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

Archive for the ‘Free Spirit Song’ Category


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4354 Post No. : 15673 Movie Count :

4317

Songs Repeated in Hindi Films – 20
– – – – – – – – – – – – – – – – – –

It is like cherry picking a hit parade – the repeat songs are almost always the popular hit songs that have made a serious mark on the collective memory of the audiences and lovers of Hindi films and film songs. And this song is no exception. Rather this song has been so popular – with its catchy lyrics and a very hummable melody – that one hears this song being used in many different avatars outside of the film frame – remixes, revival melodies, even background music for recorded dance performances. One can find such samples online on YT.

This iconic song, originally from the 1968 film – ‘Kismat’, has been reused in the 2011 film ‘Tanu Weds Manu’. Whereas the original song was a disguise cum diversion song, in a situation where the lead pair is trying to get away from a group of bad-men, in the newer film, this song is being used as a wooing-cum-proposal-making song. The occasion is a wedding of a friend of the leading lady. Tanuja (Kangana Ranaut) aka Tanu is trying to muster up courage to proposition Manu, who appears to be too shy and unprepared to take a step towards a relationship. Using the wedding scenario as an excuse, Tanu gets drunk (or appears to get drunk). The situation develops and reaches this song in a couple of minutes, and in the guise of this song, Tanu finally gets to speak her heart out to Manu,

kismat bana de meri
duniya basa de meri
kar le sagaai meri jaan

Please note that in this re-use, the original song has been presented as it is, the only one change is that two stanzas have been used instead of 3. So what we hear in this song are the original voices of Asha Bhosle and Shamshad Begum, the mukhda and antara lines suitably edited to present a shorter version.

The info about this reuse has been shared with me by Anekant ji. He has been a regular contributor and there is still a few more songs in my pending list for this series, that have been suggested by him.

The original song from the film ‘Kismat’ came on to this blog on 9th February, 2009. It can be accessed here – “Kajra Mohabbat Wala, Akhiyon Mein Aisa Daala“.

Check out this resue, and witness an energetic on screen performance by Kangana, who, under the supposed influence of alcohol, is desirous of presenting a Kanpuria dance for the occasion. And enjoy.

Song – Kajra Mohabbat Wala Akhiyon Mein Aisa Daala  (Tanu Weds Manu) (2011) Singer – Asha Bhosle, Shamshad Begum, Lyrics – SH Bihari, MD – OP Nayyar

Lyrics

kajra mohabbat waala
akhiyon me aisa daala
kajre ne le li meri jaan
haay re main tere qurbaan
duniya hai mere peeche
lekin main tere peeche
apna bana le meri jaan
haay re main tere qurbaan
kajra mohabbat waala
akhiyon me aisa daala
kajre ne le li meri jaan
haay re main tere qurbaan

aayi ho kahaan se gori
aankhon me pyaar le ke
aayi ho kahaan se gori

aankhon me pyaar le ke
chadhti jawaani ki ye pehli bahaar leke
dilli shahar ka saara
meena bazaar leke

dilli shahar ka saara
meena bazaar leke

jhumka bareli wala
kaano me aisa daala
jhumke ne le li meri jaan
hay re main tere qurbaan
duniya hai mere peeche
lekin main tere peeche
apna bana le meri jaan
haay re main tere qurbaan

motor na bangla maangoon
jhumka na haar maangoon
motor na bangla maangoon
jhumka na haar maangoon
dil ko jalaane waale dil ka qaraar maangoon
sainya bedardi mere
thoda sa pyaar maangoon

sainya bedardi mere
thoda sa pyaar maangoon

kismat bana de meri
duniya basa de meri
kar le sagaai meri jaan
haay re main tere qurbaan

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

कजरा मोहब्बत वाला
अखियों में ऐसा डाला
कजरे ने ले ली मेरी जान
हाय रे मैं तेरे क़ुर्बान
दुनिया है मेरे पीछे
लेकिन मैं तेरे पीछे
अपना बना ले मेरी जान
हाय रे मैं तेरे क़ुर्बान
कजरा मोहब्बत वाला
अखियों में ऐसा डाला
कजरे ने ले ली मेरी जान
हाय रे मैं तेरे क़ुर्बान

आई हो कहाँ से गोरी
आँखों में प्यार ले के
आई हो कहाँ से गोरी
आँखों में प्यार ले के
चढ़ती जवानी की ये
पहली बहार ले के
दिल्ली शहर का सारा
मीना बाज़ार ले के
दिल्ली शहर का सारा
मीना बाज़ार ले के
झुमका बरेली वाला
कानों में ऐसा डाला
झुमके ने ले ली मेरी जान
हाय रे मैं तेरे क़ुर्बान
दुनिया है मेरे पीछे
लेकिन मैं तेरे पीछे
अपना बना ले मेरी जान
हाय रे मैं तेरे क़ुर्बान

मोटर ना बंगला माँगूँ
झुमका ना हार माँगूँ
मोटर ना बंगला माँगूँ
झुमका ना हार माँगूँ
दिल को जलाने वाले दिल का क़रार माँगूँ
सैंया बेदर्दी मेरे
थोड़ा सा प्यार माँगूँ
सैंया बेदर्दी मेरे
थोड़ा सा प्यार माँगूँ
किस्मत बना दे मेरी
दुनिया बसा दे मेरी
कर लै सगाई मेरी जान
हाय रे मैं तेरे क़ुर्बान


This article is written by Sadanand Kamath, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4346 Post No. : 15656 Movie Count :

4311

So far I have discussed three of the six feature films which Sai Paranjpye has directed in her filmy career – ‘Sparsh’ (1980) in “Geeton Ki Duniya Mein Sargam Hain Hum“,  ‘Chashm-e-Baddoor’ (1981) in “Is Nadi Ko Mera Aaina Maan Lo” and ‘Saaz’ (1997) in “Baa. . .dal Ghumadh Badh Aaye“. In this article, I take up one more film by her – ‘Disha’ (1990) which, is not well known to the public at large. Sai Paranjpye accords this film as her best feature film in terms of excellence in all the main departments of the film making – story, screen-play, dialogues, direction, and the acting contributions from all the actors associated with this film.

According to Sai Paranjpye, the story of the film was in the making process for about 17 years before it got fructified in 1990. The unique feature of the film is that the story is based on three different experiences she got over these 17 years which have no connection with each other. Yet, she weaved a story around three events linking them with a common theme of the problems of migrants and casual workers. She believed that the life around us offers so much material for the films that there is no need to get inspired from Hollywood movies. In other words, Sai Paranjpye’s sources of ‘plagiarisation’ are life around her.

Sometime in early 1970s, Sai Paranjpye made a visit to a village in Pune district along with her two friends who had adopted that village for water harvesting. During that time, she met a villager, an agricultural labourer who owned a small parcel of barren land. He was convinced that under his barren land was the source of water. So, for about 12 years, he had been digging the well, all alone in his free time, sometime even the whole night. But there was no trace of water. The villagers had branded him as a mad man. Fed up with his obsession for digging well, his wife has left him many times but would eventually return. And then one day, he struck water in the well. Villagers who were earlier calling him as mad man made him the hero of the village. The well was named after him. The story of that villager was cinematic but it was not enough to make a full-length film.

After few years, Sai Paranjpye met her friend, Sabhashini Ali (ex-wife of producer-director, Muzaffar Ali) in Mumbai. She was doing some social work among the mill workers who were mostly migrants and staying in what is known in Mumbai Chawls as Gala (a type of dormitory). This was at a time when old mills in Mumbai were in the verge of closure as they could not compete with mills with technologically advanced power looms.  She accompanied Sabhashini Ali to one of the Galas in mill area and was shocked to observe their staying conditions. In a single Gala, there were nearly 40 persons staying together in the shifts of 8 hours. They seem to enjoy their life. All were doing different activities – playing musical instruments, playing cards, shaving, some going out for practising lezim (folk dance). Sai Paranjpye talked to most of the mill workers after which she felt that it was a good theme for a cinema.

After some days, Sai Paranjpye once again met her two friends who had returned from Niphani after leading a protest against the tobacco growers and bidi makers for exploitation of tobacco workers. Those days, the middleman will recruit women from the nearby villages for making bidis at the end of which they would get daily wages based on the number of bidis they rolled in a day. But the middleman will exploit them by rejecting some rolled bidis on some false pretext. Also, some of the middlemen would make attempts for sexual favours as rewards for not rejecting some of the bidis rolled by them. Her two friends had taken up the issues with bidi factories and on behalf of the bidi workers.

With these three real stories, Sai Paranjpye wrote the script linking them with a common theme of the problems of migratory mill workers of Mumbai. This time, she decided to produce the film herself besides directing, writing the script, dialogues and songs. She roped in her favourite actors and also took Nana Patekar for the first time under her direction. The first part of the film was shot in a village near Pune. The second part of the film was shot in Mumbai in Sitaram and Indu Mills and the scenes of the migrant workers were shot in a real Gala of a Chawl. Some mill workers also acted in the films.

The main cast of ‘Disha’ (1990) consisted of Shabana Azmi, Om Puri, Nana Patekar, Raghuvir Yadav, Rajshri Sawant, Neelu Phule, Shayaji Shinde, Achyut Potdar etc. The gist of the story of the film is as under:

Bakuri is a non-descript village about one hour from Pune by road. In this village, the family of Parshuram (Om Puri) consisting of his wife, Hansa (Shabana Azmi), his five children and his younger brother, Soma (Raghuvir Yadav) stays in a hut. Parshuram is an agricultural labourer and has a small barren land in which nothing grows on it except the wild-flowers. However, he is convinced that under his barren land is the source of water. Hence for the last 12 years, he has been digging well, all alone whenever he is free. Hansa resents Parshuram’s obsession with digging well and often threatens to leave him. Soma plans to go to Mumbai for getting a job as most of the time, he is unemployed.

Soma is very friendly with Basanta (Nana Patekar) who stays with his old and sickly father (Neelu Phoole) in a hut close to Parshuram’s hut. Basanta is also an agricultural labourer whose marriage has been fixed with Phoolwanti (Rajshri Sawant) from an adjoining village. Basanta’s father wants his marriage to be performed with fun fare for which he takes a loan of Rs.10000/- against the hypothecation of a cow and a buffalo. The marriage of Basant and Phoolwanti is solemnised.

Soma comes to Mumbai for job and stays in a Gala where 40 other mill workers are staying, a few from his village. He gets a job in the mill. He sends money to his brother, Parshuram every month and sometime also sends readymade garments for his nephews and niece. Basanta, after his marriage feels uncomfortable as he is unemployed and the loan instalments are to be repaid which his father has taken for his marriage. So, he also departs for Mumbai in search of employment and lands in mill workers’ gala where his friend, Soma is also staying. Basanta also gets the job in the same mill where Soma is working.

After getting to know the realities in working condition in Mumbai, Basanta is determined to return to his village after working in the mill for 2-3 years and also advises Soma to return to the village  with him so that with the money they earned, they can start a cooperative farming in the village. But Soma is determined to work in Mumbai for a long time as he is now addicted to the life of Mumbai.

After few months of stay in Mumbai, Basanta calls his wife, Phoolwanti to Mumbai to show her the city. One of his roommates in the gala arranges a independent room in a chawl for 7 days. After seeing the staying conditions of Basanta in Mumbai, his wife tells him to return to the village as early as possible when she leaves Mumbai for her village.

