was Manohar Ghatwai. Music was by K. Narayan Rao and the Lyricist was Indeevar. The cast of the film was Ravikant, Mohana Cabral, Omkar Devaskar, Lalita Rao, Leela, Jal khambata, chemist etc etc.
From the list of 7000 odd actors who worked in Hindi films, during the period 1931 to 2000, if you divide them into grade A, B and C class artistes, you will find that about 350 (5%) actors may come in A grade-i.e. Hero/Heroines- about 1000 (15%) may come in B grade- support actors/ character artistes- and the balalnce 5600 (80%) may fall in C grade- smaller roles. It is true that not all those who join films will shine but the small time actors, who thronged the film cities like Bombay had their own dreams.Most had their dreams shattered and they had to settle for whatever was served to them.
The Mayanagari, sometimes showed its Maya. It picked up unsuspecting souls and bestowed upon them the fame and a name as Leading actors, singers, Directors ,Lyricists or whatever in films. Thus, a scholarly young man, standing in a bus queue in Madras is picked up and made a Hero of more than 40 films as ” Ranjan”. It also made an onlooker of shooting from the crowds of a studio, the famous and rich Hero of more than 50 films as ” Motilal”. An ordinary Motor Mechanic becomes a well known film Director in various languages and is called ” Sarvottam Badami’. A poor motor mechanic working is a garage becomes All India famous poet-Lyricist and Producer Director called ” Gulzar.” The same Maya made a casual singer in Hindu Colony,Dadar in Bombay a famous playback singer of repute, when her singing is heard by a passing Music Director Hanuman prasad, just by chance. She was known as ” Geeta Dutt”. There are many such examples.
There are many such number of ” Accidental Stars’, but the same Maya also scuttled the Golden chances of capable aspiring small timers to become big stars. Atleast two glaring examples are known. one is very well known to many, but the other is hardly known to anyone. Mehboob Khan was almost selected as Hero of India’s First Talkie film ” Aalam Ara”-31. Even suitable costumes for him were also made ready, but then Maya played the trick and his name was pushed back, in favour of the more famous Master Vithal, to cover up the possible risk of the failure of the First talkie, which was an experiment. Nevertheless Mehboob Khan became a significantly notable producer, director and studio owner of India.
The other case how Maya scuttled the chances of fame, name and career of a small time actor who was on the verge of becoming a big star, is not known to most people. Now, take a look at the cast of today’s film ‘ Jagriti’-49, as mentioned above, in the first paragraph of this post. Do you find a name Omkar Devaskar ? Well, this is his story….
Omkar Devaskar was born in 1911 in MP (Central provinces then). After his schooling, he ran away to Bombay to seek employment and got a job as an ‘ Assistant’ in Imperial Film company. His job was to do any work given to him. The salary was Rs.20 pm. When he saw the film shootings, he had an urge to act in films. One day, he asked Ardeshir sheth about it and he started getting uncredited small roles in silent films.
Imperial company decided to make a Talkie First time in India,mainly because of Dadasaheb Torne (Ramchandra Gopal Torne). It was he who prompted Irani to be the first in India to make a Talkie. Torne was his Manager for both Jyoti studio and Imperial Film Company. Torne was also an agent for Cinema Equipment imported from England and Germany. Torne imported Sound recording equipment and the company sent a German Engineer to explain and teach the technique to Indian technicians.
They first wanted to test the sound recording machine by recording and filming a song. Who would sing ? No one was ready to become the sacrificial goat. Irani saw Omkar and asked him to sing before the machine. A terrified Omkar lamely protested, but he had no choice. Ultimately he was ‘ made up’ and the recording and filming started. Omkar sang a Thumri, ‘ Pyare Rasia Bihari’. Everybody present, including Irani, were stunned with the sweet voice and the ease of his singing style. It came off extremely well. About 500 feet film was shot flawlessly. Irani was so much impressed, that he toyed with the idea of giving Omkar the first song in film Aalam Ara. Maya swiftly went to into action. Unfortunately the recording was not saved, otherwise it would have been the first film song to be filmed and Omkar the First ever singer actor to do so. But Alas ! This is called the stroke of misfortune ! Destiny had slated this honour for W.M.Khan.
