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

Archive for the ‘fun timepass song’ Category


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 :

4447 Post No. : 15898

Hullo Atuldom

“Ham Hain Raahi Pyaar Ke” (1993) had six songs, four of which are already on the blog as under,

Bambai Se Gayi Poona, Poona Se Gayi Dilli” – a wonderful post describing life at the various “pur”s and one “Nagar” and had 31 comments

Yoon Hi Kat Jaayega Safar Saath Chalne Se” – 3000th day of blog, post by Rajaji

Ghoonghat Ki Aad Se Dilbar Ka” – has a synopsis of the movie

and “Mujhse Muhabbat Ka Izhaar Karta“.

Here is the next one.

It is inside a garment Factory. Aamir Khan (Rahul) is trying to get his sister’s or jija’s factory running so that he can look after his niece and nephew/s who are not in a mood to accept him as their  guardian. To add to Rahul’s troubles the ladies working in the factory are in a mood to ‘rag’ their new boss. The songs were written by Sameer and tuned by Nadeem Shravan. It is sung by Kedarnath Bhattacharya popular as Kumar Sanu.

We are revisiting this movie to remember Tahir Hussain on his birth anniversary (19th September 1938- 10th february 2010) who was the producer of HHRPK (acronym of the movie). Incidentally Aamir Khan (hero of HHRPK) is his son and he was the main lead in two movies of TV Films, Tahir Hussain’s production house. Tahir Hussain, who was the brother of Nasir Hussain (maker of some classics of the 60s, 70s, 80s etc.) has classics like ‘Caravan’ (1971), ‘Anamika’ (1973), ‘Zakhmee’ (1975) etc. to his name as producer. He was the director of ‘Tum Mere Ho’ starring Aamir Khan in 1990.

20th September also happens to be the birth-date of the director of HHRPK -Mahesh Bhatt. He turns 72. He is known for movies that focused on relationships for example ‘Arth’, ‘Saransh’, even his initial ‘Lahu Ke Do Rang’ showed the relation between half-brothers played by Vinod Khanna and Danny almost like ‘Naam’ starring Kumar Gaurav and Sanjay Dutt. Mahesh Bhatt movies also had other regular Bollywood masala in it – action, emotion, drama and great music/ songs.

Video

Audio

Song – Chikni Surat Tu Kahaan Tha Ab Talak Ye Bata  (Hum Hain Raahi Pyaar Ke) (1993) Singer – Kumar Sanu, Lyrics – Sameer, MD – Nadeem Shravan
Chorus

Lyrics (Based on Audio Version)

now listen girls, please understand,
first things first,
I only want a shirt.

chikni soorat 
tu kahaan tha 
ab talak ye bata
chikni soorat 
tu kahaan tha 
ab talak ye bata
chikni soorat 
tu kahaan tha 
ab talak ye bata
chikni soorat 
tu kahaan tha 
ab talak ye bata

yu naa subah se shaam karo ji 
fectory na badnaam karo ji
chalo baith ke kaam karo ji 
aise na aaraam karo ji
waqt abhi jo dhal jayega 
phir na dobara kal aayega
sun lo meri baataan 
kaise kaise sapne leke
main yahaan pe aaya 
aaya  
dekh ke in aafat ki pudiyo ko
main to ghabraaya 
haan main to ghabraaya
chikni soorat 
tu kahaan tha 
ab talak ye bata
chikni soorat 
tu kahaan tha 
ab talak ye bata

hum huye barbaad ab to
hum huye barbaad
haan haan
hum huye barbaad ab to
hum huye barbaad
tum raho aabaad jao 
tum raho aabaad
haa haa haa haa haa

congratulations 
why 
and jubilation 
what for
aaye ho tum yahaan pe pehli pehli baar 
I see
tum hamko jaano 
why not 
hamko pehchaano
oh sure
itni si baat ka bura na maano yaar
no no no no no
everybody
congratulation
and jubilation
aaye ho tum yahaan pe pehli pehli baar
tum hamko jaano 
hamko pehchaano
itni si baat ka bura na maano yaar

hey listen you beauties
you must do your duties
and don’t you trouble me like this any more
coz if I get angry
I promise you one thing
I’ll surely be throwing you out of the door
haa haa haa haa haa

help me help me help me o god
help me help me help me o god
yeh mujhko tu 
kahaan laya hai 
kya socha tha 
kya paya hai
in haseeno se mujhko bachha
in haseeno se mujhko bachha

chikni soorat 
tu kahaan tha 
ab talak ye bata
ae chikni soorat 
tu kahaan tha 
ab talak ye bata
la la la laa laa
la la la laa laa 
la la la laa la la laa
la la la laa laa (hae hae hae)
la la la laa laa (hae hae hae)
la la la laa la la laa
la la la laa laa (hae hae hae)
la la la laa laa (hae hae hae)
la la la laa la la laa
la la la laa laa
la la la laa laa 
la la la laa la la laa

 


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

Blog Day :

4439 Post No. : 15882

#The Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # 102 # In Remembrance – Jaikishan #
————————————————————————————

Today 12th Sep 2020 is forty-ninth remembrance day of the genius music director Jaikishan of Shankar-Jaikishan duo.

Jaikishan was born on 04th November 1929 at Vansda (in Navsari district, Gujarat) and passed away on 12th September 1971 at Bombay (now Mumbai, Maharashtra). He was only 41 when he passed away and his death shook the entire film industry then.

As a tribute to him here is a song from the 1971 movie – ‘Yaar Mera’. One song from this movie – “Dil Ki Kitaab Kori Hai, Kori Hi Rehne Do” – has already been presented on the blog by Sudhir ji on 13th Sep’2013 with a heartfelt tribute to Jaikishan remembering him on his 42nd remembrance anniversary. Today we will listen another song from the same movie.

‘Yaar Mera’ was released after Jaikishan’s death and the movie was dedicated to his memory. The movie begins with this ‘couplet’. I am unable to identify the voice uttering these words, which plays in the background of the dedication title.

jo shaam savere miltaa thha
phoolon ki tarah se khiltaa thha,
aye maut, tujhe maut aa jaaye
kyon yaar ko mere chheen liyaa

Shankar Jaikishan ruled the music charts in 1971 with their “Zindagi Ek Safar Hai Suhaana” ranking top of the annual ‘Binaca Geetmala’ list. In 1971 from the total 115 released movies, Shankar Jaikishan had composed music for as many as seventeen movies plus the un-released movie ‘Bombay Talkie’ making it to total eighteen movies. Here is the list of movies where Shankar-Jaikishan composed the music and that were released (or passed by Censor Board) in 1971,

 