In the meanwhile, to run the household, both Hansa and Phoolwanti works in a bidi making unit to roll bidis for which they get daily wages in terms of the number of bidis rolled. But the munshi (Achyut Potdar) of the bidi making unit tries to exploit them by finding their faults while rolling the bidis for which no amount is paid. His intention is to force them to give him some sexual favours.

At one time, Basanta’s father writes a letter to him to come to the village for some urgent work. He returns and finds that his father has got a transistor radio and supplies of bidis from Munshi. He also comes to know that his wife is working for a bidi making unit. He is unhappy that his wife has to work for running the household.

The next day, Parshuram strikes water in the well which he has been digging for 12 years. The whole village rejoices and the mad Parshuram becomes a hero in the village. There is a felicitation by the entire village during which he declares that the water in the well is for the entire village.

Basanta returns to Mumbai earlier than schedule and his friend, Soma is surprised. Basanta tells him that he got bored in the village within two days. Then there is a twist in the story. Basanta who has been pressurising Soma to return to the village along with him after 2-3 years, decides that he is going to work in Mumbai on a long-term basis to earn good amount of money as Soma has been advising him. However, this time, Soma surprises him by revealing that his brother has struck water in the well and he is going back to the village to do farming. The film ends with Soma boarding a state transport bus which is driving to his village away from Mumbai with Basanta struck in Mumbai.

From the above narration, the story of the film looks simple. I found the film interesting to watch because Sai Paranjpye in her usual way has relied on visuals to speak for the story along with some punch-line dialogues. For example, Shabana Azmi regards the well as her ‘soutan’ as Om Puri spends more time in the well than in the house. Sometime, he takes his afternoon siesta in the well itself. To this, Om Puri’s repartee to Shabana Azmi is that she should be thankful that her ‘soutan’ is ‘baanjh’ (infertile); otherwise one more platoon of children would have joined the family. Here ‘baanjh’ has another meaning in that despite digging for many years, water has not struck in the well.

The film was released in Mumbai in November 1991 and thereafter in Pune by Sai Paranjpye as no one was willing to distribute the film. It generated interest in the initial few days with house-full board. After watching the film, Manmohan Desai offered to release the film in the Delhi circuit. With the releases in limited theatres. the box office collection could barely cover the budget of the film.

The film did not get any award in India. However, when the film was shown in Chennai International Film Festival in 1991 as a private entry (it could not be shown in Indian Panorama as it had not won any award), it was highly appreciated because of which over a period of time, the film got invitations  in as many as 23 international film festivals all over the world where it has won 5 awards with cash prizes including one at Cannes international film festival.

Sai Paranjpye has mentioned in her book that the film had three songs. However, I found only two songs in the film – one is a lavani song and the other a fun song. Songs were not released on audio format. I am presenting the fun song, “Bambai Bambai Bambai Bambai Bam’ sung by Vinay Mandke, Ravindra Sathe, Tyagraj Khadilkar, Arun Joglekar and Chorus. The song is written by Sai Paranjpye which is set to music by Anand Modak. I am not able to segregate the lyrics according to playback singers as I am not familiar with their voices except that of Ravindra Sathe. I have also observed that playback singers seem to lip sync for multiple actors  According to Sai Paranjpye, the ‘anokhe bol’ in the song have been rendered by Vinay Mandke in addition to his part of the song.

The song is picturised in a gala where about 40 mill workers stay. Except for about  10 actors, rest of the participants in the song are real mill workers staying in the gala. If one goes through the lyrics of the song, it would be observed that the sad realities of mill workers (or for that matter, migrant workers in general) have been presented in the mask of a fun song. In the last two stanzas, there are ‘locals verses migrants’ theme presented in ‘lavani’ style. The prelude music of the songs with “Dhak Dhak Dhak. . .” is akin to the sound generated by the power looms of a mill when they are operational.

This song is the essence of the film’s main theme. With this song, ‘Disha’ (1990) make a debut in the Blog.

Acknowledgements:

Some of the information about the background for making the film ‘Disha’ (1990) is based on

  1. An interview conducted by Sridhar Rangayan and Saagar Gupta titled ‘Queen of Humour: A Candid Interview with Award-Winning Director and Writer Sai Paranjpye,’ South Asianist, Vol 2, No.3 (2010).
  2. The Marathi book, ‘Sai – Maaza Kalapravaas’ (2016) written by Sai Paranjpye.

Song – Bambai Bambai Bambai Bambai Bam (Disha) (1990) Singer -Vinay Mandke, Ravindra Sathe, Tyagraj Khadilkar, Arun Joglekar, Lyrics – Sai Paranjpye, MD – Anand Modak
Chorus

Lyrics

dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak
dhak dhak
dhak daa dham
dhak dhak
dhak dhak
dhak daa dham

arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
 
gaon mein behti doodh ki ganga aa
haay
gaon mein behti doodh ki ganga aa
kaanha murli bajaawat hai bhai 
kaanha murli bajaawat hai
aisa gokul chhoda… haay
aisa gokul chhoda bhai
kya narakpuri ye bhaawat hai
makdi ke jaal mein keeden ham
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
bam b-bam b-bam bam
arre bambai bambai bambai bambai bam
bam b-bam b-bam bam
 
dhuaan gootan aur bimaari
dhuaan gootan aur bimaari
yahaan jawaan mard ke baal pakey
har kuchh bikta hai is nagri mein
bol tumhaara chaar takey
arre chaar take bhi naahin kam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
 
wahaan aankh bichaaye baithi radha
aansoo uske sookh gaye
wahaan aankh bichaaye baithi radha
aansoo uske sookh gaye
bachche jo peechhe chhode wo
shaql baap ki dbhool gaye
bachche jo peechhe chhode wo
shaql baap ki bhool gaye
arre bhool gaye to kya hai gham
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
bam bam bam bam
arre bambai bambai bambai bambai bam
bam bam bam bam
 
haaaaaaaaaaa
arre kameenon
beimaanon
badh badh taane dete ho
phir bharti kyunkar hote ho
tum phir bharti kyunkar hote ho
dham chik chik dham chik dham
arre bina bhulaaye tum mehmaan
upar se ho namak haram
waapas jaao
hari gun gaao,,o
waapas jaao
hari gun gaao
yahaan tumhaara kya hai kaam
yahaan timhaara kya hai kaam
kissa abhi karo ye khatam
khatam khatam bhai karo khatam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
bam b-bam b-bam bam bam bam
arre bambai bambai bambai bambai bam
bam b-bam b-bam bam bam bam
 
aiyya
paapi pet yahaan le aaya…aa….aa
arre paapi pet yahaan le aaya
nagar nahi ye bhul bhulaiyya
khoon paseena yahaan bahaaya
arre khoon paseena yahaan bahaaya
iss nagri ka namak chukaaya..aa aa aa aaa
yahin basera ho ab hardam
yahin basera ho ab hardam
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
b-bam bam bambai
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4285 Post No. : 15533

Divinity remembered today. Divinity – as in the voice of the divine – KL Saigal.

A hundred and sixteen years ago, this day, 11th April in 1904, was born a child who would be a legend within his own lifetime, short as it was, and forever be one. The legend continues to sustain more than a hundred years hence. The sound of the songs rendered by him continue to enchant generation after generation of listeners whose constancy of devotion has not, cannot be influenced by the superfluity of singing voices that have also performed since then. Saigal is Saigal, in his own might, in his own dimension – a voice that has not been matched in its depth, in its sentimental expression, and the effect it has on the minds and hearts of the listeners.

In his obituary, Baburao Patel, the publisher of the iconic ‘Film India’, wrote thus, and I quote a small portion of it,

For a week, after the daily papers flashed the news of Saigal’s death, riots, politics and Pakistan went out of the news and Hindus, the Muslims, the Christians, the Jews, the touchables and the untouchables – one and all reverently discussed the sad and sudden death of Kundan Lal Saigal, the greatest singer the Indian screen has ever produced in its long history of misadventures.

People didn’t merely love Saigal. They revered his glorious voice and called it divine. In his death died the music of millions of souls and it was no wonder to find every person, with a musical ear, a mourner with millions of music lovers all over the country.

Trains, buses, trams, taxis, streets, theatres, parks, race-courses – wherever one happened to be it was the dead Saigal that lived again in the memory of his affectionate fans. Men and women, boys and girls, the young and the old, the rich and the poor – one and all told one another what a great singer Saigal had been an each according to the mould of his mind quoted a different song the greatest memory of the dead artists.

Saigal was the one single person who had given the screen music a rare emotion that soothed the aching souls of people in the travails of modern life.

Millions wept with him when in ‘Devdas’, his unforgettable song ‘Dukh ke din ab beetat nahin’ came from the screen with its agonizing melody and yet in its very agony gave to the millions a rare soothe, for, in Saigal’s rare voice there was pathos and joy, pain and pleasure, a stab and a soothe all at once, wedded to an incomparable melody never before heard on the screen anywhere in the world. Saigal was easily the world’s most emotional male singer.

The one phrase I may take a liberty to add to in this scintillating praise written by Baburao Patel – that it was not only “. . . an incomparable melody never before heard on the screen. . .”, but also “not ever since. . .”.

Back in June of 2017, when I had introduced the song “Nidniya Mori Bairan Oye Hoye Re”, from the film ‘Karwaan e Hayaat’,  (then newly traced film from 1935), I had summarized the story line of the film as follows.

Watching this clip, this film, seems like a journey through time, a journey to another dimension, another world – world that I had not seen ever before. The story of the film is about Parvez, a prince who has a lively and romantic outlook in life. The queen mother arranges for a betrothal for her son, and the prince, fearing the bonds of a matrimonial household and no romance, disappears from the palace and joins a band of gypsies, disguised as one himself, and changes the name to Naazu. This secret is known only to his very close friend and sidekick, Suhail (role played by Bikram Kapoor). There is another side of the story unfolding. The Emir of Tikkim, an adjoining kingdom (role played by Nawab) also fancies the same princess, with whom the queen mother has arranged the alliance for Parvez. He has the princess kidnapped, and as destiny would have it, hides her in the very same camp of gypsies. Parvez encounters the princess in the gypsy camp, and they fall in love. Parvez, who is prone to playful antics and pulling legs of others, does not disclose his true identity, and continues to romance the willing princess. Other complications intervene. The Wazir (prime minister) of the state, traces Parvez to the gypsy camp. The Emir of Tikkim comes to the camp with his soldiers to claim his kidnapped bounty. And Zarina, a beautiful gypsy girl at the camp (role played by Ratan Bai) falls in love with Parvez. All the circumstances rolled together, make for a real fun movie, which is a treat to watch. And the premium icing on the cake of course is KL Saigal, and the songs which were not released on gramophone records.

I bring on board today, another lost song from this film, which was not released in gramophone record. It is another wonderful group song that is presented in the ambiance of the gypsy camp that has been infiltrated by Parvez, masquerading as a commoner. On screen, we see the inimitable Saigal, performing this joie de vivre song of free spirit in the company of the band of gypsies who have arrived to set up another temporary camp in their nomadic travels across the land. Accompanying him on screen are Miss Molina, in the role of Sonia, a gypsy girl, and Pahadi Sanyal in the role of Rahat, a young gypsy man. There is a host of other members of the gypsy clan that join in chorus. In a brief scene, we also see Nemo, in the role of the old gypsy witch, sitting with young girls and reading their palms.