Missing this chance, anyway, Omkar became an actor and singer. His first talkie film was Imperial’s ” Sati Anusuya “-33. He a sang 3 songs in film ” Noor E Imaan “-33, besides acting in it. Omkar acted in about 30 films in all. His last film was perhaps, Rangeeli-52. He sang 14 songs in 6 films. His last song came in today’s film Jagriti-49. Omkar was a regular actor in many Marathi films too.
Today’s song is sung by Freni Shroff and Yeshwant Bhatt. No information whatsoever is found about this singer Freni. A cursory look at HFGK indicates that possibly she sang only in this film.
YASHWANT BHATT was son of shri Nageshwar Bhatt. He was born at Madhavpur in Gujarat. Since his father was a singer of Haveli Sangeet, Yashwant started singing quite early. His first guru was Kashigar and later on it was Padubhai who actually developed Yashwant as a singer. He always gave credit to his guru Padubhai. Yashwant’s voice was very soft and sweet. It was ideal for singing emotional songs and Bhajans. He was an extremely good natured and helpful person. Soon his name became known for his sweet Bhajans.
He was ambitious to become a Play back singer in Hindi films. He came to Bombay at the age of 20 years. First he got opportunity to sing in chorus in the Circo production film songs. In 1941,he sang Bhajans on Mumbai Radio. Side by side he sang in Hindi films. In all he sang about 25 songs in 13 Hindi films. The films were Khooni Laash-43, Katil-44, Black and white-44, Royal Mail-46, Dhokhebaaz-46, Namak-47, Kismetwali-47, White face-48, Billi-49, Jiyo Raja-49, Jagriti-49, Veer Ghatotkach-49 and Actor -51.
Out of these 13 films, 9 films had music by K. Narayan Rao. Yashwant was his pet singer. Narayan Rao was mainly a composer for C grade and stunt films. His films never became famous, consequently Yashwant too was neglected and never came into limelight. Actually, with other composers, Yashwant had done duets with Naseem, Uma Devi, Sulochana Kadam, Kusum Mantri, Husn Bano, Leela Mehta, Sheela, Rohini Rai, Putlibai, Freni Shroff etc, but in spite of his sweet voice and good singing, he remained neglected by major composers. As a result he could not achieve much success in Hindi films.
This was compensated to a great extent by his Bhajan singing. He lost his father and had to return to Madhavpur. One Mr. Gijubhai was Assistant station Director of Rajkot Radio station. He invited Yashwant to sing bhajans on Rajkot radio. Soon his Bhajans became a rage and he became a very popular Prabhatiya singer. He mainly sang poems of Ganga Sati,Paan bhai and Narsi Mehta etc. He spent a long time singing bhajans. He was made an A class singer on Radio. His name was taken along with famous singers of Gujarat ,like Mohanlal Rayani, Kannubhai Barot, Dula Bhagat etc etc. Due to his good nature he got many friends here. One of them was Ratubhai Adani.
He also sang some songs in Gujarati films. Due to his hectic schedules, he neglected his health and contracted T.B. But he continued his work. when his condition became bad his friend Shri Ratubhai Adani admitted him to Keshod T.B.Hospital.
Yashwant Bhatt died of severe T.B. The news of his death on 27-10-1977 was a shock to his friends, relatives and Bhajan lovers of Gujarat.
His younger brother Harish Bhatt, who was an ardent fan of Saigal also tried to sing in Hindi films. I could trace only one of his songs in the film Kinara-1949. Yashwant Bhatt’s children also carried forward his singing legacy.
There were 9 songs in film Jagriti-49. One song is already discussed. There were all unknown singers like Omkar Devaskar, Lalita Rao, Sanjeevani Pai and Freni Shroff. only Yeshwant Bhatt was a known name. The song is better than average.
( I have used information from Music beyond boundaries by Ashok Ranade and Marathi Cinema in Retrospect by Sanjit Narwekar, MuVyz,HFGK and my own notes, for this write up.)
