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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.

“Kinaara” (1949) was directed by Ambalal Dave for New India Theaters, Bombay. The movie had Geeta Bali, Madhusudan Acharya, Ram Singh, Sharda, Kanta Kumari, R S Dubey, Pandey, Charubala, M S Bhalla, Jamu Patel, S Nazir, Bismillah Khan etc in it.

Two songs (out of 12 in the movie) have been covered in the past.

Here is the third song from “Kinaara” (1949) to appear in the blog. This song is sung by Lata. Lyricist of this song is not known. . Madhusudan Acharya is the music director.

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

This rare song marks an “artificial” landmark for the blog. This song is the 2700th song from the decade of 1940s (1941 to 1950) to appear in the blog. The decade had 10254 songs from 1191 movies. The blog now has 2700 songs from 680 of these movies.


Song-O jaane waali ye jawaani chaar din ki (Kinaara)(1949) Singer-Lata, Madhusudan Acharya

Lyrics

o jaane waali
ye jawaani chaar din ki
jaane waali
ye jawaani chaar din ki
ye jawaani chaar din ki
jaane waali ye jawaani chaar din ki
ye jawaani chaar din ki
hansne gaane ki kahaani chaar din ki
ye kahaani chaar din ki
hansne gaane ki kahaani chaar din ki
ye kahaani chaar din ki

do din sukh ke
do din dukh ke
pal bhar mauj bahaar
ha ha ha ha ha
do din sukh ke
do din dukh ke
pal bhar mauj bahaar
dhale jawaani chadhe budhaapa aa aa
dhale jawaani chadhe budhaapa
kar lena tu pyaar
jaane waali ye jawaani chaar din ki
ye jawaani chaar din ki

roop khila kahin dhoop khili
hai masti ka baazaar aar
roop khila kahin dhoop khili
hai masti ka baazaar aar
pyaar se duniya mein bik jaata
bina mol sansaar
pyaar se duniya mein bik jaata
bina mol sansaar
jaane waali ye jawaani chaar din ki
ye jawaani chaar din ki

ye jawaani ee ee ee
ye jawaani ek lahar hai
jyun baadal ki chhaaya
rang raliyaan kar le tu bande ae ae
rang raliyaan kar le tu bande
tarsegi phir kaaya
jaane waali ye jawaani chaar din ki
ye jawaani chaar din ki
jaane waali ye jawaani chaar din ki
ye jawaani chaar din ki
o jaane waali ye jawaani chaar din ki

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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.

“Heera”(1947) was a Jayant Desai Productions, Bombay presentation. It had Ishwarlal, Paro Devi, Mubarak, Revashankar, Lachhu Maharaj, Bhagwan Das, Sukumar, Gulaab, Baby Vimla, Shantabai etc in it.

The movie had eleven songs in it. Three of these songs have been covered in the past.

Here is the fourth song from “Heera”(1947) to appear in the blog. This song is sung by Zohrabai Ambalewaali. The lyricist of this song is not known. Music is composed by Husnlal Bhagatram.

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


Song-Aji thhandi hawa tadpaaye hai (Heera)(1947) Singer-Zohrabai Ambalewaali, MD-Husnlal Bhagatram

Lyrics

aji thhandi hawa tadpaaye hai
aji thhandi hawa tadpaaye hai
ho tadpaaye hai
jeewan ki naiyya bahi jaaye hai
jeewan ki naiyya bahi jaaye hai

keh raha hai ye behta paani ee ee
keh raha hai ye behta paani ee ee
jaane waali yoon hi jawaani ee ee
jaane waali yoon hi jawaani
apne joban pe kyun itraaye hai
apne joban pe kyun itraaye hai
ho itraaye hai
jeewan ki naiyya bahi jaaye hai
jeewan ki naiyya bahi jaaye hai
aji thandi hawa tadpaaye hai
aji thandi hawa tadpaaye hai
ho tadpaaye hai
jeewan ki naiyya bahi jaaye hai
jeewan ki naiyya bahi jaaye hai

bulbule tu suno kahaani ee ee
bulbule tu suno kahani ee ee
kya le duniya kya zindgani ee ee
kya le duniya kya zindgani
lehar aaye aur aake chali jaaye hai
lehar aaye aur aake chali jaaye hai
ho chali jaaye hai
jeewan ki naiyya bahi jaye hai
jeewan ki naiyya bahi jaye hai
aji thandi hawa tadpaaye hai
aji thandi hawa tadpaaye hai
ho tadpaaye hai
jeewan ki naiyya bahi jaaye hai
jeewan ki naiyya bahi jaaye hai

keh raha hai ye behta paani ee ee
keh raha hai ye behta paani ee ee
jaane waali yoon hi jawaani ee ee
jaane waali yoon hi jawaani
apne joban pe kyun itraaye hai
apne joban pe kyun itraaye hai
ho itraaye hai
jeewan ki naiyya bahi jaaye hai
jeewan ki naina bahi jaaye hai
aji thandi hawa tadpaaye hai
aji thandi hawa tadpaaye hai
ho tadpaaye hai
jeewan ki naiyya bahi jaaye hai
jeewan ki naiyya bahi jaaye hai


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.

“Jai Shree”(1956) was directed by Balchandra Shukla and Harsukh Bhatt for Rajshree Productions, Bombay. HFGK mentions that Rajshree Productiions had apparently bought the distribution rights of this movi and had released it under the banner of Ratndeep Pictures.

The movie had Nimmi, Pradeep Kumar, Lalita Pawar, Jeewan, Jayant, Radhakishan, Roopmala, Chaman Puri, Kesri, Gadadhar Sharma, Jagdeesh Kanwal, Baby Daisy Irani, Master Vijay Kumar etc in it.

This “social” movie had eight songs in it.

Here is the first song from “Jai Shree”(1956) to appear in the blog. This song is sung by Lata and chorus. Gopal Singh Nepali is the lyricist. Music is composed by Chitragupta.

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

With this song, “Jai Shree”(1956)makes its debut in the blog.


Song-Baadarwa chale jhoom ke bijuriya ka munh choom ke (Jai Shree)(1956) Singer-Lata, Lyrics-Gopal Singh Nepali, MD-Chitragupta
Chorus

Lyrics

baadarwa chale jhoom ke
bijuriya ka munh chum ke
saanwariya
tum nahin aaye abhi ghoom ke
baadarwa chale jhoom ke
bijuriya ka munh choom ke
saanwariya
tum nahin aaye abhi ghoom ke

o o o
baari umariya meri
jhoome jhoole pe chadhke
jhoome jhoole pe chadhke
jhoome jhoole pe chadhke

utre ghoonghatwa
ude re dupattwa
muft mein jiyara dhadke
haaye raam
haaye raam
purwaiya aaye jhoom ke
jaaye to gesu choom ke
saanwariya
tum nahin aaye abhi ghoom ke
baadarwa chale jhoom ke
bijuriya ka munh choom ke
saanwariya
tum nahin aaye abhi ghoom ke

o o o o
baadarwa taan maare
chham chham boondon ki goli
chham chham boondon ki goli
chham chham boondon ki goli

barkha bahaar mein
rimjhim phuhaar mein
bheege hamaari choli
haaye raam haaye raam
hariyali dole jhoom ke
maasoom kali choom ke
saanwariya
tum nahin aaye abhi ghoom ke
baadarwa chale jhoom ke
bijuriya ka munh choom ke
saanwariya
tum nahin aaye abhi ghoom ke

o o o
jamuna ki dhaar sakhi
chhaaya mein dhoop naache
chhaaya mein dhoop naache
chhaaya mein dhoop naache

machhliya banke
paani mein chhanke
maujon mein roop naache
haaye raam haaye raam
maujon ne chheda jhoom ke
humne bhi chhoda choom ke
saanwariya
tum nahin aaye abhi ghoom ke
baadarwa chale jhoom ke
bijuriya ka munh choom ke
saanwariya
tum nahin aaye abhi ghoom ke


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 (24 july 2017) is the First Monday of the Holy month of Shravan, as observed in the Western, some Eastern and Southern states of India. On this occasion, here is a very melodious Shiv bhajan from the film Shivratri-54. Chitragupta, the King of melody, has composed this bhajan by G.S. Nepali, and is sung sweetly by Asha Bhosle.

India is simply a wonderful and unique country in this world. With 22 languages, recognized by Indian Constitution ( and 122 major and 1599 smaller languages), 9 major and 125 minor religions and over 25 states having exclusive cultures, it was a wonder that Independent India survived after the British left in 1947.

India not only survived but is becoming and recognized as one of the developing countries, supplying its talents to the modern world almost for every industry. It was predicted that within 5 to 10 years after Independence, India will destroy itself with internal chaos and religious infighting. India not only proved the world wrong, but also showed the world how Unity can be achieved in Diversity !!!

This is because of Indian culture which crosses the religious boundaries. When there are killings and riots everyday in “One- Religion ” countries of the world, India is the only hope for the world with its diverse cultural diaspora. The high degree of adaptability and tolerance in the Indian Culture, leading to Peaceful Co-Existence of Religions and languages is the secret of India’s uniqueness.

Take the case of Calendar, as an example of adaptability. Throughout the world, there is uniform calendar in every country. Only in India, the Calendar is based on regional needs. More than 80% population follows a Calendar which has adapted itself to regional climatic routines and the Agricultural diversity of North and South India. The country has 2 ways of counting days. One- followed in the west,south and part of east, wherein the month ends on the No-Moon Day or Amavasya. The Hindi speaking belt of North, Northwest and Northeast follows the system wherein the month ends on the Full Moon Day or Pournima. There is a difference of only 15 days in these systems and due to 15 days’ counting system, all the Festivals fall on the same day all over the country. Hats off to whosoever devised this methodology which unites while maintaining the individuality of different states.

This year in Andhra Pradesh, Telangana, Goa, Maharashtra, Gujarat, Karnataka, Tamil Nadu, West Bengal, Assam and Tripura ( Amavasyant states), Shravan month will be started from Monday, 24th of July 2017 which will be observed as the 1st Shravan Somvar Vrat. Shravan Somvar Vrat will be observed on every Monday i.e. 24th of July, 31st of July, 7th of August, 14th of August and 21st of August which will be the last day of Shravan Month as well.

Shravan month has already started from Monday, 10th of July, 2017 which will be observed as the 1st day of Shravan Month as well as 1st day of Shravan Somvar Vrat. Shravan Somvar Vrat will be observed on every Monday i.e. on 10th July, 17th July, 24th July, 31st July and 7th August which will be the last day of Shravan Month for Delhi, Rajasthan, Uttar Pradesh, Madhya Pradesh, Punjab, Himachal Pradesh’, Bihar, Chhattisgarh, Odisha and J&K. ( Purnimant states)

This entire period will be very auspicious for Lord Shiva Devotees and almost everyone of them will observe fast either for the entire month or at least on every Monday which falls during this period. The month of Shravan ( Saawan) is considered a very Holy month, especially for the Shiv Bhakts and every Monday is auspicious for Lord Shiva’s Pooja, Vrat or Fasting etc.

Shiv literally means auspiciousness, welfare. He is the third God of the Hindu Trinity, representing darkness. Because he is often portrayed as the angry god and the God of destruction, Lord Shiv is one of the most feared and worshipped Gods in Hinduism. He is said to play a complementary role to Brahma because he is protector of souls until they are ready for recreation by Lord Brahma. Shiv has eight forms: Rudra, Sharva, Bhava, Ugra, Bhima, Pashupati, Ishana and Mahadeva; which, according to the Shiv Purana, correspond to the earth, water, fire, wind, sky, a yogi called Kshetragya, the sun, and the moon respectively.

Shiv symbolically represents the tamasic quality. This happens to be one of the gunas in Hinduism, symbolizing inactivity. His body color, which is white, denotes his purity and association with the snowy mountains. His three eyes represent the sun, the moon and the earth, the three paths of liberation and the triple nature of creation. The third eye is actually the eye of wisdom or occult knowledge. Epithets note his distinctive hairstyle; he has matted hair which holds the flowing Ganges River and a crescent moon. Shiv is said to be the essence of the Vedas and the creator of the Word. He is also the creator of Dance. Shiv’s dance of anger is called the Roudra Tandava and his dance of joy, the Ananda Tandava. He dances both the dance of destruction and the dance of creation. The rhythms he dances to are that of a world continuously forming, dissolving and re-forming.

The legend of marriage of Shiv and Shakti is one the most important legends related to the festival of Mahashivaratri. The story tells us how Lord Shiv got married a second time to Shakti, his divine consort. According to legend of Shiv and Shakti, the day Lord Shiv got married to Parvati is celebrated as Shivaratri – the Night of Lord Shiva.

Legend goes that once Lord Shiv and his wife Sati or Shakti were returning from sage Agastya? ashram after listening to Ram Katha or story of Ram. On their way through a forest, Shiv saw Lord Rama searching for his wife Sita who had been kidnapped by Ravana, the King of Lanka. Lord Shiv bowed his head in reverence to Lord Rama. Sati was surprised by Lord Shiv’s behavior and inquired why he was paying obeisance to a mere mortal. Shiv informed Sati that Rama was an incarnation of Lord Vishnu. Sati, however, was not satisfied with the reply and Lord asked her to go and verify the truth for herself.

Using her power to change forms, Sati took the form of Sita appeared before Rama. Lord Rama immediately recognized the true identity of the Goddess and asked, “Devi, why are you alone, where’s Shiv?” At this, Sati realized the truth about Lord Ram. But, Sita was like a mother to Lord Shiv and since Sati took the form of Sita her status had changed. From that time, Shiv detached himself from her as a wife. Sati was sad with the change of attitude of Lord Shiv but she stayed on at Mount Kailash, the abode of Lord Shiv.

Later, Sati’s father Daksha organised a yagna, but did not invite Sati or Shiv as he had an altercation with Shiv in the court of Brahma. But, Sati who wanted to attend the Yagna, went even though Lord Shiv did not appreciate the idea. To her great anguish, Daksha ignored her presence and did not even offer Prasad for Shiv. Sati felt humiliated and was struck with profound grief. She jumped into the yagna fire and immolated herself.

Lord Shiv became extremely furious when he heard the news of Sati’s immolation. Carrying the body of Sati, Shiv began to perform Rudra Tandava or the dance of destruction and wiped out the kingdom of Daksha. Everybody was terrified as Shiv’s Tandava had the power to destroy the entire universe. In order to calm Lord Shiv, Vishnu severed Sati’s body into 12 pieces and threw them on earth. It is said that wherever the pieces of Shakti’s body fell, there emerged a Shakti Peetha, including the Kamaroopa Kamakhya in Assam and the Vindhyavasini in UP.
Lord Shiv was now alone undertook rigorous penance and retired to the Himalayas. Sati took a re-birth as Parvati in the family of God Himalaya. She performed penance to break Shiv’s meditation and win his attention. It is said that Parvati, who found it hard to break Shiv’s meditation sought help of Kamadeva – the God of Love and Passion. Kaamadeva asked Parvati to dance in front of Shiv. When Parvati danced, Kaamadeva shot his arrow of passion at Shiva breaking his penance. Shiv became extremely infuriated and opening his third eye that reduced Kaamadeva to ashes. It was only after Kamadeva’s wife Rati’s pleading that Lord Shiv agreed to revive Kaamadeva.

Later, Parvati undertook severe penance to win over Shiv. Through her devotion and persuasion by sages devas, Parvati, also known as Uma, was finally able to lure Shiv into marriage and away from asceticism. Their marriage was solemnized a day before Amavasya in the month of Phalgun. This day of union of God Shiv and Parvati is celebrated as Mahashivratri every year.

I have been fasting on every Monday during Shravan and Mahashivratri since I was a child. Our family was a staunch Shiv Bhakt and we had our own big Shiv Temple in the compound of our Bungalow in Hyderabad. My father had spent some time in Banaras studying Vedas. I too was there for 2 years when I was a small kid. Anyway, all this had immense impact on me and I follow whatever is possible in the month of Shravan.
This time there are 5 Mondays in Shravan. We will try to discuss one Shiv Bhajan on every Monday from 24th July onwards.

Let us enjoy today’s Bhajan which is very sweet indeed. This song is the 2300th song of Asha Bhonsle as a playback singer in the blog.


Song-Shankar ki pooja chhoote na (Shiv Ratri)(1954) Singer-Asha Bhonsle, Lyrics-Gopal Singh Nepali, MD-Chitragupta

Lyrics

Shankar ki pooja chhoote na
chhoote na
Shankar ki pooja chhoote na
chhoote na
shambhu ke bina
bulbula bhi jal mein phhoote na
ho o
shambhu ke bina bulbula bhi jal mein phhoote na
ho Shankar ki pooja chhoote na
chhoote na

raaja roothhe
taqdeer phhire
duniya badle
ho o
raaja roothhe
taqdeer phhire
duniya badle
kailaashpati saubhaagyawati se roothhe na
ho o o
kailaashpati saubhaagyawati se roothhe na
ho Shankar ki pooja chhoote na
chhoote na

shiv ko pooje jo
apne piya ki matwaali
shiv ko pooje jo
apne piya ki matwaali
shambhu ka trishool kare nit uski rakhwaali
ho o o o
shambhu ka trishool kare nit uski rakhwaali
vrat toote na to
phir suhaag koi loote na
ho o o
vrat toote na to
phir suhaag koi loote na
ho Shankar ki pooja chhoote na
chhoote na

harihar chaahe to janmon ka phera chhoote
harihar chaahe to janmon ka phera chhoote
bandhan toote
taala toote
ghera toote
ae ae ae
bas janam janam natwar se naata toote na
ho o o
bas janam janam natwar se naata toote na
ho Shankar ki pooja chhoote na
chhoote na


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.

“Gauri Pooja”(1956) was produced by Chandrakant Desai and directed by Vinod Desai for Desai and Company, Bombay. The movie had Nirup Roy, Abhi Bhattacharya, Kumkum, Yashdhara Katju, Sundar, Shrawan Kumar, Kanta Kumari, Sarita, Umakant, Pravin Paul, Mumtaz, Hira Sawant, Neerja, Uma Dutt, Ram Shashtri, etc with guest appearances by Sulochana, Sapru, Bipin Gupta and Lalita Pawar.

This mythological movie had eight songs in it. The movie as well as its songs have become obscure with time.

Here is the first song from “Gauri Pooja”(1956) to appear in the blog. This song is sung by Manna Dey. Gopal Singh Nepali is the lyricist. Music is composed by Manna Dey.

This song is available only in its audio form. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.

With this rare song, “Gauri Pooja”(1956) makes its debut in the blog.


Song-Shaadi rachaaye chaley jodi miley na miley (Gauri Pooja)(1956) Singer-Manna Dey, Lyrics-Gopal Singh Nepali, MD-Manna Dey

Lyrics

jodi miley na miley
jodi miley na miley
shaadi rachaaye chaley
jodi miley na miley
shaadi rachaaye chaley
chaaar kahaar mil ke
doli uthaaye chaley
shaadi rachaaye chaley
jodi miley na miley

baabul ki laaj bachi
baabul ki laaj bachi
kar di bidaai
kar di bidaai
beti bhagwaan ne di
beti bhagwaan ne di
ho gayi paraai
ho gayi paraai
ujdi auron ki duniya aa aa
ujdi auron ki duniya
apni basaaye chaley
ujdi auron ki duniya
apni basaaye chaley
chaaar kahaar mil ke
doli uthaaye chaley
shaadi rachaaye chaley
jodi miley na miley

chhupa ke bitiya raani
chhupa ke bitiya raani
mukh doosron se
mukh doosron se
roti sasuraal chali
roti sasuraal chali
raam ke bharose
raam ke bharose
sir pe sindoor laga aa aa
sir pe sindoor laga
aansoo bahaaye chaley
sir pe sindoor laga
aansoo bahaaye chaley
chaaar kahaar mil ke
doli uthaaye chaley
shaadi rachaaye chaley
jodi miley na miley


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.

It was a surprise for many – when the Mukesh Geet Kosh was published (in 1985), and the compilation, at that time, was able to list less than a thousand songs in all – filmi, non filmi, other languages all combined. It was a general impression carried amongst the fans that well, yes, Mukesh has not sung as many songs as Rafi Sb, but then, less than thousand?? And then, it became a new topic to write about and discuss – why is it so that the impression is that Mukesh has recorded a lot many more songs than are popularly known.

Remembering Mukesh on the 94th anniversary of his birth today (22nd July, 2017).

This topic became a subject of curiosity amongst fans. Many years later, on an occasion of a get together with famed film historian and writer, Nalin ji Shah (of Bombay), this topic got discussed. I was part of that get together. Nalin explained this quite at length. As per him, this is a mental extrapolation that happens in the minds of the fans. While the main line playback singers like Rafi Sb, Kishore Kumar etc have their compilations listed in terms if multiple thousands of songs, still, the human mind captures and sustains a limited number as popular an favorites. No doubt, if one listens to an unheard or an obscure song, the appreciation is most certainly there. But the mind would retain only so much in the memory, as favorites. So when that number is juxtaposed against the total list of compilation, there is a level of appreciation associated with the estimate of the quantity versus the list of what a personal preference would term as “good quality” favorites. Given the case of Rafi Sb, this number may work out to be 1 is to maybe 4 or 5, in the minds of discerning fans.

When a similar sense of reasoning gets applied to the portfolio of Mukesh’s recordings, a different outcome appears. When a discerning fan would apply this estimation to the compilation of Mukesh’s list of songs, then the estimate of the quantity versus the list of “good quality” favorites would work out to be 1 is to maybe 1 or 2. And then just by an expectation of the extrapolation, the mind succinctly assumes that there are or there will be many more songs of the singer, that are not retained in the memory as “good quality” favorites. And hence the disbelief about the total listed in the compilation.

In other words, as a general impression, the ratio of number of songs of Mukesh that have captured the interest of listeners, and are listed as “good quality” favorites, is probably much higher than the other main line singers, who have shared more or less the same timelines as career contemporaries.

That, is then the curious quality of the singing of this soulful voice. There have been references – some music directors did not consider him good enough. At time he himself did not consider himself good enough. And yet, despite being a singer of one and two songs in most of his films, there is a something special that he injects into the rendition, that makes the song memorable. The sound of his singing has a golden ring of sincerity, as if the voice is coming from his soul and not just from his lungs. Pick up any listing of his songs; I daresay you would be hard pressed to drop un-likeable non-favorites from that list.

I would agree with this perspective and this explanation given by Nalin ji. Yes, definitely, there is that something compellingly charismatic in this voice.

Yes, known and liked better for his poignant and sad renditions – Raja ji has rightly observed that such songs of Mukesh serve as a soothening balm to a troubled mind, there are some so well known charmingly fast paced fun songs that he has rendered. Sample this list – “Ruby O Ruby, Jaane Mehboobi” (from ‘Chaahat’, 1971), “Tauba Ye Matwaali Chaal” (from ‘Pathar Ke Sanam’, 1967), “Ye Mausam Rangeen Samaa” (from ‘Modern Girl’, 1961), “Socha Tha Pyaar Hum Na Karenge” (from ‘Bluff Master’, 1963), “Har Dil Jo Pyaar Karega” (from ‘Sangam’, 1964), “Ruk Ja O Jaane Waali Ruk Ja” (from ‘Kahnaiyya’, 1959), “Hum To Tere Aashiq Hain Sadiyon Puraane” (from ‘Farz’, 1967), “Teri Nigaahon Pe Mar Mar Gaye Hum” (from ‘Shabnam’, 1964), “Phir Milengi Kahaan, Aisi Tanhaaiyaan” (from ‘Bhaavna’, 1972), “Dekho Mausam Kya Bahaar Hai” (from ‘Opera House’, 1961), “Aasmaan Pe Hai Khuda Aur Zameen Pe Hum” (from ‘Phir Subah Hogi’, 1958), “Nain Tumhaare Mazedaar O Janaab e Aali” (from ‘Junglee’, 1961), “Kisi Nargisi Nazar Ko Dil Denge Hum” (from ‘Main Nashe Mein Hoon’, 1959), “Zara Sambhaalna Meri Jaan Apni Nigaahen” (from ‘Aaya Toofaan’, 1964), “Dil Tadap Tadap Ke Keh Raha Hai Aa Bhi Ja” (from ‘Madhumati’, 1958), “Mast Nazar Dekh Idhar” (from ‘Ek Dil Sau Afsaane’, 1963), “Yaad Aayi Aadhi Raat Ko Kal Raat Ki Tauba” (from ‘Kanhaiyya, 1959), “Ae Dil e Awaara Chal” (from ‘Dr Viday’, 1962). . . I could go on and on and on.

Today’s song belongs to that fast paced fun category. The film is ‘Mehndi Lagi Mere Haath’ from 1962. The words are written by Anand Bakshi and the music is from the baton of Kalyanji Anandji. Yet one more charming rendition from this voice that never ceases to amaze.

Song – Teri Wo Chaal Hai Ke Tauba  (Mehndi Lagi Mere Haath) (1962) Singer – Mukesh, Lyrics – Anand Bakshi, MD – Kalyanji Anandji

Lyrics

tauba

teri wo chaal hai ke tauba
aisa kamaal hai ke tauba
mera wo haal hai ke tauba
teri wo chaal hai ke tauba
aisa kamaal hai ke tauba
mera wo haal hai ke tauba
teri wo chaal hai ke tauba

teri har adaa mastaani
meri har nigaah deewaani
teri har adaa mastaani
meri har nigaah deewaani
vallah jaan e kasam
samjhe to sanam
vallah jaan e kasam
samjhe to sanam
donon ka ik hai fasaana
donon ka ik hai fasaana
teri wo chaal hai ke tauba
aisa kamaal hai ke tauba
mera wo haal hai ke tauba
teri wo chaal hai ke tauba

hum se bhali ye raahen
jin pe teri hain nigaahen
hum se bhali ye raahen
jin pe teri hain nigaahen
tu ek nazar to dekh idhar
tu ek nazar to dekh idhar
ye dil hai tera deewaana
ye dil hai tera deewaana
teri wo chaal hai ke tauba
aisa kamaal hai ke tauba
mera wo haal hai ke tauba
teri wo chaal hai ke tauba

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

तौबा

तेरी वो चाल है के तौबा
ऐसा कमाल है के तौबा
मेरा वो हाल है क तौबा
तेरी वो चाल है के तौबा
ऐसा कमाल है के तौबा
मेरा वो हाल है क तौबा
तेरी वो चाल है के तौबा

तेरी हर अदा मस्तानों
मेरी हर निगाह दीवानी
तेरी हर अदा मस्तानों
मेरी हर निगाह दीवानी
वल्लाह जान ए कसम
समझे तो सनम
वल्लाह जान ए कसम
समझे तो सनम
दोनों का इक है फसाना
दोनों का इक है फसाना
तेरी वो चाल है के तौबा
ऐसा कमाल है के तौबा
मेरा वो हाल है क तौबा
तेरी वो चाल है के तौबा

हम से भली ये राहें
जिन पे तेरी हैं निगाहें
हम से भली ये राहें
जिन पे तेरी हैं निगाहें
तू एक नज़र तो देख इधर
तू एक नज़र तो देख इधर
ये दिल है तेरा दीवाना
ये दिल है तेरा दीवाना
तेरी वो चाल है के तौबा
ऐसा कमाल है के तौबा
मेरा वो हाल है क तौबा
तेरी वो चाल है के तौबा


This article is written by Raja, 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 (22 july 2017) is the birth anniversary of our beloved  singer, Mukesh Chand Mathur, better known to one and all as Mukesh (22 july 1923-27 august 1976).

I don’t recall if I have written a tribute to him yet on this blog – I think I might have. But even so, there are no rules here saying I cannot write another one. 🙂  And since I have several fond memories of listening to Mukesh songs in my life, I am happy to use this occasion to remember him and pay my humble tribute to him.

Many regulars here know that I am a big fan of Rafi Saab. And I am a fan of Kishore Kumar also. But that’s the thing – it doesn’t mean I do not like other singers’ songs. I am fond of them all – and I listen to them all. At heart, I am a music lover – and unless  any music is particularly cacophonic or jarring to the ears, I have no problem listening to it.

And let’s be fair – every singer has sung memorable songs, every composer has composed good music, every lyricist has written good lyrics. Yes, not every song or composition or lyrics is memorable – but none of them would have reached where they did in their careers if there was nothing of quality in their work.

At least that’s my thinking. This is also why I tend not to get into “Rafi Saab vs Kishore” or “Lata vs Asha” discussions unless they’re respectful to all concerned and and the discussion is held in the best of spirit. I dislike bashing of any artiste.

Anyway, back to Mukesh. Long before I became a huge fan of Rafi Saab, Mukesh was a big part of my music experience. Kishore was of course the ruling superstar singer of my childhood. He was everywhere.

But Mukesh, with his distinctive voice, always made me notice him. And sit up. There would be ten non-stop Kishore songs, and there’d be one Mukesh song – say, “Kahin Door Jab Din Dhal Jaaye”. Or “Jaane Kahaan Gaye Wo Din”. And that ONE song would go straight to my heart – and linger in my mind for a long, long time. I remember what effect “Kisi Ki Muskuraahaton” would have on me.

That was Mukesh. Mukesh always had that special quality – maybe it was that nasal tone of his, maybe it was the ease and simplicity with which he seemed to deliver his songs.  But he always made an impact on me.

I know he’s not considered quite in the league of Rafi Saab, in terms of range. Many consider Mukesh besuraa – he himself felt that way at times. Yes, you wouldn’t expect him to go all classical like a Manna Dey or even a Rafi Saab with “Naache Mann Mora Magan”. And yes, for most of his career, inspite of several hit songs, he was not considered THE no.1 singer of the time, unlike Rafi Saab or Kishore Kumar (or even Talat Mahmood early on). He was probably No.2 all along.

And yet, he held his own throughout his career. Whatever other singers did – and practically all of them had their ups and downs – Mukesh’s career was largely steady.

Mukesh didn’t sing several thousand songs – according to our blog stats, he has sung just 932 Hindi film songs.  And yet, a very large number of these songs are memorable, hummable – and easily relate-able.  You listen to a Mukesh song for the first time – and there’s a very good chance it will appeal to you right away. Soon you might be humming it. And that’s because his songs went straight to your heart.

It is often said that Mukesh specialized in sad songs. To some extent this is true – he was slotted into this category in the industry. So often if there was a sad song to be sung, his would be the voice called for. For example, one of my favourite songs “Zubaan Pe Dard Bhari Dastaan Chali Aayi”.

But I happen to think, even this is a bit misleading. When I listen to a Mukesh “sad song”, it doesn’t make me one bit sad. It actually goes right to my heart and acts like a balm, it soothes me. I feel better after listening to the song. Might seem odd – and maybe it’s only my personal experience. Maybe it has to do with empathy with the situation of the song. Am not sure what it is.

But Mukesh has also sung many happy songs – and not just for Raj Kapoor. His “Ibtadaa-e-Ishq Mein” and “Bol Meri Taqdeer Mein Kya Hai” from Hariyali Aur Raasta (1962) come readily to mind. And , the quintessential “Ye Mausam Rangeen Samaa”  from Modern Girl (1961).

Although I remember several Mukesh songs from early on in my childhood, the first time he made a huge impact on me was when we’d gone to the town, 25 km away, to see ‘Mera Naam Joker’ (1970). It was the first film I ever saw in a cinema hall as such – my dad took the whole family because he thought it was a children’s film (joker et al :-))  My dad himself didn’t know Hindi and didn’t know any Hindi songs at all, except for one line of one song – “Awaara Hoon” 🙂  That gave me an idea that this song must have been massively popular in its time.

Anyway, while I enjoyed “Ae Bhai Zara Dekh Ke Chalo” immensely – and didn’t understand all the details of the story at that time – I was also much impressed by “Jaane Kahaan Gaye Wo Din” and “Jeena Yahaan Marna Yahaan”. I liked “Kehta Hai Joker Saara Zamaana” as well.

When we got a 2-in-1 at home for the first time, we had just 2 or 3 cassettes, which we would play non-stop. We had songs of ‘Guddi’, ‘Abhiman’, ‘Yaadon Ki Baaraat’ and ‘Zanjeer’.  And we had a Mukesh cassette.

I treasured it – and listened to it SO many times. I remember every song on it, starting with “Mera Naam Raju” to “Chhalia Mera Naam” to “Aa Laut Ke Aaja Mere Meet” to “Sab Kuchh Seekha Hum Ne” (my favourite at the time) to “Dum Dum Diga Diga” to “Aansoo Bhari Hain” to “Chal Ri Sajni Ab Kya Soche” to “Hum Ne Tum Ko Pyaar” to “Chaandi Ki Deewar Na Todi” to “Hum Chhod Chale Hain” (another all-time favourite).

Mukesh songs would regularly figure on radio too – even his “current” songs, like “Kahin Door Jab Din Dhal Jaaye”or “Jis Gali Mein Tera Ghar Na Ho Baalma” or “Jo Tumko Ho Pasand” or “Koi Jab Tumhara Hriday Tod De” or “Ek Pyaar Ka Nagma Hai” would be regulars in farmaishes.

And that’s the thing – many think that Mukesh’s career was primarily for Raj Kapoor, and maybe Manoj Kumar. And most of it was anyway 1950s/60s. But, though his output might have been less in the 70s, he had several memorable songs in this decade too  – right till his death. And  for other actors. Like I said at the start, unlike other singers, Mukesh did not seem to have ups-and-downs in his career, it was largely steady.

Just to give examples of some 1970s songs (non-Raj Kapoor/Manoj Kumar)

Duniya Se Jaane Waale” from Pushpanjali (1970).

Tere Honthon Ke Do Phool” from Paras (1971).

Kahin Door Jab Din Dhal Jaaye” from Anand (1971).

Ae Baadal Jhoomke Chal” from Nadaan (1971), a song I very fondly remember. 🙂

Main To Har Mod Par” from Chetna (1970).

Kai Sadiyon Se, Kai Janmon Se” from Milap (1972).

Zindagi Aur Bataa Teraa Iraadaa Kyaa Hai” from Zindagi Aur Toofaan (1973)

Kai Baar Yun Bhi Dekha Hai” from Rajnigandha (1973).

Barkha Rani Zara Jamke Barso” from Sabak (1973).

Main Dhoondhta Hoon Jinko” from Thokar (1974).

Sansaar hai ek nadiya” from Raftaar (1975).

Phool Aahista Phenko” from Prem Kahani (1975).

Kabhi Kabhi Mere Dil Mein” from Kabhie Kabhie (1976)

Main Pal Do Pal Ka Shaayar Hoon” from Kabhie Kabhie (1976)

Suhani Chandni Raatein” from Mukti (1977)

The reason I mention this decade specifically is to just stress that Mukesh held his own throughout his last few years, inspite of Kishore Kumar’s dominance in that decade. I have not mentioned songs like “Ik Din Bik Jaayega” (Raj Kapoor), “Do Jasoos Karen Mehsoos” (Raj Kapoor) and “Ek Pyaar Ka Nagma Hai” (Manoj Kumar) – they were all very popular too.

So as a young boy growing up, listening to these “current” songs not to mention the fantastic Mukesh songs of earlier decades, I became a Mukesh fan too. So much so that, after Mukesh’s death, one of my friends gifted me a book full of Mukesh songs. It was my prized possession for a long time. It had a whole lot of “new” Mukesh songs for me. I remember I would wait for a Mukesh song on radio – and then quickly rush to check the song in the book, matching the lyrics in the book with the song. I’d be thrilled if the song was in the book – obviously not all songs were.  And till I heard the song, I didn’t know the tune of course.  The song was just words to me, till then. Those were pre-internet days – and I didn’t have access to music shops either.

Some songs I remember “matching “ like this were “Dil Jalta Hai To Jalne De”,  “Zinda Hoon Is Tarah”, “Mujhe Raat Din Ye Khayaal Hai”  (one of my favourite songs) and “Dil Lootne Waale Jaadugar”. It was thanks to this book that I first heard of names like Husnlal Bhagatram and Iqbal Qureshi. Very fond memories of those times. And many of them associated with Mukesh.

Now moving on to the song for today. This is from film ‘Darinda’ (1977). This film has not made its entry on the blog yet – so with this song, it makes its debut. I remember seeing this film when it was released.  But, given my memory, I had forgotten the story completely – the only thing I remembered from that time was this Mukesh song “Chaahe Aaj Mujhe”. I remember liking it even then.

So now, when I wanted to write a post on Mukesh, this song came to mind. I checked the blog – and was a bit surprised to see it missing. I don’t think the film did well – but this song did ok, from what I remember. Since I prefer to post songs of films that I have seen – so that I have some context – I decided to watch this film again.

Briefly, the story is how Sunil Dutt, separated as a poor young boy from his rich childhood friend, Parveen Babi, grows up as a yogi, supposedly to do good deeds. But he has just one goal in mind – to find Parveen, and win her over. He searches everywhere for her – becoming a  monster (Darinda) in the process, even killing women in his pursuit. And when he finally does find her, she is engaged to be married to Feroze Khan. How he then reacts, what is Parveen’s reaction, what happens to Feroze – see the film if you want to find out 🙂 There’s a bit of a hint in this song too. 🙂

As I close, I want to say “Thank you, Mukesh ji, for giving us so many wonderful songs. We will always remember you and be thankful to you.”


Song – Chaahe Aaj Mujhe Napasand Karo. . . Aakhir Mein Tumhen Mera Hi Hona Hoga (Darinda) (1977) Singer – Mukesh, Lyrics – Indeewar, MD – Kalyanji Anandji

Lyrics

chaahe aaj mujhe naapasand karo
chaahe dwaar hriday ke band karo
aakhir mein tumhe mera hi hona hoga
aakhir mein tumhe mera hi hona hoga

chaahe aaj mujhe naapasand karo
chaahe dwaar hriday ke band karo
aakhir mein tumhe mera hi hona hoga
aakhir mein tumhe mera hi hona hoga

bachpan ke pyaar ki mit-ti nahin nishaani
bachpan ke pyaar ki mit-ti nahin nishaani
jitna hi mitaana chaahe isey jawaani
jahaan yaad teri soyi ho
jahaan yaad teri soyi ho
dooja na aur koi ho
koi dil ka tumhaare aisa bhi konaa hoga
aakhir mein tumhe mera hi hona hoga

main kya se kya ban gaya tumhaare kaaran
main kya se kya ban gaya tumhaare kaaran
auron ki tarah mera pyaar nahin sadhaaran
na samjho isey dikhaava
na samjho isey dikhaava
hai ye mere pyaar ka daawaa
mere hansne pe hansna, roney pe ronaa hoga
aakhir mein tumhe mera hi hona hoga

chaahe aaj mujhe naapasand karo
chaahe dwaar hriday ke band karo
aakhir mein tumhe mera hi hona hoga
aakhir mein tumhe mera hi hona hoga

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
चाहे आज मुझे नापसंद करो
चाहे द्वार हृदय के बंद करो
आखिर में तुम्हें मेरा ही होना होगा
आखिर में तुम्हें मेरा ही होना होगा

चाहे आज मुझे नापसंद करो
चाहे द्वार हृदय के बंद करो
आखिर में तुम्हें मेरा ही होना होगा
आखिर में तुम्हें मेरा ही होना होगा

बचपन के प्यार की मिटती नहीं निशानी
बचपन के प्यार की मिटती नहीं निशानी
जितना ही मिटाना चाहे इसे जवानी
जहां याद तेरी सोई हो
जहां याद तेरी सोई हो
दूजा ना और कोई हो
आखिर में तुम्हें मेरा ही होना होगा

मैं क्या से क्या बन गया तुम्हारे कारण
मैं क्या से क्या बन गया तुम्हारे कारण
औरों की तरह मेरा प्यार नहीं साधारण
ना समझो इसे दिखावा
ना समझो इसे दिखावा
है ये मेरे प्यार का दावा
मेरे हंसने पे हँसना
रोने पे रोना होगा
आखिर में तुम्हें मेरा ही होना होगा

चाहे आज मुझे नापसंद करो
चाहे द्वार हृदय के बंद करो
आखिर में तुम्हें मेरा ही होना होगा
आखिर में तुम्हें मेरा ही होना होगा


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.

“Son of Sindbad”(1958) was produced by Ram Kamlani and Balwant Bhatt, and directed by Nanabhai Bhatt for Neo Light Films, Bombay. The movie had Premnath, Jabeen, Bhagwan, Poornima, Nishi, Tiwari, Cuckoo, Shammi, Sunder, Kuldeep Kaur, Jagdeep, Samson, Jagdish, Ridku, Kriplani, K Tewari, Saroj, Heera, Fazlu, Sayyed, Keshav, Abdul, Kenny etc in it.

The film had eight songs in it. One song from the movie has been covered in the blog in the past.

Here is the second song from “Son of Sindbad”(1958) to appear in the blog. This song is sung by Lata. Prem Dhawan is the lyricist. Music is composed by Chitragupta.

Only the audio of this song is available. I Request our knowledgeable readers to throw light on the picturisation of this “expression of love” genre of song.


Song-Koi kaise bachaaye dil ko (Son of Sindbad)(1958) Singer-Lata, Lyrics-Prem Dhawan, MD-Chitragupta

Lyrics

koi kaise bachaaye dil ko o
dil jaane ke sau hain bahaane
koi kaise bachaaye dil ko o
dil jaane ke sau hain bahaane
jo nazar se bacha
zulfon mein phansa
jo nazar se bacha
zulfon mein phansa
ek dil hai to laakhon nishaane aen
koi kaise bachaaye dil ko o
dil jaane ke sau hain bahaane
koi kaise bachaaye dil ko o
dil jaane ke sau hain bahaane

zamaana kahe ke bacho pyaar se
in aankhon ki do-dhaari talwaar ae
zamaana kahe ke bacho pyaar se
in aankhon ki do-dhaari talwaar ae
magar wo hua jo dil ne kaha
huye hum tumhaare deewaane ae
koi kaise bachaaye dil ko o
dil jaane ke sau hain bahaane
koi kaise bachaaye dil ko o
dil jaane ke sau hain bahaane

haseenon se chhup ke kahaan jaaoge
jahaan jaaoge tum inhen paaoge
haseenon se chhup ke kahaan jaaoge
jahaan jaoge tum inhen paaoge
kahin na kahin
koi to haseen
laga dega dil ko thhikaane ae
koi kaise bachaaye dil ko o
dil jaane ke sau hain bahaane
jo nazar se bacha
zulfon mein phansa
ek dil hai to laakhon nishaane ae
koi kaise bachaaye dil ko o
dil jaane ke sau hain bahaane


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.

Remembering Geeta Dutt.

She passed away 45 years ago on 20th July in 1972, brining to close a tumultuous and tragic life, all of 41 years. A voice that held so much promise, and yes, she gave too, so many wonderful gems to remember her by. Just going by the numbers – the decade of 1950s carries close to 850 songs sung by her. And then, in the 1960s, she has recorded less than hundred. And the majority of them belonging to the first half of the decade.

Emotional stability and personal circumstances have such big impact on the performance and output of an artist. It is difficult, and even unfair, to comment on a artist’s portfolio of work, trying to juxtapose it against the personal ups and downs. But in some cases, it stands out quite starkly. The 1950s were the heydays for Geeta Rai, later to be Geeta Dutt, when she married Guru Dutt in 1953. But then, subsequently, a film maker’s life became an impediment in the relationship. Both spouses are artists and creators par excellence, and based on what is written about them, also very sensitive individuals. Thankfully, both are non-compete. And yet, the personal affairs, and the airing of these personal matters in public and media, took a heavy toll of personal energy and emotions, impairing to an extent, their abilities to perform.

In early 1960s, we see a slowdown in Geeta’s output. And then, the tragedy strikes – come 1964 and Guru Dutt is no more. The devastation that descends on Geeta is visible simply from the quantum of her artistic output. Especially in the latter half of 1960s, the songs by her are reduced to a trickle, with just a handful being recorded each year.

The decade turns into 1970s. Just one released film ‘Anubhav’ (1971) with a set of three superb renditions. For a moment, the media, the industry watchers and the listeners, are all agog. The expectations rise once again; here a comeback seems to be in the offing. But then a more tragic news follows almost immediately. She herself is gone; just in 1971 itself. A brilliant blaze that is gone in a flash. The world would no more hear any new songs in her voice. And the songs of ‘Anubhav’ – three recordings that are so full of life, are so reminiscent of the Geeta of 1950s – these become her swansong, so unfortunately. Speculations is all that remains.

For today’s remembrance I am able to pull out this touchingly poignant rendition from one of her very early films, not easily remembered and not easily available. The year is 1947. The industry and the listening public has already stood up to the vibrant sounds of ‘Do Bhai’ that have been rendered under the baton of SD Burman. In the same year, the film ‘Jadui Ratan’ was released. And this new voice of a young girl of 16 is taken up by Chitragupt, another relatively newcomer in the industry, for this film. The film is produced under the banner of Kismet Pictures, Bombay, and is directed by Natwar Shyam. Chitragupt had young Geeta Roy sing two duets and one solo song in this film.

I am presenting today the solo song – “Rut Badal Gayi, Wo Taraana Badal Gaya”. Geet Kosh lists two songwriters for this film namely Behzaad and Kamlakant. However, the assignment of specific songs to individual songwriters has not been made.

A tender and touching melody from seventy years ago, sung by a young girl of 16 at the time of recording. Listen to this beautiful rendition, and marvel at the emotive potential this voice carried, at that young an age.

 

Song – Wo Rut Badal Gayi Wo Taraana Badal Gaya  (Jadui Ratan) (1947) Singer – Geeta Roy, Lyrics -[Unattributed], MD – Chitragupt

Lyrics

wo rut badal gayi
wo taraana badal gaya
tum kya gaye
ke hum se zamaana badal gaya

wo rut badal gayi
wo taraana badal gaya
tum kya gaye
ke hum se zamaana badal gaya

ye keh ke phir guzar gayi
fasl e bahaar bhi
phoolon mein tha jo apna thikaana badal gaya
tum kya gaye
ke hum se zamaana badal gaya

main kis tareh sunaaun
tumhen dastaan e dil
main kis tareh sunaaun
tumhen dastaan e dil
aankhon mein ashq aaye
fasaana badal gaya
tum kya gaye
ke hum se zamaana badal gaya

kumhla chuke hain phool
sitaare udaas hain
kumhla chuke hain phool
sitaare udaas hain
ab intezaar ka bhi
zamaana badal gaya
tum kya gaye
ke hum se zamaana badal gaya

wo rut badal gayi
wo taraana badal gaya
tum kya gaye
ke hum se zamaana badal gaya

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

वो रुत बादल गयी
वो तराना बादल गया
तुम क्या गए
के हमसे ज़माना बादल गया

वो रुत बादल गयी
वो तराना बादल गया
तुम क्या गए
के हमसे ज़माना बादल गया

ये कह के फिर गुज़र गयी
फस्ले बहार भी
फूलों में था जो
अपना ठिकाना बादल गया
तुम क्या गए
के हमसे ज़माना बादल गया

मैं किस तरह सुनाऊँ
तुम्हें दास्तान ए दिल
मैं किस तरह सुनाऊँ
तुम्हें दास्तान ए दिल
आँखों में अश्क आए
फसाना बादल गया
तुम क्या गए
के हमसे ज़माना बादल गया

कुम्हला चुके हैं फूल
सितारे उदास हैं
कुम्हला चुके हैं फूल
सितारे उदास हैं
अब इंतज़ार का भी
ज़माना बादल गया

वो रुत बादल गयी
वो तराना बादल गया
तुम क्या गए
के हमसे ज़माना बादल गया


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.

‘Ladies Only’ (1939) was produced under the banner of Sagar Movietone and it was directed by Sarvottam Badami. The star cast included Surendra, Bibbo, Sabita Devi, Prabha, Harish, Budho Advani, Sunalini Devi, Kaushalya etc. The film was released on 16th February 1939 and Moraraji Desai, the Revenue Minister of the then Bombay State was the chief guest.

The film was a satirical comedy with an unusual end. In this film, Surendra was not a conventional hero in the sense that he did not get any of three main actresses at the end. I have made a synopsis of the story of the film based on the review published in April 1939 issue of ‘Filmindia’ which is given below:

Three girls from three different states, Bengal, Gujarat and Punjab viz Chhaaya (Prabha, Bengali), Sarojini (Sabita Devi, Gujarati) and Asha (Bibbo, Punjabi), meet at a railway station in Bombay (Mumbai). They decide to stay together for their boarding and lodging for which they rent a flat. Satish (Surendra) also meets these girls who come to know that he is passionate about music and stays opposite their rented flat.

The girls staying together for sometime now know each other’s nature. Asha, the Punjabi girl is crude, greedy, music lover, lazy, comfort seeker etc. Chhaaya, the Bengali girl is miser, coy, primitive, and childish. Sarojini, the Gujarati girl, is educated, resourceful and has a great organisational capacity but these are all at the expenses of other two girls. They also display one-upmanship about their respective states.

All the three girls not only live together, they also aim at the same man, Satish who spend much of his time with these girls either on outings or in their rented flat. One day, girls decide to visit his house across the street without notice and find a stout woman welcoming the girls. The stout woman turns out to be Satish’s wife. It is shocking for the girls. The girls walk out of the house muttering something derogatory about the men folk in general.

For Sagar Movietone, ‘Ladies Only’ (1939) gave them a good start for the year 1939 with a box office hit. This was followed by another box office success viz ‘Ek Hi Raasta’ (1939). The banner had also planned for their ambitious films like ‘Alibaba’ (1940) in Hindi and Punjabi and ‘Kumkum the Dancer’ (1940) in Hindi and Bengali. But before these films could be released, Sagar Movietone found themselves in a dire financial crunch. By the end of 1939, the banner was amalgamated with General Films to form National Studios.

‘Ladies Only’ (1939) had 11 songs written by Pandit Indra and Zia Sarhadi but the name of the specific lyricist for each song is not available. All the songs were set to music by Anupam Ghatak.

Here is the first song ‘chamke poonam ko poonam ko chaand’ from the film to appear in the Blog. The song is sung by Surendra and Bibbo. It can be observed that the structure of lyrics are not in usual form and the song is composed for Surendra and Bibbo on different notes and tempos. The song is probably picturised on them separately.

With this song, ‘Ladies Only’ (1939) makes its debut in the Blog.


Song-Chamke poonam ke poonam ko chaand (Ladies Only)(1939) Surendra, Bibbo, MD-Anupam Ghatak

Lyrics

chamke poonam ke
poonam ko chaand
chundariya mein
chundariya mein
haan
chamke poonam ke
poonam ko chaand
chundariya mein
chundariya mein

aadhi raat ko paayal baaje
aadhi raat ko paayal baaje
aadhi raat ko paayal baaje
aadhi raat ko paayal baaje
aadhi raat ko paayal baaje
oonchi atariya mein
oonchi atariya mein

chamke poonam ke
poonam ko chaand
chundariya mein
chundariya mein
haan
chamke poonam ke
poonam ko chaand
chundariya mein
chundariya mein

tan man kaa itihaas chhipa hai
tirchi najariya mein
tan man kaa itihaas chhipa hai
tirchi najariya mein
chamke poonam ke
poonam ko chaand
chundariya mein
chundariya mein

badi bedhab nainon ki maar
badi bedhab nainon ki maar
shikaari
khud ho gaya shikaar
shikaari
khud ho gaya shikaar
badi bedhab nainon ki maar
shikaari khud ho gaya shikaar
bik gayi main be-mol tol
is prem nagariya mein
bik gayi main be-mol tol
is prem nagariya mein
chamke poonam ke
poonam ko chaand
chundariya mein
chundariya mein
haan
chamke poonam ke
poonam ko chaand


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

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