S No Movie Passed by Censor Board on Lyricist/s
01 Albelaa 14.10.1971 Hasrat Jaipuri
02 Andaaz 23.04.1971 Hasrat Jaipuri
03 Balidaan 27.12.1971 Verma Malik
04 Duniyaa Kya Jaane 23.08.1971 Rajinder Krishan
05 Ek Naari Ek Brahmachaari Hasrat Jaipuri, Neeraj, Anjaan, Kiran Kalyani
06 Elaan 30.04.1971 Hasrat Jaipuri, Farooq Kaiser, Verma Malik, Indeewar
07 Jaane Anjaane 17.05.1971 Hasrat Jaipuri, SH Bihari, Gulshan Bawra
08 Jawaan Mohabbat 15.05.1971 Hasrat Jaipuri, Shailendra, Rajinder Krishan
09 Kal Aaj Aur Kal 11.11.1971 Hasrat Jaipuri, Neeraj, Shaily Shailendra
10 Laal Patthar 31.12.1971 Hasrat Jaipuri, Neeraj, Dev Kohli
11 Main Sundar Hoon 18.03.1971 Anand Bakshi
12 Naadaan 20.08.1971 Hasrat Jaipuri
13 Parde Ke Peechhey 16.03.1971 Rajinder Krishan
14 Patangaa 20.08.1971 Hasrat Jaipuri, Neeraj, Indeewar
15 Preetam 26.07.1971 Rajinder Krishan, Hasrat Jaipuri
16 Seema Verma Malik, Gulzar, Indeewar
17 Yaar Mera 29.11.1971 Hasrat Jaipuri, Neeraj, SH Bihari
18 Bombay Talkie (UR) 19.02.1971 Hasrat Jaipuri, Usha Iyyer

Other than songs of ‘Andaaz’ (two songs), the songs of ‘Main Sundar Hoon’ (also two songs) made it to the list of annual Binaca Geetmala of 1971 from the above list of movies. And that can explain how tough the competition was that year.

The song “Dil Ki Kitaab Kori Hai. . .“was the only popular song from the today’s movie and it was frequently heard on radio during that time. As mentioned above this song has already been posted on the blog.

The film was directed by Atmaram for RS Productions, Bombay. Raja Ram and Satish Wagle were the producers of this movie and Jayendra Pandya was the Associate Producer of this movie. Story of this movie was written by Anand Dutta. Dialogues and screenplay of this movie were written by Abrar Alvi. Editing for this movie was done by YG Chowhan, and he was assisted by EG Shinde and DB Rana. CR Panchal was the controller of production of this movie.

The star cast of the film includes Jeetendra, Rakhee, Nazima, Helen, Paintal, Achala Sachdev, Jayant, Sajjan, Randhir, Murad, Sulochana Sr., Nana Palsikar, Radheshyam, Narbada Shankar, Krishan Dhawan, Manmohan, Raj, Darshan, MS Mehta, Fordil, A Kumar, Ram Sindhi, Mona, and Ashok Bhalla.

This movie has five songs written by Hasrat Jaipuri (two songs), Neeraj (two songs) and SH Bihari (one song). Music is composed by Shankar-Jaikishan. Mohammed Rafi, Asha Bhonsle, Suman Kalyanpur and Manna Dey are the playback singers for this movie.

Coming to today’s song, although a lesser heard song, I think it was also played intermittently on radio during those times and later on. This song is sung by Mohd Rafi and lyrics are by Neeraj. An entertaining remembrance which was lying noted since more than seven years now.

Let us now enjoy the today’s song. On screen Jeetendra is performing the song. Also seen in the picturization of the song is Manmohan and Paintal and many others…

Darr Lagey To Gaana Gaa. . .

Video

Audio

Song – Darr Lagey To Gaana Gaa (Yaar Mera) (1971) Singer – Mohammed Rafi, Lyrics – Neeraj, MD – Shankar Jaikishan

Lyrics

darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
aise bhi
haan aan aa aa aa
waise bhi
mmm mmm mmm mmm

darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
aise bhi ee
haan aa aa aa aa
waise bhi
mmm mmm mmm mmm
darr lagey to gaanaa gaa
aayeein
darr lagey to gaanaa gaa

jo bhi yahaan cheez hai ae
tera hi maal hai ae
jo bhi yahaan cheez hai ae
tera hi maal hai ae
tera haath thaam le ae
kis ki majaal hai
pakad bhi jaaye yaar kabhi tu
bas mein rail mein
thaane mein jail mein
bheed mein mele mein
sone mein
akele mein ae

sirf gaanaa gaa aa aa

darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa

duniya ko bhool ja aa
jaam zaraa thhaam le ae
haan
duniya ko bhool ja aa
jaam zaraa thhaam le ae
mauj zaraa maar le ae
ho masti se kaam le ae
chot kahin aa jaaye tujhko
ro nahin dho nahin
cheekh nahin chillaa nahin
chup nahin bhaag nahin
so nahin
jaag nahin ee
sirf gaanaa gaa aa aa aa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
aayee ee
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa aa

darr nahin maut se ae
khatron ko jhel tu oo
darr nahin maut se ae
khatron ko jhel tu oo
zindagi ye khel hai ae
zindagi se khel tu
phir bhi tujhko darr lage to
aate hue jaate hue
peete hue khaate hue
uthhtey hue girtey hue
jeetey hue
martey hue ae ae ae
sirf gaana gaa aa aa aa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
aise bhi ee
haan aan aa aa aa
waise bhi
mmm mmm mmm mmm
darr lagey to gaanaa gaa aa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa aa

————————————————–
Devnagri Script lyrics (Provided by Sudhir)
————————————————-

डर लगे तो गाना गा
डर लगे तो गाना गा
डर लगे तो गाना गा
डर लगे तो गाना गा
ऐसे भी
हाँ आं आं आं
वैसे भी
म्मम म्मम म्मम म्मम

डर लगे तो गाना गा
डर लगे तो गाना गा
डर लगे तो गाना गा
डर लगे तो गाना गा
ऐसे भी
हाँ आं आं आं
वैसे भी
म्मम म्मम म्मम म्मम
डर लगे तो गाना गा
अईं
डर लगे तो गाना गा

जो भी यहाँ चीज़ है
तेरा ही माल है
जो भी यहाँ चीज़ है
तेरा ही माल है
तेरा हाथ थाम ले
किस की मजाल है
पकड़ भी जाये यार कभी तू
बस में रेल में
ठाणे मे जेल में
भीड़ में मेले में
सोने में
अकेले में

सिर्फ गाना गा आ आ

डर लगे तो गाना गा
डर लगे तो गाना गा
डर लगे तो गाना गा
डर लगे तो गाना गा

दुनिया को भूल जा
जाम ज़रा थाम ले
हाँ
दुनिया को भूल जा
जाम ज़रा थाम ले
मौज ज़रा मार ले
हो मस्ती से काम ले
चोट कहीं आ जाये तुझको
रो नहीं धो नहीं
चीख नहीं चिल्ला नहीं
चुप नहीं भाग नहीं
सो नहीं
जाग नहीं ईं

सिर्फ गाना गा आ आ

डर लगे तो गाना गा
डर लगे तो गाना गा
अई इ
डर लगे तो गाना गा
डर लगे तो गाना गा

डर नहीं मौत से
खतरों से खेल तू
डर नहीं मौत से
खतरों से खेल तू
ज़िंदगी ये खेल है
ज़िंदगी से खेल तू
फिर भी तुझको डर लगे तो
आते हुए जाते हुए
पीते हुए खाते हुए
उठते हुए गिरते हुए
जीते हुए
मरते हुए ए ए ए

सिर्फ गाना गा आ आ

डर लगे तो गाना गा
डर लगे तो गाना गा
डर लगे तो गाना गा
डर लगे तो गाना गा
ऐसे भी
हाँ आं आं आं
वैसे भी
म्मम म्मम म्मम म्मम

डर लगे तो गाना गा आ
डर लगे तो गाना गा
डर लगे तो गाना गा
डर लगे तो गाना गा आ


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 :

4396 Post No. : 15770

Songs Repeated in Hindi Films – 21
– – – – – – – – – – – – – – – – – –

OK, yes, this one too.