Song- Nayi nayi pehchaan re (Jaagriti)(1949) Singers- Freni Shroff, Yeshwant Bhatt, Lyrics-Indeewar, MD-K Narayan Rao
Both
Lyrics
ee ee ee
nayi nayi pehchaan re
nayi nayi pehchaan
ee ee ee
nayi nayi pehchaan re
nayi nayi pehchaan
jaan liya aankhon ne tumko
o o
o o o o
jaan liya aankhon ne tumko
dil hai abhi anjaaan
dil hai abhi anjaan
ee ee ee
nayi nayi pehchaan re
nayi nayi pehchaan
ee ee ee
nayi nayi pehchaan re
nayi nayi pehchaan
sama gaye nainon mein naina aa
nigaahon se mil gayin nigaahen aen
sama gaye nainon mein naina aa
nigaahon se mil gayin nigaahen
jaise milti hain do nadiya
jaise milti hain do nadiya
jaise milti hain do raahen
jaise milti hain do raahen
aen aen
aane lage armaan dilon mein
ban kar ke mehmaan
ee ee ee
nayi nayi pehchaan re ae
nayi nayi pehchaan
prem ke path mein bichhe huye hain aen
phool kahin pe
kahin pe kaanten ae
prem ke path pe bichhe huye hain
phool kahi pe
kahin pe kaante
dhoondh lo aisa jiwan sathi
dhoondh lo aisa
jiwan sathi
jo dukh kaate sukh ko baante
jo dukh kaate sukh ko baante
haan aan aan
preet nibhaana bada kathhin hai
hota na aasaan
ee ee ee
nayi nayi pehchaan re
nayi nayi pehchaan
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 : | 3830 | Post No. : | 14837 |
Mohammed Rafi – Duets – ‘अ’ से ‘ह’ तक (From ‘अ’ to ‘ह’) – 31
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
‘व’ – वो तो चुटकी में दिल लेके चलते हुये ॰ ॰ ॰
– – – –
याद ना जाये, बीते दिनों की. . .
So difficult it is to forget, the days that have gone by. Yes, you voice remains with us to be heard, just as a consolation.
– – – –
In a departure from the pattern in this series so far, today I am presenting an all male duet. As I was searching for a song starting with ‘व’, I came across this very interesting song from the 1950 film ‘Shaadi Ki Raat’. This one is a male-male duet in which Rafi Sb’s voice is accompanied by that of Raja Gul. And this made me think. I checked back on the songs posted so far in this series, only to find that I have only been posting male-female duets. Then, as I scanned the list of songs, I came across so many male-male duets. And I was asking myself – does that mean another series? I don’t know. Let’s wait and see.
This film has 12 songs listed as per HFGK, eight of which are penned by Sarshaar Sailaani, with other songwriters identified as Firoz, Surjeet and Nazim Panipati having contributed one song each. One song is unattributed as far as songwriter is concerned. Music is by Pt Gobind Ram. Two songs of this film are already showcased on our blog. Today’s song is from the pen of Sarshaar Sailaani.
The film is a social drama produced under the banner of Prakash Pictures and is directed by Yashwant Pethkar. List of actors is given as Geeta Bali, Rehman, Vijaylakshmi, Leela Mishra, Jankidas, Ansari, Shanta Kunwar, Baby Durga, Anwari Bai, and Arun. Given this list of actors, it may be surmised that this song would have been picturized on Rehman and another male actor. Names that figure are Jankidas, Ansari (could that be NA Ansari??), and Arun (possibly Arun Ahuja??), but I am not ready to hazard a guess. I would request other knowledgeable readers and friends to please add more information about this song and the film, if available.