The song tells of the comparison between their life in the forest, and the life of the cities – “Shehron Mein Wo Baat Kahaan Jo Jungle Jungle Aawat Hai”. Listen, view and enjoy this rare original clip from the film, that has been restored to public domain recently.

KL Saigal – the magic continues, the legend sustains.

 

Song – Shehron Mein Wo Baat Kahaan (Karwaan e Hayaat) (1935) Singer – KL Saigal, Molina, Pahadi Sanyal, Lyrics – Hakim Ahmed Shuja Pasha, MD – Mihir Kiran Bhattacharya
Chorus

Lyrics

shehron maa wo baat kahaan jo
jungle jungle aawat hai jo
jungle jungle aawat hai
shehron maa wo baat kahaan jo
jungle jungle aawat hai jo
jungle jungle aawat hai
shehron maa wo baat kahaan jo

baandhe paanv maa painjaniya jab
bhor suhaani aawat hai
baandhe paanv maa painjaniya jab
bhor suhaani aawat hai
har ek chidiya apna gaana
komal sur maa sunaavat hai
har ek chidiya apna gaana
komal sur maa sunaavat hai

mehakat aavat purvaiya
ya mast suhaagan aavat hai
mehakat aavat purvaiya
ya mast suhaagan aavat hai
shehron maa wo baat kahaan jo
jungle jungle aawat hai jo
jungle jungle aawat hai
shehron maa wo baat kahaan jo

pachham maa jab suraj sunehri
kiran jaa ke chhipaawat hai
pachham maa jab suraj sunehri
kiran jaa ke chhipaawat hai
saanjh chadariya kaari odhe
saanjh chadariya kaari odhe
dheere dheere aawat hai
aawat hai
shor macha hai jungle maa ke
raat suhaani aawat hai
shor macha hai jungle maa ke
raat suhaani aawat hai
shehron maa wo baat kahaan jo
jungle jungle aawat hai jo
jungle jungle aawat hai
shehron maa wo baat kahaan jo

prem ki bansi rain hamaari
chaaron oar nachaavat hai
prem ki bansi rain hamaari
chaaron oar nachaava hai
chaand aur taaran ke akaash pe
sunder phool khilaawat hai
toot giri jo koi kali wo
toot giri jo koi kali wo
jugnu ban ke aawat hai
shehron maa wo baat kahaan jo
jungle jungle aawat hai jo
jungle jungle aawat hai
shehron maa wo baat kahaan jo

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

शहरों मा वो बात कहाँ जो
जंगल जंगल आवत है जो
जंगल जंगल आवत है
शहरों मा वो बात कहाँ जो
जंगल जंगल आवत है जो
जंगल जंगल आवत है
शहरों मा वो बात कहाँ जो

बांधे पाँव में पैंजनीया जब
भोर सुहानी आवत है
बांधे पाँव में पैंजनीया जब
भोर सुहानी आवत है
हर एक चिड़िया अपना गाना
कोमल सुर में सुनावत है
हर एक चिड़िया अपना गाना
कोमल सुर में सुनावत है

महकत आवत पुरवैया
या मस्त सुहागन आवत है
महकत आवत पुरवैया
या मस्त सुहागन आवत है
शहरों मा वो बात कहाँ जो
जंगल जंगल आवत है जो
जंगल जंगल आवत है
शहरों मा वो बात कहाँ जो

पच्छम मा जब सूरज सुनहरी
किरण जा के छिपावत है
पच्छम मा जब सूरज सुनहरी
किरण जा के छिपावत है
साँझ चदरिया कारी ओढ़े
साँझ चदरिया कारी ओढ़े
धीरे धीरे आवत है
आवत है
शोर मचा है जंगल मा के
रात सुहानी आवत है
शोर मचा है जंगल मा के
रात सुहानी आवत है
शहरों मा वो बात कहाँ जो
जंगल जंगल आवत है जो
जंगल जंगल आवत है
शहरों मा वो बात कहाँ जो

प्रेम की बंसी रैन हमारी
चारों ओर नचावत है
प्रेम की बंसी रैन हमारी
चारों ओर नचावत है
चाँद और तारन के आकाश पे
सुंदर फूल खिलावत है
टूट गिरी जो कोई काली वो
टूट गिरी जो कोई काली वो
जुगनू बन के आवत है
शहरों मा वो बात कहाँ जो
जंगल जंगल आवत है जो
जंगल जंगल आवत है
शहरों मा वो बात कहाँ जो


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4178 Post No. : 15355 Movie Count :

4233

Songs Repeated in Hindi Films – 14
– – – – – – – – – – – – – – – – – –

An iconic song from 1965 – absoute gem, absolutely unforgettable. “Kaanton Se Kheench Ke Ye Aanchal. . . Aaj Phir Jeene Ki Tamanna Hai” from the 1965 film ‘Guide’. Created by the greats of that era – Shailendra, SD Burman and Lata Mangeshkar. And coming from a film directed by Vijay Anand, one is assured that the picturization would be superlative, which it surely is. The song continues to sustain its beauty even after more than five decades. It is such a genuine treat both visually and aurally.

Eighteen years after this song came into being, it was used again in the 1983 film ‘Qayaamat’. This film is one of the plethora of crime-and-punishment films that crowded the screens during the 1980s and 90s. The main roles are played by Dharmendra, Shatrughan Sinha, Smita Patil, Jayaprada and Poonam Dhillon. Dharmendra and Shatrughan Sinha are close friends. But there is a falling out in their friendship, when Dharmendra is sent to jail, and he holds his police officer friend responsible for it. On returning from jail, he seeks to avenge himself for something that he considers as injustice meted out to him.

I have not seen the film and so will not be able to comment on the sequencing of this song within the storyline. Apparently, Jayaparada is the love interest of Dharmendra, and she appears in flashback in the movie. So there is some tragedy also related here. The occasion for the song is the birthday party of Shatrughan Sinha. Dharmendra is calling on a phone line to greet his friend. He finds out that Smita is about to sing a song at the party. He requests his friend to keep the phone line open so that he can listen. Then the song starts. It starts in the party, and almost immediately Dharmendra rewinds to the past where he sees Jayaprada singing in a very picturesque hillside setting. Rest of the song plays out in this flashback, returning to the party just moments before it ends.

Personally speaking, the song and its theme does not seem to fit into the birthday setting or even the hillside flashback interlude. It seems like force fitted, and completely out of place. But then that is just me.

The song has been reused in its original form. It is not re-recorded. So we get to enjoy the original audio, picturized on a different set of actors, in a different setting.

This song was identified and suggested by our dear Satyajit Rajurkar ji, for inclusion in this series. Thanks Satyajit ji.

 

Song – Aaj Phir Jeene Ki Tamanna Hai  (Qayaamat) (1983) Singers – Lata Mangeshkar, Lyrics – Shailendra, MD – SD Burman

Lyrics

ho o o
kaanton se kheench ke ye aanchal

tod ke bandhan baandhi paayal
ho o
koi na roko dil ki udaan ko
dil wo chalaa
aa aa aa aa aa aa
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai

apne hi bas mein nahin main
dil hai kahin to hoon kahin main
ho o o
apne hi bas mein nahin main
dil hai kahin to hoon kahin main
ho o o
jaane kya paake meri zindagi ne
hans kar kaha
haa haa haa aa ha aa
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai

main hoon gubaar yaa toofaan hoon
koi bataaye main kahaan hoon
ho o o
main hoon gubaar yaa toofaan hoon
ko
i bataaye main kahaan hoon
ho o o
dar hai safar mein kahin kho na jaaun main
rastaa nayaa
a a aa aa aa aa
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai

kal ke andheron se nikal ke
dekha hai aankhen malte malte
ho o o
kal ke andheron se nikal ke
dekha hai aankhen malte malte
ho o o
phool hi phool zindagi bahaar hai
tay kar liyaa
a a aa aa aa aa
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai

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

हो ओ ओ
काँटों से खींच के ये आँचल
तोड़ के बंधन बांधी पायल
हो ओ
कोई न रोको दिल की उड़ान को
दिल वो चला
आ आ आ आ आ आ

आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है

अपने ही बस में नहीं मैं
दिल है कहीं तो हूँ कहीं मैं
हो ओ ओ
अपने ही बस में नहीं मैं
दिल है कहीं तो हूँ कहीं मैं
हो ओ ओ
जाने क्या पा के मेरी ज़िंदगी ने
हंस कर कहा
हा हा हा आ हा आ
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है

मैं हूँ गुबार या तूफाँ हूँ
कोई बताए मैं कहाँ हूँ
हो ओ ओ
मैं हूँ गुबार या तूफाँ हूँ
कोई बताए मैं कहाँ हूँ
हो ओ ओ
डर है सफर में कहीं खो ना जाऊँ मैं
रस्ता नया
आ आ आ आ आ आ
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है

कल के अँधेरों से निकल के
देखा है आँखें मलते मलते
हो ओ ओ
कल के अँधेरों से निकल के
देखा है आँखें मलते मलते
हो ओ ओ
फूल ही फूल ज़िंदगी बहार है
तय कर लिया
आ आ आ आ आ आ
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है


This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4031 Post No. : 15151

August 1st

Important for me, used to be my mom’s birthday. Thinking of her has only reinforced my feelings that the song with this post convey. She was one lively person who smiled through her illness and never let us know how much pain she was going through. She was always ready to accompany my dad on whatever tour he chose to organise. And I am sure they enjoyed every bit of their time and life together. That is the exact feeling that today’s song speaks of.

“Live life as if there are no tomorrows” – Kal Kya Hoga Kis Ko Pata, Abhi Zindagi Ka Le Lo Mazaa.

August 1st also happens to be the birth anniversaries of Meena Kumari and Bhagwan Dada. Meena Kumari, born Mahjabeen Bano, would have been 86 and Bhagwan Dada, born Bhagwan Abhaji Palav, would have been 103.

Both the actors had their share of fame and were lead actors in many movies. Master Bhagwan, as Bhagwan Dada used to be known in the early years, started his career in the era of silent films. And Meena Kumari stepped into films as a child artist sometimes in the early 1940s. They were part of a few movies together where Meena Kumari was the heroine and Bhagwan lead the comic side plot for example ‘Bandish’ (1955), ‘Main Bhi Ladki Hoon’ (1964} etc.

They had successful careers through the 1960s. We lost Meena Kumari in the beginning of the 70s but Bhagwan Dada was still there and I remember seeing him in many movies doing his signature step dance. In the initial stages of my movie watching I was unaware that he was such a huge star of his times. I always saw him as a side-kick or a dancer who was given prominence in various group dance numbers. Much later I happened to see his songs of ‘Albela’ and I realized that he was being copied by the actors of the 70s – HE was their inspiration. After associating with this blog, I read about his life and times and felt sad that what went up had to go down too. Probably he too subscribed to the thoughts of today’s song and lived in his “todays as if there were no tomorrows”.

Rose Movies’ ‘Kasme Vaade’ (1978) was produced and directed by Ramesh Behl. It had Rakhee, Neetu Singh, Amitabh Bachchan, Randhir Kapoor in the main lead with Rekha in a guest appearance and Amjad Khan in special appearance. Master Bhagwan (Dada) was there for one song at the start of the film. That song was meant to show the happy-go-lucky character of Randhir Kapoor. We find RK on a night out with his cronies, running amok in the streets doing wheelies etc. (it is obvious that all the motor bike stunts are by a body double) and that is the situation for today’s song.