And I am very sure most of us would not have heard, or even heard of, the third stanza in this song. Ah yes, that is the wonderful bonus we have from the repeat use of this song. I was not even aware of the existence of a third stanza of this song, before my dear friend Ahsaan Bhai (of Hapur) introduced me to this repeat song in the 1978 film ‘Nasbandi’. That was a few months ago. In wayward manner, i.e. without any proper identification etc., this song is available on you tube. And unless one is aware of what one is looking for, one is bound to miss it.

And the third stanza – I wonder where and how IS Johar was able to lay his hands on the extended version of this song. Is the film availabl somewhere? Food, and quite wholesome food at that, for thought. The repeat use is the original recording in the voice of Rafi Sb. And as such, it is not listed in the Geet Kosh, for the film ‘Nasbandi’.

Definitely, the best of the fast paced super foot tappers sung by Rafi Sb. Listening to this, one can but not cease being amazed in wonder at the spectrum of the range that Rafi Sb has rendered over the near four and a half decades of his career as a playback singer in Indian cinema.

The original song, from the film ‘Mr X’ from 1957. The film is sadly not available, not traceable at present. And so one cannot write about the picturization. However, one thing that Ahsaan Bhai has confirmed with certainty that this song is performed on screen by Johnny Walker, in the original.

The repeat song in the film ‘Nasbandi’ is presented, in original, as a background song. Now, ‘Nasbandi’ is  Johar Films production. And knowing the penchant IS Johar has for spoofing and presenting a near gobbledygook farce of the normal situations, one must see this clip with a barrelful of salt, keeping on the side, all the sensible understanding of the real world, or even the reel world. The fun in his films is very much in-your-face farce.

IS Johar was an acknowledged intellectual and man of letters. Only that his capabilities in this arena got directed towards comedy and fun. One can sense that he is making a film for fun, and in that process he is making fun of a lot of established ideas, and even well known people. He went on to produce many films of this calibre.

Another thing that I want to highlight is his penchant for the motor bike. In practically all his films that I have seen, there is one or more scene of motorbike riding, and in some cases, real dare-devilry motorbike riding, be it ‘Johar in Kashmir’ (1966), ‘Johar and Mehmood in Goa’ (1965), or ‘Johar and Mehmood in Hong Kong’ (1971). In this film too, the same gimmickry appears. This song is all about extreme motorbike riding, with display of driving skills underwater, driving on rail tracks, ascending and descending stair cases, besides the other nominal tricks of motorbike riding. One enjoys the song of course. But one also realizes – it is in the film just for the heck of it. 🙂

Ah but, this post is not about IS Johar and his films. It is the recall of this iconic song sung by Rafi Sb, and as mentioned above, the wondrous discovery of a third stanza of this song.

40 years ago, this divine virtuous voice, departed from this world of the mundane. And the world became lesser so with his departure. The artist that he was, and the humane person that was him, only rarely one finds these two attributes of eminence so pleasantly enmeshed together.

Just like water – it will take shape of whatever container one pours into. And it will take up the color of whatever it is mixed with. That is the artist in Rafi Sb. His voice in the background, almost always sounded as the voice of the actor in front. That is what water does – accepts everything, becomes everything.

Such is the same – as with Rafi Sb.

Amen.

 

Song – Laal Laal Gaal Jaan Ke Hain Laagu  (Nasbandi) (1978) Singer – Mohammed Rafi, Lyrics – Majrooh, MD – N Dutta

Lyrics

laal laal gaal
jaan ke hain laagu
o dekh dekh dekh
dil pe rahe kaabu
chor chor chor
bhaag pardesi baaboo. . .

laal laal gaal
jaan ke hain laagu
o dekh dekh dekh
dil pe rahe kaabu
chor chor chor
bhaag pardesi baaboo. . . ah

chor chor chor ye nahin hain maal o zar ke
o mor mor mor ye to hain dil o jigar ke
peele peele peele in ke laal hain niraale
neele neele neele inki ankhdiyon ke pyaale
chor chor chor ye nahin hain maal o zar ke
o mor mor mor ye to hain dil ojigar ke
peele peele peele in ke laal hain niraale
neele neele neele inki ankhdiyon ke pyaale
ajnabi pe bedhadak
khuli sadak chalate hain
chalate hain ye jaadu laal laal gaal
o laal laal gaal
jaan ke hain laagu
o dekh dekh dekh
dil pe rahe kaabu
o chor chor chor
bhaag pardesi baaboo. . . ah

haaye haaye haaye ye nigaahon ka nishaana
o vaaye vaaye vaaye koyi teer kha na jaana
o maan maan maan meri jaan meraa kehana
in ki chaal dhaal ke khayaal mein na rahnaa
haaye haaye haaye ye nigaahon ka nishaana
o vaaye vaaye vaaye koyi teer kha na jaana
o maan maan maan meri jaan meraa kehana
in ki chaal dhaal ke khayaal mein na rahnaa
ajnabi pe bedhadak
khuli sadak chalate hain
chalate hain ye jaadu laal laal gaal
o laal laal gaal
jaan ke hain laagu
o dekh dekh dekh
dil pe rahe kaabu
o chor chor chor
bhaag pardesi baaboo. . . ah

waah waah waah kya haseen hai zamaana
aah aah aah inke dhokhe mein na aana
saath saath saath naachna nazar bacha ke
haath haath haath thaamna jigar bacha ke
waah waah waah kya haseen hai zamaana
o aah aah aah inke dhokhe mein na aana
saath saath saath naachna nazar bacha ke
haath haath haath thaamna jigar bacha ke
ajnabi pe bedhadak
khuli sadak chalate hain
chalate hain ye jaadu laal laal gaal
o laal laal gaal
jaan ke hain laagu
o dekh dekh dekh
dil pe rahe kaabu
o chor chor chor
bhaag pardesi baaboo. . . ah

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

लाल लाल गाल
जान के हैं लागू
ओ देख देख देख
दिल पे रहे काबू
चोर चोर चोर
भाग परदेसी बाबू॰ ॰ ॰

लाल लाल गाल
जान के हैं लागू
ओ देख देख देख
दिल पे रहे काबू
चोर चोर चोर
भाग परदेसी बाबू॰ ॰ ॰

चोर चोर चोर ये नहीं हैं माल ओ ज़र के
ओ मोर मोर मोर ये तो हैं दिल ओ जिगर के
पीले पीले पीले इनके लाल हैं निराले
नीले नीले नीले इनकी अखड़ियों के प्याले
चोर चोर चोर ये नहीं हैं माल ओ ज़र के
ओ मोर मोर मोर ये तो हैं दिल ओ जिगर के
पीले पीले पीले इनके लाल हैं निराले
नीले नीले नीले इनकी अखड़ियों के प्याले
अजनबी पे बेधड़क
खुली सड़क चलाते हैं
चलाते हैं ये जादू लाल लाल गाल
ओ लाल लाल गाल
जान के हैं लागू
ओ देख देख देख
दिल पे रहे काबू
ओ चोर चोर चोर
भाग परदेसी बाबू॰ ॰ ॰

