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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.

“Shahanshah Babar”(1944) was directed by Wazahat Mirza Changezi for Ranjit Movietone, Bombay. This historical movie had Khursheed Bano, Sheikh Mukhtar, Sushil Kumar, Lala Yakoob, Majid, anwari, Hasan sheikh, Laddan, sulochana Chatterji, Nagendra, Agha Jani etc in it.

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

Here is the fourth song from “Shahanshah Baabar”(1944) to appear in the blog. The song is sung by Khursheed Bano. Shams Lucknowi is the lyricist. Music is composed by Khemchand Prakash.

Only the audio of the song is available. It is clear that the song was picturised on Khursheed Bano herself.


Song-Mohabbat mein saara jahaan jal raha hai (Shahanshah Baabar)(1944) Singer-Khursheed Bano, Lyrics-Shams Lucknowi, MD-Khemchand Prakash

Lyrics

mohabbat mein saara jahaan jal raha hai
mohabbat mein saara jahaan jal raha hai
zameen to zameen aasmaan jal raha hai
zameen to zameen aasmaan jal raha hai

wahaan raushni dekhne ko hai duniya
wahaan raushni dekhne ko hai duniya
hamaara yahaan aashiyaan jal raha hai
hamaara yahaan aashiyaan jal raha hai
muhabbat mein saara jahaan jal raha hai
muhabbat mein saara jahaan jal raha hai
zameen to zameen aasmaan jal raha hai

jigar phunk raha hai
nikalte hain aansu
jigar phunk raha hai
nikalte hain aansu u u u u u u
barasta hai paani
makaan jal raha hai
barasta hai paani
makaan jal raha hai
mohabbat mein saara jahaan jal raha hai
zameen to zameen aasmaan jal raha hai
zameen to zameen aasmaan jal raha hai

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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.

“Delhi Junction”(1960) was produced by RL Sharma and directed by Mohammad Hussain for Nigaaristan (India) Films, Bombay. The movie had Ajeet, Shakeela, Nishi, Maruti, Manorama, Tiwari, Pran, Protima Devi, Murad, Rafiq, Kamal Mohan, Harun, Anwari Bai, Pal Sharma, Jagdish Kanwal, Nadir, Satish, Sadiq, Sarita, Kukku, Rajni, and Khurshid etc in it.

The movie had six songs in it that were penned by four lyricists viz. PL Santoshi, Prem Dhawan, Farooque Kaiser and Gulshan Bawra. 

Four songs have been covered in the blog.

Here is the fifth song from “Delhi Junction”(1960). This song is sung by Lata and Usha Mangeshkar. It is penned by Prem Dhawan. Music is composed by Kalyanji.

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

The audio of this song is not as good as it could be and the voices of the two singers (which otherwise are distinct) often cannot be separated from each other. Hopefully my colour coding is correct for the two voices.


Song-Kya karoon dil kahin pe kho gaya (Delhi junction)(1960) Singers-Lata, Usha Mangeshkar, Lyrics-Prem Dhawan, MD-Kalyanji

Lyrics

kya karoon
dil kahin pe kho gaya aa
jaane do
hona thha jo ho gaya aa

kya karoon
dil kahin pe kho gaya
kitna roka kitna toka
par sambhaala na gaya ho
kya karoon
dil kahin pe kho gaya
jaane do
hona thha jo ho gaya

kya khata thhi ye nazar ki
ya dilon ka josh thha aa

aankh milte ho gaya kya
kisko itna hosh thha
dekhti hi rah gayi main
dekhti hi rah gayi main
jaane kya ho gaya
ho o o
kya karoon
dil kahin pe kho gaya aa
jaane do
hona thha jo ho gaya

pyaar se na bach sakoge
phir ye darna kis liye ae

sochte thhe dil lagaa ke
aahen bharna kis liye
phir bhi dhokha kha hi baithhe
phir bhi dhokha kha hi baithhe
pyaar ho hi gaya
ho o o
kya karoon
dil kahin pe kho gaya aa
jaane do
hona thha jo ho gaya

kitna roka kitna toka
par sambhaala na gaya ho
kya karoon
dil kahin pe kho gaya aa
jaane do
hona thha jo ho gaya


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.

“Ek Roz” (1947) was directed by Dawood Chaand for Gupta Arts Productions, Bombay. The movie had Nasreen, al Nasir, Asha Posle, Ajmal, Nafees Begam, Salim Raza, Gul Zamaan, Shyam Lal, Shahida, Zubeida, Leela, Indra Nazir, Fazal Shah, Ayaz, Baby Zarina, Sheikh Iqbal etc in it.

The movie had nine songs in it. Six of these songs have been covered in the past.

Here is the seventh song from “Ek Roz” (1947) to appear in the blog. The song is sung by Dilshad Begam and Imdad Hussain. Sarshar Sailaani is the lyricist. Music is composed by Shyam Sundar.

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


Song-Aise mauke bhi kahin kahin roz mila karte hain (Ek Roz)(1947) Singers-Dilshad Begam, Imdad Hussain, Lyrics-Sarshar Sailaani, MD-Shyam Sundar
Both

Lyrics

aise mauke bhi kahin kahin
roz mila karte hain
aise mauke bhi kahin kahin
roz mila karte hain
muskuraati hui kaliyon ki ada kahti hai
muskuraati hui kaliyon ki ada kahti hai
mauj mein jhoom ke
har mauj e hawa kahti hai
mauj mein jhoom ke
mauj mein jhoom ke
har mauj e hewa kahti hai
mast isaaron se ye ae ae ae ae
mast isaaron se ghanghor ghata kahti hai
aise mauke
aise mauke bhi kahin kahin
roz mila karte hain
aise mauke bhi kahin kahin
roz mila karte hain
baagh mein dhoom machi hai
ke bahaar aayi hai
baagh mein dhoom machi hai
ke baahar aayi hai
mast phoolon pe masti ki ghataa chhaayi hai
mast phoolon pe
mast phoolon pe masti ki ghataa chhaayi hai
jiski ab jeena na ho sauda to wo o
jiski ab jeena na ho sauda to wo o
wo saudaaiyi hai
aise mauke
aise mauke bhi kahin kahin
roz mila karte hain

mast nazron se ae ae
mast nazron se ae ae
mast nazron se chaman baagon ke man ko har len
mast nazron se chaman baagon ke man ko har len
jholiyaan apni bahaar aayi hain hum bhi bhar le
jholiyaan apni bahaar aayi hai hum bhi bhar le
do ghadi baith ke
do ghadi baith ke
do pyar ki baaten kar le n
aise mauke
aise mauke bhi kahin kahin
roz mila karte hain


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

Today we will discuss about a song and the film ” Meenakshi”-42, made by New Theatres, Calcutta in two languages-Hindi and Bangla.

In the early years of Talkie era, New Theatres (NT) was a force to reckon with in the Indian film industry. Top class Directors like P C Barua, Premankur Attorthy, Debki Bose, Hem Chunder, Nitin Bose etc, First grade actors like K L Saigal, Prithwiraj kapoor, K C Dey, Pahadi Sanyal, Asit Baran etc and actresses like Uma Shashi, kanan Bala etc and the Music Maestros like Punkaj mullick, R C Boral, K C Dey etc were from NT. In the studio system New Theatres was undoubtedly the Numro uno, in those years.

However, the second World War outside and the war of king size egos within the company destroyed the Institution in early 1940s. One by one , its artistes, on whom NT had so much pride, left the company and headed for the Alibaba’s cave,i.e. Bombay. By 1945, New Theatres was in deep trouble and on the downhill.

One more reason- and I feel it was equally important- of NT’s diminishing popularity in the Hindi belt was its inability to cope up with the changing scenario in the Hindi film industry. Lahore had brought in the Punjabi music to films, Bombay Talkies led the Cinema dialogue language to be what the common Indian man spoke like and the acting became natural, giving way to theatre style,slow dialogue delivery. None of these changes were adapted by NT. May be, the traditional excessive Regional pride , love for Robindra Sangeet and the typical stubbornness of the land, prevented them from accepting and adapting to newer changes. I have always carried an opinion that people from Bengal take pride in things 50 year old and are not ready to let go of them.

Prabhat films and later Rajkamal of Shantaram changed their Marathi influenced Hindi in their films, Lahore changed its chaste Urdu into Hindustani, but New Theatres Dialogues and songs hovered around ” Prem” and “Preet”, while the rest of the world enjoyed Pyar and Muhabbat.