I had always wanted to present this song on the blog to highlight Bhagwan Dada’s steps and dancing. Finally, here it is.

Video

Audio

Song – Praani Bhatak Raha Hai Ban Ban Mein. . . Kal Kya Hoga Kisko Pata  (Kasme Vaade) (1978) Singer – RD Burman, Lyrics – Gulshan Baawra, MD – RD Burman
Male Voice
Chorus

Lyrics (Provided by Prakashchandra)

aa..aayen
praa..aani. . .
bhatak rahaa
ban ban mein. . .

aah haaa
waah bhai waah

ye nahi jaane
paagal pre..ae..ae..ae..mi
rabb hai
uske..ae..ae..ae mann mein

arre isi liye to keh gaye hain

jati sati
karmi gati

aaye
miley jo sang pisach ka
sada miley
buri mati
buri mati

but where is bhaanumati?

ha ha ha ha
bhanumati?

arrey bhanumati ne qunba joda
bhanumati ne qunba joda
aaye haaye eent yahan ki wahaan ko roda
eent yahan ki wahaan ko roda

arre phir se gao
bhanumati ne qunba joda
(hoooo oooooo)
eent yahan ki wahaan ko roda
(hoooo oooooo)
bhanumati ne qunba joda
(hoooo oooooo)
eent yahan ki wahaan ko roda
(hoooo oooooo)

arrr ram paa
arrr ram paa
arrr ram paa
arrr ram paa

he he he he
he he hehe
la laa laa laa laa
laa la laa la laa
la laa laa laa laa
laa la laa la laa
la laa laa laa laa
laa la laa la laa

kal kya hoga kis ko pata
abhi zindagi ka le lo mazaa
kal kya hoga kis ko pata
abhi zindagi ka le lo mazaa
kal kya hoga kis ko pata
abhi zindagi ka le lo mazaa
kal kya hoga kis ko pata
abhi zindagi ka le lo mazaa

hey
dil waalo
duniya ki aisi taisi. . .
har pal
apna hai
din kaisa raat kaisi
oo hoooo hooo
hhooooo hoooo
hhooooo hoooo
hhooooo hoooo

hey
hey
aish karo
aish karo
nacho gao khao piyo
nacho gao khao piyo.
hey
hey
arre jeena hai to
jeena hai to
masti mein reh ke jiyo
masti mein reh ke jiyo

arrr ram paa
arrr ram paa
arrr ram paa
arrr ram paa

he he he he
he he hehe
la laa laa laa laa
laa la laa la laa
kal kya hoga kis ko pata
abhi zindagi ka le lo mazaa
kal kya hoga kis ko pata
abhi zindagi ka le lo mazaa
kal kya hoga kis ko pata
abhi zindagi ka le lo mazaa

hey hey hey
hum jahaan
halla gulla hoga wahin
hum se ye
duniya hai
duniya se hum nahi
pak pakau pakau pakau pakau
pak pakau pakau pakau pakau
hey hey hoo haa
hey hey hey hey
hey hey hoo haa
hey ae ae ae

hey
hey
jab tak
jab tak
dum mein hai dum pyaare
dum mein hai dum pyaare
hey
hey
tab tak
tab tak
kahe ka hai gum pyaare
kaahe ka hai gum pyaare

arrr ram paa
arrr ram paa
arrr ram paa
arrr ram paa

he he he he
he he hehe
la laa laa laa laa
laa la laa la laa
kal kya hoga kis ko pata
abhi zindagi ka le lo mazaa
kal kya hoga kis ko pata
abhi zindagi ka le lo mazaa
kal kya hoga kis ko pata
abhi zindagi ka le lo mazaa

kal kya hoga
kis ko pata
abhi zindagi ka
le lo mazaa

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

आ॰॰आ॰॰आयें
प्रा॰॰आणि॰ ॰ ॰
भटक रहा
बन बन में॰ ॰ ॰

आह हा
वाह भई वाह

ये नहीं जाने
पागल प्रे॰॰ए॰॰ए॰॰ए॰॰मी
रब्ब है
उसके॰॰ए॰॰ए॰॰ए॰॰ मन में

अरे इसी लिए तो कह गए हैं

जति सती
करमी गति
आय
मिले जो संग पिशाच का
सदा मिले
बुरी मति
बुरी मति

बट व्हेर इज़ बहनुमती?

हा हा हा हा
बहनुमती?

अरे भानुमती ने कुनबा जोड़ा
भानुमती ने कुनबा जोड़ा
आय हाय ईंट यहाँ की वहाँ का रोड़ा
ईंट यहाँ की वहाँ का रोड़ा

अरे फिर से गाओ
भानुमती ने कुनबा जोड़ा
(हो॰ ॰ ॰ ओ॰ ॰ ॰)
ईंट यहाँ की वहाँ का रोड़ा
(हो॰ ॰ ॰ ओ॰ ॰ ॰)
भानुमती ने कुनबा जोड़ा
(हो॰ ॰ ॰ ओ॰ ॰ ॰)
ईंट यहाँ की वहाँ का रोड़ा
(हो॰ ॰ ॰ ओ॰ ॰ ॰)

अर्रर्र रमप्पा
अर्रर्र रमप्पा
अर्रर्र रमप्पा
अर्रर्र रमप्पा

हे हे हे हे
हे हे हेहे
ल ला ला ला ला
ला लल्ल ल ला
ल ला ला ला ला
ला लल्ल ल ला
ल ला ला ला ला
ला लल्ल ल ला

कल क्या होगा किसको पता
अभी ज़िंदगी का ले लो मज़ा
कल क्या होगा किसको पता
अभी ज़िंदगी का ले लो मज़ा
कल क्या होगा किसको पता
अभी ज़िंदगी का ले लो मज़ा
कल क्या होगा किसको पता
अभी ज़िंदगी का ले लो मज़ा

हे
दिल वालो
दुनिया की ऐसी तैसी॰ ॰ ॰
हर पल
अपना है
दिन कैसा रात कैसी
ओ होsss होssss
होsss होssss
होsss होssss
होsss होssss

हे
हे
ऐश करो
ऐश करो
नाचो गाओ खाओ पियो
नाचो गाओ खाओ पियो
हे
हे
अरे जीना है तो
जीना है तो
मस्ती में रह के जियो
मस्ती में रह के जियो

अर्रर्र रमप्पा
अर्रर्र रमप्पा
अर्रर्र रमप्पा
अर्रर्र रमप्पा

हे हे हे हे
हे हे हे हे
ल ला ला ला ला
ला लल्ल ल ला
कल क्या होगा किसको पता
अभी ज़िंदगी का ले लो मज़ा
कल क्या होगा किसको पता
अभी ज़िंदगी का ले लो मज़ा
कल क्या होगा किसको पता
अभी ज़िंदगी का ले लो मज़ा

हे हे हे
हम जहां
हल्ला गुल्ला होगा वहीं
हमसे ये
दुनिया है
दुनिया से हम नहीं

पक पकाऊ पकाऊ पकाऊ पकाऊ
पक पकाऊ पकाऊ पकाऊ पकाऊ

हे हे हू हा
हे हे हे हे
हे हे हू हा
हे ए ए ए

हे
हे
जब तक
तब तक
दम में है दम प्यारे
दम में है दम प्यारे
तब तक
तब तक
काहे का है ग़म प्यारे
काहे का है ग़म प्यारे

अर्रर्र रमप्पा
अर्रर्र रमप्पा
अर्रर्र रमप्पा
अर्रर्र रमप्पा

हे हे हे हे
हे हे हे हे
ल ला ला ला ला
ला लल्ल ल ला
कल क्या होगा किसको पता
अभी ज़िंदगी का ले लो मज़ा
कल क्या होगा किसको पता
अभी ज़िंदगी का ले लो मज़ा
कल क्या होगा किसको पता
अभी ज़िंदगी का ले लो मज़ा

कल क्या होगा
किसको पता
अभी ज़िंदगी का
ले लो मज़ा


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4018 Post No. : 15129

It is the 8th year of my association with our Blog. I do not remember the date but it was in the month of July 2011 when I found this musical  Blog. I began my formal association with the Blog by posting my first comment sometime in the last week of July 2011. It was much later  I came to know that the Blog had then just completed its third birth anniversary.

Congratulation to Atul ji and his bandwagon for completing today the 11th year of the Blog. Over a period of time, our Blog has transformed into a cooperative movement to propagate Hindi film and non-film music especially of the vintage and the golden periods.

My interest in Hindi film music began during the early days of Binaca Geet Mala which used to be broadcast on Radio Ceylon every Wednesday. But it was during the late 1960s that I developed interest in the nitty gritty of Hindi film songs. I became the collector of 78 rpm gramophone records of popular as well as the then rare songs mostly of films released during 1940s to 1960s. However, by 1972-73, I had become disillusioned with my hobby for number of reasons, the main reason being the undesirable practices of a few of the record collectors and sellers.

During 1990s to 2000s, I was virtually cut off from the Hindi film music of the golden era as even my record player became irreparable and the India-made new ones were not available. The radio had become almost redundant. During this phase, I used to regularly watch TV programmes on Doordarshan (for Chitrahaar), Channel [V] and MTV. At that time, I started liking Hindi pop songs (Indipop). Those were the days when Hindi pop songs had become very popular to the extent that they were competing with Hindi film songs in terms of sales of the song albums. Among the Hindi pop singers, Alisha Chinoy, Sunita Rao, Sweta Shetty, Phalguni Pathak, Palash Sen, Diler Mehndi, Lucky Ali, Sonu Nigam and many others became very popular. The popularity of Hindi pop songs attracted some of the already well-established artists like Asha Bhonsle, Nusrat Fateh Ali Khan, Shubha Mudgal, AR Rehman, Majrooh Sultanpuri, Javed Akhtar etc. who got associated with Indipop.

After my final retirement from the service in June 2009, I again got interested in Hindi film music. It was during this phase when I came across this Blog and my interest in the Hindi film music was revived. But the most important contribution of the Blog for me was that my hobby of listening Hindi film songs got expanded to cover non-film songs and research in Hindi films and the music. The Blog has become a learning curve for me insofar as Hindi films and non-films music are concerned.

On the occasion of the 11th birth anniversary of our musical Blog, I have chosen one of my favourite indipop songs of the new millennium. The song is ‘Jahaan Ho Pyaar Ka Mausam’ (2002) rendered by the all-girls VIVA Band consisting of Seema Ramchandani, Pratichee Mohapatra, Neha Bhasin, Mahua Kamat and Anushka Manchanda. The song is written by Javed Akhtar which is set to music by Jatin-Lalit.

The song has a very thought provoking mukhda which has a universal appeal:

jahaan ho pyaar ka mausam
jahaan sab dilon ka ho sangam
jahaan meethi ho sab logon ki zubaan
haan
mujhe aise nagar hai jaana
main aisa nagar dhoondh loongi kahin na kahin

 When I heard this song recently after a long gap, it immediately struck me that the mukhda of the song was very apt for our Blog. For me, our Blog is the place where there is an atmosphere of love, union of hearts and minds. And where everyone speaks in a language of respect.

I should give some background about the song under discussion. In 2002, Channel [V] decided to promote pop stars in India. They started the first Indian version of the International Popstars Talent Show in 2002 in which 5 girls got selected. They formed a band named as VIVA. Their first album, VIVA produced by Times Music and Channel [V] was released in June 2002 which had 8 songs, including the song under discussion. All the songs were written by Javed Akhtar but they were  set to music individually by Shankar-Ehsan-Loy, Jatin-Lalit, Sandeep Chowta, Raju Singh, Kersi Lord and Ashtosh-Dhruv. The album received a very good response and in the first year itself, sales of albums crossed 5 lakhs.

