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

Archive for the ‘Group Dance’ Category


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

The song under discussion today is from film ‘Sharada’, one of the hit films of 1957. What a year 1957 was ! In the Golden Era of the Hindi Film Music, the year 1957 would go down as the best year, which provided everlasting songs from musical films. The deluge of excellent songs was such that music lovers not only enjoyed the heavy downpour, but loved every piece of Music.

Musical films like, ‘Begunah’, ‘Bhabhi’, ‘Dekh Kabira Roya’, ‘Do Aankhen Baara Haath’, ‘Ek Gaon Ki Kahani’, ‘Ek Jhalak’, ‘Kathputli’, ‘Miss Mary’, ‘Mother India’, ‘Mr. X’, ‘Nau Do Gyaarah’, ‘Naya Daur’, ‘Paying Guest’, ‘Pyaasa’, ‘Tumsa Nahin Dekha’ and many more. Add to this, the hit films of C Ramchandra in 1957 – ‘Baarish’, ‘Sharada’, ‘Nausherwan e Adil’, ‘Asha’ and ‘Talash’. What more one would want?

‘Sharada’ was made by Prasad Productions and directed by its owner himself LV Prasad or Akkineni Lakshmi Vara Prasad Rao, to be precise. Yes, he is the same person who has etched his name in the annals of film history of India, as the only man who had acted in the first talkie films of 3 different Languages ! LV Prasad acted in ‘Aalam Ara’ (1931) (Hindi), ‘Kalidasa’ (1931) (Tamil), and ‘Bhakta Prahlada’ (1932) (Telugu). All these films were made in Bombay.

From a very humble and struggling beginning, LV Prasad (17-1-1908 to 22-6-1994), went on to become one of the most successful film producers of India. He not only built an empire of film related industries, but he also headed many prestigious organisations like, International Film Festivals and International Jury Board, Film Chamber, Film Censor Board, Studio Owners’ Council etc. He was honoured with Phalke Award in 1982, Udyog Patra award in 1980, Kala Tapaswi award in 1983, Andhra Ratna Award etc. There was a Postage stamp issued in his honour in 2006.

‘Sharada’ was a remake of the original Tamil film ‘Edhir Paradhathu’ (1955). Its Telugu remake was ‘Ilavelpu’ (1956) and a Malayalam edition came a little later as ‘Nitya Kanyaka’ – in 1963. In the original Tamil film, the lead pair was Sivaji Ganeshan and Padmini, which was a very popular pair in many Tamil films during those days. The film became a runaway hit. There is an interesting anecdote about the shooting of this Tamil film. There is a scene in the film, in which Padmini has to slap Sivaji Ganesan. While enacting this scene Padmini got into the role so much that not only she was very angry but went on slapping Sivaji one after another, even after Director was shouting CUT CUT several times. Finally, Sivaji Ganesan made the hysterical Padmini lie down and brought her to normalcy !

The Telugu version also became very popular. An interesting point about the Telugu remake was that out of its 9 songs, 6 songs had popular Hindi film song tunes. For example, a Telugu song of the film, ‘Anna Anna Vinnava’ was a copy of the tune of the popular Ravi song “Chandamama Door Ke” from film Vachan (1955).

The Hindi remake ‘Sharada’, was very cleverly released in the month of December 1957 in Bombay and later in all other centres. By that time, all other musical films of 1957 were already seen and heard by the public. This naturally gave extra space to the music of Sharada to become popular. Such tactics could come only from Madras producers.

The story and screenplay was by the famous writer/director CV Sridhar, who later on gave many tear jerkers like ‘Dil Ek Mandir’ (1963). In the original Tamil film as well as the Telugu and Malayalam remakes, it was the hero’s father who dies in the film, to make way for the lovers, but in the Hindi remake, the heroine was made to die, only because the role was done by the Tragedy Queen Meena Kumari ! Poor Meena Kumari, she had only tragedies in her reel and real lives.

‘Sharada’ was a successful film not only on the Box office, but it also won 3 Film Fare Awards. Raj Mehra won his only award for the best supporting actor, Shyama won it for best supporting actress and Shivaji Awadhoot won it for Best Editing. The cast of the film was Meena Kumari, Raj kapoor, Raj Mehra, Shyama, Gope, Manorama, Om Prakash, Agha etc. The story of the film is,

Chiranjeev (Raj Kapoor) lives a wealthy lifestyle along with his father, Kashiram (Raj Mehra), and three siblings: two sisters, one of whom is dumb, and a younger brother. While on a trip, his friend, Mohan (Om Prakash), falls ill due to alcohol, and gets treated at an ashram. This is where Chiranjeev meets with an employee, Sharada (Meena Kumari), who lives a poor lifestyle with her father, Ram Sharan. Chiranjeev and Sharada fall in love with each other, and he promises to get his father’s permission and return to get married to her.

On his way home he has an accident, and though he does survive after being treated by tribal people, he returns to the Ashram several days later and is informed that Sharada is now married to a wealthy and much older man. Heart-broken and devastated, Chiranjeev returns home only to get another shock: the male Sharada has married is none other than his very own father. Chiranjeev tries to build same relations again with her, but she slaps him and warns that she is now his mother.

Depressed and deeply frustrated, he takes to alcohol in a big way. Sharada talks him out of this, he repents and on her insistence, marries Chanchal (Shyama), who comes from a reputed family background. Things then get complicated when Chanchal finds that her husband and his stepmother had been in love before and may not have got over their feelings for each other.

Fed up with everyday tiffs with Chanchal, he leaves the house and lives like a beggar. One day he is found by his step mother and father, who bring him home. Chanchal realises her mistake and repents. Meena Kumari believes that she must sacrifice for his welfare and family’s well being. She dies in the arms of her son, Chiranjeev. (641)

Today’s song is sung by Asha Bhosle, Joe Alvaris, Kamala Shrivastav and chorus. I have no definite information about Joe (he could be Johnny, C Ramchandra’s assistant in this film), or Kamla Shrivastav (she could be a singer from Lucknow who sang on AIR, and later retired as a teacher from Bhatkhande Music school, Lucknow). Here is the song video…


Song – Aaju Re Baaju Naaju Kaaju Re (Sharda) (1957) Singer – Asha Bhosle, Joe Alvaris, Kamala Shrivastav, Lyrics – Rajinder Krishan, MD – C Ramchandra
Chorus

Lyrics 

aaju re baaju naaju kaaju re lui
lui
aaju re baaju naaju kaaju re lui
lui
aaju re baaju naaju kaaju re lui
lui

aaa aaaa aaaa aaaaa aaaaa aaaa
aaaa aaaaa aaaaaa aaaaaa aaa
aaa aaaa aaaa aaaaa aaaaa aaaa

aaju re baaju naaju
lui
aaju re baaju naaju
lui

aaaaaaaaaa aaaa aaaa aaaa aaaa

aaju re baaju naaju
kaaju re lui lui
dil main hai laagi mere nainwa ki sui
oooeeeeeeeee
aaju re baaju naaju
kaaju re lui lui
dil main hai laagi mere nainwa ki sui
oooeeeeeeeee

baaton mein teri aa ke
main fisal gayi
muft mein haaye
tere jaise ko mil gayi
aaaa aaaa aaaa aaaa
baaton mein teri aa ke
main fisal gayi
muft mein haaye
tere jaise ko mil gayi
de ke dil dekha
pyaar hai dhokha
de ke dil dekha
pyaar hai dhokha
preet to hai badi mui
laagi nainwa ki sui
oooeeeeeeeee
aaju re baaju naaju
kaaju re lui lui
dil main hai laagi mere nainwa ki sui
oooeeeeeeeee

de ke daghaa bhaaga
kaise se pada paala
dil ka qusoor kya hai
aankhon ne maar daala
de ke daghaa bhaaga
kaise se pada paala
dil ka qusoor kya hai
aankhon ne maar daala
naina na milte
naina na milte
dil ke na taar hiltey
murjhaati kaahe chhui mui
laagi nainwa ki sui
oooeeeeeeeee
aaju re baaju naaju
kaaju re lui lui
dil main hai laagi mere nainwa ki sui
oooeeeeeeeee

paapi ye naina haaye
kaahe kisi se ladey
honthon ki hansi gayi
dil mein hain daagh padey
aaaa aaaa aaaa aaaa
paapi ye naina haaye
kaahe kisi se ladey
honthon ki hansi gayi
dil mein hain daagh padey
raaton ko khade khade
din ko padey padey
raaton ko khade khade
din ko padey padey
preet to hai badi mui
laagi nainwa ki sui
oooeeeeeeeee
aaju re baaju naaju
kaaju re lui lui
dil main hai laagi mere nainwa ki sui
oooeeeeeeeee
aaju re baaju naaju
kaaju re lui lui
dil main hai laagi mere nainwa ki sui
oooeeeeeeeee

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

आजू रे बाजू नाजु काजू रे लुई
लुई
आजू रे बाजू नाजु काजू रे लुई
लुई
आजू रे बाजू नाजु काजू रे लुई
लुई

आss आsss आsss आssss आssss आsss
आss आsss आssss आssss आss
आss आsss आsss आssss आssss आsss

आजू रे बाजू नाजु
लुई
आजू रे बाजू नाजु
लुई

आssssssss आsss आsss आsss आsss

आजू रे बाजू नाजु
काजू रे लुई लुई
दिल में है लागी मेरे नैनवा की सुई
उईssss
आजू रे बाजू नाजु
काजू रे लुई लुई
दिल में है लागी मेरे नैनवा की सुई
उईssss

बातों में तेरी आके
मैं तो फिसल गई
मुफ्त में हाए तेरे
जैसे को मिल गई
आsss आsss आsss आsss
बातों में तेरी आके
मैं तो फिसल गई
मुफ्त में हाए तेरे
जैसे को मिल गई
दे के दिल देखा
प्यार है धोखा
दे के दिल देखा
प्यार है धोखा
प्रीत तो है बड़ी मुई
लागी नैनवा की सुई
उईssss
आजू रे बाजू नाजु
काजू रे लुई लुई
दिल में है लागी मेरे नैनवा की सुई
उईssss

दे के दग़ा भागा
कैसे से पड़ा पाला
दिल का क़ुसूर क्या है
आँखों ने मार डाला
दे के दग़ा भागा
कैसे से पड़ा पाला
दिल का क़ुसूर क्या है
आँखों ने मार डाला
नैना ना मिलते
नैना ना मिलते
दिल के ना तार हिलते
मुरझाती काहे छुई मुई
लागी नैनवा की सुई
उईssss
आजू रे बाजू नाजु
काजू रे लुई लुई
दिल में है लागी मेरे नैनवा की सुई
उईssss

पापी ये नैना हाए
काहे किसी से लड़े
होठों से हंसी गई
दिल में हैं दाग़ पड़े
आsss आsss आsss आsss
पापी ये नैना हाए
काहे किसी से लड़े
होठों से हंसी गई
दिल में हैं दाग़ पड़े
रातों को खड़े खड़े
दिन को पड़े पड़े
रातों को खड़े खड़े
दिन को पड़े पड़े
प्रीत तो है बड़ी मुई
लागी नैनवा की सुई
उईssss
आजू रे बाजू नाजु
काजू रे लुई लुई
दिल में है लागी मेरे नैनवा की सुई
उईssss
आजू रे बाजू नाजु
काजू रे लुई लुई
दिल में है लागी मेरे नैनवा की सुई
उईssss
 

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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.

This post is the 13600th post, 600th song of Sahir Ludhianvi and 1100th post of Sudhir Jee in the blog.

One more song that I can’t believe has not yet been included in the annals of our blog. Such a melodious, lilting and fast paced lovable song. It used to be aired on the radio quite regularly, and was one of the listening favorites. The vintage is 1964, and so quite well still retained in the memory. As I started to search for a Sahir song for this post today, I was not quite satisfied with some of the ones that showed up as possible candidates. You see, as we progress and post more songs, and the artist counts starts to close in to their total no. of songs, then in all likelihood, the better ones, the favorite ones are mostly accounted for on the blog. So if one is looking for a favorite song as a representative work of an artist, it becomes quite an effort to locate one.

Ah yes, all this is being said because I have been trying to locate a good, attractive favorite song penned by Sahir Sb, for this celebration post today. So yes, this post is celebrating two major milestones. We arrive at the 13,600th station in this musical journey. In the same stroke, we are also celebrating a score of 600 songs posted, that have come from the pen of Sahir Ludhianvi. Congratulations to one and all members of this musical bandwagon, and all readers and friends on this blog. The going has been somewhat slow during the recent few weeks, but we continue to trek along these musical paths. The going is still strong – we still just at 35 to 40% of the known songs, considering the period from 1931 to 1980 (as covered in the first five volumes of the HFGK).

However, the same cannot be said of the artists. As we continue to progress and as we start getting near to the total number of songs of an artist, it then becomes somewhat of an effort, to search out a suitable, likeable song from the remaining lot. I have been working through the lists of remaining songs of Sahir Sb much of the early part of today. I picked out a few candidate songs, from across the years his career spans. With an excellent poet like him, I notice that majority, and I mean majority, of the songs written by him are accounted for. I run through the Geet Kosh, and the film name will tell me, not even try looking into the list, because this film is most certainly already ‘Yippeee’d’. Oh yes, I do pick up some, as I said earlier, but reaching 1964, checking out this film ‘Dooj Ka Chaand’, I was surprised that this film is not yet part of the Yippeee list on the blog. Scanning the list of songs, it is almost goose bumps running down my back, as I see this song listed. Quick check on the blog and I find this song is not yet present on the blog. I have made this faux pas a few times in the past, so I quickly send an email to Atul ji, to get a confirmation. I start to prepare the post in anticipation, as I wait for his response. The confirmation email from him a little while later is quite a relief, as you may understand. 🙂

The story of Sahir is a journey in bittersweet loneliness. His own life, his experiences and his personal emotions are quite reflected in the songs and his poetry. A romantic at heart, he was once expelled from his college (in Lahore) by the principal, who saw him sitting in the college lawns with a lady student. That same college today has an auditorium named after him. A childhood that begins with bitter family experiences – a strict and abusive father, and a mother who left the household on that account. He was close to his mother, who ensured that his education continued, even though she was not part of the family, strictly speaking. His poetry budded and took shape within him, and he published his first collection while still at college. The collection is titled ‘Talkhiyaan’ (तल्खियाँ). Literally, it means ‘bitternesses’. . .

The saga of the mutual love and attraction between Sahir and Amrita Pritam, the famous Punjabi poetess and author, is well known. It is not really clear what kept them apart. Was it that Amrita was already a married woman when they met? Was is familial or community apprehensions? We would not know. Theirs was an association of silence, and that is how it has remained – a mystery in silence. At one place, Amrita has written –

“our meetings and being together, were passages of silence. . . for me, it seemed as if the loneliness and silences of my soul took a human shape and came to sit besides me. . . he would be smoking all the time, and when he left, what remained behind was an ashtray full of half smoked cigarettes. . . I would keep them as treasures, and once in a while, would smoke them. . . holding that cigarette in my hand was like him holding my hand. . .”

There is one reference one finds to this personal affair. It is said that Sahir once said to his mother that the only one that could have been her ’bahu’ was Amrita.

Cigarettes and drink became his life, and he passed away quite early – just 57. Lines from two songs simply sum up his passage from the world of living. One – “Main Zindagi Ka Saath Nibhaata Chala Gaya”; I refer to the line “Har Fikr Ko Dhuen Mein Udaata Chala Gaya”. And the second – “Mehfil Se Utth Jaane Waalo”; I refer to the line “Mere Saathi. . . Mere Saathi. . . Mere Saathi Khaali Jaam”. A romantic – lived as one, passed away as one.

Today’s song is a wonderful duet between Lata ji and Asha ji. ‘Dooj’ is the second day in the waxing cycle of the moon. It is on this day that the first crescent of the moon really becomes visible. This view of the moon is considered to be the most auspicious. The Muslims celebrate their Id when this crescent moon is sighted. And in scriptures and books of Hinduism, this sighting finds many mentions, as an auspicious occasion. There is couplet (author unknown) which goes like,

avasar kaudi  jo chuke,  bahuri  diye ka  lakh
duij na chanda dekhiye, udai kaha bhari pakh

That a timely helping hand of just one ‘kaudi’ is worth much more than lakhs given when not needed; so is the sighting of the moon on ‘dooj’; seeing it that day is worth seeing it in all its phases for the rest of the fortnight.

The crescent moon and the star – which is an occasional sighting of the moon and the planet Venus in conjunction, has been considered as the most beautiful sights. It is the conjunction of the mind (मन) and beauty – moon represents the मन and the Venus represents beauty. Poets and authors have written that this sight is more beautiful than ‘Chaudhvin Ka Chaand’, which is the full moon.

Enjoy this lovely song. It depicts the age old tradition of unmarried girls praying to and paying their respects to this sighting of the moon, asking for the blessing of a beautiful loving husband. On screen, the song is performed as a group dance. B Saroja Devi is the lead dancer, accompanied by Madhumati and other ladies. They are teasing Saroja Devi to pray to the moon, and she is responding by saying that the one who may love her should come seeking her. And her friends respond by saying that her ‘bindiya’ and her ‘paayal’ are giving a different message. A lovely tete-a-tete.

Music is vintage Roshan, what a lovely and endearing melody this one is.

Song – Sajan Salona Maang Lo Ji Koi  (Dooj Ka Chaand) (1964) Singer – Asha Bhosle, Lata Mangeshkar, Lyrics – Sahir Ludhianvi, MD – Roshan
Chorus

Lyrics

o ooo oo oo
ooo ooo ooooo
ooo ooo ooo ooo ooo ooo

sajan salona maang lo ji koi
sajan salona maang lo ji koi
nikla hai dooj ka chaand sakhi ri
aaj na kariyo laaj sakhi ri
aaj na kariyo laaj
suno to gori
ui maa
kaahe ki chori
ui maa
sajan salona maang lo ji koi
nikla hai dooj ka chaand sakhi ri
aaj na kariyo laaj sakhi ri
aaj na kariyo laaj

mohe meethi naahi laage aisi baat
sakhi chhedo na
mohe meethi naahi laage aisi baat
sakhi chhedo na
naina chaahe kisi chhaliye ka saath
sakhi chhedo na
aa ha
tu na chaahe kisi mitwa ka saath ri sakhi
ke tori chham chham karti paayal chaahe
koi matwaara rasiya
suno to gori
ui maa
kaahe ki chori
ui maa
sajan salona maang lo ji koi
nikla hai dooj ka chaand sakhi ri
aaj na kariyo laaj sakhi ri
aaj na kariyo laaj

jaa ko bhaaun wo hi maange mera haath
main to maangun na
jaa ko bhaaun wo hi maange mera haath
main to maangun na
badi aai hai ye dooj ki raat
main to maangun na
haaye
tu na maange kachhu aaj ki raat
ri sakhi
ke tori cham cham karti bindiya maange
koi matwaara rasiya
suno to gori
ui maa
kaahe ki chori
ui maa
sajan salona maang lo ji koi
nikla hai dooj ka chaand sakhi ri
aaj na kariyo laaj sakhi ri
aaj na kariyo laaj

la la la la laa
la la la la laa
laaa aaaa la la laa
oo ooo ooo
hmmm hmmm hmmm
hmmm hmmm hmmm
hooo ooo ooo ooo
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

ओ ओss ओs ओs
ओss ओss ओsssss
ओss ओss ओss ओss ओss ओss

सजन सलोना मांग लो जी कोई
सजन सलोना मांग लो जी कोई
निकला है दूज का चाँद सखी री
आज ना करियो लाज सखी री
आज ना करियो लाज
सुनो तो गोरी
ऊई माँ
काहे की चोरी
ऊई माँ
सजन सलोना मांग लो जी कोई
निकला है दूज का चाँद सखी री
आज ना करियो लाज सखी री
आज ना करियो लाज

मोहे मीठी नाही लागे ऐसी बात
सखी छेड़ो ना
मोहे मीठी नाही लागे ऐसी बात
सखी छेड़ो ना
नैना चाहें किसी छलिए का साथ
सखी छेड़ो ना
आ हा
तू ना चाहे किसी मितवा का साथ री सखी
के तोरी छम छम करती पायल चाहे कोई मतवारा रसिया
सुनो तो गोरी
ऊई माँ
काहे की चोरी
ऊई माँ
सजन सलोना मांग लो जी कोई
निकला है दूज का चाँद सखी री
आज ना करियो लाज सखी री
आज ना करियो लाज

जा को भाऊँ वो ही मांगे मेरा हाथ
मैं तो माँगूँ ना
जा को भाऊँ वो ही मांगे मेरा हाथ
मैं तो माँगूँ ना
बड़ी आई है ये दूज की रात
मैं तो माँगूँ ना
हाए
तू ना मांगे कछु आज की रात री सखी
के तोरी चम चम करती बिंदिया मांगे कोई मतवारा रसिया
सुनो तो गोरी
ऊई माँ
काहे की चोरी
ऊई माँ
सजन सलोना मांग लो जी कोई
निकला है दूज का चाँद सखी री
आज ना करियो लाज सखी री
आज ना करियो लाज

ल ल ल ल ला
ल ल ल ल ला
ला आ ल ल ला
ओ ओ ओ
हम्म हम्म हम्म
हम्म हम्म हम्म
हो ओ ओ ओ


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 13600 song posts by now.

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

Total number of songs posts discussed

13654

Number of movies covered in the blog

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

Total visits so far

  • 9,753,432 hits

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Historical dates

Blog Start date: 19 july 2008

Active for more than 3250 days.

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