K C Dey was one of the prominent composers and singers of NT. Meenakshi-42 was his last film with New Theatres. He too shifted to Bombay. However, first his singing style and then his Music style was rejected by the Hindi film audience of Bombay. In Bombay, he gave music to only 4 films ( after shifting there that is.) and sang in only 8 films,which included his own 4 films.

Pankaj Mullick was also losing his sheen. His older NFS and film songs were still very popular but his new songs were not becoming popular. Till end of his career, he was very loyal to New Theatres. Neither he ever deserted it- although he was not very happy there- nor did he shift to Bombay like R C Boral, K C Dey or his other NT mates. After Meenakshi, Pankaj Mullick sang in only 7 films.

Though they had fallen on hard times, New Theatres still had some stars with them like Sadhona Bose, Menaka Devi, Radha Rani, Bharti Devi, director Modhu Bose etc. They also had a newly found star- Jyoti prakash Bhattachaya. Jyoti Prakash Bhattacharya was born in Sridharpur village in Jessore district of undivided Bengal in 1916 in an orthodox Brahmin family. Jyoti Prakash’s father Jyotindra Nath Bhattacharya was an engineer by profession although he passed away early. The actor was raised by his uncle Debendra Nath.

His schooling was in Calcutta at Padmapukur School and he passed the Entrance Examination in the first division. Later he had a brief stint at Ashutosh College and Presidency College and also at Shantiniketan. Before joining films he took training as a commercial pilot and on successful completion of training, started to work as a pilot. He was most interested in films and did not continue in the job and decided to join films as an assistant to Debaki Bose. Soon he was offered a small role in Parajay (1940) ( Hindi version Jawani ki reet) and almost immediately played the hero in the Bangla version of films Doctor (1940), Meenakshi (1942), The Court Dancer- Raj Narkati (1941), Chowrangee, Paper Pathey and other films.

Despite being married he dared society in those days and got married to actress Sheela Haldar, his lady love.This generated a good deal of public interest. He had to convert to Islam to marry for the second time and his Islamic name was Yusuf. The romance had a most unfortunate end when Sheela Haldar died soon after childbirth. The shock caused a serious mental disbalance in the man and he committed suicide on the 16th of December 1942. He lived for twenty six years only but during his brief association with films could become one of the most sought after heroes of the Bengali screen.

Incidentally Jyoti Prakash was the selected hero for the 1943 superhit film Jogajog opposite Kanan Devi. His sudden untimely death left the entire unit of Jogajog shattered, more so because almost two thirds of the film was completed and great interest was generated in the new screen pair of Kanan and Jyoti Prakash. The film was shot again with jahar ganguly as the hero and became a run away hit. (adapted from the mini bio by Dr. J.P.Guha, with thanks).

Though Jyoti Prakash gave way to actors like Najmul Hussain in the Hindi versions of his popular bangla films, he did work small roles in the Hindi films like Jawani ki reet-39, Doctor-41, Meenakshi etc etc. When I take a broad look at the Indian Film History, I do not find any other example of a successful and much in demand Hero or Heroine, who died in the age group of late 20s, like Jyoti prakash Bhattacharya. Only one example I can remember is that of the actress Mushtari of the early 30s, who suddenly died while still in her teens, after doing lead roles in few films only.

Film Meenakshi-42 was a story of a beautiful girl having attractive eyes ( that is why the film’s name was Meenakshi- Eyes like a Fish ) and her love. The cast of the film was Sadhona Bose, Najmul Hussain, Ahindra Chaudhari, K C Dey, Panna Devi etc etc. It was directed by Modhu Bose- husband of Sadhona Bose, the film’s heroine. All the songs were written by Pt. Bhushan and the music was by Pankaj Mullick. The story of the film was….

Amitabh ( Najmul Husain) was a bachelor, living in his own flat all alone. One day,after coming home, he finds a girl Meenakshi( Sadhona Bose) in his house. She thought it was her relative’s house- not knowing that now it was purchased by Amitabh. She has run away from her tyranical uncle Radha Govind, who fixed her marriage to an old doctor for a consideration of Rs. 5000/- only. After some time her uncle comes there to find her. Amitabh hides her, but uncle sees her bag. he goes away to bring police. Amitabh and meenakshi got to the sea shore. He starts loving her.

Back again, uncle comes back and is ready to fix their marriage for Rs. 5000. Amitabh feels cheated and gives the money and throws them out. She returns his money and goes away, hurt.

Minakshi takes up a job in Kartikpur, which is Amitabh’s native place. She stays with his mother,unknowingly, as a paying guest. once Amitabh comes visiting his mother. The lovers meet again and decide to get married, but meenakshi’s eyes give problem and she feels she will become blind.

Amitabh brings her to a Eye doctor in Calcutta. He happens to be the same doctor with whom her marriage is fixed. Doctor repents and assures the couple that he will operate on her. The operation is successful and she is cured for ever.

All is well and the lovers unite happily.

Film Meenakshi had 6 songs. 4 songs are already discussed. This is the 5th song. Now only one song is remaining. Today’s rare song has been provided by our friend shri Deepak Choudhari ji, from his collection. The singer is Bela Mukherjee-wife of Hemant kumar. Enjoy the song…..


Song-Main pal pal tumhen rijhaaun (Meenakshi)(1942) Singer-Bela Mukherji, Lyrics-Pt Bhushan, MD-Pankaj Mullick

Lyrics

main pal pal tumhen rijhaaun
main pal pal tumhen rijhaaun
rijhaaun
par preetam kahaan bithhaaum
main pal pal tumhen rijhaaun
main

aankhon mein bithhaaun
aankhon mein bithhaaun to dar hai
aankhon mein bithhaaun to dar hai
aansoo na baha le jaayen
sapnon mein
sapnon mein basaaun
to sapne ??
kahin le jaayen

main man mein tumhen bulaaun
praanon ke andar paaun
main man mein tumhen bulaaun
praanon ke andar paaun
main pal pal tumhen rijhaaun
main pal pal tumhen rijhaaun

man mohan
man mohan madan muraari
main pooja karoon tumhaari
man mohan
man mohan madan muraari
main pooja karoon tumhaari
tum murli madhur bajaao
?? pyaari pyaari
raadha raadha
raadha raadha ka swar goonje
aur main usmein kho jaaun
main pal pal tumhen rijhaaun
oon
main pal pal tumhen rijhaaun


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.

khoobsurat haseen, koi tujh sa nahin
aate hain nazar aise chehre magar
kabhi kabhi
kahin kahin

Greetings to Asha Parekh ji, on completing 75 illustrious years, with all but 10 of them, in the film (and TV) industry.

The years have come and gone by, but the grace, the radiance, and smile is still the same. Having made her debut as a child star at the tender age of 10, it indeed has been a very fruitful and a prolific inning that she has played. The wires carried the news today in the day that her autobiography (co-authored with Khalid Mohammed) was released today. The title of the book is ‘The Hit Girl’. I am sure no explanation needs to be rendered for the title. Starting with ‘Dil Deke Dekho’ in 1959, there is a long list of hit films in which she has played the female lead role, all the way till the mid 1970s, when she moved into senior and supporting roles. The list of films reads like the ‘Best of 1960s/70s’. The list contains a ton of favorites. And I am sure all of us have a few on this list, that we will pick as our favorite films.

My love affair with Asha ji started with the song “O Mere Sona Re Sona Re Sona Re”. Film is ‘Teesri Manzil’ (1966). Too much of a small pre-school/early school kid that I was, this is one of the earliest memories that I carry of having seen a film on big screen. Not yet trained in the discussions of the finer details of music and instruments, those were the days that the melody would fall into the ears and the mind would capture it instantaneously and store it in the neurons forever. The music of ‘Teesri Manzil’ had this first impact on my nascent mind. Soon the brainwaves would be crowded with thousands of songs that the mind soaked in from listening to the radio. But the music of ‘Teesri Manzil’ – let me ask you, what would you do with your first out-of-this-world music experience. An yes, right, you will store it forever, and play it often.

Watching the film, I had an additional impact. Most of the films memories and emotions have been built and retained from watching it again and again over the years. But that first viewing in the big and dark cinema hall, with the larger than life images thrown on to the huge white screen – the memory that is retained is of this young, very beautiful girl singing “O Mere Sona. . .”, and making an all out effort to pacify a gentleman named Shammi Kapoor, who seemed to be upset and angry.

The mind at that time was too unfamiliar with the grown up emotions, to appreciate that the two characters on screen are in the process of falling in love. All I know is that I took an intense fancy to this young lady singing on the screen. Her expressions, her vitality, her antics took my heart away, and in its place, left her own images, that I remember, I would ruminate (yes, sorry, I did not know these words at that time; I am articulating them now) and dwell upon for weeks and months. In short, if I knew then and understood the grown-up emotions, I would have happily declared that I was in love. The expressions in this song are so natural, so much in flow, so much coming from the bottom of a playful and naughty young heart, that I believed all I saw on the screen. And simply fell in love.

Being what I was, a pre school small child, I did not know what to do with that fancy. All I know is that I would think about her, and this song I witnessed in the cinema hall. I would think about her often; likely that it was more often than often. I just liked being with her thoughts, and being with her in thoughts. I would fancy that we would meet, that we would be together. I did not know then, what else to do with that fancy. Other than the thing that I quite enjoyed to be in her company in thoughts. The song and its associated images would continue to replay on the screen of the mind, all the time. Yes, that is what it felt like, being in love.

I remember it took some months for this fancy to wear off. The song, the antics, the images in the mind – all of that was intact, and still is. Just that, that unnamed craving to be with her in person, quite faded away, and settled down into a liking in the heart, that would say – she is my favorite. Maybe so – maybe it was another fancy that would steal my attention away (more about that later 😉 ). But I do know that the fancy strongly lasted well for many months.

As I was looking to replay this episode, and searching for a suitable song, I happened to chance upon this song, that was quite unfamiliar for me before I heard it with some attention earlier today. I remember that ‘Saajan’ (1969) was not one of those films that I had watched in its original run. With limited opportunities to watch new releases in the cinema hall, I had very little say in which movies to see. As i played this song today, the lines that immediately caught my attention, are the ones I have noted at the beginning of this article.

khoobsurat haseen, koi tujh sa nahin
aate hain nazar aise chehre magar
kabhi kabhi
kahin kahin

That there is none so beautiful
And so charming as you are
Faces, enchanting as much as yours
Are surely seen at times
But oh so rarely
And oh so scarcely

Oh so true, and so well in tune with that fancy of mine years ago. A face so charming as hers, a screen presence so appealing as hers, comes by quite rarely, quite once in a while.

An eminent celebration for this gorgeous milestone today, Asha ji. And I pray that there be many more such celebrations to come. May He endow good health and longevity upon you, and that you be khoobsurat haseen, forever.

Many many happy returns of today.

Song – Ae Mere Meharbaan Ae Mere Hamnasheen  (Saajan) (1969) Singer – Lata Mangeshkar, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Chorus

Lyrics

ooo oooo oooo ooooooo
ooooo oooo ooooo ooo ooo ooo
oooo ooo ooo oooo oooo oooooooo
oooo oooo ooooo ooooo
ooooooo

wai wai yaa
wai wai yaa
yaa wai wai yaa
wai wai yaa wai wai yaa
yaa wai wai yaa
wai wai yaa wai wai yaa

ae mere meharbaan
ae mere hamnasheen
ae mere meharbaan
ae mere hamnasheen
khoobsurat haseen
koi tujh sa nahin
aate hain nazar
aise chehre magar
kabhi kabhi
kahin kahin
ae mere meharbaan
ae mere hamnasheen
khoobsurat haseen
koi tujh sa nahin
aate hain nazar
aise chehre magar
kabhi kabhi
kahin kahin
ae mere meharbaan
ae mere hamnasheen

phoolon ko bahaar jaise pyaar karti hai
jaise pyaa..aar karti hai
dil ko teri yaad beqaraar karti hai
beqaraa..aar karti hai
hota hai asar. . .
hota hai asar
pyaar mein ye magar
kabhi kabhi
kahin kahin
ae mere meharbaan
ae mere hamnasheen

laayi tere naam mein pyaam aankhon ka
mein pyaa..aam aankhon ka
kar le tu qubool ye salaam aankhon ka
ye salaa..aam aankhon ka
milti hai nazar. . .
milti hai nazar
dilbaron se magar
kabhi kabhi
kahin kahin
ae mere meharbaan
ae mere hamnasheen
khoobsurat haseen
koi tujh sa nahin
aate hain nazar
aise chehre magar
kabhi kabhi
kahin kahin
ae mere meharbaan
ae mere hamnasheen

aaa aaaa aaaa aaaaa
aaaaa aaaaa aaaaa aaaa

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

ओss ओsss ओsss ओssssss
ओssss ओss ओsss ओs ओs ओs
ओsss ओs ओs ओss ओss ओssssss
ओss ओss ओsss ओsss
ओssssss

वई वई या
वई वई या
या वई वई या
वई वई या वई वई या
या वई वई या
वई वई या वई वई या

ए मेरे मेहरबान
ए मेरे हमनशीं
ए मेरे मेहरबान
ए मेरे हमनशीं
खूबसूरत हसीं
कोई तुझ सा नहीं
आते हैं नज़र
ऐसे चेहरे मगर
कभी कभी
कहीं कहीं
ए मेरे मेहरबान
ए मेरे हमनशीं
खूबसूरत हसीं
कोई तुझ सा नहीं
आते हैं नज़र
ऐसे चेहरे मगर
कभी कभी
कहीं कहीं

फूलों को बहार जैसे प्यार करती है
जैसे प्या॰॰आर करती है
दिल को तेरी याद बेक़रार करती है
बेक़रा॰॰आर करती है
होता है असर॰॰॰
होता है असर
प्यार में ये मगर
कभी कभी
कहीं कहीं
ए मेरे मेहरबान
ए मेरे हमनशीं

लाई तेरे नाम में पयाम आँखों का
मैं पया॰॰आम आँखों का
कर ले तू क़बूल ये सलाम आँखों का
ये सला॰॰आम आँखों का
मिलती है नज़र॰॰॰
मिलती है नज़र
दिलबरों से मगर
कभी कभी
कहीं कहीं
ए मेरे मेहरबान
ए मेरे हमनशीं
खूबसूरत हसीं
कोई तुझ सा नहीं
आते हैं नज़र
ऐसे चेहरे मगर
कभी कभी
कहीं कहीं
ए मेरे मेहरबान
ए मेरे हमनशीं

आs आsss आsss आssss
आsss आssss आssss आsss


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 a Shamshad Begum solo song from film Poonji-43 ( also known as Wealth). The composer was Ghulam Haider, so no wonder, all 10 songs of the film had Shamshad’s voice.

The other day,I was talking to one of my friends, who is a connoisseur of old films and music. Having the same hobby,we happily discussed and exchanged lot of matters of common interest. During the talk, we wondered, we talk so much about films,do we really know the names of all the artistes in Hindi films. We decided to separately write down names of actors and actresses-big and small-as we remembered, starting from 1931 to year 2000.

After spending about 2 hours on writing names, we checked each other’s lists and to our amazement, we found that we could not even touch the number of 100 in our lists individually !

Why I am writing this is, that the Hindi film industry is an ocean and has been a ” Mai-Baap” to provide Roji-Roti to thousands of people. Of course, it is not possible to list all names who all worked in films from 1931 to 2000. Or is it ? What is your idea of the number of people who worked in films ? 500 ?, 1000 ?, 2000 ? ????? How many ???

Few years back, a kind soul gentleman posted a list of all big and small ( also smaller and the smallest) actors and actresses, who worked in Hindi films from 1931 to 2000. I am surprised that there could be someone with so much free time and patience to do this monumental work. The list was posted on a site on Internet and …hold your breath, it contained names of 7000 ( seven thousand ) people !. Dr. Surjit Singh ji , from US, copied this list from that site ( now defunct) and had posted it on RMIM forum on the 29th August 2006.

During the course of last 80 odd years, thousands of actors came to work in films. Most of them wanted to become Hero or Heroine, but could not make it. What does it take to become a Hero in a film ? ( Talking only for the period 31 to 70 please). Is it good looks ? Then how come Shaikh Mukhtar became a Hero ? or Ranjan ? High education ? Then how come Master Bhagwan became a Hero ? A God Father ? Then how come Motilal or Surendra became Heros ? For girls too same logic applies. In the early era, most Heroines were uneducated like Meena Shorey- who could not even sign her name. All were not Handsome or beautiful. I sincerely feel, it is neither Talent nor the good looks, it is nothing but the Luck Factor, which helps in making a career in films. This explains why good looking, educated 1 or 2 film’s Heros could not sustain themselves for long. Same way, good looking girls like Vijayalaxmi, Bimla kumari, krishnakumari,Tabassum, Yashodhara katju, Shubha Khote, Shashikala etc could not continue beyond 3-4 films as Heroines.