VIVA Band got split within two years of its formation despite unprecedented success of its two albums. Probably, the girls in the band could not handle their sudden fame. Later, all of them pursued their solo careers in music and the related fields.

I had watched the video of the song under discussion umpteen times on TV during 2002-03. I always liked it for its meaningful lyrics and comparatively soft musical interludes than some of other Indipops.

For those who had watched the video of the song on TV in early 2000, it will be a nostalgic experience.

Audio

Video

 

Song – Jahaan Ho Pyaar Ka Mausam (NFS – VIVA) (2002) Singer – Seema Ramchandani, Pratichee Mohapatra, Neha Bhasin, Mahua Kamat, Anushka Manchanda, Lyrics – Javed Akhtar, MD – Jatin-Lalit

Lyrics


oou oou oou oou oou
oou oou oou oou

jahaan ho pyaar ka mausam
jahaan sab dilon ka ho sangam
jahaan meethi ho sab logon ki zubaan
haan

jahaan ho pyaar ka mausam
jahaan sab dilon ka ho sangam
jahaan meethi ho sab logon ki zubaan
haan
jahaan ho pyaar ka mausam
jahaan sab dilon ka ho sangam
jahaan meethi ho sab logon ki zubaan
haan
mujhe aise nagar hai jaana
main aisa nagar dhoondh loongi
kahin na kahin

jahaan ho pyaar ka mausam
jahaan sab dilon ka ho sangam
jahaan meethi ho sab logon ki zubaan
haan
mujhe aise nagar hai jaana
main aisa nagar dhoondh loongi
kahin na kahin

jahaan ho pyaar ka mausam
jahaan sab dilon ka ho sangam
 
baaton mein ho ghul gayi
saare geeton ki jaise narmiyaan
aankhon mein ho yun khushi
moti bhari hon jaise seepiyaan
jahaan goonje prem shehnaai
jahaan zindagi le angdaai
jahaan har ghadi khushi ki ho daastaan
jahaan goonje prem shehnaai
jahan zindagi le angdaai
jahan har ghadi khushi ki ho daastaan
haan
mujhe aise nagar hai jaana
main aisa nagar dhoondh loongi
kahin na kahin

jahaan ho pyaar ka mausam
jahaan sab dilon ka ho sangam

rou rou rou rou rou
rou rou rou rou
rou rou rou rou

aisa ho nagar jahaan
chimni ka dhuaan phaila na ho
raahon mein hawaaon ka
aanchal zara bhi maila na ho
jahaan thande thande ho saaye
jahaan haule haule neend aaye
jahaan khwaab khwaab lagta ho har sama
jahaan thande thande ho saaye
jahaan houle houle neend aaye
jahaan khwaab khwaab lagta ho har sama
haan
mujhe aise nagar hai jaana
main aisa nagar dhoondh loongi
kahin na kahin

jahaan ho pyaar ka mausam
jahaan sab dilon ka ho sangam
jahaan meethi ho sab logon ki zubaan
haan
mujhe aise nagar hai jaana
main aisa nagar dhoondh loongi
kahin na kahin

jahaan ho pyaar ka mausam
jahaan sab dilon ka ho sangam

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

ऊ ऊ ऊ ऊ ऊ
ऊ ऊ ऊ ऊ

जहां हो प्यार का मौसम
जहां सब दिलों का हो संगम
जहां मीठी हो सब लोगों की ज़ुबान
हाँ

जहां हो प्यार का मौसम
जहां सब दिलों का हो संगम
जहां मीठी हो सब लोगों की ज़ुबान
हाँ
जहां हो प्यार का मौसम
जहां सब दिलों का हो संगम
जहां मीठी हो सब लोगों की ज़ुबान
हाँ
मुझे ऐसे नगर है जाना
मैं ऐसा नगर ढूंढ लूँगी
कहीं ना कहीं
जहां हो प्यार का मौसम
जहां सब दिलों का हो संगम
जहां मीठी हो सब लोगों की ज़ुबान
हाँ
मुझे ऐसे नगर है जाना
मैं ऐसा नगर ढूंढ लूँगी
कहीं ना कहीं
जहां हो प्यार का मौसम
जहां सब दिलों का हो संगम

बातों में हों घुल गई
सारे गीतों की जैसे नर्मियाँ
आँखों में हो यूं खुशी
मोती भरी हों जैसे सीपीयाँ
जहां गूँजे प्रेम शहनाई
जहां ज़िंदगी ले अंगड़ाई
जहां हर घड़ी खुशी की हो दास्ताँ
जहां गूँजे प्रेम शहनाई
जहां ज़िंदगी ले अंगड़ाई
जहां हर घड़ी खुशी की हो दास्ताँ
हाँ
मुझे ऐसे नगर है जाना
मैं ऐसा नगर ढूंढ लूँगी
कहीं ना कहीं
जहां हो प्यार का मौसम
जहां सब दिलों का हो संगम

रू रू रू रू रू
रू रू रू रू
रू रू रू रू

ऐसा हो नगर जहां
चिमनी का धुआँ फैला ना हो
राहों में हवाओं का
आंचल ज़रा मैला ना हो
जहां ठंडे ठंडे हों साये
जहां हौले हौले नींद आए
जहां ख्वाब ख्वाब लगता हो हर समा
जहां ठंडे ठंडे हों साये
जहां हौले हौले नींद आए
जहां ख्वाब ख्वाब लगता हो हर समा
हाँ
मुझे ऐसे नगर है जाना
मैं ऐसा नगर ढूंढ लूँगी
कहीं ना कहीं
जहां हो प्यार का मौसम
जहां सब दिलों का हो संगम
जहां मीठी हो सब लोगों की ज़ुबान
हाँ
मुझे ऐसे नगर है जाना
मैं ऐसा नगर ढूंढ लूँगी
कहीं ना कहीं
जहां हो प्यार का मौसम
जहां सब दिलों का हो संगम


This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3989 Post No. : 15078 Movie Count :

4136

I hope to bring in a party mood with today’s post. We are celebrating something very important. We are wishing our leader good health, good times, good infrastructure in the form of uninterrupted power supply and good broadband facilities. We are also wishing that he never loses interest in adding new posts and finds for us hitherto unheard songs from rare movies and gives us rare combinations in terms of music directors, singers, actors etc. And I promise on behalf of fellow followers of the blog that we will not stop following the blog, keep sending new farmaishes (requests), and the regulars will also help you keep track of upcoming milestones, birthdays anniversaries etc.

I am sure I have the support of all Atulites in what I have promised our dear Atulji. So, let us all wish him a very Happy Birthday. May you relentlessly keep the blog moving. 🙂

The party song with this post is from Dharma Prorductions’ 2006 release ‘Kabhi Alvida Naa Kehna’ which was directed by Karan Johar and starred his friend and favourite Shahrukh Khan with Rani Mukherjee, Preity Zinta, Kiron Kher, Amitabh Bachchan, Abhishek Bachchan with guest appearances by Arjun Rampal, Kajol and a few others. The movie had Shankar-Ehsaan- Loy for music directors and Javed Akhtar as the lyricist. Today’s song is in the voices of Shankar Mahadevan, Loy Mendonsa, Vasundhara Das and Shaan.

Happy Birthday Atulji!!! Lets party tonight.

 

Song – Where’s The Party Tonight  (Kabhi Alvida Na Kehna) (2006) Singer – Shankar Mahadevan, Loy Mendonsa, Vasundhara Das, Shaan, Lyrics – Javed Akhtar, MD – Shankar-Ehsaan-Loy
Shankar Mahadevan + Vasundhara Das
Female Chorus
Male Chorus
All Together

Lyrics

nacho nite
gotta nach all nite
do you feel alright
wanna nach all nite

nacho nite
gotta nach all nite
do you feel alright
wanna nach all nite

dance with me baby
won’t you dance with me all night
won’t you party party party
won’t you burn the floor all night

nacho nite
gotta nach all nite
do you feel alright
wanna nach all nite

dance with me baby
won’t you dance with me all night
won’t you party party party
won’t you burn the floor all night

pyare pyare lamhe
lamhe lamhe
pyari pyari baatein
baatein baatein
sapno ke din hain
din hain din hain
sapno ki raatein
raatein raatein
ho gunje hai dil ke tarane
bajne hai geet suhane
behke hai sare deewane
toh nach le nach le whole night

where’s the party tonight
somewhere down the road
where’s the party tonight,
on the dance floor
oh sapno ke din hai,
sapno ki raatein
where’s the party tonight

dance with me baby
won’t you dance with me all night
won’t you party party party
won’t you burn the floor all night
nacho nite
gotta nach all nite
do you feel alright
wanna nach all nite

oooo sajna aa
oooo sajna aa
tere bina main nahi
ooooooo

i wanna go dancing
where’s the
take you out
party tonight
i wanna go dancing
where’s the
let’s scream and shout
i wanna go dancing
where’s the
take you out
party tonight
i wanna go dancing
where’s the
let’s scream and shout
party tonight

jo meri manzil tha,
paagal jispe dil tha
ha wo mujhe mil gaya
phool jo mehka tha,
jispe dil behka tha
baahon mein woh khil gaya
meheki hai pyar ki raahein,
beheki hai saari nigahein
phaili hai khwabon ki baahein
toh nachle nachle whole night
where’s the party tonight,
somewhere down the road
where’s the party tonight,
on the dance floor
oh sapno ke din hai,
sapno ki raatein
where’s the party tonight

nach
nach all nite
get it right
nach
nach all nite
get it right

meri ye kahani
jiski hoon deewani
woh hai deewana mera
jo hai dil ki rani
usko bhi zabani
yaad hai fasana mera
ho puri hui koi kahani 
mil gayi dil ki nishani
jhoom uthi ye zindagaani
toh nachle nachle all night
where’s the party tonight,
somewhere down the road
where’s the party tonight,
on the dance floor
ho sapno ke din hai,
sapno ki raatein
where’s the party tonight
where’s the party tonight,
somewhere down the road
where’s the party tonight,
on the dance floor
ho sapno ke din hai,
sapno ki raatein
where’s the party tonight
aaaa aaaaa

aaa aaaaaa

i wanna go dancing
where’s the
take you out
party tonight
i wanna go dancing
where’s the
let’s scream and shout
i wanna go dancing
where’s the
take you out
party tonight
i wanna go dancing
where’s the
let’s scream and shout
party tonight


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3951 Post No. : 15027

Today’s song is from film Captain Kishore-1957. It is sung by Geeta Dutt under the baton of the magician of melody-Chitragupt.

Today I am deviating from my usual style of writing, because I am writing on my favourite singer- Geeta Dutt. So, no biography of any artiste and no other details. Only Geeta Dutt !

Long back, in our management class, our Professor conducted a survey in the class. He asked us to write the name of the Toothpaste we were using. Those days too, Colgate was the Brand leader. We were 30 students in the class. I was using Macleans’ (a brand that was available in India in those days), so I wrote Macleans’. Then he collected all 30 chits,added his own and started reading. The result was Macleans’-8, Kolynos-7, Colgate-7, Forhans-6 and 3 were using tooth powder. He explained to us that even the Brand leader, not necessary always, will lead in all consumer groups. It is a collective total which gives the leader its position.