The song tells of a young heart, that has recently been stolen by a femme fatale. The pilferage seemed to have happened in a jiffy, and the aggrieved party, whose heart is stolen, was just left surprised. A fun song in which one friend is describing this episode to another, and the other also joins in and tries to give some worldly advise. But alas, the laments of woe do not cease as the robbed victim continues to bemoan
wo to chutki mein dil le ke chalte huye
reh gaye hum yahan haath malte huye
Song – Wo To Chutki Mein Dil Le Ke Chalte Huye (Shaadi Ki Raat) (1950) Singer – Mohammed Rafi, Raja Gul, Lyrics – Sarshaar Sailaani, MD – Pt Gobind Ram
Mohammed Rafi + Raja Gul
Lyrics
wo to chutki mein dil le ke chalte huye
haaye chalte huye
wo to chutki mein dil le ke chalte huye
haaye chalte huye
wo to chutki..ee mein dil le ke
chalte huye..ae
aur reh gaye hum yahaan
reh gaye
hum yahan
haath malte huye
haath malte huye
wo to chutki mein dil le ke chalte huye
haaye chalte huye
wo hamen
aur hum
un ko takte rahe
aankh milti rahi dil dhadakte rahe
aankh milti rahi dil dhadakte rahe
aur paanv sambhale na
paa..aanv
sambhale na zaalim phisalte huye
haan phisalte huye
wo to chutki mein dil le ke chalte huye
haaye chalte huye
ik balaa ho gai
dillagi aap ki
aur baaz aaya main
tauba
tauba mere baap ki..ee..ee
aur raat kat’ti hai
kat’ti hai naa
arey par kaise
kaise
raat kat’ti hai karwat badalte huye
haan badalte huye
raat kat’ti hai karwat badalte huye..ae..ae
haaye raat kat’ti hai karwat badalte huye
lekin wo to
o wo to chutki mein dil le ke chalte huye
haaye chalte huye
wo to chutki mein dil le ke chalte huye
haaye chalte huye
dekho bhai
jaate jaate
mohabbat ka rang jaayega
aate aate
tabiyat ko chain aayega
aur bhai der lagti hai
haan
der lagti hai dil ko sambhalte huye
haan sambhalte huye
wo to chutki mein dil le ke chalte huye
haaye chalte huye
haa..aaye
kyon kya hua
haa..aan
ishq ne jis musibat mein daala hamen
us musibat se padta na paala hamen
arre bhai soch lete
kya soch lete
soch lete jo ghar se nikalte huye
haan nikalte huye
soch lete jo ghar se nikalte huye
haan nikalte huye
wo to chutki mein dil le ke chalte huye
haaye chalte huye. . .
———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————
वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये
वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये
वो तो चुटकी॰॰ई में दिल लेके
चलते हुये॰॰ए
और रह गए हम यहाँ
रह गए
हम यहाँ
हाथ मलते हुये
हाथ मलते हुये
वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये
वो हमें
और हम
उनको ताकते रहे
आँख मिलती रही दिल धड़कते रहे
आँख मिलती रही दिल धड़कते रहे
और पाँव संभले ना
पा॰॰आँव
संभले ना
ज़ालिम फिसलते हुये
हाँ फिसलते हुये
वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये
इक बला हो गई
दिल्लगी आपकी
और बाज़ आया मैं
तौबा
तौबा मेरे बाप की॰॰ई॰॰ई
और रात कटती है
कटती है ना
अरे पर कैसे
कैसे
रात कटती है करवट बदलते हुये
हाँ बदलते हुये
लेकिन वो तो
ओ वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये
वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये
देखो भाई
जाते जाते
मोहब्बत का रंग जाएगा
आते आते
तबीयत को चैन आएगा
और भाई देर लगती है
हाँ
देर लगती है दिल को संभलते हुये
हाँ संभलते हुये
वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये
हाए॰॰
क्यों क्या हुआ
हाँ॰॰
इश्क़ ने जिस मुसीबत में डाला हमें
उस मुसीबत से पड़ता ना पाला हमें
अरे भाई सोच लेते
क्या सोच लेते
सोच लेते जो घर से निकलते हुये
हाँ निकलते हुये
सोच लेते जो घर से निकलते हुये
हाँ निकलते हुये
वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये॰ ॰ ॰
Neele ambar ke taley
Posted on: January 11, 2019
- In: Background song | Devnagri script lyrics by Avinash Scrapwala | Feelings of heart | Guest posts | Lyrics by Peevesie's mom | Lyrics contributed by readers | movie opening song | Post by Avinash Scrapwala | Songs of 1970s (1971 to 1980) | Songs of 1977 | Yearwise breakup of songs | Yesudas solo | Yesudas song
- 2 Comments
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
3829 | Post No. : | 14835 | Movie Count : |
4057 |
# The Special Voices of the Decade (1971-1980) – 6 # Yesudas #
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I recall listening to a song frequently on radio when I was around seventh or eight years old. The voice was very attractive and it had something special which captivated my young mind then.