I the 40s era, Manorama was one such actress. She had good education, beautiful punjabi looks, fine acting, but she could not go beyond 3 films as Heroine and to contend with side and character roles in all her career. Manorama was born in Lahore on 16-8-1920,as Irene Issac Daniels, from Punjabi father and Irish mother. She took good looks from the father. While a student, she did some child roles in films from 1926 to 1936 and as an adult, she debuted in pancholi’s Khazanchi-41. She then acted in Himmat-41, Khandan-42, Zamindar-42, Poonji-43, Panchhi-44, Patwari-45 in Lahore. Here only she did Heroine’s roles in Khamosh Nigahen, Rehana and Shalimar- all i 1946. After partition, she migrated to India, but she got only side and character roles.

Meanwhile, in 1947, she got married to Rajan Haksar. After coming to India, shortly, their marriage broke. She had one daughter-Roopa from this marriage. Roopa tried her luck in films in 1970, without much success. Then she got married and settled.

Manorama grew i weight. Now she got comic or vamp roles. She did films like Ghar ki izzat, Johari, Hanste aansoo, Ek phool do mali, Shor, karvaan etc etc. In all she acted in 161 films. Her last film was Water-2005. She died on 15-2-2008. She perhaps, had the longest career among actresses-fro 1926 to 2005, that is a cool 80 years ! manorama was a highly respected person in the industry.Neetu singh,madhuri Dixit,Ram Mohan, Ekta kapoor and others were her fans. Her famous films were jhanak jhanak….,Half ticket,Budtameez,and Seeta aur Geeta.

Another little known actress in the film cast was Baby Akhtar. There is a small note on her i the Urdu book ” Filmi Titliyan’- by Bijli Jampuri,from Hyderabad Dn, published in 1945. This book gives short Bio nites on 85 Actresses of the 30s and early 40s. That way it is an important document in Hindi film Industry. Some of the names in this book are really very rare like, Pushpa Rani,urmila Devi,Anuradha,Brij Rani,Baniya Pali,Prabha,Roop lekha,Shalini,Kanta kumari,Najma etc.

About baby Akhtar, it says… ” She was born in GujraaNwala (now in Pakistani Punjab) on the 26thMarch 1932. She was hardly nine, when (Dalsukh) Pancholi chose her for his film “Khaandaan”, where she enacted the part of a very young innocent girl. The film was a big hit. Film-goers and critics predicted a bright future for her. Some of her more successful movies are “Inteqaam”, “Qismat Ki KasauTi”, “GHareeb”,”Karwaan-e-Husn”, “Rangeen Gunaah”, Bismil-e-Arzoo”, “Mohabba Ki Duniya”, “Zevar”, “Pratigya”, “Masterji”, “Aasra” etc.

Three of these movies were greatly appreciated by the public, viz.”Qismat Ki KasauTi”, “Masterji” and “Rangeen Gunaah”. She is an accomplished actress and much is expected of her in the coming days. She is now working for Amar Movietone and her next film is due to be released shortly.Apart from beauty of countenance, she is also blessed with a good character. But, these days, her love for films and acting has diminished somewhat.”

yet another name which the younger readers may not be knowing is Durga Mota. his real name was Durgaprasad.Due to his heavy build he was nicknamed Mota(fat). He was a permanent member of Pancholi films as a comedian. It is very sad that his career ended in a gruesome way. In 1947, after Partition, there was an exodus of millions from Lahore to India. Durgaprasad also wanted to shift to Delhi. He went to Lahore station to catch the train.Suddenly, a frenzied mob of rioters invaded Lahore station and they started killing all the passengers to India. People started running to save life. Due to his fatness, Durgaprasad could not move faster and was caught by the mob, who cut him in pieces on the Lahore Railway station platform itself.

The film Poonji-43 was made by Dalsukh pancholi. Today,the name of Dalsukh Motiram Pancholi,does not ring a bell,but there was a time ,when he along with Roop K.Shorey,J.K.Nanda & K.D.Mehra was ruling the Lahore Film Industry,before partition.Born in Karachi on 7-12- 1906, Dalsukh studied Scriptwriting and Cinematography in New York. He inherited Cinema network built by Rewa shankar Pancholi in the period of WW-I. He expanded Empire Film Distributors-1922 into Empire Talkie Distributors in 1931. He became the biggest importer of American Films in Northern and Western India ( about 24 films in one year). Exclusive contract with RKO gave him access to Photophone Sound Equipment. He made some Documentaries like Congress Session of 1931 at Karachi etc.

Dalsukh Sahab formed a film Company at Lahore ,in partnership with his brother Damodar M Pancholi in late thirties, built his studio Pancholi Art Pics in Lahore with 5 floors & made their first Punjabi movie Gul E Bakawali in 1938.The luck smiled over them & they made Yamla Jatt,-40,Khazanchi-41,Khandaan & Zamindaar in 42,Poonji-43 & Dasi in 44.While he introduced Noor Jahan,Pran ,Om Prakash, Manorama & Jankidas into film industry,he brought Shanta Apte from Bombay,for his highly successful Zamindar,to act opposite Dr.S D Narang.His association & admiration for music maestro Ghulam Hyder,is legendary. Shamshad Begum ,once recalled that,when she came to know that remuneration of Ghulam Hyder has been raised,she hesitantly asked Seth Pancholi,for a raise too.He asked her,how much,she wanted.She used to be paid Rs.100/-,per song,now she asked Rs 700/-.Immediately Seth Ji said Okay.She was thrilled,until,the generous Seth said that if you would have asked for Rs.2000/-,I would have paid it to you.

It was 1947 & impending the partition, communal riots were taking place.Seth Pancholi left for Bombay ,only with the negatives of his newest movie Patjhad, which he was making (Sadly the movie could not see the light of the day & remained in cans).His studio in Lahore, was engulfed in fire ignited by hoodlums,after his departure.

Pancholi knew no other business except show business & he made a beginning with Nagina in 1951,which was directed by Ravindra Dave,his closest associate.In his next Aasman -52,he introduced O.P.Nayyar,as we all know.Pancholi Sahab admired Saigal & was mad after his voice.He could not work with him earlier, as Saigal chose Calcutta & then Bombay as his Karm Bhoomi & now it was too late.He insisted his MDs to use the voice of C H Atma for his movies Nagina & Aasman.

He made Lutera in 1955 & Farishta-58 was his last movie which was released in 1958.Due to financial constrains,his movies were made with in limited budget & the grandeur associated with him was missing.Although,he was president of IMPPA during 54-55,due to internal politics,he largely was, treated as outsider by the then established film makers ,who had their roots in Bombay.A film tycoon who carved a film empire at Lahore & made Khazanchi ,which celebrated golden Jubilee,breathed his last,as he got into his car,while returning from the office of his distributor,who refused to pay him the installment. Actor Janki Das,was with his mentor,when Pancholi Sahab uttered his last words “Janki Das ! Never put your children in films’.It was 10th october 1958 & Dalsukh Pancholi was of 53 years. He was driving his own car himself that time. He got an attack and stopped the car and died on his seat itself.

Actor Aditya Pancholi is his younger brother Rajan’s son. Dalsukh Motiram pancholi made just 20 films ( including 2 Punjabi films) from 1938 to 1958. He directed only 1 film, Aasmaan-52. His protege Ravindra Dave directed 7 of his films. ( based on writings of Harish Raghuwanshi ji, M N Sardana ji, indian cine.ma and Encyclopaedia of indian cinema etc. with thanks).

There were 10 songs in the film. 3 songs are already discussed here. This is the 4th song. This is a ” Dupatta” song. So far 14 Dupatta songs are posted on this Blog,including,of course, the iconic,’ Hawa mein udta jaaye mera laal dupatta malmal ka” from film Barsaat-49. This was filmed on beautiful Bimla Kumari.

Poonji-43 had music by Ghulam Hyder. HFGK does not indicate individual lyricists of individual songs.