The same is the case in any other field. Take the case of female playback Singers. From 1950s to 1970s, Lata was the Brand Leader, but personally I always liked Geeta Dutt. I simply loved Geeta’s voice which had so much flexibility and was also so soulful.

When you hear her sing Meera Bhajan, you get lost in Bhakti Ras, listen to her sad songs and gloom descends on you and hear her club/cabaret song,you feel like tapping or dancing. It seems like as if Geeta never bothered to be the No.1,she only wanted to be honest to her singing. She was a pure soul bearing no envy towards anyone. There is always a discussion whether she gave her best to S.D.Burman or O.P.Nayyar songs. Not many know that Geeta worked with more than 150 composers. I personally dont believe she ever compromised in her performance. Whether she sang for a well known composer,or an unknown one like M.A.Rouf, S.L.Pardeshi, Manohar, D.V.Gadekar, Kumar, M.Masurekar, T.K.Das, Ali Husain,Pt.Harbanslal or Rajhuns,she put all her soul and skill in rendering the song.

There is, however, always a personal liking. I always liked Geeta’s songs with O P Nayyar. Their association started with the film Aasman (1952). Though her songs like “dekho jaadu bhare more nain’ were very melodious and became quite popular,the film had flopped. The subsequent film Baaz (1953) was also the same story. Good songs-film flopped. But then Aarpar (1954), Mr. and Mrs.55, Musafirkhana (1955) and Miss Cocacola and C.I.D.-in 1956 brought commercial success. After C.I.D. in the year 1957, Geeta suffered on 2 counts. One,O.P.Nayyar started grooming Asha Bhosale and secondly Geeta was facing a lot of personal problems. The singing assignments coming her way were getting lesser and even she was cutting down on the same. In fact, she had expressed desire to completely stop singing in the year 1957.

In the year 1958 she got only 10 songs from O.P.Nayyar. But then she sang the iconic song in Howrah Bridge which made her name Amar in the history of Golden Age of HFM for ever. This incident has been narrated by the famous film/music writer Issac Mujaawar in the Marathi magazine Rasrang. When Howrah Bridge was being made,it was evident that all the songs will go to Asha. By that time ASHA had mastered the art of singing club/cabaret songs. It is said that rehersals were done for”Mera naam chin chin chu”. Shakti Samanta was the Director of the film. O.P.Nayyar never tolerated any interference fro the Producers or the Directors. Shakti da wanted that song to go to Geeta,as he genuinely felt that she is better suited to sing it. He called Nayyar one day and coolly explained to him the situation. Miraculously,Nayyar accepted the suggestion without a word of protest. May be his conscience was biting him,or may be he too thought on those lines. Whatever be the reason,Geeta was summoned next day and the song was given to her. The rest is History…….as they say !

The Dance Director was A Satyanarayana,who participated in almost every club dance he choreographed. He did an excellent job for this song and the song became the highlight of the film,along with Asha’s ‘Aayiye meherban’. This is my most favourite song for 3 reasons.One-the tune is very catchy, two-Geeta ji’s voice is very seductive here and three-the choreography of the song is just superb !

Now, cut to….

City- Bombay

Date- 20th July 1972
Place- Harkissondas Hospital,Bombay

Few people were standing in the corridor . Anxiety,sorrow,helplessness and a little hope was clearly writ on their faces.They were all quiet.No one was talking to anyone.Their body language gave away their agony and restlessness.

Suddenly,a Doctor came out of a patient’s room.All ran to him and then stopped.The Doctor’s face and the tears in his eyes told them what they were afraid of !
No one said anything.No one asked anything. The Doctor said, ” I am sorry.She is no more.” He left, dragging his heavy feet.

The end of an Angel had come !
Geeta Dutt was gone for ever !!
Only her memories and the inimitable voice was left behind !!!

Born on 23-11-1930 at Idlapur in Fareedkot District of East Bengal,to a big Zamindar,Devendranath Roy Chaudhury and Amiya Roy Chaudhury,Geeta inherited her mother’s love for music.She learnt Classical Music from Pt.Hirendranath Chaudhury,while studying in an Anglo-Bangla school.

When she was just 12 year old,the family had to run away from East Bengal,to save their lives-leaving all property behind- to Bombay. In Bombay,we all know how Pt. Hanuman Prasad,MD(ex husband of Lalita Pawar) discovered her for playback in Hindi films. Later when S D Burman heard her singing,he knew instinctively that this was the voice which will make him successful and establish in Bombay.Till then Burman had not succeeded much to his satisfaction. To give her songs in ‘ Do Bhai ‘-47, he had to convince Chunilal of Filmistan,with great difficulty.

Geeta did not disappoint.’ Mera sunder sapna beet gaya” and ” Yaad karoge” made history and put both Geeta and Burman in Top league overnight.

Do Bhai made other famous composers to sit up and take notice of this new voice. They lined up to give Geeta ‘ Gaaon’-47(Khemchand Prakash), Leela, Shehnai and Saajan-47 ( C.Ramchandra), Geet Govind-47 (Gyan Dutt), Actress-48 (Shyamsunder), Chunariya-48 (Hansraj Behl), Padmini-48 (Ghulam Hyder) and Ek thi Larki-49(Vinod).

1950 was Geeta’s year.Many hits came – Banwre nain, Har Har Mahadev and Jogan solidified her position on Top.Composers felt she was inevitable,for their success.

Before recording, Geeta used to sit with Lyricist,understand the words and the implied meanings, then hear the tune from the composer and then sing in her own style. Basically, Geeta was very Gifted and hence with just one rehearsal, she could record the song to the entire satisfaction of all concerned. This made her the darling of the Composers.

Now,the newer MDs like,Hemant kumar, Vasant Desai, Madan Mohan and O P Nayyar also vied with each others to take Geeta. While doing Baazi -51, she met Guru Dutt and they got married on 26-5-1953. She was earning thousands of rupees in singing,but that time Guru Dutt was not that successful.Some magazines and Papers,said that he married Geeta for her money. Guru Dutt was furious and asked Geeta NOT to sing for others,restricting her to only his films.This suffocated her and she rebelled against it,which spoiled their relationship further.

Geeta had a liking and flair for acting. In Calcutta,she had acted as a Heroine in Bangla film-‘ Badhu Baran”. She got many offers but once she decided to settle in Bombay she refused all offers. Few people know that in Bombay a Hindi film- ‘ Tera saath hai Pyaara ‘,with Geeta as a Heroine had started,but unfortunately,after few reels,the film got shelved. To give a chance to her and to mend their relationship, Guru Dutt started filming ‘ Gauri” with Geeta as a heroine. However due to reasons well known to all, Geeta gave up this Bangla film, half way. This made the couple more distanced from each others. We all know the story’s end…..

Somewhere in 1971,there was a programme ” Yaaden Shakeel ki” in Bhaidas Hall, Parle. I had gone to that programme and I saw Geeta Dutt there.Many singers had come there-Rafi, Mukesh, Mahendra kapoor, Chandru Atma and Lata. When Lata was to come for singing there was a flurry of activity on the stage with everybody trying to please Lata. Lata came,sang and left like a Queen. When Geeta came on the stage, hardly anyone did anything for her. This is how this world is ! Geeta came, drew Harmonium near her and sang a Gazal of Shakeel Badayuni. When she finished,there was a clapping louder than what Lata had received,from the Audience-people knew her value !!

Geeta was optimistic even in 1971. She used to say, ‘ If 2 hit songs in Aradhana can take Kishore Kumar to the Top, even 2 Hit songs for me will do the same.” But it was not to be. Even the regular composers like O P Nayyar turned their backs on her. The Destiny decided to call her back !!!

One of my regrets was that if only Naushad had supported Geeta, she would have gained eminence for his songs for ever, like Saigal, Surendra, Parul Ghosh, Zohrabai, Amirbai, Naseem Akhtar, Shamshad, Noorjehan, Suraiya, UmaDevi, Talat, Mukesh, Rafi and Lata….but Geeta’s name was not in this list. I am not a statistician,so I can not say how many songs she sang for Naushad, but I am sure it was almost nothing !

Geeta’s voice was typical Bengali.She sang sad songs most wonderfully. Burman da who gave her emotional songs in Do Bhai, also gave her peppy club songs in Baazi, to make use of the sexy tinge in her voice. Further O P Nayyar fully exploited this special feature in Geeta’s voice. Her voice was sometimes sweet sometimes Namkeen. It had a depth. In this case, Geeta was one step ahead of Lata. Geeta’s voice was different for every situation. When she sang,’ Baat chalat nayee chunari’, you felt she would have been a better singer- classical singer than Laxmishankar. When she sang,’ Main to Giridhar ke ghar jaoon ‘, you felt Oneness with God,hearing her Bhaktiras dripping voice.

Juthika Roy was famous for Meera Bhajans, but I always felt that her voice was same in any Bhajan, while Geeta’s Bhajans exuded different emotions in every Bhajan.

While singing Club songs, Geeta was a different person. Just recall that ‘Hey hey hey hey before Tadbeer se bigdi hui taqdeer bana le song or listen to O Babu O Lala or Mera naam chin chin chu, then you will realise what I am saying !

One very important point in Geeta’s singing is not highlighted by many. In Hindi films there are many Male and female versions of songs and many singers have sung them.While singing such female version songs, Geeta never lost to the male singers ! All Geeta versions were more popular than the Male versions.

Both Asha and Lata lost on this count.

You will remember Kishore’s ” Jeevan ke safar me raahi” but not Lata’s version. You will remember Talat’s ” Aye gham-e-dil kya karoon’ but not Asha’s version. Kishore was better than Asha in ” Zindagi ek safar hai Suhana” versions and also Kishore was better than Lata’s version of ” Khilte hai gul yahan’.

When it comes to Geeta, she never lost to male versions. C H Atma’s ” Preetam aan milo” is remembered by less people than Geeta’s ” Preetam aan milo” from Mr. and Mrs.55 (same song. Written by Saroj Mohini Nayyar, O.P.’s wife). Geeta’s “Kaise koi jiye (Baadbaan)” is much better than Hemant Kumar’s version. Similarly,” Hai ye duniya kaun si'(Sailaab) and ‘ Na ye chand hoga”(Shart). In both songs, Geeta is superior and more popular than Hemant kumar. (There is a story behind the song-Na ye chaand Hoga. Once a jilted young lover committed suicide under train at Patna. In his pocket these lines were written on a paper-Tumhare liye hain, tumhare rahenge, Na ye chand hoga, na tare rahenge, magar hum hamesha tumhare rahenge. Lyricist S.H.Bihari used these lines in his song).

On 22nd July 1972,just 2 days after Geeta’s death, there was a preplanned programme of Juthika Roy in Birla Matoshri Sabhagriha,Bombay. I had booked my tickets well in advance, so I went there. In the beginning everyone paid respects to Geeta Dutt, by standing for 2 Minutes. Talat, Jagmohan and Surendra were also there. Then Juthika Roy came on stage, drew Harmonium near her and started singing ‘ Pag ghungaroo bandh…” .

I was lost in Geeta’s memory and saw Geeta with a Harmonium singing ” Main to Giridhar ke ghar jaoon”………………….

( My thanks to Geet yatri by Madhav Moholkar, Smaranyatra-by Subhash chandra Jadhav, and Hamari yaad aayegi by Arun Puranik, and geetadutt.com ,from which I have used some information for this article.)