हाय हाय हाय ये निगाहों का निशाना
ओ वाये वाये वाये कोई तीर खा ना जाना
ओ मान मान मान मेरी जान मेरा कहना
इनकी चाल ढाल के ख्याल में ना रहना
हाय हाय हाय ये निगाहों का निशाना
ओ वाये वाये वाये कोई तीर खा ना जाना
ओ मान मान मान मेरी जान मेरा कहना
इनकी चाल ढाल के ख्याल में ना रहना
अजनबी पे बेधड़क
खुली सड़क चलाते हैं
चलाते हैं ये जादू लाल लाल गाल
ओ लाल लाल गाल
जान के हैं लागू
ओ देख देख देख
दिल पे रहे काबू
ओ चोर चोर चोर
भाग परदेसी बाबू॰ ॰ ॰

वाह वाह वाह क्या हसीन है ज़माना
ओ आह आह आह इनके धोखे में ना आना
साथ साथ साथ नाचना नज़र बचा के
हाथ हाथ हाथ थामना जिगर बचा के
वाह वाह वाह क्या हसीन है ज़माना
ओ आह आह आह इनके धोखे में ना आना
साथ साथ साथ नाचना नज़र बचा के
हाथ हाथ हाथ थामना जिगर बचा के
अजनबी पे बेधड़क
खुली सड़क चलाते हैं
चलाते हैं ये जादू लाल लाल गाल
ओ लाल लाल गाल
जान के हैं लागू
ओ देख देख देख
दिल पे रहे काबू
ओ चोर चोर चोर
भाग परदेसी बाबू॰ ॰ ॰


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 :

4391 Post No. : 15757

I have carried an impression in my mind for a long time that in the 1940s, Anil Biswas rarely used full-throated playback singers like Shamshad Begum, Zeenat Begum, Zohrabai Ambalewaali, Munawwar Sultana etc. This is based on my listening many songs composed by Anil Biswas during the last about one decade. To check my ‘hypothesis’, I glanced through all the songs composed by Anil Biswas which have been tagged under his name in our Blog. In addition, I went through a couple of websites on Hindi film songs and my excel-sheets of songs for the period 1931-50, partially taken from HFGK. The main conclusions of my ad-hoc research are as under:

  1. Zeenat Begum and Munawwar Sultana did not sing for Anil Biswas though both of them had shifted to Mumbai sometime in 1944.
  2. Although Shamshad Begum had shifted to Mumbai along with the musical team of Ghulam Haider in 1942, Anil Biswas gave her chance to sing under his music direction for the first time in the film ‘Bhook’ (1947).
  3. Anil Biswas took Zohrabai Ambalewaali for the first time in the film ‘Gramophone Singer’ (1938) followed by ‘Hum Tum Aur Woh’ (1938). After a gap of nearly 9 years, she got a chance to sing for him in ‘Naiyya’ (1947) which happened to be her last film with Anil Biswas as a playback singer.
  4. Ameerbai Karnataki and Anil Biswas started their musical career almost simultaneously in Mumbai during 1935-36 and she sang for him in a couple of films as an actor-singer. But as a playback singer, she got a chance to sing under the music direction of Anil Biswas for the first time in ‘Kismet’ (1943). With the popularity of her songs in this film, Ameerbai Karnataki became one of the topmost playback singers of Hindi films.

Based on the discography of Anil Biswas as a music director, I have attempted to get the reasons as to why he did not utilize or sparingly utilized the singers listed above under his music direction. In my view, there are three main reasons for this.

  1. In most of the films for which Anil Biswas was the music director during 1936-1942, there were actor-singers like Sardar Akhtar, Husn Bano, Sitara Devi, Bibbo, Wahidan Bai, Jyoti, Maya Banerjee, Nalini Jaywant etc who sang for themselves. Whenever, Anil Biswas was in need of additional playback singer, he mostly relied on Rajkumari Dubey.
  1. During 1942-48, Anil Biswas mainly relied on his sister, Parul Ghosh, Hamida Bano, Meena Kapoor and Geeta Roy (later Dutt) as playback singers in addition to actor-singer Suraiya. From 1948 onwards, Lata Mangeshkar became his main playback singer.
  1. It is quite likely that Anil Biswas did not find full-throated singers suitable for singing his musical compositions which were mostly soft melodies.

I am presenting today, a fun song, “Ye Haseenon Ke Mele Albele” sung by Geeta Roy (later Dutt) and Shamshad Begum – a mix of husky and high-throated voices. The song is from the film ‘Bhookh’ (1947). The song is written by Dr Safdar Aah Sitapuri which is set to music by Anil Biswas. This is the first film in which Shamshad Begum sang under the music direction of Anil Biswas. Also, this is the first duet song of Geeta Dutt and Shamshad Begum.

‘Bhookh’ (1947) is the maiden film produced and directed by Dr Safdar Aah Sitapuri. The star cast includes Sheikh Mukhtar and Husna in the lead roles supported by Kanhaiyalal, Agha, Laddan, Narmada Shankar, Abu Baker, Ghulam Hussain, Miss Kiran etc. It is a debut film for Husna and Miss Kiran. From the advertisement of the film, it appears that the film is about tackling the hunger – a theme which had come into the focus of Hindi film industry in the backdrop of Bengal famine during World War II. Films like ‘Neecha Nagar’ (1946) and ’Dharti Ke Laal’ (1946) had already covered this theme.

Anil Biswas and Dr Safdar Aah Sitapuri had worked together for 15 years in 15 films with a break during 1943-44 when Anil Biswas shifted to the Bombay Talkies. As a lyricist, Safdar Aah Sitapuri worked with Anil Biswas for the first time in ‘Comrades’ (1939) followed by ‘Alladdin’ (1940) and ‘Aurat’ (1940). They worked together for the last time in ‘Maan’ (1954) which he also directed. Thereafter, he returned to teaching Urdu literature in his university and published books like ‘Amir Khusro Bhaisiyat Hindi Shaayar’, ‘Rubiyaat-e-Zamzama’(1963), ‘Meer Aur Meeryaat’ (1972), ‘Tulsidas Aur Ramcharitmanas’ (1977).

Enjoy this light-hearted fun song.

Song – Ye Haseenon Ke Mele Albele (Bhookh) (1947) Singer – Geeta Roy, Shamshad Begum, Lyrics – Dr Safdar Aah Sitapuri , MD – Anil Biswas
Geeta Dutt + Shamshad Begum

Lyrics

ye haseenon ke mele albele
ye haseenon ke mele albele
ye haseenon ke mele albele
ye haseenon ke mele albele
kaho kaisi kahi
ek dil haaye haaye
ek dil aur laakhon jhamele
ek dil aur laakhon jhamele..ae
ek dil aur laakhon jhamele
kaho kaisi kahi
ye haseenon ke mele albele
ye haseenon ke mele albele
ye haseenon ke mele albele
ye haseenon ke mele albele
 
rasiya jobna pe aankhon se maare
rasiya jobna pe aankh se maare
ye pukaara ki ho ja mere pyaare
ye pukaara
ye pukaara ki ho ja mere pyaare
main angootha dikha ke boli ye le
main angootha dikha ke boli ye le
kaho kaisi kahi
ye haseenon ke mele albele
ye haseenon ke mele albele
ye haseenon ke mele albele
ye haseenon ke mele albele
 
achchi soorat pe marna na aaya aa
achchi soorat pe marna na aaya
tumko to pyaar karna na aaya
tumko to pyaar karna na aaya
saiyaan ban jaao aake mere chele
saiyaan ban jaao aake mere chele
kaho kaisi kahi
ye haseenon ke mele albele
ye haseenon ke mele albele
ye haseenon ke mele albele
ye haseenon ke mele albele
kaho kaisi rahi

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

ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
कहो कैसी कही
एक दिल हाय हाय
एक दिल और लाखों झमेले
एक दिल और लाखों झमेले
एक दिल और लाखों झमेले
कहो कैसी कही
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले

रसिया जोबना पे आँखों से मारे
रसिया जोबना पे आँख से मारे
ये पुकारे के हो जा मेरे प्यारे
ये पुकारे
ये पुकारे के हो जा मेरे प्यारे
मैं अंगूठा दिखा के बोली ये ले
मैं अंगूठा दिखा के बोली ये ले
कहो कैसी कही
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले

अच्छी सूरत पे मरना ना आया
अच्छी सूरत पे मरना ना आया
तुमको तो प्यार करना ना आया
तुमको तो प्यार करना ना आया
सैंया बन जाओ आ के मेरे चेले
सैंया बन जाओ आ के मेरे चेले
कहो कैसी कही
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
कहो कैसी रही


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. 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 :

4306 Post No. : 15578

Another wonderful discovery, another song that I had never heard before. The film is ‘Zindagi’ from 1956. The music composition is by Mohammed Shafi.

Mohammed Shafi is the name I was trying to get to also, on 30th April, which is the remembrance day for him. After getting the post in place for C Arjun that evening, I was not able to pull together this post, for remembering Mohammed Shafi Sb.

Once again, another very talented music director about whom, not much information is available. After much searching, I am able to locate a very brief article by a gentleman named Qaseem Abbaasi on the web site ‘Apnaarchives.org’. I am including some details from that article in this post.

He was born sometimes in 1920s. His father’s name was Majid Khan, who passed away when Shafi was very young. Majid Khan was the grandson of the renowned beenkar Bande Ali Khan. Bande Ali was also a master of swar-pradhan gayaki and was the brother of Abdul Karim Khan Sb’s father. As I searched for more details about Bande Ali Khan, I reached the website Swarganga Music Foundation, and a somewhat detailed article on Bande Ali Khan. Browsing through this article, I discover that one of the more famous disciples of Bande Ali Khan is Imdaad Khan of Etawah, who is none other than the grandfather of Ustad Vilayat Khan (28 Aug, 1928 – 13 Mar, 2004), the renowned Sitar maestro of India.

A little clue about his early years can be surmised from a family connection that is mentioned. Mohammed Shafi’s wife, Zeenat, was the sister of Ustad Vilayat Khan. Vilayat Khan Sb’s family came originally from Etawah (close to Agra in UP). Apparently, Vilayat Khan Sb’s grandfather, Imdaad Khan, moved from Etawah to Gouripur in Mymenshingh district in undivided Bengal (now in Bangladesh). Vilayat Khan Sb was born in Gouripur. Sitar and classical music was a family tradition with them, and the family and their music tradition is known as Etawah gharana.

It can be surmised that Mohammed Shafi Sb was also based in Bengal in his early years. One, being married to the sister of Ustad Vilayat Khan, a family based in Mymensingh at that time. Second, Mohammed Shafi started his career at New Theatres, Calcutta (now Kolkata), working as a musician and assisting RC Boral, Pankaj Mullick and KC Dey. It is suggested that he contributed as a musician to films like ‘Kapaal Kundala’ (1939) and ‘Aandhi’ (1940).

In early 1940s, along with the migration of many artists from Calcutta to Bombay (now Mumbai), Mohammed Shafi also moved to Bombay. Although not listed in Geet Kosh, Qaseem Abbaasi Sb has written that he assisted music director Bashir Dehlavi in the 1942 film ‘Ujaala’. In this film, Prithviraj Kapoor played the role of a sitar player, and apparently, some special pieces were composed by Mohammed Shafi for this film.

Later on, he had a long association with Naushad as an assistant music director. For the film ‘Mughal e Azam’, the sitar pieces were prepared/played by both Abdul Haleem Jafar Khan Sb and Mohammed Shafi. It’s said that K Asif used to send a car to pick both of them for playing Sitar for the background music.

He got his first break as independent music director 1946 with the film ‘Haqdaar’. He continued to work till mid 1970s, but has only about 22 24 films to his credit. The number maybe 23, if we consider ‘Badi Maa’ (1974) as a re-release of ‘Tanhaai’ (1961). In parallel, he continued to assist many directors as a musician and music arranger.  Following is the list of films for which has composed music,

  • 1946  Haqdaar
  • 1946  Kaango
  • 1947  Do Naina
  • 1947  Rishta (unreleased)
  • 1947  Shikaarpuri
  • 1949  Anokhi Sewa – along with Dhoomi Khan
  • 1949  Bedard – along with BN Bali and Ram Prasad
  • 1949  Gharaana
  • 1951  Hulchul – along with Sajjad Hussain
  • 1952  Annadaata
  • 1952  Krishna Kanhaiya – along with BS Kalla
  • 1953  Aabshaar – along with Ghulam Haider & Bhola Shreshtha
  • 1953  Daara
  • 1954  Baazooband
  • 1954  Mangu – 2 songs, rest by OP Nayyar
  • 1956  Zindagi
  • 1960  Mohabbat Ki Jeet
  • 1960  Shriman Balasaheb (Marathi)
  • 1961  Tanhaai – later released as Badi Maa in 1974
  • 1965  Kite Fight (Wo Kata)
  • 1967  Shrimant Mehuna Pahije (Marathi)
  • 1971  Iraada – along with Vitthal-Mumtaz
  • 1974  Bari Maa – same as Tanhai (1961)
  • 1975  Dayaar-e-Madina

To his credit – Suman Hemadi Kalyanpur sang her debut song in the film ‘Mangu’ (1954), a wonderfully soft lorie “Koi Pukaare Dheere Se Tujhe” under his music direction. And again, singer Hemlata made her debut under his music direction in the film ‘Iraada’ (1971) – the songs “Main Ankahi Kahaani, Sadiyon Ki Hoon Nishaani” and “Main Jaan Ke Badle Mein Le Loongi Dhadakta Dil”.

A connected piece of information is that he also gave music under different names – Shafi M Nagri / Shafi Nagri / Shafi. All the films that he composed under these pseudonyms are stunt / fantasy type films. The list is,

  • 1953  Shamsheerbaaz
  • 1954  Sher Dil
  • 1955  Carnival Queen
  • 1956  Baghdad Ka Jaadu
  • 1957  Diler Daaku
  • 1959  Chini Jaadugar
  • 1959  Circus Queen
  • 1966  Tarzan Aur Jaadui Chirag – along with Shaukat

[Author’s Note: The name Shaukat for the above listed film ‘Tarzan Aur Jaadui Chirag’ (1966) is most probably Shaukat Dehlavi.]
[Author’s Note: I thank dear Arun ji. His comment on two missing films by Mohammad Shafi prompted me to re check and update the list of films above.]

Adding the above listed eight films, the total films by Mohammad Shafi comes to 32.

In the latter half of 1970s, Mohammed Shafi’s health deteriorated, and his last years were very difficult. He suffered a stroke, which resulted in partial amnesia. It is said that he did not receive any help or friendly hand, from the industry, except from Rafi Sb who would visit him occasionally and quietly leave money under his pillow without telling him.

He passed away after long years of illness on 30th April, 1980.

‘Zindagi’ (1956) is produced under the banner of Kesar Films, Bombay and is directed by CL Dheer. The star cast is listed as Geeta Bali, Vijaylakshmi, Jaswant, Baby Naaz, Gulab, Rasheed, Sudarshan, Krishnakant, Tuntun, and Jagdish Sethi.

There are 8 songs listed for this film. Seven songs are written by Kaifi Azmi, and one song is by Raja Mehdi Ali Khan. Today’s song is that solitary song from the pen of Raja Mehdi Ali Khan.

The singing voices are of Sudha Malhotra, S Balbir and Jagmohan Bakshi. The song is beautifully structured around a very clever use of chorus lines, with clear demarcation of male and female chorus lines. The pace and the rhythm of the song is quite energetic. It seems to be a picnic song, from the manner of singing and the words being said. I request other knowledgeable readers to please add information about this song and the film.

Listen and enjoy.

[Editor’s Note – This song is the 300th song of Raja Mehdi Ali Khan in the blog as a lyricist.]

[Acknowledgements: Sources referred to for compiling the above article are – (1) ‘Dhunon Ki Yatra’ by Pankaj Raag; (2) Article on Mohammed Shafi by Qaseem Abbaasi on Apnaarchives.org; (3) Wikipedia article on Ustad Vilayat Khan; (4) Article on Ustad Bande Ali Khan on Swarganga Music Foundation website.]

 


Song – Kaali Kaali Ye Ghata, Thandi Thandi Ye Hawa (Zindagi) (1956) Singer – Balbir, Jagmohan Bakshi, Sudha Malhotra, Lyrics – Raja Mehdi Ali Khan, MD – Mohammed Shafi
Male Chorus
Female Chorus

Lyrics

kaali kaali
ye ghata
o thandi thandi
ye hawa
kahe pyaar karo ji
kahe pyaar karo

o kaali kaali
laa laal laal
ye ghata
laa laal laal
o thandi thandi
laa laal laal
ye hawa
la la laa
kahe pyaar karo ji
kahe pyaar karo

kaali kaali
la lallall laa
ye ghata
la lallal laa
o thandi thandi
la lallall laa
ye hawa
la lallall laa
kahe pyaar karo ji
kahe pyaar karo

aankhen aankhon si mila ke
zara dekho muskura ke
aankhen aankhon si mila ke
zara dekho muskura ke
koi teer jigar ke paar karo
o kaali kaali
la lallal laa
ye ghata
la lallal laa
o thandi thandi
la lallal laa
ye hawa
la lallal laa
kahe pyaar karo ji
kahe pyaar karo

aise ghoor ghoor ke
dekha na kar mere ko
sharam mohe laage
dekh maarungi tere ko
teer e nazar chala ke
maar daalo muskura ke
teer e nazar chala ke
maar daalo muskura ke
hum par na daya sarkaar karo
kaali kaali
la lallal laa
ye ghata
la lallal laa
o thandi thandi
la lallal laa
ye hawa
la lallal laa
kahe pyaar karo ji
kahe pyaar karo

tera chehra phoola phoola omlet ki taraah
o teri gaaliyaan kha loonga chaklet ki taraah
mere saamne na chal ghaaslet ki taraah
o mere dil ko na tal poplet (?) ki taraah
teri surat tutti futti..ee..ee
pyaar kare meri jutti..ee..ee
teri surat tutti futti
pyaar kare meri jutti
kisi aur se naina chaar karo
o kaali kaali
la lallal laa
ye ghata
la lallal laa
o thandi thandi
la lallal laa
ye hawa
la lallal laa
kahe pyaar karo ji
kahe pyaar karo

laaaa
lall laaa lee laaa
lall laaa lee laaa
lee da da ri da da rum
da da ri da da rum

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

काली काली
ये घटा
ओ ठंडी ठंडी
ये हवा
कहे प्यार करो जी
कहे प्यार करो

ओ काली काली
ला लाल लाल
ये घटा
ला लाल लाल
ओ ठंडी ठंडी
ला लाल लाल
ये हवा
ला लाल लाल
कहे प्यार करो जी
कहे प्यार करो

ओ काली काली
ल लल्लल ला
ये घटा
ल लल्लल ला
ओ ठंडी ठंडी
ल लल्लल ला
ये हवा
ल लल्लल ला
कहे प्यार करो जी
कहे प्यार करो

आँखें आँखों से मिला के
ज़रा देखो मुस्कुरा के
आँखें आँखों से मिला के
ज़रा देखो मुस्कुरा के
कोई तीर जिगर के पार करो
ओ काली काली
ल लल्लल ला
ये घटा
ल लल्लल ला
ओ ठंडी ठंडी
ल लल्लल ला
ये हवा
ल लल्लल ला
कहे प्यार करो जी
कहे प्यार करो

ऐसे घूर घूर कर
देखा ना कर मेरे को
शरम मोहे लागे
देख मारूँगी तेरे को
तीर ए नज़र चला के
मार डालो हमें मुस्कुरा के
तीर ए नज़र चला के
मार डालो हमें मुस्कुरा के
हम पर ना दया सरकार करो
काली काली
ल लल्लल ला
ये घटा
ल लल्लल ला
ओ ठंडी ठंडी
ल लल्लल ला
ये हवा
ल लल्लल ला
कहे प्यार करो जी
कहे प्यार करो

तेरा चेहरा फूला फूला आमलेट की तरह
ओ तेरी गालियां खा लूँगा चाकलेट कि तरह
मेरे सामने ना चल घासलेट की तरह
ओ मेरे दिल को ना तल पापलेट(?) की तरह
तेरी सूरत टूटी फूटी॰॰ई॰॰ई
प्यार करे मेरी जूती॰॰ई॰॰ई
तेरी सूरत टूटी फूटी॰॰ई॰॰ई
प्यार करे मेरी जूती॰॰ई॰॰ई
किसी और से नैना चार करो
ओ काली काली
ल लल्लल ला
ये घटा
ल लल्लल ला
ओ ठंडी ठंडी
ल लल्लल ला
ये हवा
ल लल्लल ला
कहे प्यार करो जी
कहे प्यार करो

ला॰॰॰
ल लल्लल ला ली ला
ल लल्लल ला ली ला
ली डा डा ली डा डा रम
डा डा री डा डा रम


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

Blog Day : 4029 Post No. : 15146

Songs Repeated in Hindi Films – 8
– – – – – – – – – – – – – – – – – –

The previous post in this series was delayed by about a week or so. And today’s post, I have been saving this medley song to write about this person, but not sure about which date to bring it on. A chance reminder three days ago, brought up this song and this post, almost immediately.  But then, other priorities intervened as usual, and this post is late by three days. 🙂

The person I write about, in this post, is Ravi Baswani. Yes, the sidekick companion of Naseeruddin Shah in the cult classic ‘Jaane Bhi Do Yaaro’ of the year 1983.  Coincidental that the posts for these two friends are coming up one after the other. And both are in the same series, and both posts are a medley of songs from the earlier years. One difference is the nature and the composition of the medley of songs – I will come to this point again a little later in the write up. And the second difference – for Naseer we celebrated a birthday anniversary, but for Ravi, the occasion is his remembrance day. Yes – 27th July in the year 2010, he suffered a massive cardiac arrest, quite unexpectedly, and was no more. He was in Haldwani, on the way back to Delhi from Nainital, where he had gone for location scouting for his first full length feature film, as a director. In the prime of his health, and on the top with his career in cinema and theatre – leaves a regret in the mind, that it was not a time to go.

Ravi was born on 29th Sept in the year 1946, in the city of Bulandshehar in UP. His father, Balram Singh, was a doctor by profession, and his mother, Shingaar Kaur, a homemaker. Practically everyone who knows him or knows about him, always presume him to be a Sindhi – Baswani <> Vaswani and so on.  Interestingly, he is not. He belongs to a Jat family, whose correct family name is Baswan. How this surname got transformed into Baswani is an interesting tale by itself. It is a case of a clerical zeal.

As per his own description, his father applied for a passport sometimes in the late 1930s. His application form was processed by a Bangla person. It just came to his mind and he decided that the surname ‘Baswan’ is spelt incorrectly. He assumed in his mind that the correct surname should be Vaswani – a name that one is more familiar with. And being a Bengali speaking person, he decided that the spelling of the surname should be Baswani – i.e. the Bangla version of the pronunciation of Vaswani. The passport got processed, and Ravi’s father’s name was transformed to Balram Singh Baswani for good. All for the zeal of a processing official to set right the name of the applicant. As his father appeared for and got selected for study of medicine, his name was taken from the passport as a reference. And surely enough, the doctor’s degree pronounced his name as Baswani. Beyond that point, his father then made no attempts to get the name rectified. And Baswani got carried into the next generation. Of course, all his uncles and cousins were not so affected – the rest of the clan still continues to be Baswan.

He further says that he could have made a choice to revert to his original family name, when he started his filmi career. But then, when he signed up for his debut film – ‘Chashm e Baddoor’, his father had then passed away just a few weeks earlier. Somehow emotionally he felt compelled not to desert his father’s surname, and decided to keep it.  And that is the name he signed up for life then.

The family moved to Delhi in 1946-47 and settled down in the Connaught Place area. Ravi’s education happened at St Columba’s School and Kirori Mal College (Delhi University). As per his own declaration, there is nothing in his lineage before him remotely connected with stage and acting. But inside him, there was an actor that expressed itself, both at school and at college. He made his debut on stage at the age of six, in a school play. As per his own admission, he fell in love with acting and dramas during his years at the Kirori Mal College.

The dramatics society at the Kirori Mal College, called simply ‘The Players’ is one of the most vibrant, and famous theatre groups in Delhi. Founded by the legendary dramatist, Frank Thakurdas in 1957, this theatre group boasts of some of the biggest names in theatre and cinema, who learned their craft here. The list will impress you – Amitabh Bachchan, Dinesh Thakur, Shakti Kapoor, Satish Kaushik, Kulbhushan Kharbanda, and many more names of the current TV and cinema scene. During his college days, he won the Delhi University’s Best Actor award, at the university lever drama competition.

Ravi says that of course, he had no intention of pursuing acting as a career.  After college, he quite dutifully joined the sales department of a large company. He worked there for two years. During the later part of these two years, something happened. Ravi came down with a case of jaundice, which he himself attributes to excess of alcohol, and was resting up, away from work. During this time, he went to see a play one day. The play was the iconic ‘Evam Indrajeet’, by the famous dramatist Badal Sircar. It was directed by Shyamanand Jalan and Kalyan Chatterjee played the title role. The play is based on the legend of Sisyphus from the Greek mythology. Sisyphus is cursed with the task of pushing and rolling a large rock up a hill. When he reaches the top, the rock rolls down the other side, and he starts all over again, pushing the boulder up the hill now from the other side. This lifelong curse simply continues forever without any respite.

Ravi says, it suddenly struck him right between the eyes – that is what his life was all about. And he asked this question of himself – is that all that there is to life? As soon as he was well enough to go the office, he went into his manager’s room and tendered his resignation, bidding a good farewell to a budding corporate career, once for all.

With no plan for the future in mind, and very little finances to support himself, he took on free lancing in the Delhi theatre circle. He remembers with fascination, the privilege that he had to work with stalwarts of the theatre world such as BM Shah, Mohan Upreti, Om Shivpuri, MK Raina, Joy Michael, Bansi Kaul and Ebrahim Alkazi!

Realizing that acting alone would not support a life, he also started training himself to be stage designer and director. During this time, he got together with some other free lancers like himself and set up a theatre group which was, quite interestingly named Non-Group. In a matter of a short time, this group became a force to reckon with in Delhi’s theatre circuit. Their crowning achievement was organizing non-stop 24 hour play festivals on the leap day (29th Feb) in the years 1976 and 1980, which included dance, drama, music, films and the fine arts.

Ravi notes that the turning point in this wayward journey as a freelancer came his way close to the end of 1970s. Naseeruddin Shah, a very old and close friend on the theatre circuit, landed in Delhi with the script of the film ‘Sparsh’ (1980) in his hands. As Ravi went over the script with Naseer, he writes that he was convinced – here was a National Award in the making for Naseer. His gut feel did pan out as reality a couple of years down the road, as Naseer bagged his first National Award as the best actor, for his sensitive portrayal of a blind man’s challenges in the apathetic world of the normal people.

Ravi writes that after going through the script, he was quite sure it had no role for him, but being the buddy of Naseer, he would have been quite content to even be his light boy. As the things unfolded, Sai Paranjpye, the producer director of this film, assigned the task of props design and management for the film to Ravi. This was his first real introduction to the world of cinema. The one great positive outcome of this endeavor was establishing a great relationship with Sai Paranjpye. So much that when Sai started work on ‘Chashm e Baddoor’ (1981), this time around Ravi had a very meaty role – his debut in the film world, in front of the camera this time.

His role in ‘Chashm e Baddoor’ was nominated for the Filmfare’s Best Comedian award. This was followed up with two more nominations in 1983, for – oh so quite expectedly – ‘Jaane Bhi Do Yaaro’ and ‘Ab Aayega Mazaa’. He bagged the award for ‘Jaane Bhi Do Yaaro’ in face of stiff competition against himself (for ‘Ab Aayega Mazaa’), and Satish Shah (for ‘Jaane Bhi Do Yaaro’). That does create a record of sorts – three nominations for Filmfare award for the first three films of his career; quite so.

Quite early one might say, but he moved into the small screen in 1984 with the comedy serial ‘Idhar Udhar’. And very soon, turned a director for TV serials with ‘Hakke Bakke’ in 1988, and more with ‘Kisse Miyan Biwee Ke’ and ‘Panchhi’. And then on to Sony channel with ‘Just Mohabbat’ and ‘Jassi Jaisi Koi Nahin’.

Twenty five feature films in about three decades. He picks the following as his best performances – ‘Ab Aayega Mazaa’ (1983), ‘Yaatna’ (1985), ‘Monsoon’ (2005) and ‘Yun Hota To Kya Hota’ (2006). He worked with children theatre a lot – about 400 plays he directed for children of ages from 5 to 17. Best of my work, he says – it left him being a child, permanently.

And then, at the peak of his active life, and in the midst of numerous projects, he was gone – just like that, nine years ago.

Coming to the song – another unlisted repeat song, or rather a medley of songs, from the film ‘Chashm e Baddoor’. This film is one of the most memorable comedies in my listings. It is funny tale of three very close friends, college going students, who live through the most normal college going life and activities for singles of the male species i.e. pursuing girls to strike a relationship. The three friends – Siddharth (Farooque Sheikh), Jomo (Ravi Baswani) and Omi (Rakesh Bedi), share an apartment. There are fun capers of sharking cigarettes on loan from the corner pan-beedi waala (role played by Saeed Jafrey), biking around aimlessly – three on a mobike, efforts to catch attention of ladies, who would be less than interested in their types, etc. Then one day, a new family moves into the neighborhood. There is a young lady Neha in that family (role played by Deepti Naval). And once having seen her, they, or at least the two – Omi and Jomo, are desperate to contact her, and try to build a friendship. With great difficulty they are able to locate her address. And then there is a wager. They will each make an effort to strike a friendship with the lady, and may the best man win.

Omi goes in first, he is mistaken for plumber, asked to make plumbing repairs. Of course he does not know the right end of the tap or the wrench, and has to escape from the house with his dignity and physical features intact.

Jomo goes in second. He masquerades as the younger brother of a Bombay film producer who has come to Delhi in search of fresh talent. He gets into the house, but his outcome is worse than Omi – watch the video clip.

The fun part is that both of them, on return to their penthouse apartment (called a barsaati in Delhi – a single isolated room on the terrace of a house), both of them spin a false yarn on how they were able to impress the lady, and have a initial go ahead for a relationship.

The clip that I have uploaded, gives the Jomo episode from start to finish – the way he loses his dignity and also physical features, and the tall tale that he tells to his friends on return. This clip is a favorite – vintage Ravi Baswani at his best.

And in the bogus and fictitious tale that he spins for his friends, he falls back on a string of old Hindi film songs, to create and convey the lovey-dovey mood of success in setting up a friendly relation with the lady.

Unlike the previous episode, where we had a typical set of songs – all Rafi-Shammi Kapoor songs – this medley has a mix of male, female and duet songs, with multiple singing voices. The treat in this medley is Ravi Baswani, taking on the mantle of Dilip Kumar, Rehman, Joy Mukherjee, Shammi Kapoor, Rajesh Khanna, Sanjeev Kumar, Feroze Khan, Dev Anand, and Sunil Dutt – all short cameos of a few seconds each. My personal favorite is the imitation of Dev Anand – one just has to see to believe it.

Closing this episode and also bringing to close the brief bio on this multi-talented actor and comedian – he never pursued a career. It was the career that kept hounding after him all his life. Alas, gone too soon. Good bye Ravi. . .

[Author’s Note: A fair part of the material for the write up on Ravi Baswani is taken from Ravi’s personal website, which, interestingly, is still active.]

Song – Karna Tha Inkaar, Magar Iqraar Tumhi Se Kar Baithe (medley)  (Chashm e Baddoor) (1981) Singers – Female Voice, Male Voice [Multiple], Lyrics – [multiple], MD – [multiple]
Female Voice + Male Voice

Lyrics

karna tha inkaar
magar iqraar
tumhin se kar baithe
na na karte pyaar
tumhin se kar baithe. . .

pyaar kiya koi chori nahin ki
chhup chhup aahen bharna kya
jab pyaar kiya to darna kya
pyaar kiya to darna kya
jab pyaar kiya to darna kya. . .

hum chhod chaley hain mehfil ko
yaad aaye kabhi to mat rona
is dil ko tassalli de dena
ghabraaye kabhi to mat rona
hum chhod chaley hain mehfil ko. . .

na jaao sainyaan
chhuda ke bainyaan
kasam tumhari main ro padungi
ro padungi. . .

sheesha ho ya dil ho..oo..oo
aakhir . . . toot jaaata hai
toot jaata hai
toot jaaata hai
toot jaaata hai

o o aa ja
aa aa aa ja
a a a aa ja
aa aa aa ja
a a a aa ja
aa aa aa ja
a a a aa ja
aa aa aa..aa. . .

tum ne pukaara aur
hum chale aaye
dil hatheli par ley aaye re..ea..ea
tum ne pukaara aur
hum chale aaye. . .

aap jaisa koi meri zindagi mein aaye
to baat ban jaaye
haan haan baat ban jaaye
aap jaisa koi meri zindagi mein aaye. . .

aah
chhod do aanchal
zamaana kya kahega
oo oo oo
chhod do aanchal
zamaana kya kahega
ha ha ha
in adaaon ka
zamaana bhi hai deewaana
deewaana kya kahega
oo oo oo
chhod do aanchal
zamaana kya kahega. . .

logo. . .
na maaro isey
yahi to mera
dildaar hai. . .

ab chaahe sar phoote ya maatha
maine teri baanh pakad li
ab chaahe sar phoote ya maatha
maine teri baanh pakad li. . .

hum tum
yug yug se ye geet milan ke
gaate rahe hain
gaate rahenge..ea..ea
hum tum
jag mein jeevan saathi ban ke
aate rahe hain
aate rahenge..ea..ea
hum tum. . .

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

करना था इंकार
मगर इक़रार
तुम्हीं से कर बैठे
ना ना करते प्यार
तुम्हीं से कर बैठे॰ ॰ ॰

प्यार किया कोई चोरी नहीं की
छुप छुप आहें भरना क्या
जब प्यार किया तो डरना क्या
प्यार किया तो डरना क्या
जब प्यार किया तो डरना क्या॰ ॰ ॰

हम छोड़ चले हैं महफिल को
याद आए कभी तो मत रोना
इस दिल को तसल्ली दे देना
घबराए कभी तो मत रोना
हम छोड़ चले हैं महफिल को॰ ॰ ॰

ना जाओ सैंयां
छुड़ा के बैंयां
कसं तुम्हारी में रो पड़ूँगी
रो पड़ूँगी॰ ॰ ॰

शीशा हो या दिल हो
आखिर ॰ ॰ ॰ टूट जाता है
टूट जाता है
टूट जाता है
टूट जाता है॰ ॰ ॰

ओ ओ आ जा
आ आ आ जा
अ अ अ आ जा
आ आ आ जा
अ अ अ आ जा
आ आ आ जा
अ अ अ आ जा
अ अ आ॰॰आ॰ ॰ ॰

तुम ने पुकारा और
हम चले आए
दिल हथेली पर ले आए रे॰॰ए॰॰ए
तुम ने पुकारा और
हम चले आए॰ ॰ ॰

आप जैसा कोई मेरी ज़िंदगी में आए
तो बात बन जाये
हाँ हाँ बात बन जाये
आप जैसा कोई मेरी ज़िंदगी में आए॰ ॰ ॰

आह
छोड़ दो आँचल
ज़माना क्या कहेगा
ओ ओ ओ
छोड़ दो आँचल
ज़माना क्या कहेगा
हा हा हा
इन अदाओं का
ज़माना भी है दीवाना
दीवाना क्या कहेगा
ओ ओ ओ
छोड़ दो आँचल
ज़माना क्या कहेगा॰ ॰ ॰

अब चाहे सर फूटे या माथा
मैंने तेरी बाँह पकड़ ली
अब चाहे सर फूटे या माथा
मैंने तेरी बाँह पकड़ ली॰ ॰ ॰

हम तुम
युग युग से ये गीत मिलन के
गाते रहे हैं
गाते रहेंगे॰॰ए॰॰ए
हम तुम
जग में जीवन साथी बन कर
आते रहे हैं
आते रहेंगे॰॰ए॰॰ए
हम तुम


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.

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