Song-Gaadiwaale dupatta uda jaaye re (Poonji)(1943) Singer-Shamshad Begam, Zeenat Begam, MD-Ghulam Haider
Female chorus
Male chorus

Lyrics

gaadiwaale
gaadiwaale dupatta uda jaaye re
haay gira jaaye re
zara tu haule haule chala
haule haule chala

sabko?? dekhe
dekh re gaadiwaale
dekh re gaadiwaale
mora dupattwa
mora dupattwa

haath jod kar sakhiyaan maange
mora re dupattwa
haath jod kar sakhiyaan maange
mora re dupattwa
saajanva gupchup kar taake
mora dupattwa
saajanva gupchup kar taake
mora re dupatta

dekho sabka jiya bharmaaye re
haay gira jaaye re

zara tu haule haule chala
haule haule chala

ho gaadiwaale ho
ho zara rok rok ke chal
zara dheere dheere chal
zara dheere dheere chal
teri gaadi re bedarda
gaadi waale ho
teri gaadi re bedarda
gaadi waale ho
teri re gaadi ho bedarda
khaay rahi hickole
teri re gaadi ho bedarda
khaay rahi hickole
dekh dupatta ud na jaaye
mora manva dole ae
dekh dupatta ud na jaaye
mora manva dole
mora baala joban
mora baala joban
khula jaaye re

haaye khula jaaye re
gaadi haule haule chala, haule haule chala

ud gaya re mora sar se dupatta
ho o

ho gaadiwaale ho
ho
zara rok rok ke chal
zara dheere dheere chal
zara dheere dheere chal
aise udte aaye dupatte
gaadiwaale ho
aise udte aaye dupatte
gaadiwaale ho
aise udte aaye dupatte
jaise aaye badariya
aise udte aaye dupatte
jaise aaye badariya
laal, gulaabi, neele, peele
jaise koi chunariya
laal, gulaabi, neele, peele
jaise koi chunariya
inko dekh ke nazar
inko dekh ke nazar
muskaaye re

haay muskaaye re
zara tu haule haule chala
haule haule chala
gaadiwaale


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.

“Raam Navami”(1956) was produced by Jasubhai Patel and directed by Raman B Desai for Subhag Productions, Bombay. The partially color Mythological movie had Nirupa Roy, Prem Adib, Tiwari, Yashoshara Katju, Babau Raje, Shobha Khote, Rajkumar, Raj Adib, Bheem, Ratnamala, Nandu Khote, Pandey, Sheela, Amrit Rana, Radheshyam, Hublikar, Singh, Samson, Mahesh Kumar, Baijnath, Jawahar Kaul, Rooplaxmi, Shree Bhagwan, Dubey, Poonam Kapoor etc in it.

The movie had eight songs in it. All eight songs had the voice of Asha Bhonsle in it.

Two songs from the movie have been covered in the past. Here is the third song from “Raam Navami”(1956) to appear in the blog.
Asha Bhonsle is the female singer alongwith chorus. All sites, including HFGK mentions that this song has the voices of Rafi and Balbir as well. The audio quality is poor and I am unable to detect more than one lead voice in the song.

The song is penned by Kavi Pradeep. Music is composed by Bulo C Rani.

I have failed to get many words right in the lyrics. I request our readers with keener ears to help identify the male voices and they are also requested to help fill in the blanks/ suggest corrections in the lyrics as applicable.

for the time being, I have assumed that the voices of Rafi and Balbir are there in the song, though I am personally not sure of it on the basis of the audio of the song.


Song – Baaje Gaagariyon Pe Taal (Raamnavami) (1956) Asha Bhonsle, Mohammed Rafi, S Balbir, Lyrics – Kavi Pradeep, MD – Bulo C Rani
Female Chorus
Male chorus

Lyrics

 

baaje gagariyon pe taal
meri rummak jhummak chaal
o dilwaalo..oo..oo dilwaalo
dilwaalo zara rakhna dil ko sambhaal
baaje gagariyon pe taal
meri rummak jhummak chaal
o dilwaalo..oo..oo dilwaalo
dilwaalo
zara rakhna dil ko sambhaal

lachak raha hai ang hamaara
aa haa aaa aa aa
lachak raha hai ang hamaara
ang hamaara
aa aa aa
lachak raha hai ang hamaara
jaise phool ki daal
phool ki daal
phool ki daal o dilwaalo
o dilwaalo
dilwaalo
zara rakhna dil ko sambhaal
baaje gagariyon pe taal
meri rummak jhummak chaal
o dilwaalo..oo..oo dilwaalo
dilwaalo
zara rakhna dil ko sambhaal

o gori gori
neera waali chhori
hamko bhi pilaa do
neera chori chori
ho ho ho
gori gori
neera waali chhori
hamko bhi pilaa do neera chori chori

ho chhaila bas karo bas
mora chhalka jaaye ras
dekho bheegi jaaye haaye chunariya mori
ho chhaila bas karo bas
mora chhalka jaaye ras
dekho bheegi jaaye haaye re chunariya mori
aaj ka din hai mazedaar gori
chhodo ye jhijhak
aaj ka din hai mazedaar gori
chhodo ye jhijhak
hato jee
hato beimaan
mera jiya kare dhak
hato jee
hato beimaan
mora jiya kare dhak
o tere nakhron ke kya kehne
aji rehne do jee rehne
mat samjho meri neera ko
koi muft ka maal
muft ka maal
muft ka maal
peene waalo
o peene waalo
dilwaalo
zara rakhna dil ko sambhaal
baaje re baaje baaje re baaje
baaje re baajje re baajje
gagariyon pe taal
meri rummak jhummak chaal
o dilwaalo..oo..oo dilwaalo
dilwaalo zara rakhna dil ko sambhaal

pee lo re pee lo
gori ke liye jee lo

zindagi hai thodi..ee..ee..eee
zindagi hai thodi..ee..ee..eee
zindagi hai thodi
haaan aaa aaaa aaaa
zindagi hai thodi
haan aaa aaaa aaaaa
aaaa aaa aaa aaaaa
aaa aaa aaa aaa aaa
hoyye
zindagi hai thodi
ginti ke din hain
ginti ke din hain
ji ginti ke din hain
duniya ke dukhde bade hi kathin hain
bade hi kathin hain
bade hi kathin baaba
bade hi kathin hain
arre kismat se
kismat se mila hai ye mauka chhabeelo
pee lo
arre pee lo re pee lo
pee lo re pee lo
gori ke liye jee lo
pee lo re pee lo
gori ke liye jee lo
ho pee lo re pee lo
gori ke liye jee lo
ho pee lo re pee lo
gori ke liye jee lo

ho raja ji
ho rani ji
o ho raja ji
o ho rani ji
tumhaare gaon ke
tumhaare gaon ke chhoron ne meri chheen li matakiyaan
kar diya bada nuksa..aan
ho raja ji
ho rani ji
tumhaare gaon ke chhoron ne meri chheen li matakiyaan
kar diya bada nuksa..aan
ho raja ji
ho rani ji
gaon ke tumhaare chhore bade hi lafange
taan taan chalte hain seena
haa..aan
beech dagar jhakjhorte hain bainyaan
mushkil kar diya jeena
haa..aan
unko kadi se kadi sazaa do
aaj pakad kar kaan
pakad kar kaan
ho raja ji
ho rani ji
tumhaare gaon ke
tumhaare gaon ke chhoron ne meri chheen li matakiyaan
kar diya bada nuksa..aan
ho raja ji
ho rani ji

o goriyo suno hamaara hukam
aaj karo sab jhagda khatam

koi na karega tum pe zulam
sabko sazaa denge kal hum

aaj khushi ka hai mausam
honay do zara goriyo chham chham

hey padney do re logo zara matkon pe sam

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

बाजे गागरियों पे ताल
मेरी रूम्मक झुम्मक चाल
ओ दिलवालो॰॰ओ॰॰ओ दिलवालो
दिलवालो ज़रा रखना दिल को संभाल
बाजे गागरियों पे ताल
मेरी रूम्मक झुम्मक चाल
ओ दिलवालो॰॰ओ॰॰ओ दिलवालो
दिलवालो ज़रा रखना दिल को संभाल

लचक रहा है अंग हमारा
आ हा आ आ आ
लचक रहा है अंग हमारा
अंग हमारा
आ आ आ
लचक रहा है अंग हमारा
जैसे फूल की डाल
फूल की डाल
फूल की डाल ओ दिलवालो
ओ दिलवालो
दिलवालो
ज़रा रखना दिल को संभाल
बाजे गागरियों पे ताल
मेरी रूम्मक झुम्मक चाल
ओ दिलवालो॰॰ओ॰॰ओ दिलवालो
दिलवालो ज़रा रखना दिल को संभाल

ओ गोरी गोरी
नीरा वाली छोरी
हमको भी पिला दो
नीरा चोरी चोरी
हो हो हो
गोरी गोरी
नीरा वाली छोरी
हमको भी पिला दो नीरा चोरी चोरी

हो छैला बस करो बस
मोरा छलका जाये रस
देखो भीगी जाये हाए चुनरिया मोरी
हो छैला बस करो बस
मोरा छलका जाये रस
देखो भीगी जाये हाए रे चुनरिया मोरी
आज का दिन है मज़ेदार
गोरी छोड़ो ये झिझक
आज का दिन है मज़ेदार
गोरी छोड़ो ये झिझक
हटो जी
हटो बेईमान
मोरा जिया करे धक
हटो जी
हटो बेईमान
मोरा जिया करे धक
ओ तेरे नखरों के क्या कहने
अजी रहने दो जी रहने
मत समझो मेरी नीरा को
कोई मुफ्त का माल
मुफ्त का माल
मुफ्त का माल
पीने वालो
ओ पीने वालो
दिलवालो
ज़रा रखना दिल को संभाल
बाजे रे बाजे बाजे रे बाजे
बाजे रे बाज्जे रे बाज्जे
गागरियों पे ताल
मेरी रूम्मक झुम्मक चाल
ओ दिलवालो॰॰ओ॰॰ओ दिलवालो
दिलवालो ज़रा रखना दिल को संभाल

पी लो रे पी लो
गोरी के लिए जी लो

ज़िंदगी है थोड़ी॰॰ई॰॰ई॰॰ई
ज़िंदगी है थोड़ी॰॰ई॰॰ई॰॰ई
ज़िंदगी है थोड़ी
हाँ आ आ आ
ज़िंदगी है थोड़ी
हाँ आ आ आ
आ आ आ आ
आ आ आ आ आ
होय्ये
ज़िंदगी है थोड़ी
गिनती की दिन हैं
गिनती की दिन हैं
जी गिनती की दिन हैं
दुनिया के दुखड़े बड़े ही कठिन हैं
बड़े ही कठिन हैं
बड़े ही कठिन बाबा
बड़े ही कठिन हैं
अरे किस्मत से
किस्मत से मिला है ये मौका छबीलो
पी लो
अरे पी लो रे पी लो
पी लो रे पी लो
गोरी के लिए जी लो
पी लो रे पी लो
गोरी के लिए जी लो
हो पी लो रे पी लो
गोरी के लिए जी लो
हो पी लो रे पी लो
गोरी के लिए जी लो

ओ राजा जी
ओ रानी जी
ओ हो राजा जी
ओ हो रानी जी
तुम्हारे गाँव के
तुम्हारे गाँव के छोरों ने मेरी छीन लीं मटकियाँ
कर दिया बड़ा नुकसा॰॰आन
हो राजा जी
हो रानी जी
तुम्हारे गाँव के छोरों ने मेरी छीन लीं मटकियाँ
कर दिया बड़ा नुकसा॰॰आन
हो राजा जी
हो रानी जी
गाँव के तुम्हारे छोरे बड़े ही लफंगे
तान तान चलते हैं सीना
हाँ॰॰आँ
बीच डगर झकझोरते हैं बईय्यां
मुश्किल कर दिया जीना
हाँ॰॰आँ
उनको कड़ी से कड़ी सज़ा दो
आज पकड़ कर कान
पकड़ कर कान
हो राजा जी
हो रानी जी
तुम्हारे गाँव के
तुम्हारे गाँव के छोरों ने मेरी छीन लीं मटकियाँ
कर दिया बड़ा नुकसा॰॰आन
हो राजा जी
हो रानी जी

ओ गोरियो सुनो हमारा हुकम
आज करो सब झगड़ा खतम

कोई ना करेगा तुम पे ज़ुलम
सबको सज़ा देंगे कल हम

आज खुशी का है मौसम
होने दो ज़रा गोरियो छम छम

हे पड़ने दो रे लोगो ज़रा मटकों पे सम


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 (28 september 2017) is the birth anniversary of one and only Lata Mangeshkar. People may have wondered why there was a lull in the blog today. These days we have just a couple of posts daily with some rare days when we manage to crank up the rate to day four of five songs a day.

Lata Mangeshkar is the most well represented artist in the blog. As many as 3244 songs sung by Lata Mangeshkar are represented in the blog. There was a time when she averaged over one song a day in the blog. With less songs posted in the blog over the last couple of years, now the figure stands at 3244 songs /3359 days, viz. 0.966 songs per day.

Out of these 3244 songs, as many as 2074 songs are solo songs. So the remaining 1170 of her songs are duets and others. Her most common singing partner has been Rafi. The two of them have collaborated in around 415 duets or so. As many as 328 of these duets are already represented in the blog.

On the occasion of Lata Mangeshkar’s birth anniversary today, here is a less heard Rafi Lata duet. This song is from “Band Master” (1963). This movie was directed by Ravindra Dave for R L Films, Bombay. This obscure movie had Jagdeep, Azra, Lalita Pawar, Rajan Haksar, Ravikant etc in it.

The movie had four songs in it. HFGK is silent about the singers of these songs including the song under question. But on listening to the songs, one can easily identify the voices in all four songs.

The song under discussion, the third song from the movie to be covered here, is sung by Lata and Rafi. Prem Dhawan is the lyricist. Music is composed by Chitragupta.

On the occasion of the birth anniversary of Lata Mangeshkar (28 september 1929), here is the 329th Rafi-Lata duet to appear in the blog. I take this opportunity to wish her a very happy birth anniversary and wish her many more happy returns of the day.


Song-Sajna saawan aaya (Band Master)(1963) Singers-Lata, Rafi, Lyrics-Prem Dhawan, MD-Chitragupta

Lyrics

sajna
saawan aaya
sajna saawan aaya
haaye
dil udke chala hai baadal mein
ho
mujhko saath liya ja
mujhko saath liya ja
haaye
dil baandh ke mera aanchal mein
ho

sajna saawan aaya

hosh lutaa ke
hosh mein aaye
ye hai paheli kaisi
koi samjhaaye
hosh lutaa ke
hosh mein aaye
ye hai paheli kaisi
koi samjhaaye

dil to ganwaaya to jeene ka maza hai paaya
sajna saawan aaya
sajna saawan aaya
haaye
dil udke chala hai baadal mein
ho
sajna saawan aaya

mujhpe nasheeli nazren na daalo
gir gir jaau main to aake sambhaalo
mujhpe nasheeli nazren na daalo
gir gir jaaun main to aake sambhaalo
hum kya sambhaalen
ke ham pe bhi nasha hai chhaaya
mujhko saath liya ja
mujhko saath liya ja
haaye
dil baandh ke mera aanchal mein
ho

sajna saawan aaya


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 we pay tribute here on the blog to Mahendra Kapoor, one of the well-known voices of the golden era of Hindi music, on the occasion of his 9th death anniversary. There are many ways to start this tribute but, instead of “getting my eye in”, let me, Sehwag-style, straightaway go for it. By “it”, I mean the elephant in the room.

That is, why are there so many people who dislike Mahendra Kapoor’s voice? On many occasions when I’ve discussed music with other music-lovers, there have been varying opinions on Rafisaab, Kishore, Shankar Jaikishen, RD Burman and others. Most of these artistes are much-admired but there has  been the occasional detractor too. This makes for interesting debate for me, because I like to understand the rationale behind the minority contrarian view.

With Mahendra Kapoor, it seems to be just the opposite. In fact, I probably find myself now holding the minority contrarian view on him, considering the majority view of music lovers seems to not rate him much. In fact, even amongst some Atulites, there is a certain scepticism about Mahendra Kapoor. So where does this come from? And if many, knowledgeable, music-lovers share this, can they all be wrong?

Even OP Nayyar in an interview late in his life said that he didn’t exactly rate Mahendra Kapoor as a singer.  And this, from someone, who used Mahendra Kapoor fairly extensively in the mid/late 60s after being upset with Rafisaab. In fact, MK had delivered quite a few hits for OP – songs like “Mera Pyaar Wo Hai“(from ‘Ye Raat Phir Na Aayegi’, 1966), “Laakhon Hain Yahaan Dilwaale” and “Aankhon Mein Qayaamat Ke Kaajal” (from ‘Kismat’, 1968), “Andhere Mein Jo Baithe Hain” (from ‘Sambandh’, 1969), “Kamar Patli, Nazar Bijli“, “O Yaaron Ki Tamanna Hai Teri Zulfon Mein Fans Jaayen”  and “Tumhaara Chaahne Waala Khuda Ki Duniya Mein” (from ‘Kahin Din Kahin Raat’, 1968). All popular songs. In the interview, OPN made this comment in the context of missing Rafisaab, but I feel it was rather harsh on MK.

Yet, MK had a fairly successful career spanning five decades. Would that have happened if he had really not been of a certain standard?

My take on this is, each singer is different.  He has his own voice, style, range which makes him unique. This might endear him to others – or it might not, depending on the listener’s taste.  There are many who do not even like Mukesh’s singing. They consider him limited. And there are many who swear by him. So it is a matter of taste.

We could apply the same reasoning to MK too. He had his unique voice, style and range – which clearly did not appeal to some.  I think what made it much more difficult for him was the constant comparison with Rafisaab.  Invariably, it ended up making MK look like an imitator, the poor man’s Rafisaab – with the consequent aversion to his singing. In MK’s defence, this is not his fault. He was who he was, never claiming to be anywhere at the level of Rafisaab. He was very conscious of the fact that Rafisaab was in a different league altogether – MK considered him his guru. He can hardly be blamed if the composers wanted a Rafisaab clone and thought he could fit the bill.

I must mention here that when the two, MK and Rafisaab, did sing together in Aadmi (1968) for “Kaisi Haseen Aaj Bahaaron Ki Raat Hai”, MK totally held his ground. (This song was initially recorded as a Rafisaab-Talat duet, but in the film version, the playback pair was Rafisaab-MK).

And that is the point I am trying to make. I am no diehard MK fan – but I am not a critic either.  Like I’ve often said, I enjoy listening to various singers – and that includes MK. Every singer has sung excellent songs – and some not-so-good ones (at least in my humble opinion). MK is no exception. I’m no music expert, but I think the one thing that is most impressive about MK’s singing – and I hope even his critics will agree on this – was his high range. It is really astounding – he could hold his voice even at highest octaves, which even a singer of Rafisaab’s stature could not match. Just listen to “Chaand Chhupaa Aur Taare Doobey” from the 1958 film ‘Sohni Mahiwal’ and “Na Munh Chhupaa Ke Jiyo Aur Na Sar Jhukaa Ke Jiyo” from ‘Hamraaz’ in 1967, and you’ll know what I mean. Another song that comes to mind is “Ramchandra Kah Gaye Siya Se” (from ‘Gopi’, 1970). There are other songs too where this particular ability of MK was sought to be put to good use by the composers.

Talking about composers, it is hard to think of Mahendra Kapoor without thinking of Ravi. Now Ravi is another artiste who sometimes draws criticism from music lovers. But if anyone could get the most out of MK, it was certainly Ravi. Especially in BR Chopra films, the combination of Mahendra Kapoor and Ravi, with Sahir as lyricist, delivered hit after amazing hit. Songs of ‘Gumraah’ (1963) and ‘Hamraaz’ (1967), to name just two of these films, are hugely popular to this day. I used to have a cassette with songs of these two films (on the two sides) and would play it non-stop on long car journeys. To date, I can listen to the songs of these two films any number of times. Fast forward, and I would also like to mention “Dil Ki Ye Aarzoo Thi Koi Dilruba Miley” from ‘Nikaah’ (1982).

Another composer who used MK successfully is the Kalyanji Anandji duo. Manoj Kumar  often used Mahendra Kapoor as his voice, especially after the huge success of “Mere Desh Ki Dharti” (Upkaar). In fact, this is the first Mahendra Kapoor song that I remember listening to in my life. Other songs that come to mind are “Iktaara Boley” from Yaadgaar (1970), “Hai Preet Jahan Ki Reet Sada” and “Dulhan Chali O Pehan Chali” from ‘Purab Aur Paschim’ (also 1970), which were also hugely popular. In fact, except for the one Mukesh song in ‘Purab Aur Paschim’, Mahendra Kapoor was the main male playback in a film full of songs.

Manoj Kumar’s preference for Mahendra Kapoor, even in the 70s and later, when Kishore Kumar was the reigning voice, could be seen in ‘Roti Kapda Aur Makaan’ (1974) – “Aur Nahin Bas Aur Nahin” and ‘Kranti’ (1981) – “Ab Ke Baras Tujhe Dharti Ki Raani Kar Denge“. Both these films had Laxmikant-Pyarelal as composers, but Manoj Kumar preferred MK as his voice.

Apart from Hindi films, Mahendra Kapoor sang a number of songs for regional cinema. Younger generations (well, younger than those who were already familiar with MK from before the 80s) will probably remember him best for the TV serial, Mahabharat, produced by, who else but, BR Chopra.

So, whatever be anyone’s opinion of Mahendra Kapoor (and each person is entitled to his/her opinion), I will always be grateful to him for the songs of ‘Hamraaz’ and ‘Gumraah’.

Now, moving on to the song for today. This is from the film ‘Anmol Moti’ (1969), starring Jeetendra and Babita. After the phenomenal success of ‘Farz’ (1967), this was a popular pairing, especially after ‘Aulaad’ (1968) also did well. They also came together in ‘Bikhre Mot’ (1971), ‘Banphool’ (1971) and ‘Ek Haseena Do Deewaane’ (1972).

Anmol Moti (1969) is a film I remember seeing as a very young boy. In fact, I saw this film right after I saw ‘Suhaag Raat’ (1968), also starring Jeetendra. In that film, Jeetendra’s character dies at the end. So when I saw ‘Anmol Moti’, I was very confused. I remember asking my sisters how he had come back after dying. They had a jolly good laugh at my expense. 🙂

I haven’t seen this film recently but I do remember this being a film about pearl diving. It was also the first time I heard of an octopus in my life. I also remember a few songs from this film, the most famous song probably being”Ae Jaane Chaman Tera Gora Badan“. The song being posted today, “Sehmi Sehmi Kahaan Chali” was also quite popular in its time. So when I was looking for a song for Mahendra Kapoor, this one came to mind – and happened to still be available for posting. The music is by Ravi, the lyrics by Rajinder Krishan.

Enjoy this popular song from the radio listening days.


Song – Sehmi Sehmi Kahaan Chali (Anmol Moti) (1969) Singer – Mahendra Kapoor, Lyrics – Rajendra Krishan, MD – Ravi
Chorus

Lyrics

sehmi sehmi kahaan chali
chhod ke dilwaalon ki gali
kab tak aankh churaayegi
kabhi na kabhi to phansegi mere jaal mein
ho kabhi na kabhi to phansegi mere jaal mein

o sehmi sehmi kahaan chali
chhod ke dilwaalon ki gali
kab tak aankh churaayegi
kabhi na kabhi to phansegi mere jaal mein
hoy kabhi na kabhi to phansegi mere jaal mein

haaye tera ye alhadpan
tauba tauba ye chitwan
aankhon mein shole naachen
zulfon mein khele saawan
haaye tera ye alhadpan
tauba tauba ye chitwan
aankhon mein shole naachen
zulfon mein khele saawan
ghir kar aa
baras bhi jaa
kab tak yunh tarsaayegi
kabhi na kabhi to phansegi mere jaal mein
hoy kabhi na kabhi to phansegi mere jaal mein
o sehmi sehmi kahaan chali
chhod ke dilwaalon ki gali
kab tak aankh churaayegi
kabhi na kabhi to phansegi mere jaal mein
hoy kabhi na kabhi to phansegi mere jaal mein

nayi jawaani ki hulchul
jaise bin barsaa baadal
kehti hai har angdaayi
saath hamen bhi letee chal
nayi jawaani ki hulchul
jaise bin barsaa baadal
kehti hai har angdaayi
saath hamen bhi letee chal
aankh milaa
maan bhi jaa
kab tak haath na aayegi
kabhi na kabhi to phansegi mere jaal mein
hoy kabhi na kabhi to phansegi mere jaal mein

o sehmi sehmi kahaan chali
chhod ke dilwaalon ki gali
kab tak aankh churaayegi
kabhi na kabhi to phansegi mere jaal mein
hoy kabhi na kabhi to phansegi mere jaal mein
o sehmi sehmi kahaan chali
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

सहमी सहमी कहाँ चली
छोड़ के दिलवालों की गली
कब तक आँख चुराएगी
कभी ना कभी तो फसेगी मेरे जाल में
हो कभी ना कभी तो फसेगी मेरे जाल में

ओ सहमी सहमी कहाँ चली
छोड़ के दिलवालों की गली
कब तक आँख चुराएगी
कभी ना कभी तो फसेगी मेरे जाल में
होए कभी ना कभी तो फसेगी मेरे जाल में

हाए तेरा ये अल्हड़पन
तौबा तौबा ये चितवन
आँखों में शोले नाचें
ज़ुल्फों में खेले सावन
हाए तेरा ये अल्हड़पन
तौबा तौबा ये चितवन
आँखों में शोले नाचें
ज़ुल्फों में खेले सावन
घिर कर आ
बरस भी जा
कब तक यूं ही तरसाएगी
कभी ना कभी तो फसेगी मेरे जाल में
होए कभी ना कभी तो फसेगी मेरे जाल में

ओ सहमी सहमी कहाँ चली
छोड़ के दिलवालों की गली
कब तक आँख चुराएगी
कभी ना कभी तो फसेगी मेरे जाल में
होए कभी ना कभी तो फसेगी मेरे जाल में

नई जवानी की हलचल
जैसे बिन बरसा बादल
कहती है हर अंगड़ाई
साथ हमें भी लेती चल
नई जवानी की हलचल
जैसे बिन बरसा बादल
कहती है हर अंगड़ाई
साथ हमें भी लेती चल
आँख मिला
मान भी जा
कब तक हाथ ना आएगी
कभी ना कभी तो फसेगी मेरे जाल में
होए कभी ना कभी तो फसेगी मेरे जाल में

ओ सहमी सहमी कहाँ चली
छोड़ के दिलवालों की गली
कब तक आँख चुराएगी
कभी ना कभी तो फसेगी मेरे जाल में
होए कभी ना कभी तो फसेगी मेरे जाल में
ओ सहमी सहमी कहाँ चली


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

I have in one of my earlier posts mentioned this that music lovers like me always have songs playing in their mind. Or some incidents/memories will always bring some song to mind (that is what I think). For me many things / situations time to time bring me to some song, or it will remind me of some song that I would have listened earlier may be years before or a song which is lying dormant in my memory.

Over the years, after this social networking sites came into being sometimes I have been sharing some photographs to my friend circles on these sites. I like to click photos of nature and surroundings whenever I get chance to do that. And generally, I try to share them with a ‘caption’ which mostly is a ‘mukhda’ or few lines of a song of a Hindi movie (and preferably it would be a song penned by Sahir).

Couple of weeks back when I was travelling by air I had taken few snapshots from the window of my flight. The window seat was not my original seat. But I was requested to exchange it by a couple, who were allotted two different locations :). Normally I do not use the mobile in flight, but could not resist the temptation as I was experiencing this clear sky above the clouds. It was almost at 38,000 feet and given the layer of the clouds below I was very excited to watch this.

After few days when I get settled at my ‘base station’ I browsed through these snapshots, thinking of sharing them, and thinking of the ‘caption’ that I should write with the picture, I just broke into humming these lines ‘Chal baadalon se aage. . . ’

When I checked on the blog it was not there. I was surprised!! How can it happen that this was yet to be posted? So, I checked again and again with the movie details etc. but it was not there. I was aware of this song because it was in my collection in one of the compilations (cassette) published by HMV in 1986.

I got in touch with my daughter in India to send me the photo of the cover of the cassette and also the photo of this movie page from the respective HFGK. Today I am presenting this beautiful song from the movie ‘Ek Jhalak’ (1957). That is how I get to this song and in turn this post here.

‘Ek Jhalak’ was directed by Kalidas for Deep and Pradeep Productions, Bombay. It was produced by Deep Khosla and Pradeep Kumar. The cast of ‘Ek Jhalak-1957’ includes Vijayantimala, Pradeep Kumar, Anita Guha, Rajendra Kumar, Pran, Mubarak, Lalita Pawar, Bipin Gupta, Randhir, Om Prakash, Hira Sawant, Rashid Khan, Tuntun, CV Rao, Patanjali, Gajendra, Amin, Fazal Khan, Saar, Deep Khosla and others.

Music of this movie was composed by Hemant Kumar and all the nine songs in this movie (as per HFGK) were written by SH Bihari. Out of these nine songs (including one multiple version song) four songs have already been posted on the blog. These are – “Baharen Bhi Dekhi, Nazaare Bhi Dekhe“, “Gori Chori Chori Jaana Buri Baat Hai“, “Aa Ja Zara Mere Dil Ke Sahaare Dilruba“, and “Ye Hansta Hua Kaarvaan Zindagi Ka. . .“.

Today, 26th September also happens to be the Remembrance Day (16.06.1920 – 26.09.1989) of singer-composer Hemant Kumar Mukherjee whom we fondly know as Hemant Kumar. On this occasion, instead of going into the biographical and filmographical details of the songs sung by and/or composed by Hemant Kumar, I will just list out the other songs from this compilation ‘Vintage Favourites – Hemant Kumar – Sings His Own Compositions’ brought out by HMV in 1986 and which was bought by me on 13.03.1987 for my collection.

 

Going through the list of this songs and listening them is also enough to create the magic of that ‘unique’ voice which has left behind a great legacy of memorable and unforgettable gems (and many of my favourite categories viz. ‘motivational’ and ‘philosophical’)

All wonderful songs remembering us of the ‘vintage’ voice of Hemant Kumar. Let us now enjoy the today’s song. When I listened to it I was doubtful of the available link due to the duration of the song. So, I arranged a remote listening of this song in the cassette in my collection and listen it on the phone to confirm it. However the available song is a complete song and there is no second antaraa in this song.

As per HFGK the title of the today’s song is mentioned as “O Jal Mein Rehnewaali… Chal Baadalon Se Aage”. However in the available links the song starts with the words ‘chal baadalon se aage’. There may be some introductory lines which I think may not be included in the soundtrack of this song.


Song – Chal Baadlon Se Aage (Ek Jhalak) (1957) Singers – Hemant Kumar, Asha Bhosle,  Lyrics – SH Bihari, MD – Hemant Kumar

Lyrics

chal baadalon se aage
kuchh aur hi samaa hai
har cheez hai niraali
har zindagi jawaan hai

chal baadalon se aage
kuchh aur hi samaa hai
har cheez hai niraali
har zindagi jawaan hai
chal baadlon se aage

jisey dekhne ko meri
aankhen taras rahi hai. . .
jisey dekhne ko meri
aankhen taras rahi hai
wo jagah jahaan pe har dam
khushiyaan baras rahi hai
mere khwaab ki wo duniyaa
batlaao to kahaan hai
har cheez hai niraali
har zindagi jawaan hai

chal baadalon se aage
kuchh aur hi samaa hai
har cheez hai niraali
har zindagi jawaan hai
chal baadalon se aage

———————————————————
Hindi script lyrics (Provided by Ashwini Scrapwala)
———————————————————

चल बादलों से आगे
कुछ और ही समा है
हर चीज़ है निराली
हर ज़िन्दगी जवाँ है

चल बादलों से आगे
कुछ और ही समा है
हर चीज़ है निराली
हर ज़िन्दगी जवाँ है

जिसे देखने को मेरी
आँखें तरस रही है
जिसे देखने को मेरी
आँखें तरस रही है
वो जगह जहां पे हर दम
खुशियाँ बरस रही है
मेरे ख्वाब की वो दुनिया
बतलाओ तो कहाँ है
हर चीज़ है निराली
हर ज़िन्दगी जवाँ है

चल बादलों से आगे
कुछ और ही समा है
हर चीज़ है निराली
हर ज़िन्दगी जवाँ है

 


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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 nine years. This blog has over 13600 song posts by now.

This blog is active and online for over 3300 days since its beginning on 19 july 2008.

Total number of songs posts discussed

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Movies with all their songs covered =1024
Total Number of movies covered =3736

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