Song- Dekho ji dil na todo nahin to main ro doongi (Captain Kishore)(1957) Singer- Geeta Dutt, Lyrics- Raja Mehdi Ali Khan, MD-Chitragupta

Lyrics

Dekho ji dil na todo
nahin to main
ro doongi
chhodo jee zidd ye chhodo
nahin to main
ro doongi

dekho jee dekho
naye fashion ka zamaana hai
main to nayi hoon
mera sab zewar puraana hai
dekho jee dekho
naye fashion ka zamaana hai
main to nayi hoon
mera sab zewar puraana hai
necklace mangaa do jee
locket dilwa do jee
tik tik kare jo ghadi
chhoti si wo laa do jee
gahnon se mujhko saja do
nahin to main
ro doongi
dekho ji dil na todo
nahin to main
ro doongi

duniya dikha do
saare hawaai jahaaz se
haathhon mein chhatri le ke
utroongi main naaz se
duniya dikha do
saare hawaai jahaaz se
haathhon mein chhatri le ke
utroongi main naaz se
London mein ghoomoongi
Paris mein jhoomoongi
Roos ke laal laal phoolon ko main choomoongi
jaldi se ticket mangwa do
nahin to main
ro doongi
dekho ji dil na todo
nahin to main
ro doongi

baag ho bangla ho
American motor car ho
oonchi society mein
mera intzaar ho
baag ho bangla ho
American motor car ho
oonchi society mein
mera intzaar ho
naghme sunaaoongi
jaadoo jagaaoongi
apne ishaaron pe
main sab ko nachaaungi
yes keh ke mujh ko hansa do
nahin to main
ro doongi
Dekho ji dil na todo
nahin to main
ro doongi


This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3922 Post No. : 14988 Movie Count :

4100

= = = = = = = = = = = = = = = = = = = = = = = =
Atul Song-A-Day 15K Song Milestone Celebrations – 1
– – – – – – – – – – – – – – – – – – – – – – – – – – – –

Hullo to Atuldom.

Let me wish all a very Happy New Year.

No, my post is not late by three and half months, it is just that India is a country which follows a calendar called Shak Samvat which the Hindus follow and Hijri which the Muslims follow. The new year by the Hijri calendar starts sometime in September but as far as the Hindu Calendar is concerned every region seems to have a different time of the year when the new year starts. And each region has a name for its New Year’s Day – Gudi Padva (Samsaar Padvo in Konkani), Ugadi, Poila Baishak (in East Indian States), Bighu (Bikhu in Uttarakhand), Bishuva Sankranti, Cheti Chand, Vishu or Chitra Vishu (in Kerala and Tamil Nadu), I am sure I am missing a few names in this list – what do I do, we have a vast country. But the common thread here is most of the above are in March – April of the Gregorian calendar (only in some parts new Year is during Diwali and southern part of Kerala has its new year at Onam). In Punjab it is Baishakhi, celebrated on the Mesha Sankraanti which occurs today for this year (generally it is 13th April). So now that explains why I wished Happy New Year.

14th April also happens to be the birth anniversary of the architect of the constitution of India, first law and justice minister and one of India’s founding fathers – Bharat Ratna Bhimrao Ramji Ambedkar or Babasaheb Ambedkar as he is popularly known the world over.

He was a jurist, economist, politician and social reformer who inspired the Dalit Buddhist movement and campaigned against social discrimination towards the untouchables (Dalits), while also supporting the rights of women and labour. My tributes to him on his 128th birthday without spelling his biography here.

There is another event which takes up my day on 14th April every year. In addition to it being our New Year (what we call Vishu) it is the birthdate of a very special person. There is a departure from the usual this year in that the New Year is on the 15th but birthdates don’t change, do they?

So, 14th April is the birthdate of part-time Atulite, full-time Satulite. He is at that year of life when people hang up their boots (he is not hanging them yet) and try to find time for other pleasures and hobbies that took a back seat when they were working hard to make ends meet. This Satulite calls himself Peevesie’s Dad. He takes pleasure in the achievements of his family – his son, daughter, brothers-sisters, brothers & sisters -in-law; is a big bhakt of his parents and parents-in-law; and is generous in encouraging his wife and kids towards whatever they are good at and forever supportive.

Infact he tried his level best to teach me to ride a two-wheeler and didn’t actually give up on me, but I must say I was a bad student who took a whole decade to master riding a two-wheeler. And was rewarded with a two-wheeler to ease my work load as soon as I mastered it. 🙂

As a teenager and right upto the end of my student days I was a staunch hater of any kind of automation and computers in particular. I had a feeling that each computer would eat up the job opportunity of two or three deserving humans (people called me crazy, maybe I was). But it does seem to have replaced a lot of things in people’s lives. Now, today’s birthday boy tried to change my mindset vis-à-vis computers and persuaded me to enroll myself in one of the many match-box size training institutes that tutored commoners about Word, Excel, PowerPoint etc, in addition to teaching a crash course in Corel or PageMaker. He thought it will be a useful skill, I must admit he was not wrong. Then he initiated me into the World-Wide Web and emails, and I am 100% sure he is ruing the day I agreed to learn all that he tried to get me to learn. He finds me at the desktop most of the time these days, and zooming in and around Bangalore (never unnecessarily) on a two-wheeler. And am also sure (secretly) he must be thanking my nervousness of being behind the wheel of a four-wheeler 😉

Oh, there are so many things that I can thank him for – he has lived half his life trying to understand me and my ways and moods. We have common interests in most aspects of life, possibly a little too much of compatibility, according to our children. The song with this post is ideal to express everything that I need to tell him. And the best part about the song is that it is not a lovey-dovey young couple song but a song choreographed on a motley group of honeymoon tourists which has a middle aged couple (Shabana Azmi – Boman Irani), mismatched couple (Ameesha Patel – Karan Khanna), small- town couple (Kay Kay Menon – Raima Sen), seemingly perfect couple (Minisha Lamba – Abhay Deol); and two other couples (Sandhya Mridul – Vikram Chatwal & Dia Mirza – Ranvir Shorey) who are on honeymoon but not exactly in love. (Dia Mirza and Ranvir are not in this song but they are part of the tourists in the Honeymoon Travels bus.) It is from the 2007 Reema Kagti directed “Honeymoon Travels Pvt. Ltd.” The music for this song is by Vishal- Shekhar and Javed Akhtar is the lyricist. Sunidhi Chauhan and Shekhar Ravjiani are the playback. The movie was produced by Farhan Akhtar and Ritesh Sidhwani. I am in love with the choreographer of this song who has allowed the actors do their own thing which adds to the sweetness of the song.

Today’s song is a party song filmed aboard a cruise ship in Goa. I think the song is ideal for one more occasion – partying for the post number 15000 (FIFTEEN THOUSAND Phew!) of the blog. Let me try to list out all that we are celebrating in this series of celebratory posts – 10 complete years of the blog, 10 year challenge (on-going series); 1,15,40,016 hits (as I write this); 3919 days of existence (at the time of writing this) AND 11032 posts by our fearless leader (as Sudhir calls Atul ji) – we celebrated Atulji’s 10000 individual posts but missed complimenting him for tirelessly giving us 11000 posts. And the biggest point of celebration – post number 15000. In addition to celebrating the New Calendar in various parts of the country.

It has taken five years to get to 15k from 10k with numerous milestones and centuries strewn enroute.  The blog has bonded all of its regular followers, some of who are contributors in various avatars, in a bond like none other, a whole bunch of unrelated people who had never dreamt of being friends and don’t mind being called Atulites. For all this and more to come I thank ASAD the blog which is our collective addiction.

Also a very Happy Birthday to our Satulite.


Song – Sajnaa Ji Vaari Vaari Jaaun Ji Main (Honeymoon Travels) (2007) Singer – Sunidhi Chauhan, Shekhar Ravijani, Lyrics – Javed Akhtar, MD – Vishal Shekhar
Chorus

Lyrics

sajnaa ji vaari vaari jaaun ji main
sajnaa ji vaari vaari jaaun ji main
tu hi to mera sansaar hai
aisa mera pyaar hai
aisa mera pyaar hai
sajnaa ji vaari vaari jaaun ji main
sajnaa ji vaari vaari jaaun ji main
tu hi to mera sansaar hai
aisa mera pyaar hai
aisa mera pyaar hai
charnon mein jo na jagah paaun ji main
charnon mein jo na jagah paaun ji main
to mera jeena hi bekaar hai
aisa mera pyaar hai
aisa mera pyaar hai

mera maan hai tu
abhimaan hai tu
meri pooja hai tu
mera dhyaan hai tu
tu devta mein pujaaran
sajnaa tujh pe main arpan
tere gungaan hee to gaaun ji main
haan tere gungaan hee to gaaun ji main
tu hi to mera sansaar hai
aisa mera pyaar hai
aisa mera pyaar hai

sajnaa ji vaari vaari jaaun ji main
sajnaa ji vaari vaari jaaun ji main
tu hi to mera sansaar hai
aisa mera pyaar hai
aisa mera pyaar hai
ae. . . ae. . . ae. . .

ooo ooo
ooo ooo ooo
vaari vaari
ooo ooo
ooo ooo ooo
vaari vaari
ooo ooo
ooo ooo ooo
vaari vaari
ooo ooo
ooo ooo ooo
vaari vaari
ooo ooo
ooo ooo ooo
vaari vaari
ooo ooo
ooo ooo ooo

o meri dhadkan mein tu
mere tan mann mein tu
meri sanson mein tu
mere nainan mein tu
tu hai to chamke kajra
tu hai to mehke gajra
tere bina to na jeene paaun ji main
haan tere bina to na jeene paaun ji main
tu hi to mera sansaar hai
aisa mera pyaar hai
aisa mera pyaar hai

sajnaa ji vaari vaari jaaun ji main
sajnaa ji vaari vaari jaaun ji main
tu hi to mera sansaar hai
aisa mera pyaar hai
aisa mera pyaar hai
charnon mein jo na jagah paaun ji main
charnon mein jo na jagah paaun ji main
to mera jeena hi bekaar hai
aisa mera pyaar hai
aisa mera pyaar hai

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

सजणा जी वारी वारी जाऊँ जी मैं
सजणा जी वारी वारी जाऊँ जी मैं
तू ही तो मेरा संसार है’
ऐसा मेरा प्यार है
ऐसा मेरा प्यार है’
सजणा जी वारी वारी जाऊँ जी मैं
सजणा जी वारी वारी जाऊँ जी मैं
तू ही तो मेरा संसार है’
ऐसा मेरा प्यार है
ऐसा मेरा प्यार है
चरणों में जो ना जगह पाऊँ जी मैं
चरणों में जो ना जगह पाऊँ जी मैं
तो मेरा जीना ही बेकार है
ऐसा मेरा प्यार है
ऐसा मेरा प्यार है

मेरा मान है तू
अभिमान है तू
मेरी पूजा है तू
मेरे ध्यान है तू
तू देवता मैं पुजारन
सजणा तुझ पे मैं अर्पण
तेरे गुणगान ही तो गाउँ जी मैं
हाँ तेरे गुणगान ही तो गाउँ जी मैं
तू ही तो मेरा संसार है’
ऐसा मेरा प्यार है
ऐसा मेरा प्यार है

सजणा जी वारी वारी जाऊँ जी मैं
सजणा जी वारी वारी जाऊँ जी मैं
तू ही तो मेरा संसार है’
ऐसा मेरा प्यार है
ऐसा मेरा प्यार है
ऐ॰ ॰ ॰ ऐ॰ ॰ ॰ ऐ॰ ॰ ॰

ओ ओ
ओ ओ ओ
वारी वारी
ओ ओ
ओ ओ ओ
वारी वारी
ओ ओ
ओ ओ ओ
वारी वारी
ओ ओ
ओ ओ ओ
वारी वारी
ओ ओ
ओ ओ ओ
वारी वारी
ओ ओ
ओ ओ ओ

ओ मेरी धड़कन में तू
मेरे तन मन में तू
मेरी साँसों में तू
मेरे नैनन में तू
तू है तो चमके कजरा
तू है तो महके गजरा
तेरे बिना तो जी ना पाऊँ जी मैं
हाँ तेरे बिना तो जी ना पाऊँ जी मैं
तू ही तो मेरा संसार है’
ऐसा मेरा प्यार है
ऐसा मेरा प्यार है

सजणा जी वारी वारी जाऊँ जी मैं
सजणा जी वारी वारी जाऊँ जी मैं
तू ही तो मेरा संसार है’
ऐसा मेरा प्यार है
ऐसा मेरा प्यार है
चरणों में जो ना जगह पाऊँ जी मैं
चरणों में जो ना जगह पाऊँ जी मैं
तो मेरा जीना ही बेकार है
ऐसा मेरा प्यार है
ऐसा मेरा प्यार है


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3912 Post No. : 14971

———————————————–
Blog 10-Year Challenge (2009-19) – Song No. 26
————————————————

Ten years ago, this day – the score card was six films, and six songs. The songs posted on that day are listed below.

