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

Archive for the ‘Feelings of heart’ Category


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.

“Durga Maata”(1960) was produced and directed by B S Ranga for Vikram Productions, Madras. The movie had Rajkumar (south), Sowcar Janaki, Sandhya, Nagan, Narsomharaju, Bhatt etc in it. It appears to me that this movie was a remake/ dubbed version of a Sputh Indian movie where songs were created afresh for the Hindi version.

The movie had ten songs in it.

Here is the first song from “Durga Maata”(1960) to appear in the blog. This song is sung by S Janaki, by now a legendary playback singer of South Indian movies (different from the actress Janaki in the movie). Lyrics are by S R Saaz. Music is composed by G R Venkatesh.

HFGK mentions this song as sung by S Janaki and chorus, though I cannot detect any chorus in the song.

Ony the audio of this song is available. My guess is that this song was picturised on Sowcar Janaki. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.

With this song, “Durga Maata”(1960) makes its debut in the blog.


Song-Nainan se laagi jhadi…Chain mera lootaa more raaja sun zara (Durga Maata)(1960) Singer-S Janaki, Lyrics-S R Saaz, MD-G K Venkatesh

Lyrics

aaa
aa aa aa aa
aaa aa aa
aaa aa aa
aa aa

nainan se laagi jhadi
laagi man mein aag
rah kar paas tum door ho
hamra ye durbhaagya

chain mera loota more raaja sun zara
chain mera loota more raaja sun zara
hai kitna bewafa tu chhaliya saajna aa
chain mera loota more raaja sun zara
hai kitna bewafa tu chhaliya saajna aa
chain mera loota more raaja sun zara

thhukra de sajan ya apna le
teri rahoongi ee
thhukra de saajan ya apna le
teri rahoongi
jal jal ke raakh hoongi
kuchh bhi main na kahungi
jal jal ke raakh hoongi
kuchh bhi main na kahoongi
ye haath jod sainyaa tere main painya padoongi
ye haath jod sainyya tere main painya padoongi
nithhuraayi tyaag re
anyaayi zaalima
chain mera loota more raaja sun zara
hai kitna bewafa tu chhaliya saajna aa
chain mera loota more raaja sun zara

main apne sapnon ko
bhool ke sakhiyon ko
tere dwaar par aayi hoon
pyaar ki kaliyon ki maala piro ke
saajan tihaare liye laayi hoon
main apne sapno ko
bhool ke sakhiyon ko
tere dwaar par aayi hoon
pyar ki kaliyon ki maala piro ke
saajan tihaare liye laayi hoon
baali umar mora
komal manwa
tadpe
man phadke
main to haar gayi samjha ke ise
ye na samhje
tan man se ho gayi teri re
main apne sapnon ko
bhool ke sakhiyon ko
tere dwaar par aayi hoon
pyaar ki kaliyon ki maala piro ke
saajan tihaare liye laayi hoon

jogan ban gayi hoon tere liye ae ae ae
piya mohse hathhdharmi kariyo na aa aa aa
suno ji
mere pyaar ki shakti ho rasiya
parwat ka bhi shish niwa degi
suno ji mere pyaar ki shakti
o rasiya
parwat ka bhi sheesh niwa degi
teri jeewan daasi dekh le ab
tujhe ik din apna bana legi
suno ji

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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.

“Kaala Chashma”(1962) was directed by K Vinod for SBV Productions, Bombay. the movie had Manju, Amarnath, Madan Puri, Maruti, Jeevan Kala, Sheikh, Sheela Kashmiri, Abeela Kashmiri, Uma Dutt, Ravikant, Kundan, Ridku, Rani Kaushal, Rehana, Madan Khanna, Soni, Narinder, Prakash, Kailash etc. in it.

This movie had six songs in it. One song from the movie has been discussed in the past.

While discussing the first song from the movie, Sudhir Jee mentioned that with a title like this, he would have steered clear of the movie if he had been in a movie going age at that time. so those who are trying to find the age of Sudhir Jee has some clue that he was not of a movie going age when “Kaala Chashma”(1962) was released. 🙂

As far as I am concerned, I remember that wearing kaala Chashma was considered a style statement among young kids like me and we were always on the look out for such kaala chashma. We would feel jealous of fellow kids who somehow managed to get hold of this coveted item. 🙂

For all we know, this movie may have been meant for kids and those who were kids at heart and who took a fancy for kaala chashma. 🙂

Here is the second song from “Kaala Chashma”(1962) to appear in the blog. Like the first song that has appeared in the blog, this song too is a duet which is sung by Rafi and Kamal Barot. Bismil Ludhianvi is the lyricist. Music is composed by Sardul Kwatra.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song. My kid at heart mind suggests that the lady was not wearing “Kaala chamshma” in the picturisation of this song and that is how the gentleman could diagnose that her nain were “nasheele”. 🙂


Song-Nain nasheele honth gulaabi (Kaala Chashma)(1962) Singers-Rafi, Kamal Barot, Lyrics-Bismil Ludhianvi, MD-Sardul Kwatra

Lyrics

nain nasheele honth gulaabi
mukhda gora gora
roop tera hai chhalke
jaise ras ka bhara katora
mera rah rah ke dil machle
allah ji mera rah rah ke dil machle
dekh akeli
samajh ke bholi
kaahe daale dorey
haath nahin main aane waali
sunle o munhjore
chaahe dil mein tu laakh jaley
haaye haaye ji chaahe dil mein tu laakh jaley

o o o
neechi nazar ka hoon maara
phiroon main ban aawaara
teri kasam
o o o
hosh mein aa deewaane
sambhal mastaane
kaisi kasam

naagin si bal khaati kamar
aur chaal teri mastaani
jaise dharti pe chaand chale
haan haan ji mera rah rah ke dil machle
dekh akeli
samajh ke bholi
kaahe daale dorey
haath nahin main aane waali
sunle o munhjore
chaahe dil mein tu laakh jaley
haaye haaye ji chaahe dil mein tu laakh jaley

o o o
raat gujaaroon gin taare
o gori bin tumhaare
chain nahin
o o o
jaao ji jaao
na banaao
hamen na yoon sataao
nahin hai yaqeen

palkon se main kaanten chun loon
phool bichha doon raah mein
jo tu mil ke hai saath chale
allah ji mera rah rah ke dil machle
dekh akeli
samajh ke bholi
kaahe daale dorey
haath nahin main aane waali
sun le o munhjore
chaahe dil mein tu laakh jaley
haaye haaye ji chaahe dil mein tu laakh jaley


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

Today’s song is from the film Captain India-1960. Not only this film is making a Debut on the Blog, but its Music Director- Hemant Kedar- too is making his Debut here. It is a rare occasion these days that a music Director makes his Debut in the blog, because we have covered so many MDs already ( at my last count, we have covered 462 MDs on this Blog). However, there are still a large number of MDs whom we have yet to listen. From 1931 to till today, as per a rough estimate, there could be almost 500 to 700 Music Directors.

Of these, MDs who gave music in less than 5 films could be about 50 to 100, those who composed for 5 to 15 films may be 100, from 15 films to 50 films may be about 150, from 50 to 100 films will be around 100, from 100 to 200 films may be another 50, more than 200 films may be about 50 or so. Add to this one film wonder MDs- almost 200.

These are simply wild guesses, without any solid base. Well known Music Directors who have given music in many films are a large group and Music lovers are conversant with their names. What is of interest to a student of HFM is those Music Directors who have given music in less than 5 films and One Film Wonders( like Pt. Amarnath Chawla of Garm Coat-55, for example).

Have you ever heard the name of a composer called HEMANT KEDAR ? No, it is not a pair like Shankar Jaikishan, Kalyanji Anandji or Laxmikant Pyarelal .It is a misleading one name( like another such single name Shyamji Ghanashyam ji, for example). OK, did you ever know about R.K.Shinde or Ram Shinde ? I am sure , most of the readers may not have heard these names. These are the names of Ramkrishna Shinde. This reminds me of composer Snehal Bhatkar who used 5 different names as composer.

The composer of today’s film Captain India-60, Ramkrishna Shinde was a multi talented composer, who could not shine, though he had talents. Further he started his career at a time when India’s big composers like C.Ramchandra,Naushad, Husnlal-Bhagatram, Shanker-Jaikishen etc were in their best performing period and had hogged almost all the major production houses as their Patrons. In this flood of Musical Tsunami, smaller composers remained smaller due to non availability of exposure and good banners, waning into oblivion ! Those who had talents plus good luck survived, but composers with talents without Luck were soon forgotten.

Ramkrishna Shinde was born on 19-4-1918 in Malvan area of Maharashtra Coastal Belt. He was eldest amongst 2 brothers and 2 sisters When he was 9 yr. old, his father died and the faily was shifted to Bombay, by aunt and uncle. His interest in music was unusual. He took training in vocals fro Pt.Sitaram and learnt Sitar from Pt. Madhav rao. For survival, he took up a job in Dawn Mills. In 1944, he got married. Same time, he met Dancer Parvati kumar and Tabla player Ramakant. He soon left the job and started giving music to Marathi stage plays. He was a very popular composer.

His first Hindi film as a composer was Manager-47, followed by Kiski Jeet-48 and then Bihari-48, with Naresh Bhattacharya. Not getting films anymore,he turned to giving music to Dance Ballets. He became so famous in that, that 27 of his ballets went abroad with his music. He was called by Amiya Chakrawarty for giving Dance Music in Usha kiran’s film Gauna-50.

he returned to Hindi films again. This time as Hemant kedar. Reason for this name- his favourite Raagaas were hemant and Kedar. He gave music to

Khaufnak Jungle-55
Police Station-59 and
Captain India-60.

Hemant Kedar ( Like Daan singh and Jaidev) must be one whose unreleased films numbered many or more than than his released films. Some of his Unreleased films were

1. Hamari kahani
2. Avinash
3. Sati mahananda
4. Jannat ki Hoor
5. Peeli kothi
6. Paataal Devta ( This was the film in which actress Mumtaz had Debuted, but this movie was not released)

Hemant Kedar gave music in two Marathi films. Side by side, he did 5-6 programmes on All India Radio. After the advent of Television, he started giving music in TV Ballets and was in great demand for such programmes. He did about 15 Ballets on TV. He became ill and expired on 14-11-1985, leaving behind his wife and two daughters. Luckily, his wife had a good job. (Thanks to http://www.beetehuedin.blogspot.com for this information.)

Film Captain India-60 was produced by Rajaram Saqi and directed by C.Kant. It was a stunt film featuring Kamran, Krishnakumari and others. There were 5 songs, all written by the Producer himself-Rajaram Saqi. Kamran Khan Rizvi was a regular Stunt Hero and I used to enjoy his films. He started his film career with Baghi Sipahi-36, a film made by East India Film Co, Calcutta. A.R.Kardar was its Director. Later on Kamran came to Bombay, along with kardar, who was his Patron for quite some time.

Hero Kamran and Heroine Nazi was a popular combination of 12 stunt films, those days. Kamran worked in 52 films. In 1963, film Bachpan was being directed by Nazar Ahmed. He had some disputes with the Producer and he left the film midway. The Debutant Hero Salim ( father of actor Salman Khan) and Debutant Heroine Menaka ( sister of Daisy and Honey Irani…all daughters of Mrs. P.N. Irani, a greedy mother, who spoiled the childhood of her children for money) were in trouble. Kamran stepped in and completed the film by directing the balance part, without taking any money. During this period, he fell in love with menaka and they got married. Her film career ended there only. They had one son and one daughter ( Actor, compere, Director Sajid Khan and famous Choreographer and Director Farah khan).

Kamran stopped getting Hero’s roles, as stunt films were not being made to that extent in the 70s and later period. He decided to become producer and Director. This proved to be his nemesis. He failed miserably, lost everything and became an alcoholic. He divorced Menaka, who worked as a Housekeeper in a 5 star hotel (Hotel Sea Rock) and he lived in his big flat in Versova with 2 children but no money. He died in 1985.

Kamran directed 11 films from Panch Ratan-65 to Ban Manush-80. His last film as an actor was Nastik-83.

During the period 1950 to 1960, lot of stunt, action, and fiction films from Hollywood used to come . Among them my favourites were from Republic Serial films like “Trip to the Moon’, Hurricane’, Time machine, Superman,The 4 D man etc. There was one film “Captain Marvel”, which was my favourite and I saw it 5 times. I had thought that Captain India-60 was also like that film and went to see the film and came back hugely disappointed . The story of the film was-

Seth Mohan lal was a rich merchant in Burma. He decides to return to India, with his only daughter Krishna and settle in Roop Nagar to lead a retired life. Gangster Rajan from Rangoon comes to know that the Havel Mohan lal is to buy has some great secret hidden in it. If he can get that secret he can rue the world. So, he follows Mohanlal to India.

Meanwhile krishna meets Shekhar- a Press Reporter by job, Lover boy by habit and an all round spy as a hobby. After singing the mandatory love songs and doing exercise around Trees, they decide to marry and tell her father about their love. Rajan is very business minded and so, Mohan lal gets killed and the young couple is frightened with the existence of Ghosts etc in the Haveli.

Madhu is the moll of Rajan and she too loves Shekhar. She reveals the actual plan of Rajan and about the secret formula in the Haveli. Suddenly, Madhu gets killed in the arms of Shekhar. She is murdered by Rajan. Now he is after the lives of Krishna and Shekhar and they are on the run. With the help of the Police, Rajan is caught red handed, but he sets fire to the Haveli and the secret formula gets burnt.

All is well that ends well. After the end, audience is well and goes home cursing the film.


Song-Main padh rahi hoon tumko (Captain India)(1960) Singers-Sudha Malhotra, Talat Mehmood, Lyrics-Rajaram Saqi, MD- Hemant Kedar
Both

Lyrics

main padh rahi hoon tumko
meri kitaab tum ho
mere sawaal tum ho
mere jawaab tum ho
main padh raha hoon tumko
meri kitaab tum ho
mere sawaal tum ho
mere jawaab tum ho

main padh rahi hoon tumko

kaanon se sun raha hoon
main saaz zindagi ka
aankhon se pee raha hoon
meri sharaab tum ho

ye raat mohabbat ki
saugaat mohabbat ki
main pyaar ka samandar
phool hoon ke chaand tum ho
ho
fasle bahaar aayi
gulshan mein zinagi ke

main mad bhari mahak hoon
rangeen gulaab tum ho
main padh rahi hoon tumko
meri kitaab tum ho
mere sawaal tum ho
mere jawaab tum ho

main padh raha hoon tumko

baaqi raha na kuchh bhi
dil mein siwa tumhaare
sab kuchh luta ke hamne
paaya wo raaj tum ho

jo khwaab zindagi ke
poore huye na mere
khwaabon mein unko dekha
tabeer e khwaab tum ho
ho o
manzil wahi puraani
raahen wahi puraani
yoon lag raha hai jaise
sadiyon se saath tum ho

main padh rahi hoon tumko


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.
With this post, the blog now carries 700 songs by Laxmikant Pyaarelal.

The story of Laxmikant Pyaarelal reads like a dream rags-to-riches story. But it is also a story of hard work and persistent effort. Laxmikant, the senior partner in the team, was three years elder to Pyaarelal. Interestingly, both were born on 3rd of the month, Laxmikant in November and Pyaarelal in September. Pyaarelal is the son of the renowned musician Ram Prasad Sharma. Although active in the film industry since the latter part of 1930s, Ram Prasad did some films independently from 1947 to 1950. Not adept with commercial acumen, his financial status was poor most of his life. Pyaarelal, his eldest son, had to start working as a musician in recording studios at the age of 12, to support his family. The story of Laxmikant’s childhood is even more depressing. He was raised in the slums of Vile Parle in Bombay. His father passed away when he was just a toddler. A friend of his father supported him and guided him towards learning music. With time, his talent shone through, and he too started working as a musician in the film industry.

Remembering Laxmikant Shantaram Kudalkar on the 19th anniversary of his passing away today (25th May).

Growing up in financially difficult times, the childhood of these two great musicians and music directors kind of weaved through the same threads. Laxmikant got the opportunity to learn violin from Husnlal (of Husnlal-Bhagatram duo), and from Bal Mukund Indorekar. Pyaarelal learnt from his father, and other contemporaries of his father, like Anthony Gonsalves.

The two young musicians met in Sureel Kala Kendra, a center for teaching music to young children. This center was run by the Mangeshkar family. Lata ji was very impressed with the talent of this pair, and through her references, they started getting work as musicians for the recordings of some of the main line music directors of that era. The melody was in the making and the 1950s was the time that this pair of youngsters learnt their trade working under the stalwarts like Naushad, C Ramchandra, SD Burman etc. By the later part of 1950s, the career of Kalyanji Anand ji team was taking off, and Laxmi-Pyaare’s team was working as assistants to them. Although both worked together as a team, Pyaarelal was more incharge of orchestration and arrangements, and Laxmikant was more towards composition and vocals. By early 1960s, this team started to get independent offers. What came about in the short space of 5 to 7 years was a string of memorable hits and Jubilee films, that established Laxmi-Pyaare as a force to reckon with in the industry. Sample their successes from the 1960s – ‘Parasmani’ (1963), ‘Dosti’ (1964), ‘Sant Gyaneshwar’ (1964), ‘Mr X In Bombay’ (1964), ‘Hum Sab Ustad Hain’ (1965), ‘Lutera’ (1965), ‘Shriman Funtoosh’ (1965), ‘Aaye Din Bahaar Ke’ (1966), ‘Pyaar Kiye Jaa’ (1966), ‘Milan’ (1967), ‘Pathat Ke Sanam’ (1967), ‘Shagird’ (1967), ‘Night In London’ (1967), ‘Farz’ (1967), ‘Jeene Ki Raah’ (1969), ‘Inteqam’ (1969), ‘Do Raaste’ (1969) – the list simply goes on and on.

Many readers may be aware that Laxmikant made an appearance as himself in the 1983 film ‘Teri Kasam’.  There is a sequence wherein a song is being recorded for a rising young star, role played by Gaurav Kumar. The initial part of this song is pictruized inside a recording studio, where Laxmikant is sitting in the control room. Incidentally we also see Kersi Lord, one of the expert music arrangers of our industry, also present, working on the recording machinery.

For the anniversary today, I bring this last remaining song of the film ‘Aaye Din Bahaar Ke’ from 1966. Six of the seven songs of this film are already posted on our blog. A quick look as the list below, and you can imagine, what a musical treat this film is – one of the early films of Dharmendra as he is taking off as a romantic hero.

1.       Mere Dushman Tu Meri Dosti Ko Tarse
2.       Suno Sajna Papeehe Ne
3.       Khat Likh De Sanwariya Ke Naam Babu
4.       Mera Mehboob Hai Bemisaal
5.       Phoolon Se Mukhde Waali
6.       Ye kali jab talak phool ban ke khiley

This last song is an all female duet, which is sung by Asha Bhosle and Lata Mangeshkar. On screen, it is performed by Nazima and Asha Parekh. The words are from the pen of Anand Bakshi. An important note here about the association of this duo music directors and this song writer. This combination has been one of the most prolific songwriter – MD combinations in the industry. Over the decades, they have produced more than 300 songs together, a majority of which have been significant hits.

With a tribute to Laxmikant today, listen to this wonderful expression of aspirations of falling in love, and the simultaneous advice against it. The words are superb, and the composition is very attractive. And yes, with this song, the film ‘Aaye Din Bahaar Ke’ completes its tally of songs on the blog. Time for another ‘Yippeee’ call.

With this song, Laxmikant Pyarelal now have 700 songs in the blog as music directors. They become only the second music directors, behind Shankar Jaikishan to reach this figure in the blog.

[Ed Note: Harish ji Raghuvanshi (of Surat) has informed in a separate email that Laxmikant-Pyaarelal are the only music directors in Hindi films to have crossed the 500 films milestone. There may be other names from South film centers, but as far as Hindi films is concerned, L-P are the leaders.]


Song – Ae Kaash Kisi Deewaane Ko (Aaye Din Bahaar Ke) (1966) Singers – Asha Bhosle, Lata Mangeshkar, Lyrics – Anand Bakshi, MD – Laxmikant Pyarelal

Lyrics

ae kaash kisi
deewaane ko
hum se bhi mohabbat ho jaaye

ae kaash kisi deewaane ko
hum se bhi mohabbat ho jaaye
hum lut jaayen
dil kho jaaye
bas aaj qayaamat ho jaaye
ae kaash kisi deewaane ko
hum se bhi mohabbat ho jaaye

hai waqt abhi tauba kar lo
hai waqt abhi tauba kar lo
allah museebat ho jaaye
allah museebat ho jaaye
ae kaash kisi deewaane ko
hum se bhi mohabbat ho jaaye

tum maloom nahin shaayad
kitne be-dard sanam hongey
tum maloom nahin shaayad
kitne be-dard sanam hongey
ye aap ne sach farmaaya hai
ulfat mein laakh sitam hongey
ulfat mein laakh sitam hongey
hain laakh sitam manzoor hamen
bas ek inaayat ho jaaye
hum lut jaayen
dil kho jaaye
bas aaj qayaamat ho jaaye
ae kaash kisi deewaane ko
hum se bhi mohabbat ho jaaye

har saans ko har ik dhadkan ko
wo apni yaad banaa daaley
har saans ko har ik dhadkan ko
wo apni yaad banaa daaley
tum aaj agar ik nagma ho
tumko fariyaad banaa daaley
tumko fariyaad banaa daaley

gairon se to ho shiqwe tumko
khud se bhi shikaayat ho jaaye
hai waqt abhi tauba kar lo
allah museebat ho jaaye
ae kaash kisi deewaane ko
hum se bhi mohabbat ho jaaye

har ek khataa ki is duniya ki
is ke khataa se behtar hai
har ek khataa ki is duniya ki
is ke khataa se behtar hai
ye pyaar nahin ik dard sahi
ye dard dawaa se behtar hai
ye dard dawaa se behtar hai
bas chain hamen aa jaaye jo
bechain tabiyat ho jaaye
hum lut jaayen
dil kho jaaye
bas aaj qayaamat ho jaaye
ae kaash kisi deewaane ko
hum se bhi mohabbat ho jaaye
hai waqt abhi tauba kar lo
allah museebat ho jaaye
allah museebat ho jaaye
allah museebat ho jaaye
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

ए काश किसी
दीवाने को
हम से भी मोहब्बत हो जाये

ए काश किसी दीवाने को
हम से भी मोहब्बत हो जाये
हम लुट जाएँ
दिल खो जाये
बस आज क़यामत हो जाये
ए काश किसी दीवाने को
हम से भी मोहब्बत हो जाये

है वक़्त अभी तौबा कर लो
है वक़्त अभी तौबा कर लो
अल्लाह मुसीबत हो जाये
अल्लाह मुसीबत हो जाये
ए काश किसी दीवाने को
हम से भी मोहब्बत हो जाये

तुमको मालूम नहीं शायद
कितने बे-दर्द सनम होंगें
तुमको मालूम नहीं शायद
कितने बे-दर्द सनम होंगें
ये आपने सच फरमाया है
उलफत में लाख सितम होंगें
उलफत में लाख सितम होंगें
हैं लाख सितम मंजूर हमें
बस एक इनायत हो जाये
हम लुट जाएँ
दिल खो जाये
बस आज क़यामत हो जाये
ए काश किसी दीवाने को
हम से भी मोहब्बत हो जाये

हर सांस को हर इक धड़कन को
वो अपनी याद बना डाले
हर सांस को हर इक धड़कन को
वो अपनी याद बना डाले
तुम आज अगर इक नग़मा हो
तुमको फरियाद बना डाले
तुमको फरियाद बना डाले
गैरों से तो हो शिक़वे तुमको
खुद से भी शिकायत हो जाये
है वक़्त अभी तौबा कर लो
अल्लाह मुसीबत हो जाये
ए काश किसी दीवाने को
हम से भी मोहब्बत हो जाये

हर एक खता इस दुनिया की
इस एक खाता से बेहतर है
हर एक खता इस दुनिया की
इस एक खाता से बेहतर है
ये प्यार नहीं इक दर्द सही
ये दर्द दवा से बेहतर है
ये दर्द दवा से बेहतर है
बस चैन हमें आ जाये जो
बेचैन तबीयत हो जाये’
हम लुट जाएँ
दिल खो जाये
बस आज क़यामत हो जाये
ए काश किसी दीवाने को
हम से भी मोहब्बत हो जाये
है वक़्त अभी तौबा कर लो
अल्लाह मुसीबत हो जाये
अल्लाह मुसीबत हो जाये
अल्लाह मुसीबत हो जाये


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

Today, May 24, 2017 is the Remembrance Day of Bulo C Rani,  the music director and the singer who left this day 24 years ago under unfortunate circumstances. A contemporary of music directors like Anil Biswas, Ghulam Haider, Naushad, C Ramchandra and Khemchand  Prakash, it is a sad commentary on Hindi film industry that Bulo C Rani could not attain the stature of these music directors. And this is despite the fact that he was associated with the Hindi film industry for over 2 decades and had churned out some immortal compositions.

I started listening to Hindi film songs on the radio as a teenager and in my younger days, the music directors like Naushad, C Ramchandra, S D Burman, Husnlal-Bhagatram, Shankar-Jaikishan, Roshan, Madan Mohan, OP Nayyar etc were familiar to me. But I had not heard of Bulo C Rani and other lesser known music directors. However,  I was very familiar with a few of the songs composed by him like Prwaanon Se Preet Seekh Len, Hamen To Loot Liya Mil Ke Husn Waalon Ne and Maangne Se Jo Maut Mil Jaati. At that time, for me, these songs and the singers were inseparable without caring to know about the lyricists and composers of the songs.

It was during early 70s when I was first exposed to the old Hindi films songs of 40s and 50s by my friend, when I heard in his house Sundarta Ke Sabhi Pujaari. In a way, this song served not only to be my introduction to the film ‘Jogan’ (1950) but also to Bulo C Rani. Over a period of time, I became familiar with his contributions to Hindi film industry as a music director. After joining this Blog, I was  pleasantly surprised to know that during his stint as a music director, he had composed  as many as 584 songs in 70 Hindi films.

Bulo C Rani (06/05/1920 – 24/05/1993) was born in Hyderabad (Sindh) in a Sindhi family. His father Chandiram was a musician who was the music director in some of the films of early 1930s. I find from the internet that three films, viz. ‘Insaan Ya Saitaan’ (1933), ‘Prem Pariksha’ (1934) and ‘Yaasmin’ (1935) have Chandiram as the music director. So the young Bulo C Rani may have got the inspiration from his father to develop his interest in the music.

Sometime in the early 40s, Bulo C Rani visited Lahore with the intention of working under Ghulam Haider who had become a household name with the runaway success of his songs in ‘Khazaanchi’ (1941). However, after finding that he has not become even assistant to Ghulam Haider,  he shifted to Bombay (Mumbai) on the advice of DN Madhok, lyricist and the then ‘king maker’ in Hindi film industry. He took Bulo C Rani to Ranjit Studios where he was got employment as assistant to Khemchand Prakash and Gyan Dutt, the main music directors of Ranjit Movietone at that time.

Bulo C Rani got the chance to compose two songs for the film ‘Paighaam’ (1943) thanks to Gyan Dutt who was the music director for the film. It was in the early 1944 that he got the independent assignments as a full-fledged music director in Ranjit Movietone’s two films ‘Pagli Duniya’ (1944) and ‘Carvaan’ (1944). Both these films were directed by Aspi Irani. There were total of 27 songs in these two films of which as many as 15 songs were sung by Amirbai Karnataki. In these two films, Bulo C Rani also sang 5 songs with a psuedo name ‘Bhola’.

And what a musical start for Bulo C Rani! In ‘Caravaan’ (1944), two songs, Sooni Padi Hai Pyaar Ki Duniya Tere Baghair sung by Amirbai Karnataki and Aankhon Mein Intezaar Ki Duniya Liye Huye sung by Zohrabai Ambalewaali became very popular. In ‘Pagli Duniya’ (1944), I like the song Dil Dard Se Bharpoor Hai Aankhon Mein Hai Paani and “Gar Hum Ko Jalaaoge Duniya Ko Jalaa Denge’, both sung by Amirbai Karnataki. Unfortunately for Bulo C Rani, despite good music, ‘Pagli Duniya’ (1944) failed miserably at the box office and ‘Caravaan’ (1944) registered only a modest success.  Additionally, in terms of public tastes,  Bulo C Rani could not match his compositions in these two films with that of songs of his boss, Khemchand Prakash in ‘Bharthari’ (1944) and ‘Bhanwara’ (1944) which were released in the same year.

In the remaining of the 1940s, Bulo C Rani had on an average 5 films per year thanks to Ranjit Movietone where he was a full time employee. By the end of 1946, both Khemchand Prakash and Gyan Dutt had turned free-lance music directors thus giving Bulo C Rani more opportunity to get the films from Ranjit Movietone. A few of the popular songs composed by him during this period were Badariya Baras Gayi Us Paar from ‘Moorti’ (1945), Jaa Parwaane Jaa Kahin Shama Jal Rahi Hai from ‘Rajputaani’ (1946), Wo Teer Kaleje Par Ik Shokh Ne Maara Hai from ‘Anjuman’ (1948) etc.

Discussion on Bulo C Rani would not be complete without ‘Jogan’ (1950) which was produced by Chandulal Shah under the banner of Ranjit Movietone. This film was finalised with Dilip Kumar and Nargis, the two prominent actors of that time as lead actors. However, the financial condition of Ranjit Movietone was so precarious that the company had money to sustain for only one month. Kidar Sharma who had already left Ranjit Movietone to produce and direct films under his own banner was approached with a request to start the shooting to complete the film in one month.

Kidar Sharma accepted the challenge and started shooting during the day time and the post production work in the night time for which he had to stay in Ranjit Studio. Bulo C Rani was entrusted with the music direction of the film with 15 songs to be composed and recorded. The film was completed in less than a month and was released. The film was a box office hit and became the 5th highest grosser at the box office for 1950. The success of the film was attributed mainly to 15 songs of which 6 songs were Meera Bai’s Bhajans. The highlight of film was that all the 15 songs became very popular. Bulo C Rani’s real recognition as a music director came with the success of these songs.

The success of ‘Jogan’ (1950) did not add value to Bulo C in terms of his musical career. In fact, during 1951, he had only one film “Pyaar Ki Baaten’ (1951) which got released. During 1950s, one of his films which was critically acclaimed for its music was ‘Bilwamangal’ (1954). My favourite songs from the film are Parwaanon Se Preet Seekh Len and Hum Ishq Ke Maaron Ko Do Dil Jo Diye Hotey.

In the greater part of 1950s, Bulo C Rani was relegated to some B grade films and in 1960s, he was getting films mostly belonging to the genre of  action/costume/fantasy/mythology.  Producers of such B and C grade films will have limited budget which prevents them, among other things, hiring the top playback singers for the music directors. During 1950 to 1966, Bulo C Rani composed nearly 300 songs of which Lata Mangeshkar and Mohammed Rafi, who had become the top playback singers, sang for him only 22 and 31 songs respectively.

During his stint with B and C grade films,  Bulo C Rani appears to have been influenced by the qawwali genre of songs and that too by Yusuf Azad/Ismail Azad. There were qawwalis in ‘Noor E Yaman’ (1956), ‘Jahaazi Lootera’ (1957), ‘Al Hilal’ (1958), ‘Black Tiger’ (1960), ‘Pedro’ (1960), ‘Room No.17’ (1961), ‘Jaadoo Mahal’ (1962), ‘Madam Zorro’ (1962) and ‘Jadoo’(1966). In ‘Son of Hatimtai’ (1965), there was qawwali sung by Rafi and Jaani Babu Qawwal.

‘Sunehre Qadam’ (1966) was Bulo C Rani’s last film after which he kept himself away from the Hindi film industry. It is said that during this period, he started teaching music to students. He also composed music for a couple of Sindhi films and some non-filmy songs.  I feel that his musical career was tied with the fate of Ranjit Movietone. The moment, Ranjit Movietone’s factory-like film production stopped, Bulo C Rani lost his comfort zone.  It was difficult for him to face the competitions from the likes of Naushad, C Ramchandra, S D Burman, Shankar-Jaikishan, OP Nayyar, Roshan, Madan Mohan etc during 1950s and 60s.

It is a well-known fact that in any vocation, not all becomes successful even if the persons have more or less the same talent. What differentiates between a successful and not so successful person is the extra punch (in today’s parlance ‘extra toppings’) the successful persons apply in their approach to work. I guess, Bulo C Rani may have lacked that extra punch in his work. Additionally, one also requires luck to be on his side for attaining the success. Luck was obviously not in favour of Bulo C Rani as he did not have good banners to support him as was the case with his compatriot music directors in the 1950s and 60s. In this context, one of the songs written by Kaif Irfani and composed by  Bulo C Rani for the film ‘Gul Sanobar’ (1953) aptly applies to him:

isse na aur lootiye
ye dil bahut gareeb hai
naseeb se main kya kahoon
naseeb to naseeb hai

Bulo C Rani was a good singer. In fact, he started his filmy career as a singer with “Roothna Pyaar Mein Karwat Ka Badal Jaana Hai’ in the film ‘Mehmaan’ (1942) under the music direction of Khemchand Prakash. By the time he became a full-fledged music director in 1944, he had already sung 14 songs in 10 films. During his entire filmy career, he sang 43 songs in 24 films. All these songs were sung under the music direction of Gyan Dutt and Khemchand Prakash in addition to his own music direction.

On the 24th Remembrance Day of Bulo C Rani, I have selected a rare ghazal from the film ‘Madhur Milan’ (1955) which I came across only a few days back. In fact, I was under the impression that I had listened to all the songs of this film as early as in early 1970s in my friend’s house. But it was not so.

The song is “Ye Chaandni, Ye Hawa, Ye Samaa Bahaaron Ka’ composed and sung by Bulo C Rani. The songwriter is Jaan Nisar Akhtar. The video of this rare song was not available on the internet. So I have made a video from mp3 clip and uploaded the same a few days back on YT. The highlight of this song is that Bulo C Rani has rendered the ghazal in a style which is the reminiscence of KL Saigal era.


Song – Ye Chaandni Ye Hawa Ye Samaa Bahaaron Ka (Madhur Milan) (1955) Singer – Bulo C Rani, Lyrics – Jaan Nisar Akhtar, MD – Bulo C Rani

Lyrics

ye chaandni
ye hawaaa aa aa
ye samaa baha..aron kaa aa
chali hai raat liye kaarwaan sitaaron kaa aa
chali hai raat

kuchh is mazey se
haan aan aan aan
kuchh is mazey se
bahi jaa rahi hai kashti e jaan
kuchh is mazey se
bahi jaa rahi hai kashti e jaan
kabhi khayaal bhi aataa nahin kinaaron kaa aa
chali hai raat

ae aeeeeee
jo tum nigaah uthaao oo
to ye fiza jaage ae ae
jo tum nigaah uthaao
to ye fiza jaage ae
abhi to naam hai jaage huye nazaaron kaa aa
chali hai raat

ye soch lo
ke mohabbat kaa kya taqaaza hai
ae ae ae
ae ae
ye soch lo
ke mohabbat kaa kya taqaaza hai
ye dekh lo
ye dekh lo ke ishaara hai kya bahaaron kaa
chali hai raat liye

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

ये चाँदनी
ये हवा॰॰आ
ये समा बहा॰॰आरों का॰॰आ
चली है रात लिए
कारवां सितारों का
चली है रात

कुछ इस मज़े से
हाँ आं आं आं
कुछ इस मज़े से
बही जा रही है कश्ती ए जान
कुछ इस मज़े से
बही जा रही है कश्ती ए जान
कभी ख्याल भी आता नहीं किनारों का
चली है रात

ए॰॰ एsss
जो तुम निगाह उठाओ॰॰ओ
तो ये फिज़ा जागे॰॰ए॰॰ए
जो तुम निगाह उठाओ
तो ये फिज़ा जागे॰॰ए
अभी तो नाम है जागे हुये नज़ारों का॰॰आ
चली है रात

ये सोच लो
के मोहब्बत का क्या तक़ाज़ा है
ए॰॰ए॰॰ए॰॰ए
ये सोच लो
के मोहब्बत का क्या तक़ाज़ा है
ये देख लो
ये देख लो के इशारा है क्या बहारों का
चली है रात लिए


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.

“Aaye Din Bahaar Ke”(1966) was produced by J Omprakash and directed by Raghunath Jhalani for Filmyug Private Limited. The movie had Dharmendra, Asha Parekh, Naazima, Sulochana Latkar, Raj Mehra, Rajendranath, Balraj Sahni, Sunder, Mubarak, Sabita Chatterjee, Leela Mishra, Dulari, Madhu Apte, Khairati, Sarita Devi, Brahm Bhardwaj, C.S.Dubey, Nazir Kashmiri, Lata Bose etc in it.

The movie had seven songs in it and all of them were quite popular songs. Five of these songs have been covered in the blog. Here is the sixth song from “Aaye Din Bahaar Ke”(1966) to appear in the blog. This song is sung by Lata and Mahendra Kapoor. Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal.

The song is picturised as a song that was popularly described as the lead pair (Asha Parekh and Dharmendra) running around trees, though it is more like rolling on the grass and trampling them in the process, as far as I can tell. 🙂

Lyrics of this song were sent to me by Prakashchandra quite some time back.


Song-Ye kali jab talak phool ban ke khiley (Aaye Din Bahaar Ke)(1966) Singers-Lata, Mahendra Kapoor, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics(Provided by Prakashchandra)

ye kali
jab talak
phool ban ke khiley
intzaar intazaar
intzaar karo
intzaar karo
intazaar woh bhala kya kare
tum jise
beqaraar beqaraar
beqaraar karo

intzaar karo

pyaar mein pyaar ki bhi ijaazat nahin
pyaar mein pyaar ki bhi ijaazat nahin
berukhi hai aji ye mohabbat nahin

aa raha hai maza
tum shikaayat yahi
baar baar
baar baar
baar baar karo
intzaar karo
intzaar woh bhala
kya kare
tum jise
beqaraar beqaraar
beqaraar karo
beqaraar karo

husn pe to asar hone waala nahin
aa aa aa
husn pe to asar hone waala nahin
ishq tum ko na kar de deewaana kahin
hai ye deewaangi bhi qubool
tum agar
hamse pyaar
hamse pyaar
hamse pyaar karo
hamse pyaar karo

ye kali jab talak
phool ban ke khile
intzaar intzaar
intzaar karo
intzaar karo

roz hamne bayaan ye fasaana kiya
roz hamne bayaan ye fasaana kiya
roz tumne naya ik bahaana kiya

ye bahaana magar
aakhri hai sanam
aitbaar aitbaar
aitbaar karo
intzaar karo
intzaar woh bhala
kya kare tum jise
beqaraar beqaraar
beqaraar karo
beqaraar karo

intzaar intzaar
intzaar karo
intzaar karo
hamse pyaar
hamse pyaar
hamse pyaar karo

intzaar karo


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.

“Darbaar” (1955) was a Golden Movie production. It was directed by Nanubhai Bhatt. The movie had Mahipal, Chitra, Sunder, Tiwari, Kammo, Kamal, Niranjan Sharma etc in it, which suggests that it was a B grade movie.

Nine songs from this movie have been discussed in the past. Here is the tenth and final song from the movie to appear in the blog. This song is sung by Geeta Dutt. Asad Bhopali is the lyricist. Music is composed by Hansraj Bahl.

Only the audio of this song is available. My guess is that this song was picturised on Chitra. I request our knowledgeable readers to throw light on the picturisation of this song.

With this song, “Darbaar” (1955) joins the list of movies that have all their songs covered in the blog.


Song-Dupatta mera dhalak gaya sar se (Darbaar)(1955) Singer-Geeta Dutt, Lyrics-Asad Bhopali, MD-Hansraj Bahl

Lyrics

dupatta mera dhalak gaya
dhalak gaya sar se
haaye dupatta mera
dupatta mera dhalak gaya
dhalak gaya sar se
o dhalak gaya sar se
sarak gaya sar se
dupatta mera
dupatta mera dhalak gaya
dhalak gaya sar se
haaye dupatta mera

dhalka dupatta to jholi bana li
phailaake jholi main banke sawaali
maangoon dil ki muraad
kar do dil mera shaad
o o o
kar do dil mera shaad
main to khaali na jaaungi is dar se
dupatta mera dhalak gaya
dhalak gaya sar se
haaye dupatta mera

sunti hoon tum to ho sabke sahaare
aayi hoon aaj main bhi dar pe tumhaare
sun lo meri pukaar
jholi bhar do sarkaar
o o o
jholi bhar do sarkaar
meri bigdi banegi isi dar se ae ae
dupatta mera dhalak gaya
dhalak gaya sar se
haaye dupatta mera

loota chaman ho meri zaalim khizaan ne
dil pe giraai bijli phir aasmaan ne
tooti har ek aas
zindagi hai udaas
o o o
zindagi hai udaas
aapki rahmat idhar bhi zara barse
dupatta mera dhalak gaya
dhalak gaya sar se
haaye dupatta mera
dupatta mera dhalak gaya
dhalak gaya sar se
haaye dupatta mera


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.

“Sadma”(1954) was produced by R G Khanna for Asiatic Productions, Bombay. That is all that HFGK mentions about this movie. We have no clue who were the actors in this movie. We are not even sure how many songs this movie had though HFGK lists muj=khdas of seven songs from this movie.

Here is one highly obscure song from this extremely obscure movie. This song is sung by Kalindi Keskar. Lyrics are by T Ram-Dewan. Music is composed by Shankar Dasgupta.

I have failed to get lots of words right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections in the lyrics as applicable.

With this song, “Sadma”(1954) makes its debut in the blog.

With this song, singer Kalindi Keskar and lyricist T Ram Dewan also make their debuts in the blog. I request our knowledgeable readers to throw light on these artists.

As many as 117 movies were released in 1954. “Sadma”(1954) becomes the 100th movie of 1954 to find representation in the blog. With this, the year 1954 becomes the sixth such year after 1949, 1955, 1956, 1958 and 1959 that have the distinction of having songs from 100 or more movies represented in the blog.


Song-Meri barbaadiyon pe (Sadma)(1954) Singer-Kalindi Keskar, Lyrics-T Ram Dewan, MD-Shankar Dasgupta

Lyrics

Meri barbaadiyon pe
mere janaaze ??
meri barbaadiyon pe
gehre zakhmon se
?? nishaani
meri barbaadiyon ke

dil ki dhadkan mein ham
dard chhupaate hain
aa aa aa aa aa
ham ashq bahaate hain
ham ashq bahaate hain

koi nahin hai hamdam
ham khud ko manaate hain
ranjo gham se aaj ham
dil ki bujhaate hain
?? ke
?? ko lagaane ae ae
meri barbaadiyon pe

ham uske kareeb ?
?? muqaddar ka
jo din guzarta hai ae
wo din hai dar guzar ka
yoon hi to dil ?? ke
dil hain mitaane ae ae
meri barbaadiyon pe


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

The first time I saw this film, it was on Doordarshan, and the only song that I could appreciate (given my age) was “Bibi Mendaki Ri Tu To Paani Mein Ki Raani”. Rest of the film, its emotional and familial nuances were all lost on me. Those were the days, when watching television was a privilege bestowed upon oneself by a friendly neighbor. One would go to watch television at a neighbor’s home, or hang on to the windows, if entry was not permitted. And so, the opportunity that one gets to watch a movie was in itself a treat, and an accomplishment. And one always wanted to make the most of such opportunities. Getting bored was not only not an option, but it was a thought furthest from the mind. I have this placement in front of a TV screen, and I will watch it for as long as I am allowed, whatever may be the content. The serious stuff was mostly OHT (Overhead Transmission), and the mind would remember and register the fun parts like Balraj Sahni having poori and lassi at a halwai shop in the morning before reaching his office, or singing this above mentioned song with his children on the Sunday when he is at home. But as far as watching time is concerned, it was to be religiously spent, to watch the entire film, whether I could make out more of it or not.

In later years, small memories of the films, snatches of screen shots, would replay randomly in the mind – Jayant taking Rashid Khan to task very onerously, or Balraj Sahni with a bundle of mail in his hand, standing in front of the sorting dockets, trying to quickly put the mail items into the correct dockets, Balraj Sahni admiring a new coat hanging in the display window of a tailor’s shop. Mind you, the names of the characters and the words to describe the scene are all being currently generated. In the mind’s eye, it is just the images themselves that are very familiar, without any labels, without any words.

Many years on, just on a memory recall, I started to search for this film. For quite a long time this film was not available. A friend once got a version of it, but that was just about an hour long. So one can imagine what would have remained after such merciless cutting. That version seemed to have gone around, and a rumor followed it – the songs of this film are lost forever. Then, when the Geet Kosh volume three was released, it also carried a footnote to this film which says that except for one song, all songs were deleted from this film, and the film was truncated to half its length, and renamed as ‘The Clerk & The Coat’. This further strengthened the fears of the lost songs and lost film.  However, in all probability, this was just a version created from the original, for consumption in the foreign markets, or for participation in foreign film festivals. Thankfully, none of these prophecies proved to be true eventually. Once the VCD binge started, and more and more films started landing in the market, the original of this film also finally appeared in a near complete state. And then, I got to see it once again.

‘Garam Coat’ is a very poignant film. It deals with the everyday problems in the lives of lower middle income strata of society in a newly independent and developing India. Balraj Sahni is a lowly paid postal clerk, with a monthly salary of one hundred rupees, and a family of five. In the hands of Rajendra Singh Bedi and performance lead Balraj Sahni, both stalwarts of the IPTA movement, the film has descended to the practical levels of realism, and to pragmatic heights of credibility. The home of this clerk is a bare bones home. The kitchen is frugally stocked. The children are not well dressed. The housewife is very simply presented. The protagonist himself wears an old and ragged coat throughout the entire film. The name of the banner is Cine Co-operative Ltd, Bombay. In all probability, this was yet another joint effort of social conscience of IPTA.

The clerk fancies a new coat. On his way to work, he always pauses outside a tailor’s shop, admiring a new coat on display. The owner of the shop, sees him daily, and one day invites him into the shop, enquiring whether he plans to buys some new clothes. Unable to defend himself, and knowing that he is unable to afford the price of a new coat, he sheepishly tells about the qualities and the warmth of the coat that he is wearing, and that, no, he does not plan to buy a new one.

Come pay day, and the clerk returns home, happy with the load of a solitary one hundred rupee note in his pocket. Life is spring, and all is happiness in the household. Next morning, it is going to be a shopping spree for the month, and all expectations are high. The morning begins with the fun song “Bibi Mendaki Ri. . .”, and off goes the clerk to the market, with a list of shopping and hundred rupees in his pocket.

His first stop is a toy shop. He browses, he selects something for his children, almost pays for the items pulling out the hundred rupee note; but then thinks better of it, and saying he will return shortly, stuffs the note back into his coat pocket. His next stop is a halwaai shop where he has poori and lassi. He is in high moods, joking with the shopkeeper and other customers. As gets up to leave and pushes his hands in his coat pocket to pay for the breakfast – all the agonies of hell descend upon him. The note is missing. An impressive portrayal of a person who has lost everything in life – Balraj Sahni is insulted and kicked out of the halwaai shop. He runs back to the toy shop, tries to convince the shopkeeper that he might have dropped his money at his shop. Once again, he is insulted and made to leave the premises. Now, he simply has no place to go.

The remaining part of the movie is about his trials and tribulations on trying to survive without his salary through at least one more month till the next pay day. The movie is full of scenarios of what such a person will do – he tries to borrow, he tries to get advance, he tries to take up a part time job as a tutor, he goes without lunch, he contemplates suicide, even tries it. But the agonies simply do not cease. How he shares this calamity with his wife, and how does his wife respond, are all classic scenes to be visited again. The wife goes to the pansaari (grocery shop owner) and tried to get groceries on account, she and children start to make paper bags out of newspapers in an effort to raise some money. There are friends at office like Jayant who try their best to help him within his limited means. And there are unfriendly colleagues like Rashid Khan, who are completely unmoved by the troubles of their co-worker. There are scenes and performances that move me to tears as I watch the helplessness of an honest good man, trying to keep his wits together and to keep his family alive. The saving grace of the film is that the lost money is located at the end. And it is a very interesting way that it turns up.

In this sad and poignant film, this song is probably the saddest and the most pain filled song. Having come to know of the calamity that has befallen her husband, and the manner in which he is trying to fight these problems, there comes a point when the wife’s hopes probably break and she calls for help. The entire scenario and the get up of the film is so deeply entrenched into the simple values of our social system. She has no help at hand, she has no one with whom she can share her pain. For a woman in our culture, her last hope is her maternal family. But she is too afraid to inform them or talk to them. So she tells the bird to take her message to her parents and family, and let them know that she just a cheerless bundle of tears these days.

Then after telling this to the crows, she starts to make amendments to her request. First, she prohibits the crow from telling her mother, she will break down and cry. Then, thinking some more she prohibits the crow from telling her father also, he will cry into the cloth of his pugree (head dress) and not know what to do. She tells the crow to tell everyone, but not these two.

Then in the next stanza she makes some more amendments. She tells the crow not to tell her sister either, for she may give up her own food. Then she says, do not even tell my bhaabhi (sister-in-law, brother’s wife), for the fear that she might spread this in her own maternal family and make fun of it. She tells the crow to tell everyone, but not these two.

The embattled lady then ends the verses with telling the crow, to go an tell this tale of woes to her brother only. He will surely come to her aid, riding the blue steed.

The agony and the poignancy contained in these verses is so emphatic. She wants this message to be told to everyone in her family, and then slowly, one by one she decides not to tell this or that person, and finally, in conclusion she is ready to tell it to her brother only. The words, the composition and the rendition, brings tears to my eyes, as many times as I have heard this play. And it also underscores the vitality of the brother-sister relationship in our culture. When all seems to be lost and the lady is totally helpless, it is her brother that she thinks of, to go and share. (You may have noticed, I have tagged this song as a ‘brother-sister song’).

This low key, less heard of film, is one of my favorites – in and about the art of telling a poignant story through cinema. Although Lata ji has herself selected “Jogiya Se Preet Kiye Dukh Hoye” from this film, as one of her most favorite songs, in my humble opinion, I would rate this song even higher than “Jogiya Se . . .”.

Wonderful memories of an era of very simple living, of traditions and culture, of values – a touch of India that is very dear to me.

Song – Kahiyo Roye Dukhia Re, Ja Re Panchhi Tu Ja Re (Garam Coat) (1955) Singer – Lata MangeshkarLyrics – Majrooh Sultanpuri, MD – Pt Amarnath

Lyrics

kahiyo roye dukhia re
jaa re panchhi tu jaa re. . .
kaaga des hamaare
udd jaa re
kahiyo roye dukhia re
jaa re panchhi tu jaa re. . .
kaaga des hamaare
udd jaa re
kahiyo roye dukhia re

ek na kahiyo maa raani ko
royegi wo meri gudiyon ko dekh ke
ek na kahiyo maa raani ko
royegi wo meri gudiyon ko dekh ke
ek na kahiyo babul ji se
ek na kahiyo babul ji se
royenge pagdi ko munh se lapet ke
aur sab se kahiyo tu pyaare
jaa re panchhi tu jaa re. . .
kaaga des hamaare
udd jaa re
kahiyo roye dukhia re

ek na kahiyo behna meri se
haathon ki roti gira degi ro ke
haathon ki roti gira degi ro ke
ek na kahiyo bhabhi meri se
maike mein jaa ke hansegi wo munh pe
maike mein jaa ke hansegi wo munh pe
aur sab se kahiyo tu pyaare

kahiyo re dukh mera bhaiyya se jaa ke
kahiyo re dukh mera bhaiyya se jaa ke
aayega wo neela ghoda uda ke
utrega mere duaare
jaa re panchhi tu jaa re. . .
kaaga des hamaare
udd jaa re
kahiyo roye dukhia re
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
कहियो रोये दुखिया रे
जा रे पंछी तू जा रे॰॰॰
कागा देस हमारे
उड़ जा रे
कहियो रोये दुखिया रे
जा रे पंछी तू जा रे॰॰॰
कागा देस हमारे
उड़ जा रे
कहियो रोये दुखिया रे

एक ना कहियो माँ रानी से
रोएगी वो मेरी गुड़ियों को देख के
एक ना कहियो माँ रानी से
रोएगी वो मेरी गुड़ियों को देख के
एक ना कहियो बाबुल जी से
एक ना कहियो बाबुल जी से
रोएँगे पगड़ी मुंह से लपेट के
और सब से कहियो तू प्यारे
जा रे पंछी तू जा रे॰॰॰
कागा देस हमारे
उड़ जा रे
कहियो रोये दुखिया रे

एक ना कहियो बहना मेरी से
हाथों की रोटी गिरा देगी रो के
हाथों की रोटी गिरा देगी रो के
एक ना कहियो भाभी मेरी से
मायके में जाके हंसेगी वो मुंह पे
मायके में जाके हंसेगी वो मुंह पे
और सब से कहियो तू प्यारे

कहियो रे दुख मेरा भैया से जाके
कहियो रे दुख मेरा भैया से जाके
आएगा वो नीला घोडा उड़ा के
उतरेगा मेरे द्वारे
जा रे पंछी तू जा रे॰॰॰
कागा देस हमारे
उड़ जा रे
कहियो रोये दुखिया रे


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.

“Riyaasat”(1955) was directed by Jaswant Jhaweri for Roopkamal Chitra, Bombay. The movie had Mahipal, Mala Sinha, Sunder, Kamal, Hiralal, Prakash, Babu Raje etc in it.

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

Here is the second song from “Riyaasat”(1955) to appear in the blog. This song is a duet sung by Geeta Dutt and Rafi. Prem Dhawan is the lyricist. Music is composed by Avinash Vyas.

Only the audio of this rare song is available. My guess is that this song is picturised on the lead pair of Mahipal and Mala Sinha, but I cannot be sure. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Aisi nazren na daal (Riyaasat)(1955) Singers-Geeta Dutt, Rafi, Lyrics-Prem Dhawan, MD-Avinash Vyas

Lyrics

aisi nazren naa daal
kar le khayaal
keh dengi aankhen saari duniya se haal
rakkho ji dil ko zara apne sambhaal
aa haa
ye gore gore gaal
lahraate baal
thumak thumak matwaali chaal
rakkhe ji kaise koi dil ko sambhaal

o o
teri mastaani aankhon mein dil mera kho gaya
ab kya karen ji
ab kya karen ji
jo bhi hona thha ho gaya

meethhi baaton ke jaal mujhpe na daal
main jaanoon pahchaanoon nazron ki chaal
rakho ji dil ko zara apne sambhaal

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

o o o
chhodo balam chhodo haath hamaara
jaao ji jhoothha hai pyaar tumhaara
ye tera jalaal
jaise jalti mashaal
patli kamar jaise phoolon ki daal
rakkhe ji kaise koi dil ko sambhaal

o o o
o o o
o o o
o o o
o o o
o o o
o o
o o
jab milte hain bichhde saathi to mil jaaye jag saara

deepak se mil jaaye baati to mit jaaye andhiyaara
mere dil ka sawaal
ab to na taal
nainon mein aaj zara naina to daal
rakkhe ji kaise koi dil ko sambhaal

aisi nazre na daal karle khayaal
keh dengi aankhen sari duniya se haal
rakkho ji dil ko zara apne sambhaal
o o o
o o o
o o o
aa aa aa aa aa
aa aa aaa


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What is this blog all about

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

This is a labour of love, where "new" songs are added every day, and that has been the case for more than eight years. This blog has over 13200 song posts by now.

This blog is active and online for over 3150 days since its beginning on 19 july 2008.

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Movies with all their songs covered =1003 Total Number of movies covered =3703

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