There was one Mr. Abu who held from Kerala and was my Father’s friend (may be because of their drinking habits 🙂 residing in the same colony). He used to praise this new Singer a lot and liked his songs very much. My Father had even started learning ‘Malayalam’ from him and he had started learning how to write ‘Malayalam’ words too 🙂 in register.
As years passed and we were getting more and more memorable songs from this Singer though the quantity was not that much as compared to the other established singers in HFM.
Still, the songs coming from his voice were gaining popularity as well as it were creating a special place in the hearts of people, as the movies he was singing in were also coming from directors from special genre who were making off-beat movies then in the era already dominated by multi-starrer movies.
Nevertheless, the songs were adding to the list of ‘all time memorable songs’ and ‘nostalgia’ for peoples like me …
Today this singer turns to seventy-nine. He was born on in kerala.
I will not go into his biography in details because it has been covered in two of earlier posts on the blog.
Instead I will give below the name of the movies he sings in from 1971 since his debut in an ‘un-released’ Hindi movie, but compiled up to 1980 only, since I have the Geet Kosh for this period available with me.
Though our today’s Singer keep singing till recently in Hindi movies. But if we come to his statistics Hindi movies, we will not be able to judge his extra-ordinary talent and the ‘divine’ presence he has left by singing nearly fifty thousand songs in many national and international languages in his career spanning fifty years!!
He has been honoured with many national awards in singing as well as been conferred upon with our national civilian awards too and the list of awards is so BIG that one can only imagine his extra ordinary contribution to music as well as the society in turn…
I think, one who has grown up in the years of seventies can never ever forget this voice and those beautiful lovely songs …
Let us now start my journey through his songs …
Or let me remind you of this non-filmy song first … ‘teesta nadi si tu chanchalaa, main bhi hoon bachpan se manchalaa’
Our today’s singer is the male voice in this song (though the other voice i.e. the female voice too is ‘nostalgic’ for me …
‘Gori teraa gaaon badaa pyaara’ – it was ruling the charts in 1976 and even after forty two years it is the same, even the new generation likes it when they get to listened to it..
But my favorite at that time was the other one from the same movie ‘Aaj se pehle ae aaj se jyadaa’ .
‘Jaaneman jaaneman tere do nayan’ from ‘Chhotisi Baat-1975’ had already stolen people’s hearts and their eyes open to read and learn more about this male voice in this song …
Two years later he was in a rebellious still melodious mood when he sings ‘Kitaabon mein chhaptein hain chaahat ke kisse’
Then who will ever forget ‘sunayna sunayna’ .
The same year he was praising his beloved with ‘chaand jaise mukhde pe’.
However, the one close to my heart and growing every time for all these years is ‘tere bina soona more man ka mandir aa re aa re aa’
A year before in 1978 his ‘dil ke tukde tukde kar ke muskuraa ke chal diye’, was also keep us mesmerised (but I was not liking much then, till I became a fully grown up adult 🙂 )
And as the years passed this list also keep adding on and on …
‘ka karu sajni ee’
‘kahaan se aaye badraa’
‘madhuban Khushboo deta hai’
‘maana ho tum behad haseen’
From the early eighties I like;
‘beeti huyi raat ki sunaati hai kahaani’
I can keep listing many many of his favourites of mine but I have to stop …
And as I was browsing his filmography, I was reminded of this lovely number … just to refresh the memories of yours too;
‘jeewan path pe ek rath ke do pahiye ban chalte jaayen’
I cannot stop without mentioning these two;
‘Shyaam rang ranga re’
And
‘Shadaj ne paaya ye vardaan’
(in HFGK Vol V I could not find the name of this UR movie ‘Tansen’ or maybe I have missed it…)
Then I remember I had specially brought his ‘non-filmy’ album ‘Sitaaron mein tu hi’ in 2000-2001 (when I was in Bareilly. I do not have cassette with me to mention more about it here)
But I have to stop here and presenting this article in this series a little differently I will leave you with the list of movies he sung from 1971 to 1980;
| Year | Movie | Director | Music Director | Solo | Duet/or with two or more Singers | Total Songs | |
|---|---|---|---|---|---|---|---|
| UR 1971 | Jai Jawaan Jai Kisaan (1971) | A.A.Raj | 1 | 0 | 1 | ||
| UR 1977 | Aanand Mahal (1977) | Basu Bhattacharya | Salil Chaudhary | 4 | 1 | 5 | |
| UR (1971-1980) | Bin Baap Ka Beta (1971-80) | Mukul Dutt | Basu-Manohari | 0 | 1 | 1 | |
| 1975 | Baaghi Lutera | A.C.Trilokchander | M.S.Vishwanathan-M.Rangarao | 0 | 1 | 1 | |
| 1975 | Chhoti Si Baat | Basu Chatterjee | Salil Chaudhary | 0 | 1 | 1 | |
| 1976 | Chitchor | Basu Chatterjee | Ravindra Jain | 2 | 2 | 4 | |
| 1976 | Jesus | P.A.Thomas | M.S.Vishwanathan, Joseph Krishna, Yesudas | * | * | 0 | |
| 1976 | Mazdoor Zindaabaad | Naresh Kumar | Usha Khanna | 1 | 0 | 1 | |
| 1977 | Aalaap | Hrishikesh Mukherjee | Jaidev | 3 | 1 | 4 | |
| 1977 | Aanand Aashram | Shakti Samant | Shyamal Mitra | 0 | 1 | 1 | |
| 1977 | Agar | Ismail Shroff | Sonik-Omi | 0 | 1 | 1 | |
| 1977 | Alibaabaa Marjinaa | Kedar Kapoor | Usha Khanna | 1 | 0 | 1 | |
| 1977 | Charandaas | B.S.Thapa | Rajesh Roshan | 0 | 1 | 1 | |
| 1977 | Darindaa | Kaushal Bharati | Kalyanji-Anandji | 0 | 1 | 1 | |
| 1977 | Do Chehre | Kewal Mishra | Sonik-Omi | 1 | 0 | 1 | |
| 1977 | Dulhan Wahi Jo Piyaa Man Bhaaye | Lekh Tandon | Ravindra Jain | 0 | 1 | 1 | |
| 1977 | Jaadoo Tonaa | Ravikant Nagaich | Hemant Bhonsle | 1 | 2 | 3 | |
| 1977 | Meethhee Meethhee Baatein | K.Balachander | Chakravarti | 0 | 2 | 2 | |
| 1977 | Safed Haathi | Tapan Sinha | Ravindra Jain | 2 | 0 | 2 | |
| 1977 | Safed Jhoothh | Basu Chatterjee | Shyamal Mitra | 2 | 0 | 2 | |
| 1977 | Swaami | Basu Chatterjee | Rajesh Roshan | 1 | 1 | 2 | |
| 1978 | Aankhin Dekhi | Rajinder Singh Bedi | J.Kaushik | 1 | 0 | 1 | |
| 1978 | College Girl | Shantilal Soni | Bappi Lahiri | 0 | 1 | 1 | |
| 1978 | Daadaa | Jugal Kishore | Usha Khanna | 1 | 0 | 1 | |
| 1978 | Do Ladke Dono Kadke | Basu Chatterjee | Hemant Kumar | 1 | 1 | 2 | |
| 1978 | Hamaaraa Sansaar | T.Prakash Rao | Ravindra Jain | 1 | 0 | 1 | |
| 1978 | Hazaar Haath | Rajdeep | Sharda | 0 | 1 | 1 | |
| 1978 | Maa Baap | Kishore Vyas | Avinash Vyas | * | * | 0 | |
| 1978 | Meraa Rakshak | R.Tyagraj | Ravindra Jain | 0 | 2 | 2 | |
| 1978 | Saajan Binaa Suhaagan | Sawan Kumar | Usha Khanna | 1 | 1 | 2 | |
| 1978 | Shikshaa | S.Ramnathan | Bappi Lahiri | 1 | 0 | 1 | |
| 1978 | Solvaan Saawan | Bharati Raja | Jaidev | 0 | 2 | 2 | |
| 1978 | Sone Ka Dil Lohe Ke Haath | Naresh Kumar | Usha Khanna | 1 | 0 | 1 | |
| 1978 | Toote Khilaune | Ketan Anand | Bappi Lahiri | 1 | 0 | 1 | |
| 1978 | Trishool | Yash Chopra | Khayyam | 0 | 3 | 3 | |
| 1979 | Gopaal Krishna | Vijay Sharma | Ravindra Jain | 0 | 1 | 1 | |
| 1979 | Grih Pravesh | Basu Bhattacharya | Kanu Roy | 1 | 0 | 1 | |
| 1979 | Jeenaa Yahaan | Basu Chatterjee | Salil Chaudhary | 0 | 1 | 1 | |
| 1979 | Lahu Ke Do Rang | Mahesh Bhatt | Bappi Lahiri | 1 | 0 | 1 | |
| 1979 | Naiyaa | Prashant Nanda | Ravindra Jain | 2 | 1 | 3 | |
| 1979 | Raadhaa Aur Seetaa | Vijay Kapoor | Ravindra Jain | 0 | 1 | 1 | |
| 1979 | Saawan Ko Aane Do | Kanak Mishra | Rajkamal | 6 | 1 | 7 | |
| 1979 | Sunayanaa | Hiren Naag | Ravindra Jain | 2 | 0 | 2 | |
| 1980 | Apne Paraaye | Basu Chatterjee | Bappi Lahiri | 1 | 1 | 2 | |
| 1980 | Ek Baar Kaho | Lekh Tandon | Bappi Lahiri | 1 | 0 | 1 | |
| 1980 | Kaaran | B.R.Ishaara | Usha Khanna | 1 | 0 | 1 | |
| 1980 | Khwaab | Shakti Samant | Ravindra Jain | 1 | 1 | 2 | |
| 1980 | Maan Abhimaan | Hiren Naag | Ravindra Jain | 2 | 0 | 2 | |
| 1980 | Paayal Ki Jhankaar | Satyen Bose | Rajkamal | 0 | 1 | 1 | |
| 1980 | Pratishodh | I.V.Sasi | Ravindra Jain | 1 | 0 | 1 | |
| 1980 | Qismat | Bhishm Kohli | Bappi Lahiri | 1 | 0 | 1 | |
| 1980 | Saajan Mere Main Saajan Ki | Hiren Naag | Ravindra Jain | 0 | 1 | 1 | |
| Total no of movies – 1971 to 1980 – 52 nos | TOTAL | 84 | |||||
(** details not available about number of songs of each Singer)
Other than this he has sung in many languages (national and international) and that way the ‘madhuban’ of his ‘gaayaki’ will always be remain blossomed all over and let the ‘Madhuban’ of his songs and those unforgettable memories be with us forever till we are here and for the coming generations too- unki gaayki ka ye Madhur-sumadhur-mehakta huaa madhuban hamesha geeton se chhalakta rahega’
“Kattassery Joseph Yesudas” or Yesudas as we fondly know him …
(born on 10th January’ 1940)
Bas naam hi kaafi hai!!! Is naam ke ‘parimandal’ mein hi ‘swarg’ hai …
“Pyaare panchhi baahon mein
Gaati koyal raahon mein
Dharti pe yahi to khushi hai
Apni duniya mein aansoo bhi nahin hai”
***
‘Safed Jhoothh’ was directed by Basu Chatterjee for ‘Matrichhaaya, Bombay’. (this was the first movie by ‘Matrichhaaya’). Basu Chatterjee also wrote the Screenplay and dialogues of this movie.
It was presented by Raj Rajpal. It was produced by Asim Kumar.
It had Ashok Kumar, Vinod Mehra, Mitthu Mukherji, Deven Verma, Vidya Sinha, Manik Dutt, Abu Shivani, Amol Sen, Khalid Roy, Devraj Sinha, Prabir Roy, Somnath Pardesi, Pradeep Mukherji, Milan Mukherji, Vinay Chhibbar, Arup Ganguly, Umesh Kaalbag and many others.
This movie introduced new discovery Renuka.
Pradeep Kumar and Amol Palekar makes a guest appearance in this movie.
Story of this movie was written by Samresh Basu. Editing of this movie was done by V.N. Mayekar.
Music of this film was composed by Shyamal Mitra. And all the four songs in this movie were penned by lyricist Yogesh.
Asha Bhonsle, Shyamal Mitra and Yesudas had given their voices to the songs in this movie.
Today’s song is sung by Yesudas and the movie ‘Safed Jhoothh’ is making a debut on this blog with this lovely song …
This movie was passed by Censor Board on 07.06.1977.
Let us enjoy this song wishing Yesudas ji a very very happy birthday (albeit a day later) and a healthy and peaceful life ahead …
Lyrics for this song were sent by Peevesie’s Mom ji and I remember many times in her comments she mentions that ‘how the die-hard fans’ can forget an anniversary of their beloved actor/actress or Singer, so … yes Yesudas fans can never forget this nostalgic gem 😊
Thank you, Peevesie’s Mom ji!!!
Going by the association of Yesudas with the movies of Basu Chatterjee, I think, this song perfectly fits for this presentation here …
(And I must thank both of our editors who patiently waited for my sending of this article to them. It took time for me to compile the filmography going through each page of HFGK except the appendices and corrigendum. I cannot claim that the list given by me is exhaustive and corrections/suggestions are most welcome.
‘Zid na karo’ aisa khayaal to aaya, but since I had planned that for this article on Yesudas ji I will at least try to give the filmography of his songs from 1971 to 1980, so I have tried my best…)
(note – I have noted the lyrics as per the movie version + audio version)
Audio
Video
Song-Neele ambar ke taley (Safed Jhhooothh)(1977)Singer-Yesudas, Lyrics-Yogesh, MD-Shyamal Mitra
Lyrics(Provided by Peevesie’s Mom)
Neele ambar ke taley ae
Do yahaan saathi miley ae
Chhalke chhalke armaan dil ke
Lekar basaane ghar chaley
Neele ambar ke taley ae
Do yahaan saathi miley ae
Chhalke chhalke armaan dil ke
Lekar basaane ae ghar chaley
Neele ambar ke taley
Har ghadi din rainaa aa aa
Chain ab aaye naa
Man kahe mera saathi ee ee
Ab kahin jaaye naa
Ye milan mein khoyi
Ab naa shaam dhaley ae ae ae ae
Neele ambar ke taley ae
do yahaan saathhi miley
Chhalke chhalke armaan dil ke
Lekar basaane ae ghar chaley
Neele ambar ke taley
Zindagi mein aise ae ae ae
Din kabhi aate hain
Rasmon ke bandhan mein ae ae
Meet bandh jaate hain
Phir mehak uthhte hain
Tan ke phool khile ae ae ae
Neele ambar ke taley ae
Do yahaan saathi miley ae
Chhalke chhalke armaan dil ke
Lekar basaane ae ghar chaley
Neele ambar ke taley
———————————–
Devnagri Script lyrics(Provided by Avinash Scrapwala)
———————————–
नीले अम्बर के तले ए
दो यहाँ साथी मिले ए
छलके छलके अरमान दिल के
लेकर बसाने घर चले
नीले अम्बर के तले ए
दो यहाँ साथी मिले ए
छलके छलके अरमान दिल के
लेकर बसाने घर चले
नीले अम्बर के तले
हर घडी दिन रैना आ आ
चैन अब आये ना
मन कहे मेरा साथी ई ई
अब कहीं जाए ना
ये मिलन में खोयी ई
अब ना शाम ढले ए ए ए
नीले अम्बर के तले ए
दो यहाँ साथी मिले ए
छलके छलके अरमान दिल के
लेकर बसाने घर चले
नीले अम्बर के तले
ज़िन्दगी में ऐसे ए ए ए
दिन कभी आते हैं
रस्मों के बंधन में ए ए
मीत बंध जाते हैं
फिर महक उठते हैं
तन के फूल खिले ए ए ए
नीले अम्बर के तले ए
दो यहाँ साथी मिले ए
छलके छलके अरमान दिल के
लेकर बसाने घर चले
नीले अम्बर के तले ए
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