 

Naino Me Pyaar Dole Sheroo 1957
Kaare Kaare Baadraa Bhaabhi 1957
Jab Baadal Lahraaya Chhoo Mantar 1956
Dil Pukaare Aare Aare Jewel Thief 1967
Tumhaari Nazar Kyun Khafa Ho Gayi Do Kaliyaan 1968
Har Haseen Cheez Ka Main Talabgaar Hoon Saudaagar 1973

 

Out of the six films, five films have since been Yippeee’d on the blog. I notice this interesting push for completing songs of a film. It seems that the preference is always to complete songs of films from 1950s and 1960s. Most of the time, when we are searching for a suitable selection for this Ten Years Challenge series, the films with songs pending are most likely to be not from 1950s and 1960s. I think it is a combination of preference for the melody and music of those two decades, plus the availability. On these two counts, the films from 1950s and 1960s would score the highest, and hence their quicker movement towards Yippeee status.

The film from this list, which still has songs remaining to be posted, belongs to 1973 – ‘Saudaagar’. When this film appeared in the theatres, the one surprising element was the lead pair – Amitabh Bachchan and Nutan, plus Padma Khanna of course. Once one got to know the storyline though, the choice would be rationalized. But at first sight, Nutan – a fairly senior lead actress by that time, paired opposite to an almost rank new comer, Amitabh Bachchan, at first raised some eyebrows. Nutan, having made her transition from child role (‘Hamaari Beti’, 1950) to lead actress roles with ‘Hum Log’ and ‘Nagina’ in 1951, had over two decades of career behind her. Amitabh, on the other hand, was just into the fifth year of his career. Having made a debut with the 1969 film ‘Saat Hindustani’, he was still seen as the Babu Moshai (‘Anand’, 1970), an actor in second lead type roles. No doubt, ‘Zanjeer’ also happened in 1973, and that put him on a fast track as an action hero. But when ‘Saudaagar’, and of course ‘Zanjeer’ were planned and were under production, the phenomenal succcess of the latter film was still into the future. At such a time, the casting of ‘Saudaagar’ surely surprised critics and audiences alike.

The film’s story is a sensitive portrayal of a love triangle, in which one side of the triangle is actually a pretense, nay a fraud, mounted by the male protagonist, for a vested interest, which is to finance his betrothal to his real love interest. It is a plain case of a dishonorable deception, which goes way beyond cheating and defrauding for money – it is a devious fraud on the heart and emotions of gullible and vulnerable widow. Moti (Amitabh) is a young trader in gur (jaggery made from the juice of date palms). Majubee (Nutan) is a relatively older widow, expert in making the jaggery from the date juice. The two have business relations, in that Moti collects the juices from the date palms, brings to Majubee, who makes jaggery from it, and Moti sells it in the market.

Phool Banu appears on the scene, and Moti falls head over heels for her. His efforts to gain a bride are thwarted by Phool Banu’s father, who demands a handsome meher amount for the marriage. Unable to procure the hefty amount demanded, Moti hatches a plan in his mind – he decides to get married to Majubee, and save money on the production process of gur, because he would not have to pay Majubee, once he becomes her husband. Majubee is shocked and surprised by the proposal, refuses at first, but then slowly gives in to the cajoling and pursuance by Moti. They get married. At the end of one season of gur making, Moti saves enough to pay the meher for his desired bride. He divorces Majubee, and immediately marries Phool Banu. Majubee is devastated, and completely broken, at being used such by this devious man, who has used her and defrauded her of her vulnerable honor in life.

But the story does not end here. As it turns out, Phool Banu has no inkling of the gur making proces. Her main interests in life are “Sajna Hai Mujhe Sajna Ke Liye“. Moti, unable to now supply good quality gur in the market, loses his reputation, and his business. The affluence is gone, the reputation is gone, and so is the dream of a happily-ever-after life with his beloved. And the story moves further. . . to be dealt with in another post later. 🙂

The film is produced by the house of Rajshree – Rajshree Pictures Pvt Ltd, Bombay. It is directed by Sudhendu Roy. Besides the three important stars already named, the impressive cast of actors includes Trilok Kapoor, Murad, Dev Kishan, V Gopal, CS Dubey, Pardesi, Narbada Shankar, Santosh Ghosh, Nadira, Ras Raj, Paritosh Choudhary, Ashok Mitra, Samar Rai, Jugnu, Chandu Allahabadi, Ramesh Verma, Shriram Shastri, Chaturvedi, Bihari, Leela Mishra, Paro, Habeeba, Salma, Sitara, Suraiya, Master Saka, Master Firdaus, and Baby Shamina.

Geet Kosh lists seven songs for the film. All the songs are created by the lyricist – MD Ravindra Jain. This song is sung by Lata Mangeshkar. On screen, it is performed by Padma Khanna, as she is walking back home from the river banks, after having crossed it on a boat. Amitabh has seen her, and is following her from the boat itself. Of course Padma Khanna, i.e. Phool Banu, is very much aware that she is being followed by this lanky and handsome young man. So she is playing the siren’s role to the hilt. Introduces herself in the song, she tells her pursuer about herself and her youth, and clearly communicates that she is verily enjoying the attention she is getting from him. In a couple of close shots, Amitabh looks very much like a provoked predator, as he eyes this willing beauty dancing for his benefit.

A catchy song, and enticing words. . . both characters are hunters, laying veritable traps for each other. 🙂

 

Song – Champa Nahin, Chameli Nahin, Main Genda Nahin Gulaab Nahin  (Saudaagar) (1973) Singer – Lata Mangeshkar, Lyrics – Ravindra Jain, MD – Ravindra Jain

Lyrics

champa nahin chameli nahin
main genda nahin gulaab nahin
phir bhi jo dekhe wo boley
tera koi jawaab nahin
main kaa karoon ke main hoon phool baano
ji main hoon phool baano
ho main kaa karoon ke main hoon phool baano
ji main hoon phool baano

champa nahin chameli nahin
main genda nahin gulaab nahin
phir bhi jo dekhe wo boley
tera koi jawaab nahin
main kaa karoon ke main hoon phool baano
ji main hoon phool baano
ho main kaa karoon ke main hoon phool baano
ji main hoon phool baano

saara gaaon
mera naam le ke aahen bhare
jo bhi dekhe meri surat
haaye haaye karey
saara gaaon mera naam le ke aahen bhare
jo bhi dekhe meri surat
haaye haaye karey
jo bhi dekhe meri surat
haaye haaye karey
koel nahin papiha nahin
main geeton bhari kitaab nahin
phir bhi jo dekhe wo boley
tera koi jawaab nahin
main kaa karoon ke main hoon phool baano
ji main hoon phool baano
haaye main kaa karoon ke main hoon phool baano
ji main hoon phool baano

kyun jamaana
hai deewaana mera
mujhe kya pata
main haseen hoon
main jawaan hoon
is mein meri kya khata
kyun jamaana hai deewaana mera
mujhe kya pata
main haseen hoon main jawaan hoon
is mein meri kya khata
main haseen hoon main jawaan hoon
is mein meri kya khata
saari umar lagey na nazar
mera aisa to shabaab nahin
phir bhi jo dekhe wo boley
tera koi jawaab nahin
main kaa karoon ke main hoon phool baano
ji main hoon phool baano
haaye main kaa karoon ke main hoon phool baano
ji main hoon phool baano

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

चम्पा नहीं चमेली नहीं
मैं गेंदा नहीं गुलाब नहीं
फिर भी जो देखे वो बोले
तेरा कोई जवाब नहीं
मैं का करूँ के मैं हूँ फूल बानो
जी मैं हूँ फूल बानो
हो मैं का करूँ के मैं हूँ फूल बानो
जी मैं हूँ फूल बानो

चम्पा नहीं चमेली नहीं
मैं गेंदा नहीं गुलाब नहीं
फिर भी जो देखे वो बोले
तेरा कोई जवाब नहीं
मैं का करूँ के मैं हूँ फूल बानो
जी मैं हूँ फूल बानो
हो मैं का करूँ के मैं हूँ फूल बानो
जी मैं हूँ फूल बानो

सारा गाँव
मेरा नाम ले के आहें भरे
जो भी देखे मेरी सूरत
हाए हाय करे
सारा गाँव मेरा नाम ले के आहें भरे
जो भी देखे मेरी सूरत
हाए हाय करे
कोयल नहीं पपीहा नहीं
मैं गीतों भरी किताब नहीं
फिर भी जो देखे वो बोले
तेरा कोई जवाब नहीं
मैं का करूँ के मैं हूँ फूल बानो
जी मैं हूँ फूल बानो
हाए मैं का करूँ के मैं हूँ फूल बानो
जी मैं हूँ फूल बानो

क्यों ज़माना
है दीवाना मेरा
मुझे क्या पता
मैं हसीं हूँ
मैं जवाँ हूँ
इस में मेरी क्या खता
क्यों ज़माना है दीवाना मेरा
मुझे क्या पता
मैं हसीं हूँ मैं जवाँ हूँ
इस में मेरी क्या खता
मैं हसीं हूँ मैं जवाँ हूँ
इस में मेरी क्या खता
सारी उमर लगे ना नज़र
ऐसा मेरा शबाब नहीं
फिर भी जो देखे वो बोले
तेरा कोई जवाब नहीं
मैं का करूँ के मैं हूँ फूल बानो
जी मैं हूँ फूल बानो
हाए मैं का करूँ के मैं हूँ फूल बानो
जी मैं हूँ फूल बानो


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TWELVE years. This blog has over 15900 song posts by now.

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

Important Announcement

(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

15990

Number of movies covered in the blog

Movies with all their songs covered =1229
Total Number of movies covered =4377

Total visits so far

  • 13,910,279 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,912 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

Archives

Stumble

visitors whereabouts

blogadda

blogcatalog

Music Blogs - BlogCatalog Blog Directory
%d bloggers like this: