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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 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.

This is the 1300th Post by Sudhir ji.

Blog Day :

3913 Post No. : 14972 Movie Count :

4092

Missing Films of 1960s – 103
– – – – – – – – – – – – – – –

The film that we bring on board today is ‘Sati Sulochana’ from 1969. One more film that is rarely heard about, although the video of this film is available. And once again, lovely songs that have not been explored. The sound of this song seems like it was heard on the radio, but that was a long time back.

The music is by SN Tripathi, who incidentally has also directed this film. The film is produced under the banner of SA Films, Bombay. The star cast includes Prithviraj, Anita Dutt, Prem Nath, Raj Kumar, Bipin Gupta, Kanan Kaushal, Sundar, Ram Singh, and Ram Mohan etc.

The story of Sati Sulochana is part of the history of Ramayan.  Sulochana is the daughter of Sheshnaag, the king of serpents. She is married to Meghnaad, the son of Raavan. Meghnaad is also known as Indrajit, for he had once vanquished Lord Indra and captured many sophisticated weapons from him. In the narrative of Ramayan, Sulochana is described as a brave lady who is very supportive of her husband. Eventually, when her husband is killed in the battle with Lakshman, she makes a decision to immolate herself on his pyre.

This story has been made into films on many occasions. The first one on record is the silent film ‘Sati Sulochana’ in 1921. Then this film was produced in Kannada, in 1934, as the first talkie film in Kannada language. In 1935, a Hindi film was also released by this name, under the production banner of Godavari Cinetone. In 1961, this tale was also told in a Telegu film starring NT Ramarao. And then in 1969, we have this Hindi production again.

Geet Kosh lists 9 songs of this film. Music is from the mind of SN Tripathi. The songs have been written by Bharat Vyas and BD Mishra. This song is from the pen of Bharat Vyas.  The singing voice is that of Suman Kalyanpur. On screen, it appears as if the leading lady and one of two of her friends are lip syncing the same playback singing.

The song is picturized as a group dance song, in which the leading lady is being teased by her friends, asking her who is the one who comes into your dreams. The song is a lively exchange between the lady and her sahelis. On screen, I am not able to identify with certainty, the lady who leads the song. Is she Kanan Kaushal? I request our more knowledgeable readers and friends to please help identify her.

Enjoy this lovely lilting melody, one of those songs that should have been more popular.

 

Song – Kaun Tere Sapnon Mein Aata  (Sati Sulochana) (1969) Singer – Suman Kalyanpur, Lyrics – Bharat Vyas, MD – SN Tripathi
Chorus

Lyrics

aaa aaaaaaa
aaaa aaaa aaaaa
aaa aaaaaaa
aaaa aaaa aaaaa

kaun tere sapnon mein aata
kaun tere sapnon mein aata
aa ke nainon mein muskaata
bataao na bataao
hum ko ye bataao
jud gaya kis se ye naata
kaun tere sapnon mein aata

hato ri sapne ki na boloon
bhed yeh mann ka na kholoon
jaao ri sakhi jaao
mujhe na yun sataao
khel ye mann ko na bhaata
kaun tere sapnon mein aata

main to soi thi
neend mein khoi thi
chup ke se koi aa gaya
main to soi thi
neend mein khoi thi
chup ke se koi aa gaya
megh varan tha
kanak rang tha
mere jeevan mein samaa gaya
chhup ke kaanon mein kuchh bola
haule se ghunghat pat khola
akhiaan ghabraai
main to sharmaai
aage ab kuchh na kaha jaata
koi tere sapnon mein aata

veer purush tha
kandhe dhanush tha
mukh pe tej samaaya
veer purush tha
kandhe dhanush tha
mukh pe tej samaaya
jaan nahin
pehchaan nahin koi
phir bhi wo mann ko bhaaya
preet meri muskaai hai
pooja meri rang laai hai
chhudaaye se na chhoote
tode to nahin toote
janm janmaantar ka naata
kaun tere sapnon mein aata

kaun tere sapnon mein aata
aa ke nainon mein muskaata
bataao na bataao
hum ko ye bataao
jud gaya kis se ye naata
kaun tere sapnon mein aata

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

आss आssssss
आsss आsss आssss
आss आssssss
आsss आsss आssss

कौन तेरे सपनों में आता
कौन तेरे सपनों में आता
आ के नैनों में मुस्काता
बताओ ना बताओ
हम को ये बताओ
जुड़ गया किस से ये नाता
कौन तेरे सपनों में आता

हटो री सपने की ना बोलूँ
भेद ये मन का ना खोलूँ
जाओ री सखी जाओ
मुझे ना यूं सताओ
खेल ये मन को ना भाता’
कौन तेरे सपनों में आता

मैं तो सोई थी
नींद में खोई थी
चुपके से कोई आ गया
मैं तो सोई थी
नींद में खोई थी
चुपके से कोई आ गया
मेघ वरण था
कनक रंग था
मेरे जीवन में समा गया
छुप के कानों में कुछ बोला
हौले से घूँघट पट खोला
अखियाँ घबराईं
मैं तो शरमाई
आगे अब कुछ ना कहा जाता
कोई तेरे सपनों में आता

वीर पुरुष था
कांधे धनुष था
मुख पे तेज समाया
वीर पुरुष था
कांधे धनुष था
मुख पे तेज समाया
जान नहीं
पहचान नहीं कोई
फिर भी वो मन को भाया
प्रीत मेरी मुसकाई है
पूजा मेरी रंग लाई है
छुड़ाए से ना छूटे
तोड़े तो नहीं टूटे
जन्म जन्मांतर का नाता
कौन तेरे सपनों में आता

कौन तेरे सपनों में आता
आ के नैनों में मुस्काता
बताओ ना बताओ
हम को ये बताओ
जुड़ गया किस से ये नाता
कौन तेरे सपनों में आता

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

Blog Day : 3909 Post No. : 14967

—————————————————-
Blog Ten Year Challenge (2009-2019)-Song number 25
—————————————————-

This is my First song post for ‘The 10 year Challenge’ series. Today, 10 years ago, on this day, 6 songs were posted. They were 1 song each for films ‘Bahut Din Huye’ (1954), ‘Marine Drive’ (1955), ‘Naag Devta’ (1962), ‘Bees Saal Baad’ (1962), ‘Prince’ (1969) and ‘Lootmaar’ (1980).

From the day it started, I was keen on participating, but everyday that I checked I found films either belonging to the 60s to 80s or films which were already Yippeee’d. I became helpless. Not that I can not or don’t want to write on songs of films of 70s and beyond, but they are not of my liking. Further I like to write only on songs or films, where I have something substantial to offer to our readers.

Finally, I found one film from 1st April 2009, which had some scope for me. The song is from film ‘Bahut Din Huye’. First, out of the 17 songs only 3 songs are posted on the blog and hence lot of choice to choose a song from remaining 14 songs, and secondly, the background of the film, the stars, the producer/director, the company etc were matters where I could elaborate to my will. So, I opted for this film’s song today.

The film is from the southern giant – Gemini Pictures. The film title sounds almost like a translation of ‘Once upon a time…’. It is a very apt title too, because the film is based on a folk tale of south. I like such films made in south and also their mythological films. When I see these films, the costumes of all the actors as well as their palaces etc remind me of similar pictures that used to appear in Chandamama magazines.

Chandamama (Chandoba in Marathi) magazines vied with my childhood craze of seeing films and reading books. Like many of my age group, our childhood had an important segment covered by Chandamama (in 13 Languages, including English and Sanskrit) readings. I strongly believe that  either the south film actors copied costumes from Chandamama pictures or the vice versa, but they resembled each others, for sure !

As expected, ‘Bahut Din Huye’ was a remake of Gemini’s own block buster ‘Bala Nagamma’ from 1942. Gemini Studios was the best known Madras studio in the 1940s for redefining the concept of mass entertainment with ‘Chandralekha’ (1948), the first Madras film to break successfully into the Hindi cinema circuit. SS Vasan started Gemini as a distribution agency, the Gemini Pictures Circuit, distributing and partly financing films by K Subramanyam’s Motion Picture Producers Combine. When the Combine went bankrupt, Vasan bought the studio in 1939 at public auction for a mere Rs 86,427-11 (annas)-9 (paise) (according to Randor Guy). The studio’s début feature was probably Balkrishna Narayan Rao’s ‘Madanakamarajan’ (1941), but it only took off when cameraman-scenarist K Ramnoth joined it along with his Vauhini partner, art-director AK Sekhar. This team made most of Gemini’s early features: ‘Mangamma Sapatham’ (1943), ‘Kannamma En Kadhali’ (1945) and ‘Miss Malini’ (1947) before the ‘Chandralekha’ blitz catapulted it on to the national stage.

In the early days, the most important event in the studio was Uday Shankar’s dance extravaganza ‘Kalpana’ (released 1948) which also provided training for most of Gemini’s technicians as well as providing the model for an Orientalist dance idiom later associated with influential Tamil choreographers like Hiralal and Chopra Master. A few minor hits followed ‘Chandralekha’ before the studio’s second major onslaught on the national box office with ‘Apoorva Sahodarargal’ (1949), a trilingual that established the studio’s dominance in the genre of the costumed adventure movie. Although its Hindi version ‘Nishan’ was not a major success, Vasan continued making Hindi films, often signing up major stars of Hindi films himself: e.g. the Dilip Kumar and Dev Anand film ‘Insaaniyat’ (1955), Vyjayanthimala’s ‘Raj Tilak’ (1958) and ‘Paigham (1959) starring Dilip Kumar, Raaj Kumar and Vyjayanthimala. They also made the mega-budget Tamil classic ‘Avvaiyyar’ (1953). An important later production was ‘Motor Sundaram Pillai’ (1966), Sivaji Ganesan’s only film at this studio. In 1958 the studio expanded into the Gemini Colour lab, licensed by Eastman color Kodak film. After Vasan’s death, his son SS Balasubramanyam produced the unsuccessful ‘Ellorum Nallavare’ (1975). Gemini’s productions declined in the 70s, although it remained successful as a studio and equipment rental business now taken over by the Anand Cine Services.

The unprecedented foray of Gemini’s Vasan’s hit film ‘Chandralekha’ into all India market, Subramaniam Srinivasan or simply SS Vasan, became aware of the unlimited scope of the Hindi belt market for south-made Hindi films. Vasan was a writer, editor, producer and director, but above all, he was a business tycoon. He  established the popular Tamil magazine ‘Anand Vikatan’, and owned Gemini studios, Gemini Laboratories and Gemini distribution circuits.

He soon decided to take advantage of the success of ‘Chandralekha’ and made another tri-lingual film. In Tamil it was called ‘Apoorva Sahodarargal’, in Telugu, it was ‘Apoorva Sahodaralu’, and in Hindi it was called ‘Nishan’ (1949). This film too was a  success. Encouraged by this, SS Vasan made his 1943 Tamil Hit film ‘Mangamma Sapatham’, into a remake in Hindi with the name ‘Mangala’ (1950). Not by coincidence, but by design, the hero for all these 3 remakes and the originals was Ranjan. ‘Mangala’ was remade in Sinhalese as ‘Mathalan’ in 1955 and in Telugu as ‘Mangamma Shapatham’ in 1965, featuring NT Ramarao (later the Chief Minister of erstwhile Andhra Pradesh), and Jamuna.

Enthused and inspired with Vasan’s success in the Hindi belt, another giant from the South came forward. AVM’s Tamil film ‘Vazhkai’ (1949) was a big hit in south. AVM made a Telugu Version of it with the name ‘Jeevitham’ in 1950 followed by a Hindi version ‘Bahaar’ in 1951. They introduced Vyjayantimala with this film, in Hindi. The story of the film and the music by SD Burman made film a big hit in Hindi too. AVM then made Hindi film ‘Ladki’ (1953), with a Tamil and Telugu version. This too became a hit film. However by that time the South market had grown manifolds and there was no need for the south film makers to venture into the Hindi belt to earn money. Thus, there was a slow down in this type of activity. The south now started making Hindi films directly in Madras by calling actors from Bombay. And some films were dubbed too.

The divide between the north and the south went on widening, which finally resulted in the anti-Hindi agitations of the 1960s and 70s in Madras and other southern places. Fortunately, in recent times and with the new generation, thanks to the coalition politics at the centre and states as well as IT centres at Hyderabad, Chennai and Bangalore, the North-South exchange is much better and each state is identified individually. Thanks also to novels of writers like Chetan Bhagat. And thanks to modernization.

‘Bahut Din Huye’ had a cast consisting of Madhubala, Ratan Kumar, Agha, Kailash, Savitri (debut film in Hindi), Lalita Pawar, Pushpvalli (mother of Rekha), Kanhaiya Lal etc. Ratan Kumar had a big role in this film. Another film of 1954, ‘Jagriti’ also had a pivotal role for Ratan Kumar.

Ratan Kumar’s real name was Syed Nazar Ali (born 21-8-42 at Ajmer, passed away 12-12-2016 at California, USA). He started working as a child star when he was just 4 year old. His first film was Baburao Patel’s ‘Gwaalan’ (1946). He did 25 film roles before he acted in film ‘Jagriti’. He worked in many famous films like ‘Sargam’ (1950), ‘Malhaar’ (1951), ‘Afsaana’ (1951), ‘Baiju Bawra’ (1952), ‘Do Bigha Zameen’ (1953), ‘Boot Polish’ (1953) etc. After doing film ‘Jalwa’ in 1955, he migrated to Pakistan in 1956, with his family, and remade ‘Jagriti’ in Pakistan, as ‘Bedaari(1957) – Urdu translation of the Hindi word Jagriti. This film used the same old tune for a film song in Pakistan, aimed at igniting a similar emotion and patriotic zeal, among the listeners. – “Aao Bachcho Tumhe Dikhayen Jhaanki Hindustan Ki… (come children let us show you glimpses of India), is a popular Hindi film song of the 1950s. “Aao Bachcho Sair Karaayen Tumko Pakistan Ki… (children, let us take you on a tour of Pakistan) is an equally hit song of the same period in Pakistan. The movie ‘Bedaari’ (1957) was produced by his elder brother Wazir Ali Rizvi.

He played a young boy’s role in many Pakistani films later. ‘Naagin (1959) was the first Pakistani film he played a lead actor opposite Neelo as the lead actress. Ratan Kumar’s success, as a lead actor, could not last long because his later films did not do well at the box-office and he eventually faded away.

In 1977, his 4 years old daughter died in an accident in Lahore, Pakistan. He was so emotionally upset after that accident that he decided to quit the Pakistani film industry. In 1979, Ratan Kumar left Pakistan never to return again. In the late 1960s, Ratan Kumar also got into the business of selling oriental carpets and had started travelling back and forth from Pakistan to Europe for this business. Eventually he ended up settling down permanently in the United States after 1979.

Ratan Kumar was living in California, in his old age, and was admitted to the hospital for pneumonia 10 days before his death on 12 Dec 2016. He had a long history of illness, though. In 1996, his lungs had collapsed twice in the same year. When they collapsed the third time in 2000, he was left paralyzed and went into a coma for eight days. Then he recovered in four to five months and became somewhat normal again. His survivors include 2 sons, a daughter and seven grandchildren .

Music for film ‘Bahut Din Huye’ is by a pair of BS Kalla and E Sankar Sastry. Many south Indian composers had tried their hand at giving music to Hindi films in the 50s decade. MDs like Ghantasala, BS Kalla, SD Parthasarathi, E Shankar, B Laxman, Vishwanathan, R Sudarshanam, SV Venkataramana, TR Ramanathan and TG Lingappa are few of the lesser known music directors from south, who composed music for Hindi films. They gave melodious music, but somehow they did not succeed here. One reason could be their use of southern singers, for whom acceptability was a problem here for Hindi songs. Names like Ramesh Naidu, Adi Narayana Rao and the pair of Vishwanathan-Ramamurthy were at least known names here. Their films like ‘Piya Milan’ (1955, MD – Ramesh Naidu), ‘Suvarna Sundari’ (1958, MD – Adi Narayana Rao) and ‘Naya Aadmi’ (1956, MD – Vishwanathan-Ramamurthy) had many popular songs.

The film had 17 songs, 7 of these were sung by Lata Mangeshkar and the remaining were either by chorus or unnamed male/female singers. The lyrics were by Pt. Indra. Let us now hear today’s chorus song and enjoy the song and dance video.

[Thanks to Encyclopedia of Indian Cinema by Rajadhyaksha, HFGK, MuVyz, The Hindu, Wiki and my notes.]

Song – Swaagat Raajkumar Tumhaara, Swaagat Raajkumar  (Bahut Din Huye) (1954) Singer – Chorus, Lyrics – Pt Indra, Music – BS Kalla

Lyrics

aaaa aaaa aaaaaaa
tananan tananan tananan tann
aaaa aaaa aaaaaaa
tananan tananan tananan tann
aa aa aa aaaaa
aa aa aa aa
aa aaa aaaaa aaaaa
aaaa aaaaa

swaagat raajkumar tumhaara
swaagat raajkumar
swaagat raajkumar tumhaara
swaagat raajkumar

aaaa aaaa aaaa
ye akhiyan matwaali kab se
rahi hain baat nihaar
aaaa aaaaa aaaaaa aaaa
aaaa aaaa aaaa
aaa
aaa aa
aaa
aaa aa
aaa
aaa aa
aaa
aaa aa

aao baitho ratan hindole
aaaa aaaa aaaa
ratan hindole
pawan veg se jhulo
tum pyaare mehmaan hamaare..ae..ae
aao sab kuchh bhulo
jhoola jhulo

aaaa aaaa aaaa aaaaa
mmmm mmmmm mmmm
mmmm mmmmm mmmm

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

आsss आsss आssssss
तननन तननन तननन तन्न
आsss आsss आssssss
तननन तननन तननन तन्न
आ आ आ आssss
आ आ आ आ
आ आss आssss आssss
आsss आssss

स्वागत राजकुमार तुम्हारा
स्वागत राजकुमार
स्वागत राजकुमार तुम्हारा
स्वागत राजकुमार

आ आ आ
ये अखियाँ मतवाली कब से
रही हैं बाट निहार
आsss आsss आsssss आsss
आsss आsss आsss
आss
आss आ
आss
आss आ
आss
आss आ
आss
आss आ

आओ बैठो रतन हिंडोले
आsss आsss आsss
रतन हिंडोले
पावन वेग से झूलो
तुम प्यारे मेहमान हमारे॰॰ए॰॰ए
आओ सब कुछ भूलो
झूला झूलो

आsss आsss आsss आsss
म्ममम म्ममम म्ममम
म्ममम म्ममम म्ममम


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 :

3907 Post No. : 14964 Movie Count :

4090

Missing Films of 1960s – 102
– – – – – – – – – – – – – – –

As I checked the listings today, I find there still are a good about dozen films of 1960s, and this homework list, that are traceable, available and have to be covered. I was earlier thinking may be just four or five more to go. Ok so, abhi to we are in good stride here, and hope to complete the available list in the next about two weeks. 🙂

Today’s film is ‘Soldier’ from 1969. This film also has an alternate name – ‘Thakur Diler Singh’. And so on YouTube, we find songs available by both names. The film is produced under the banner of PS Pictures, Bombay and is directed by Shyam. An short list of actors – Kumar Ajeet, Deepa, Shyam Kumar, Rajan Haksar, Randhir, Pal Sharma, Parasram, Jagdev, and Bilkis Shabnam.

The Geet Kosh lists 5 songs for this film. All songs are from the pen of Aziz Kashmiri, and the music is by the duo of Sonik Omi. Aziz Kashmiri, by this time in his career, was seasoned songwriter. His active career starts at the beginning of the 1940s, and goes all the way to mid 1970s – a recognized body of work of about 230+ songs from about 50 films. To his credit are such notable films as ‘Himmat’ (1941), ‘Iraada’ (1944), ‘Khamosh Nigaahen’ (1946), ‘Mirza Sahiban’ (1947),’Ek Thi Ladki’ (1949), ‘Dholak’ and ‘Sabz Baagh’ (both 1951), ‘Aag Ka Driya’ and ‘Ek Do Teen’ (both 1953), ‘Dekhi Teri Bambai’ (1961), ‘Bahaaren Phir Bhi Aayengi’, ‘Yeh Raat Phir Na Aayegi’ and ‘Akalmand’ (all 1966) etc. His last film, as per Geet Kosh, is ‘International Crook’ from 1974.

Today’s song is in the voice of Asha Bhosle. Although the video clips of some songs of this film are available, for this particular song, I could locate only the audio clip. From the sound of it, it seems to be a group dance situation. I request other knowledgeable readers and friends to add more information about this song.

Another player from 1960s makes its debut on our blog.  Listen to and enjoy this wonderful creation.

(Audio)

(Video)

Song – Hum Ne Suna Tha Bada Charcha Janaab Ka  (Soldier) (1969) Singer – Asha Bhosle, Lyrics – Aziz Kashmiri, MD – Sonik Omi
Chorus

Lyrics

hum ne sun tha bada charcha janaab ka
nainon ne de daala dhokha sharaab ka
chheen liya chain mera
aa re re re main to maari gai
bajaar saara loot liya o morey raja
bajaar saara loot liya o morey raja
hum ne sun tha bada charcha janaab ka
nainon ne de daala dhokha sharaab ka
chheen liya chain mera
aa re re re main to maari gai
bajaar saara loot liya o morey raja
bajaar saara loot liya o morey raja

bin poochhe mann ghaayal kar gayi
qaatil teri najariya
koi maane ya na maane
hum huye tere deewaane
jo pyaar kare iqraar kare
to ban jaaye afsaane
hoy bin poochhe mann ghaayal kar gayi
qaatil teri najariya
chauraahe pe dekha tujhko
lut gayi beech bajariya re
bajaar saara loot liya o morey raja
bajaar saara loot liya o morey raja

gali gali main naach rahi hoon
tere liye bedardi
kehti hai meri jawaani
kyon qadar na tu ne jaani
ho yaar mere dildaar mere
zaalim hai rut mastaani
hoy gali gali main naach rahi hoon
tere liye bedardi
itna to batla de akela
kya thi teri marzi
bajaar saara loot liya o morey raja
bajaar saara loot liya o morey raja

hum ne sun tha bada charcha janaab ka
nainon ne de daala dhokha sharaab ka
chheen liya chain mera
aa re re re main to maari gai
bajaar saara loot liya o morey raja
bajaar saara loot liya o morey raja

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

हम ने सुना था बड़ा चर्चा जनाब का
नैनों ने दे डाला धोखा शराब का
छीन लिया चैन मेरा
आ रे रे रे मैं तो मारी गई
बाजार सारा लूट लिया ओ मोरे राजा
बाजार सारा लूट लिया ओ मोरे राजा
हम ने सुना था बड़ा चर्चा जनाब का
नैनों ने दे डाला धोखा शराब का
छीन लिया चैन मेरा
आ रे रे रे मैं तो मारी गई
बाजार सारा लूट लिया ओ मोरे राजा
बाजार सारा लूट लिया ओ मोरे राजा

बिन पूछे मन घायल कर गई
क़ातिल तेरी नजरिया
कोई माने या ना माने
हम हुये तेरे दीवाने
जो प्यार करे इक़रार करे
तो बन जाये अफसाने
होय बिन पूछे मन घायल कर गई
क़ातिल तेरी नजरिया
चौराहे पे देखा तुझको
लुट गई बीच बजरिया रे
बाजार सारा लूट लिया ओ मोरे राजा
बाजार सारा लूट लिया ओ मोरे राजा

गली गली में नाच रही हूँ
तेरे लिए बेदर्दी
कहती है मेरी जवानी
क्यों क़दर ना तू ने जानी
हो यार मेरे दिलदार मेरे
ज़ालिम है रुत मस्तानी
होय गली गली में नाच रही हूँ
तेरे लिए बेदर्दी
इतना तो बतला दे अकेला
क्या थी तेरी मर्ज़ी
बाजार सारा लूट लिया ओ मोरे राजा
बाजार सारा लूट लिया ओ मोरे राजा

हम ने सुना था बड़ा चर्चा जनाब का
नैनों ने दे डाला धोखा शराब का
छीन लिया चैन मेरा
आ रे रे रे मैं तो मारी गई
बाजार सारा लूट लिया ओ मोरे राजा
बाजार सारा लूट लिया ओ मोरे राजा


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 :

3903 Post No. : 14956 Movie Count :

4087

Missing Films of 1960s – 99
– – – – – – – – – – – – – – –

OK wow, we are at 99 for this series today. 🙂

The surprising thing is that this film is not yet on the blog. It is not obscure, it is not unfamiliar, it is not starring unfamiliar faces, it does not contain unfamiliar or unheard songs, and the songs are good to be heard. So then, how come?

Well, we come to it today. The film we are bringing on today is ‘Shart’ from 1969. Of course, its namesake from 1954 has legendary music and songs. The 1969 ‘Shart’ does not compare to the quality of music of the earlier one. But still, given the era we were in during late 1960s, we are still talking of primary rated artists who came together for this song. In their own right, these artists had already established themselves in the industry.

Music is by Laxmikant Pyaarelal. The lyrics are written by Anand Bakshi. And the singer of this song is Asha Bhosle. The lead pair in this film is Mumtaz and Sanjay (later known by the name Sanjay Khan). By 1969, both had made their presence felt on the box office. Mumtaz, having struggled thru from being a junior artist and then playing many a C grade films, had by this time graduated to A and B class cinema. Sanjay, being the younger brother of Feroze Khan already had a head start – appearing in big banner films opposite to top line leading ladies already.

The film was produced under the banner of Shankar Movies, Bombay, and was directed by Kewal Mishra. The star cast of this film, in addition to the lead pair mentioned above, is listed as Kumud Chhugani, Rajendra Nath, KN Singh, Ramesh Dev, Rajan Haksar, Heeralal, Shammi, Meena Rai, Murad, Ravikant, Tuntun, Ravi Khanna, and Hercules.

I do not readily recall the storyline. The song is group dance song, with Mumtaz as the lead dancer and a group of sahelis supporting her. We catch a glimpse of Ramesh Deo in the beginning of the clip. And Sanjay is seen watching this dance performance. The peculiar thing about this song is that in between we see that the lead dancer is switched, and we see another lady leading the dance, wearing exactly the same attire as Mumtaz. I request our circle of knowledgeable readers to please help identify this other lady.

It seems that the leading man, Sanjay, is equally perplexed. There is a look of baffled curiosity on his face, as he tries to figure out how the lady is being switched, as the song progresses. From a distance, it cannot be clearly made out, but in closer shots, there definitely is a switching of lead performer happening. Again, request is for those who may have seen this film, to please add information to explain this situation.

The song itself is a lovely Asha rendition, and the performance by Mumtaz is simply too good. Very energetic and very involved with the scene, she is of course the star attraction in this clip.

And after this post – we have the century post of this series coming up. Watch this space for more. 🙂 🙂

Song – Chori Se Sainyyaan Ne Mohe Pukaara  (Shart) (1969) Singer – Asha Bhosle, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal

Lyrics

oo oo oo ooo
oo oo oo ooo
oo oo
oo oooo

oo oo oo ooo
oo oo oo ooo
oo oo
oo oooo

chori se sainyyaan ne mohe pukaara
re chupke se maine bhi kiya ishaara
re kali kali jaan gayi
gali gali mach gaya shor
kali kali jaan gayi
gali gali mach gaya shor
chori se sainyyaan ne mohe pukaara
re chupke se maine bhi kiya ishaara
re kali kali jaan gayi
gali gali mach gaya shor
kali kali jaan gayi
oy gali gali mach gaya shor

pehle thi champa
phir bani gori
pad gaya ab mera naam chakori
ae suno
ae dekho
o logo
ud gayi bairan nindiya mori
pakdi gayi mere mann ki chori
bhed naa ye kaam aaya
dosh mere naam aaya
kali kali jaan gayi
gali gali mach gaya shor
chori se sainyyaan ne mohe pukaara
re chupke se maine bhi kiya ishaara
re kali kali jaan gayi
gali gali mach gaya sho..or
kali kali jaan gayi
oy gali gali mach gaya shor

main kya jaanoon
chhup ke sakhiyaan
sunti hain mere prem ki batiyaan
ae suno
ae dekho
o logo
main kya jaanoon
karte hain batiyaan
padh ke log mere naam ki patiyaan
dheere dheere baaten huin
chori mulaqaaten huin
kali kali jaan gayi
gali gali mach gaya shor
chori se sainyyaan ne mohe pukaara
re chupke se maine bhi kiya ishaara
re kali kali jaan gayi
gali gali mach gaya shor
kali kali jaan gayi
gali gali mach gaya sho..or
kali kali jaan gayi
gali gali mach gaya sho..or

lallaa lallaa lallaa lallaa
lallaa

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

ओ ओ ओ ओss
ओ ओ ओ ओss
ओ ओ
ओ ओsss

ओ ओ ओ ओss
ओ ओ ओ ओss
ओ ओ
ओ ओsss

चोरी से सैयां ने मोहे पुकारा
रे चुपके से मैंने भी किया इशारा
रे कली कली जान गई
गली गली मच गया शोर
कली कली जान गई
गली गली मच गया शोर
चोरी से सैयां ने मोहे पुकारा
रे चुपके से मैंने भी किया इशारा
रे कली कली जान गई
गली गली मच गया शोर
कली कली जान गई
ओय गली गली मच गया शोर

पहले थी चम्पा
फिर बनी गोरी
पड़ गया अब मेरा नाम चकोरी
ए सुनो
ए देखो
ओ लोगो
उड़ गई बैरन नींदिया मोरी
पकड़ी गई मेरे मन की चोरी
भेद ना ये काम आया
दोष मेरे नाम आया
कली कली जान गई
गली गली मच गया शोर
चोरी से सैयां ने मोहे पुकारा
रे चुपके से मैंने भी किया इशारा
रे कली कली जान गई
गली गली मच गया शोर
कली कली जान गई
ओय गली गली मच गया शोर

मैं क्या जानूँ
छुपके सखियाँ
सुनीत हैं मेरे प्रेम की बतियाँ
ए सुनो
ए देखो
ओ लोगो
मैं क्या जानूँ
करते हैं बतियाँ
पढ़ के लोग मेरे नाम की पतियाँ
धीरे धीरे बातें हुईं
चोरी मुलाकातें हुईं
कली कली जान गई
गली गली मच गया शोर
चोरी से सैयां ने मोहे पुकारा
रे चुपके से मैंने भी किया इशारा
रे कली कली जान गई
गली गली मच गया शोर
कली कली जान गई
गली गली मच गया शो॰॰ओर
कली कली जान गई
गली गली मच गया शो॰॰ओर

लल्ला लल्ला लल्ला लल्ला
लल्ला


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 : 3897 Post No. : 14940

The Many Colors of Love #29 – The Covenants of Love
– – – – – – – – – – – – – – – – – – – – – – – – – – – – –

And so wrote the scribe

kar le dil ka sauda dil se
dil milta hai mushkil se
(‘Yahudi Ki Ladki’, 1957)

The transactions of heart are bound, but by just one covenant – it is the treasures of heart in exchange only for treasures of heart. No other exchange is possible, no other exchange is expected, nothing else in this whole wide world can be traded for the treasures of heart. For those who may want to, or expect to transact this exchange for something else, then they do not understand the true meaning of love.

And this thought brings up this song today. The burden of this song reiterates this maxim –

deta hai dil de
badle mein dil ke
ghe ghe ghe ghe
ghe re saaiba
pyaar mein sauda nahin

For the longest of time, I was under the impression that this song is already posted. And the reason for that is, that the song “Jhooth Bole Kauwwa Kaate” has been around on the blog for almost two years now. Being familiar with the film, one clearly remembers that these two songs are tandem songs, presented on screen one after the other – rather one flows into the next. Yes, true that Geet Kosh lists these two songs separately, but somehow in my mind, I have carried this impression that these two are a single song.

So when I posted the song by Narendra Chancalon 10th March (“Beshaq Mandir Masjid Todo“), and I reviewed the status of this film on our blog, I realized that this song is not yet posted – we are following the Geet Kosh convention. Since the day I have posted “Beshaq Mandir Masjid. . .”, it has been kind of an eagerness within, to see this movie yippeee’d here. Part of that is being surprised that songs of this film are not yet all on here.

This particular song is performed on screen by Premnath and Rishi Kapoor.  We are into about a third of the film. The two young hearts are now committed to each other, beyond any repair. Although not of legal age yet, but they want to get married and be partners for life. Premnath is non-committal, in the sense that he would do whatever makes his daughter happy. Pran, on the other hand, is a calculating and a manipulative person, eyeing this relationship with suspicion. As he sees the intensity of his son’s emotions, he decides to make a manipulative move, in an attempt to drive a wedge between the young lovers.

He asks his son to invite his beloved and her family for dinner. The young man is extremely excited. Not worldly wise as his businessman father, he thinks his father is a great man and is agreeing with his son’s wishes and choice for a life partner. Little does he know what his father has planned.

With this joyful and amiable news, he rushes to his beloved’s home, to present the invite himself. At her place, a fishermen’s neighborhood, another wedding is in progress. The ambiance is celebratory. There is singing and dancing, congratulations and the auspicious throwing of rice – in short, the mood is just right to share the supposedly wonderful news.

Without much preamble, Rishi delivers the invite to Premnath. The latter accepts forthwith with the comment that for his daughter’s happiness, he will gladly bow his head at the door of anyone, but he will never bend his knees. And to explain his comment, he breaks out in this song – that in the matters of love it is only the treasure of the heart which is to be exchanged for another treasure of heart. There is no other bargaining chip in the matters of love. Rishi readily joins in this song – the theme is so easily understood and reflected in his own mind. For him too, love is simply a give and take of the treasures of the heart.

Manna Dey starts this song, giving playback for Premnath. Shailendra Singh joins in for Rishi Kapoor. As always, it is a delight to watch a song in an RK film. The complete scenario and the ambiance are so totally focused on the song, its emotions and its renditions. Midway through the song, Dimple makes an appearance, as she is preparing for the next part of the song – yes, “Jhooth Boley. . .”. She is just there for now, not participating – but her face, her eyes are going along with the song that her beau is singing. The emotions expressed by her are so endearing, so freshly young, as she coyly and silently expresses herself in response to the lines that Rishi is performing. This small interlude is so charming, so. . . so winning. Dimple simply stole a million hearts right here in this song. Yes – you guessed it right, I too was smitten, and was in love. 🙂

One word in the lyrics had intrigued me right from the start. It is the word ‘ghe’, ‘घे’. Over the decades, this word has been presented variously and almost always erroneously. Some lyrics wrote this down as ‘khe’, ‘खे’; other places would write it down as ‘le’, ‘ले’; even today, the hindi-geet-mala web page for this song has actually written it down as ‘khel’, ‘खेल’. Wonder how they got to it, it does not even fit into the rendered metre of this line.

Once the internet was available, I had done the search for this word in Konkani language. Given that the entire scenario was a Goan neighborhood, it was only logical to seek this word in the local lingua. In Konkani, the word ‘ghe’, ‘घे’ means ‘to take’. The expression follows the lines which say

deta hai dil de
badle mein dil ke

And the young man, and the chorus responds with

ghe ghe ghe ghe
ghe re saaiba

saying – hey young man, just take this bargain, take.. take.. take.. take..  Once this meaning is known, the lyrics fall in place so beautifully.

‘Bobby’ is so close to the heart, and I mean the film, and Bobby. It appeals to an age, a mind set, and emotions – that I am never going to grow out of. It is 1973 forever.

And the talisman for life is forever – “प्यार में सौदा नहीं”.

[Editor’s Note: The initial lines of this song, which are in Konkani, have been provided by Dr Pradeep Shetty ji, in his comment below. The line is now added to the lyrics below. Thanks Dr Pradeep ji.]

[Video – Song Reprised at the end of the film.]

Song – Na Chaahoon Sona Chaandi (Bobby) (1973) Singer – Manna Dey, Shailendra Singh, Lyrics – Vithalbhai Patel, MD – Laxmikant Pyaarelal
Chorus

Lyrics

aagey naari
tujya matyancha phoolan paaya saoree
aagey naari
tujya matyancha phoolan paaya saoree

laallallall laa la llallall laa llallall laa
laallallall laa la llallall laa llallall laa

[Dialogue between Premnath and Rishi Kapoor]

na chaahoon sona chandi
na chaahoon heera moti
ye mere kis kaam ke

aaaa aaaaa aaaaaaaa aaaa aaa

na maangu bangla baadi
na maangu ghoda gaadi
ye to hain bas naam ke

aaaaa aaaaaa

deta hai dil de
badle mein dil ke
deta hai dil de
badle mein dil ke
ghe ghe ghe ghe
ghe re saaiba
pyaar mein sauda nahin
ghe ghe ghe ghe

ghe re saaiba
pyaar mein sauda nahin

o lall o lall laa laa
lallal laa laa laa
lallaa laa laa laa laa laa
lallal lallal laa laa

na jaanu mulla qaazi
na jaanu kaaba kaashi
main to hoon prem piyaasa re
mere sapnon ki rani
hogi tum ko hairaani
main to tera deewaana re
deti hai dil de
badle mein dil ke
deti hai dil de
badle mein dil ke
ghe ghe ghe ghe
ghe re saaiba
pyaar mein sauda nahin
ghe ghe ghe ghe
ghe re saaiba
pyaar mein sauda nahin

pyaar mein sauda nahin

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

आगे नारी
तुज्या मात्यांचा फूलाँ पाया साओरी
आगे नारी
तुज्या मात्यांचा फूलाँ पाया साओरी

लाल्लल्लल्ल ला ल ल्लाल्लल्ल ला ल्लाल्लल्ल ला
लाल्लल्लल्ल ला ल ल्लाल्लल्ल ला ल्लाल्लल्ल ला

[प्रेमनाथ और ऋषि कपूर की बात चीत।]

ना चाहूँ सोना चाँदी
न चाहूँ हीरा मोती
ये मेरे किस काम के

आsss आssss आsssssss आsss आss

ना माँगूँ बंगला बाड़ी
ना माँगूँ घोड़ा गाड़ी
ये तो हैं बस नाम के

आssss आsssss

देता है दिल दे
बदले में दिल के
देता है दिल दे
बदले में दिल के
घे घे घे घे घे
घे रे सायबा
प्यार में सौदा नहीं
घे घे घे घे घे

घे रे सायबा
प्यार में सौदा नहीं

ओ लल्ल ओ लल्ल ला ला
लल्लल ला ला ला
लल्ला ला ला ला ला
लल्लल लल्लल ला ला

ना जानूँ मुल्ला क़ाज़ी
ना जानूँ काबा काशी
मैं तो हूँ प्रेम पियासा रे
मेरे सपनों की रानी
होगी तुमको हैरानी
मैं तो तेरा दीवाना रे
देती है दिल दे
बदले में दिल के
देती है दिल दे
बदले में दिल के
घे घे घे घे घे
घे रे सायबा
प्यार में सौदा नहीं
घे घे घे घे घे
घे रे सायबा
प्यार में सौदा नहीं

प्यार में सौदा नहीं


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 :

3827 Post No. : 14831 Movie Count :

4055

Missing Films of 1960s – 90
– – – – – – – – – – – – – – –

What a wonderful gem of a song this one is. The memory banks hold this from the radio listening days. Such a beautiful semi-classical creation, and also very popular in its time – I am amazed it has waited so long in the wings to make its place here on our blog.

The film is ‘Harishchandra Taramati’ from 1970. It is produced under the banner of Kala Mandal, Bombay and is directed by BK Adarsh. Star cast of this film is listed as Pradeep Kumar, Jaimala, Boby, BM Vyas, Jeevan, Shyama, Madan Puri, Tiwari, Bela Bose, Bipin Gupta, Helen, Madhumati, Jaishri Talpade, Tuntun, Sapru, Manorama, and Mehmood (Junior) etc.

The seven songs of this film are all written by Virendra Mishra and the music is created by Hridaynath Mangeshkar. The singing voice in this song is Lata ji, supported by chorus.

As I am checking the films from 1970, I came across this film, but it did not ring any bells at first. The mind is more familiar with the other film of same name from 1963, whose songs are penned by Kavi Pradeep. But then, as I checked the list of songs in this film, the mind sat up with a jerk when I read the title line of this song. All I could think of then was – WOW.

This song is such an exquisite creation, and such a pleasurable experience to listen. The opening verses simply capture the heart,

rimim jhimimwa
suno balamwa
naram garam hui saram
jhuke nainwa

For reference purposes, I checked the Raag-o-Pedia compiled by Shri KL Pandey. The listing informs us that this song is composed using three Raags – Bhairavi, Khamaaj and Malkauns.

As I started this post day before yesterday, I did not have access to the video of this song. Keen to know on whom this song is picturized, I started searching for this film. It turned out that although this film is more recent vintage than similar named films from 1952 and 1963, yet this one is more rare in terms of availability. After some messages exchanged with my other collector friends, I was able to secure the video clip of this song from one of them. The clip is not of good quality; it appears that it has been extracted from a VHS tape that has been over used. I have now uploaded this clip. Despite the poor quality, one can make out that this dance song is filmed on Helen, and a group of supporting dancers, and that Pradeep Kumar is the sole audience of this performance.

In the film, Pradeep Kumar plays the lead role of Raja Harishchandra. Sage Vishwamitra, who is jealous of his fame of truthfulness and righteousness, resolves to test the limits of Harishchandra’s good attributes. As the first step, he sends Menaka, the apsara from swarg lok to woo and enchant Harishchandra. Regulars will recall that Menaka is the same apsara whom Indra, the king of swarg lok, had sent to disturb the penance and meditation of Vishwamitra. In that episode, Vishwamitra had lost the battle, and was swayed by Menaka’s enchanting beauty. Now, he sends the very same apsara to sway the sensibility of Harishchandra. In the film, this episode is presented as a dream sequence.

Just listen to this song, as it makes its way through multiple ragas, all coming together for such a perfect listening experience. A wonderful re-discovery.

(Audio)

(Video)

Song – Rimim Jhimimwa, Suno Balamwa  (Harishchandra Taramati) (1970) Singer – Lata Mangeshkar, Lyrics – Virendra Misra, MD – Hridaynath Mangeshkar
Chorus

Lyrics

ho oo oo oo
rimim jhimimwa
suno balamwa

rimim jhimimwa
suno balamwa
naram garam hui saram
jhuke nainwa
naram garam hui saram
naram garam hui saram
jhuke nainwa
tum jo miley
mujhse tum jo miley
arre haan tum jo miley
to main kisi
pyaar bhare gaaon mein pahunch gayi
jhuke nainwa..aa..aa
rimim jhimimwa
suno balamwa

dhadhkan ka phool khila
ho khila
ho khila
manwa
manwa
manwa ke taal mein
hansti hai jal ki pari
ho pari
ho pari

machhuye ho machhuye ke jaal mein
he he ri haiyya ho ho ri
he he ri haiyya ri
ho ho ri haiyya haiyya ri
aaa aaa aaaaaaaa
ek lehar
uthi jo ek lehar
arre haan ek lehar
tair tair main tumhaari naao mein pahunch gayi
jhuke nainwa..aa..aa
rimim jhimimwa
suno balamwa

ma dha ni dha
sa ga ma ga ma ga sa ga ni dha

mann mo..ora doley hai
mann mo..ora doley hai
un bole naam se
mann mora mora doley hai
un bole naam se..ey..ey
pehli pehchaan hai
satrangi shaam se..ey..ey..ey..ey
daiyya ri daiyyaa
ma ga ma dha ni sa
dha ni sa
ni sa ni ni dha dha ma ma ga
ga sa
dha ma ga sa
ni dha ma ga sa
ta ni dha ma ga sa
dha ma ni dha ma ga
ga ga ma ga ma dha
ma dha ni sa
dha ni sa
dha ni sa
main kya karoon
kaho ji main kya karoon
arey haan main kya karoon
aayi preet paayaliya paaon mein pahunch gayi
jhuke nainwa..aa..aa
rimim jhimimwa
suno balamwa

parbat pe gaaon mera
ho mera
ho mera
ghaati
ghaati
ghaati mein chhanv hai
chhaaya mein hai nadi
ho nadi
ho nadi
nadiya mein
nadiya mein naav hai
chhammak chhaiyya chhamam ri
chhammak chhaiyya ri
chhammak chhaiyya chhamam ri
aaaa aaaa aaaaaa
bin chaley hi
dagari bin chaley hi
arre haan bin chaley hi
bin chaley hi
main madhur padaav mein pahunch gayi
jhuke nainwa..aa..aa
rimim jhimimwa
suno balamwa

rimim jhimimwa
suno balamwa

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

हो ओ ओ
रीमिम झिमिमवा
सुनो बलमवा

रीमिम झिमिमवा
सुनो बलमवा
नरम गरम हुई सरम
झुके नयनवा
नरम गरम हुई सरम
नरम गरम हुई सरम
झुके नयनवा
तुम जो मिले
मुझसे तुम जो मिले
अरे हाँ तुम जो मिले
तो मैं किसी
प्यार भरे गाँव में पहुँच गई
झुके नयनवा॰॰आ॰॰आ
रीमिम झिमिमवा
सुनो बलमवा

धड़कन का फूल खिला
हो खिला
हो खिला
मनवा
मनवा
मनवा के ताल में
हँसती है जल की परी
ओ परी
मछुए हो मछुए के जाल में
हे हे री हइय्या हो हो री
हे हे री हइय्या री
हो हो री हइय्या हइय्या री
आs आs आssss
एक लहर
उठी जो एक लहर
अरे हाँ एक लहर
तैर तैर मैं तुम्हारी नाव में पहुँच गई
झुके नयनवा॰॰आ॰॰आ
रीमिम झिमिमवा
सुनो बलमवा

म ध नी ध
स ग म ग म ग स ग नी ध

मन मो॰॰रा डोले है
मन मो॰॰रा डोले है
अनबोले नाम से
मन मोरा मोरा डोले है
अनबोले नाम से॰॰ए॰॰ए
पहली पहचान है
सतरंगी शाम से॰॰ए॰॰ए॰॰ए॰॰ए
दइय्या री दइय्या
म ग म ध नी स
ध नी स
नी सा नी नी ध ध म म ग
ग स
ध म ग स
नी ध म ग स
त नी ध म ग स
ध म ग नी ध म ग
ग ग म ग म ध
म ध नी स
ध नी स
ध नी स
मैं क्या करूँ
कहो जी मैं क्या करूँ
अरे हाँ मैं क्या करूँ
आई प्रीत पायलिया पाँव में पहुँच गई
झुके नयनवा॰॰आ॰॰आ
रीमिम झिमिमवा
सुनो बलमवा

परबत पे गाँव मेरा
हो मेरा
हो मेरा
घाटी
घाटी
घाटी में छाँव है
छाया में है नदी
हो नदी
हो नदी
नदिया में
नदिया में नाव है
छम्मक छईय्या छम्मम री
छम्मक छईय्या री
छम्मक छईय्या छम्मम री
आss आss आsssss
बिन चले ही
डगरी बिन चले ही
अरे हाँ बिन चले ही
बिन चले ही
मैं मधुर पड़ाव में पहुँच गई
झुके नयनवा॰॰आ॰॰आ
रीमिम झिमिमवा
सुनो बलमवा

रीमिम झिमिमवा
सुनो बलमवा


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

Blog Day : 3825 Post No. : 14829

Wonder pe Thunder !

Today’s song is from film ‘Hare Rama Hare Krishna’ (1971). When I found that this very popular and famous song of the early 70s was yet to be covered in the blog, my first reaction was to disbelieve it. I was almost sure that there was some mistake. I scanned the entire ‘H’ alphabet film list, bur could not see this song under any heading. Then I checked the year wise and MD wise lists – with same result. I was wondering how this song has escaped from the keen eyes of our contributors, who are specialists in the songs of the 70s ! At the end of it, I even checked with Atul ji, who confirmed that the song, indeed, was yet to be covered by us. This was a bonanza for me.

This is one of the songs of RD Burman, which I liked very much. Comparatively, he was one of the new composers in those times – in my opinion – though he had already done about 40 films before ‘Hare Rama Hare Krishna’ (HRHK). In last few years I had liked few songs from his earlier films like ‘Parichay’ (1972), ‘Seeta aur Geeta’ (1972), ‘Caravan’ (1971), ‘Kati Patang’ (1970) and ‘Teesri Manzil’ (1966). However, he suffered in my hands, due to my biased view of film songs of the period of 70s and beyond and except few more songs of RD Burman, I never liked his music, which in general I felt, was too loud and mostly copied from other sources (see several U-Tube videos on this issue, as a proof). However, I concede that he was a worthy son of a worthy composer compared to some other composer-son composers and that his music was much better than theirs and that he lasted for a longer period, cut short only by his sudden death in 1994, at the age of 55 years.

Today’s song is sung by Asha Bhosle and chorus and its video shows that it was sung on screen by a Hippie Girl (Zeenat Aman) amidst a smoking Hippie crowd. Somewhere in the year 1966, I had visited Goa (Panaji) to participate in a conference. During my visit, we had 2 free days and we roamed around the beautiful beaches of Goa. Goa had been liberated from the Portuguese about 6 years back and the Indian tourists did not have enough time yet to spoil the beaches and cities of Goa. So we could really enjoy our trip. During our beach visits we saw many Hippie groups, behaving in a ‘who cares’ attitude on the beaches. No wonder, many of my colleagues took their photographs to show in their respective private circles. That was a time when the Hippie culture had spread around the world.

Hippie (also spelled hippy) people were members of a counter cultural movement during the 1960s and 1970s, that rejected the mores of mainstream American life. The movement originated on college campuses in the United States, and also spread to other countries. Hippies felt alienated from middle-class society, which they saw as dominated by materialism and repression, and they developed their own distinctive lifestyle. They favoured long hair and casual, often unconventional, attire, sometimes in ‘psychedelic’ colours.

Many males grew beards, and both men and women wore sandals and beads. Long flowing granny dresses were popular with women, and rimless granny glasses with both men and women. Hippies commonly took up communal or cooperative living arrangements, and they often adopted vegetarian diets based on unprocessed foods and practiced holistic medicine. Hippies tended to be dropouts from society, foregoing regular jobs and careers, although some developed small businesses that catered to other hippies.

Hippies advocated non-violence and love, a popular phrase being “Make love, not war,” for which they were sometimes called ‘flower children’. They promoted openness and tolerance as alternatives to the restrictions and regimentation they saw in the middle-class society. Hippies often practiced open sexual relationships and lived in various types of family groups. They commonly sought spiritual guidance from sources outside the Judeo-Christian tradition, particularly Buddhism and other Eastern religions. Hippies promoted the recreational use of hallucinogenic drugs, particularly marijuana and LSD (lysergic acid diethylamide), in so-called head trips, justifying the practice as a way of expanding consciousness.

By the mid-1970s the movement had waned, and by the 1980s hippies had given way to a new generation of young people who were intent on making careers for themselves in business and who came to be known as yuppies (young urban professionals). Nonetheless, hippies continued to have an influence on the wider culture, seen, for example, in more relaxed attitudes toward sex, in the new concern for the environment, and in a widespread lessening of formality.

Film HRHK was Dev Anand’s idea. Initially, he wanted Zahida to become its Heroine. She, however rejected the offer when she learnt that in the film, she would be Dev’s sister – Jasbir. Dev Anand also wanted SD Burman to do the music. When Dada heard the original story, in which Zeenat falls in love with Dev, not knowing that he was her brother, Dada flatly refused the film and also advised Dev to change the story, as Indian public would be averse to an incest story. Eventually RD Burman was selected as MD.

Similarly, this song – “Dum Maaro Dum” was originally to be a duet of Usha Uthup and Lata Mangeshkar. Possibly Asha Bhosle, who was on the verge of leaving OPN and joining RD Burman (who had applied for a divorce with Rita –  his wife) scuttled the plan and the song came to Asha as a solo and another duet with usha Uthup. RD burman then changed the whole tune of the song, using Asha’s skill of singing in higher pitches.

All songs of this film became popular, especially “Phoolon Ka Taaron Ka Sabka Kehna Hai” and “Dum Maaro Dum” were heard everywhere. The lyrics of the song “Dum Maaro Dum” were very apt to indicate and describe the philosophy and frustration of the younger generation in that period –

duniya ne hum ko diya kya
duniya se hum ne liya kya
hum sab ki parvah karen kyun
sabne hamara kiya kya

All this clearly indicated what was eating the minds of young people.

Fortunately, 70s was the period when the Hippie culture was on decline worldwide. As such, this type of philosophy and such cult did not fit into the Indian mind set in any case. Therefore, this culture did not grow much here and had a natural end – like everywhere else in the world.

Two interesting anecdotes about this film. One, Dev Anand in his autobiography -“Romancing With Life “, published in 2007, had confessed that during this film, he had fallen in love with Zeenat. He was to make a confession to her, when he learnt that she had gone very close to Raj Kapoor. In one party, he also saw Raj kapoor hugging Zeenat and she was responding to him. Dev was disillusioned. He knew that Zeenat was keen to work in RK’s film ‘Satyam Shivam Sundaram’, and that all this was due to that only. He simply removed her thought from his mind.

Second is about the Burmans. In the program ‘Phool Khile Hain Gulshan Gulshan’, Pancham narrated that – “Papa used to go for morning walk everyday in Juhu. People recognised him and would say, look, SD Burman is going. One day he came back very excited. He told me, today people recognised me and said, Look RD Burman’s father is going. Papa was proud of me that my music in HRHK was famous and popular.”

Nandu Chawathe- a leading fiddler and violinist was associated with Pancham in those days. This person – Nandu Chawathe, was a guest in one of our get togethers of Atulites in Mumbai, thanks to one of our members Nitin ji Shah. He had played some songs on his violin in that meeting,  Chawathe says that Dev Anand was very much upset, when Asha replaced Lata and Pancham took time to compose the new tune for Asha Bhosle. The final product, however, pleased Dev Anand.

The story of the film, as given in wiki, is –

In the background of the rise of the International Hare Krishna movement in the 1970s, is a Montreal-based family of the Jaiswals, consisting of mom, dad, son, Prashant, and daughter, Jasbir. Due to differences, Mr and Mrs Jaiswal separate, leaving Jasbir with dad, and Prashant with his mom. Eventually Prashant and his mom travel to India, leaving father and daughter behind in Montreal. Mr. Jaiswal remarries, and brings his new wife to live in his home. Jasbir is told by her nanny that her mother & brother are dead. Back in India Prashant is sent to a boarding school and his father makes sure that none of Prashant’s letters reach Jasbir, so that it would be easy on her part to get over emotional trauma. Jasbir is upset with her inconsiderate step-mother and ignorant father who is deeply immersed in his business.

Years later, Prashant has grown up to be a pilot. He has received a letter from his dad that Jasbir, who had rebelled and left home, is now located in Kathmandu, Nepal, with a group of hippies. Prashant decides to find his sister and hopefully get her back to the family. When Prashant lands in Kathmandu he does not find Jasbir, but instead finds Janice, who is indeed his sister with a new name. Janice has no recollection of her childhood, and is always in the company of hippies spending most of her time consuming alcohol & drugs with them.

Janice lives with the hippies in the property rented out by local landlord Drona. Drona’s real business is stealing ancient artifacts from Kathmandu and selling it to foreign nationals. Michael, one of the hippies, is the one who does all the dirty work for him. Janice’s boyfriend Deepak misunderstands that Prashant is trying to woo Janice, hence they exchange a few blows every time they meet. Meanwhile, Drona has an eye on Shanti, a local salesgirl working in one of the shops owned by him. Shanti has feelings for Prashant which creates one more enemy for him. Later Prashant and Shanti elope and get married. At the same time a precious idol is stolen from local temple by Michael, which he hides in Janice’s house. Prashant secretly observes all this. Drona tries to frame Shanti for theft by secretly planting another stolen artifact in her house. Later he spreads the word that since the day Prashant has arrived idols are being stolen and he is stalking local girls.

The police commissioner is a friend of Prashant’s father, and has already received a letter stating the purpose of Prashant’s visit to Kathmandu. He suspects that Drona is trying to frame Prashant because he has married Shanti. He gets a search warrant for the entire property of Drona and recovers a diary which has contact details of his friends abroad who help him sell the stolen artifacts. The police also recover the stolen artifact from Shanti’s home, squarely blaming Prashant for it. Shanti is deeply hurt by this and looks around for Prashant. Prashant meanwhile is with Janice, trying to convince her that he is her brother, who she had been told dead long back. Michael overhears the conversation & conspires to put the blame on the brother-sister duo. Taking advantage of the situation Drona and Michael instigate the locals against Prashant by framing him for the theft and duping Shanti under pretext of marriage. The hippies and the locals are now ready to bash Prashant the moment they come across him.

When Prashant again tries to meet Janice, the hippies give him a solid thrashing. The police commissioner intervenes and Prashant is saved. At the same time the true face of Drona is uncovered and he meets his end trying to run away from police. Janice sees that both her parents have arrived to meet her and realizes that Prashant is indeed her brother. Janice is deeply hurt that her parents had to see her in this state. She runs away from them and commits suicide. In her suicide note she tells Prashant how deeply she loved him and she never intended him to find her in this state and suicide was the only way out for her.

‘Hare Rama Hare Krishna’ (released on 9-12-1971) was a Landmark film for Navketan – a film production company, which could boast of a world record (yet unbeaten) that the company was run for 62 years by the same person who established it in 1949 ! The cult song “Dum Maaro Dum” became so popular that no function was complete without this song for the next 10 years! Enjoy this song here today…..

[Author’s Note: The article uses information from books ‘Gaata Rahe Mera Dil’ and ‘Music Beyond Boundaries’, Wiki, The Hindu and my notes].

Video (Partial)

Audio (Complete)

Song – Dum Maro Dum, Mit Jaayen Gham  (Hare Rama Hare Krishna) (1971) Singer – Asha Bhosle, Lyrics – Anand Bakshi, Music – RD Burman
Female Chorus
Male Chorus

Lyrics (Provided by Sudhir)

hush..shh..shh..shh

dum maaro dum..mm..mmaaaa
mit jaaye gham..mm..mmaaaa
bolo subah shaa..aam
hare krishn hare ram
hare krishn hare ram
hare krishn hare ram
hare krishn hare ram

dum maaro dum..mm..mmaaaa
mit jaaye gham..mm..mmaaaa
bolo subah shaa..aam
hare krishn hare ram
hare krishn hare ram
hare krishn hare ram
hare krishn hare ram

pa..aa pa ra pa pa tu tu tu
aa..aa ee..ee
ta raa ta raa ta raa ta raa raa..aa

duniya ne hum ko diya kya
duniya se hum ne liya kya
hum sab ki parvah karen kyon
sab ne hamaara kiya kya
duniya ne hum ko diya kya
duniya se hum ne liya kya
hum sab ki parvah karen kyon
sab ne hamaara kiya kya

aaaa aaaa aaaa aaaa

dum maaro dum..mm..mmaaaa
mit jaayen gham..mm..mmaaaa
bolo subah shaa..aam
hare krishn hare ram
hare krishn hare ram
hare krishn hare ram
hare krishn hare ram

hush..shh..shh..shh

dum maaro dum..mm..mmaaaa
mit jaaye gham..mm..mmaaaa
bolo subah shaa..aam
hare krishn hare ram
hare krishn hare ram
hare krishn hare ram
hare krishn hare ram

chaahe jiyenge marenge
hum na kisi se darenge
hum ko na roke zamaana
jo chaahenge hum karenge

aaaa aaaa aaaa aaaa

dum maaro dum..mm..mmaaaa
mit jaayen gham..mm..mmaaaa
bolo subah shaa..aam
hare krishn hare ram
hare krishn hare ram
hare krishn hare ram
hare krishn hare ram

———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
हश॰॰शश॰॰शश॰॰शश

दम मारो दम॰॰मम्म॰॰मम्मआ॰॰आ
मिट जाएँ ग़म॰॰मम्म॰॰मम्मआ॰॰आ
बोलो सुबह शा॰॰आम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम

दम मारो दम॰॰मम्म॰॰मम्मआ॰॰आ
मिट जाएँ ग़म॰॰मम्म॰॰मम्मआ॰॰आ
बोलो सुबह शा॰॰आम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम

पा॰॰आ प र पा पा तु तु तु
आ॰॰आ ई॰॰ई
त रा त रा त रा त रा रा॰॰आ

दुनिया ने हमको दिया क्या
दुनिया से हमने लिया क्या
हम सबकी परवाह करें क्यों
सब ने हमारा किया क्या

आ॰॰ आ॰॰ आ॰॰ आ॰॰

दम मारो दम॰॰मम्म॰॰मम्मआ॰॰आ
मिट जाएँ ग़म॰॰मम्म॰॰मम्मआ॰॰आ
बोलो सुबह शा॰॰आम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम

हश॰॰शश॰॰शश॰॰शश

दम मारो दम॰॰मम्म॰॰मम्मआ॰॰आ
मिट जाएँ ग़म॰॰मम्म॰॰मम्मआ॰॰आ
बोलो सुबह शा॰॰आम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम

चाहे जिएंगे मरेंगे
हम ना किसी से डरेंगे
हमको ना रोके ज़माना
जो चाहेंगे हम करेंगे

आ॰॰ आ॰॰ आ॰॰ आ॰॰

दम मारो दम॰॰मम्म॰॰मम्मआ॰॰आ
मिट जाएँ ग़म॰॰मम्म॰॰मम्मआ॰॰आ
बोलो सुबह शा॰॰आम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम


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 : 3737 Post No. : 14689

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 26
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

‘भ’ – भैया रे भैया नैया छूआओ ना’ ॰ ॰ ॰

– – – –

चंदा का दिल टूट गया
के रोने लगे हैं सितारे ॰ ॰ ॰ 

कुछ ऐसा ही हुआ था उस दिन, जिस दिन तुम्हारे कूच की खबर आई थी॰ ॰ ॰

[Something as such, happened that fateful day, when the news of you departure came. . .]

– – – –

Today’s song is a wonderfully crafted song. And is euqally well performed and filmed.

The scenario is familiar – Shri Ram, accompanied by Sita ji and Lakshman, are travelling on foot, after departing from Ayodhya, for their sojourn of 14 years in the forest. They come to Shringverpur on the banks of river Ganga. To cross the river, Shri Ram requests the boatman to ferry them in a boat. Kevat, the boatman, at first refuses to ferry them. He has heard of the incident at the deserted ashram of Gautam Rishi, where by the mere touch of the dust from the feet of the Lord, Sati Ahilya who had been cast into stone by the curse of her husband, Gautam Rishi, came to life once again. Kevat cites that incident, and expresses apprehension that if by the touch of the dust from the feet of the Lord, his boat made of wood, would also come to life in the form of a lady, then what would become of him. Not just that he would lose his only source of income, and the only occupation he knows, he would have the additional burden of another member added to the family.

Much to the chagrin of Lakshman, Kevat dithers and dilly-dallies. And then he agrees on one condition – that the Lord should permit him to wash His feet, ostensibly to wash off any dust from the divine feet, and only then allow the trio to step on to his boat.

This event from the Ramayan is well known. It is so beautifully presented here in this song. The film is ‘Bharat Milap’ from 1965. The verses of this song are penned by Bharat Vyas, and the music is from the mind of Vasant Desai. The words are so beautifully crafted and the verses are embellished – अलंकृत is the word. The melodic construction is also very pleasing. It is a quick paced song, based on the folk music of the rural North India. The singing voices are of Rafi Sb and Kamal Barot.

On screen, the song is performed by Sunder, and a lady actor I am not able to identify and name. I request knowledgeable readers and friends to please help make the identification. The duo is accompanied by other members of the village community, and the song is presented as a group dance.
[Note: Thanks to Pramod ji and Prakash ji, the lady dancers are identified as Jeevankala, Manjula, Sheela Ramchandra, Aruna.]

The other main players in this scene are Shri Ram, Sita ji and Lakshman. Indrani Mukherjee plays the role of Devi Sita. As per IMDB listing of cast and crew, Anand Ashish Kumar plays the role of Ram. As far as Lakshman, I am not able to identify and name the actor playing that role.
[Note: Thanks to Pramod ji for correction to the name of he actor in the role of Ram.]

All in all, a very lilting, very pleasing and a very energetic presentation. Lovely song.

Song – Bhaiya Re Bhaiya Re Bhaiya Naiya Chhuaao Na  (Bharat Milap) (1965) Singer – Mohammed Rafi, Kamal Barot, Lyrics – Bharat Vyas, MD – Vasant Desai
Male Chorus
Female Chorus
All Chorus

Lyrics 

dhum tak
hey tak dhum tak
dhum tak
hey tak dhum tak
ho taa naa dere naa dere naa taa naa dere naa
hoooom
ho taa naa dere naa dere naa taa naa dere naa

uhun aahoon uhun aahoon uhun aahoon uhun aahoon

bhaiya re bhaiya re bhaiya ho..oo

dhum tak
hey tak dhum tak

ho bhaiya re bhaiya re bhaiya naiya chhuaao na
in ke paiyyan se ye naiya chhuaao na
bhaiya re bhaiya re bhaiya ho..oo
bhaiya re bhaiya re bhaiya naiya chhuaao na
in ke paiyyan seye naiya chhuaao na
bhaiya re bhaiya re bhaiya ho..oo

hum ne suni kahaani
gaaon waalon ki jabaani
jadu waala hai re ye ramaiyya
oho oho oho oho oho..oo
hum ne suni kahaani
gaaon waalon ki jabaani
jadu waala hai re ye ramaiyya
jadu waala hai re ye ramaiyya
jadu waala hai re ye ramaiyya
daiya re daiya re
ik patthar chhuaa to
jhat ban gayi phat se lugaiya
daiya daiya daiya
daiya re daiya re
ik patthar chhuaa to
jhat ban gayi phat se lugaiya
jhat ban gayi phat se lugaiya
jhat ban gayi phat se lugaiya
hey hey bhaiya re bhaiya re bhaiya ho..oo
bhaiya re bhaiya re bhaiya naiya chhuaao na
in ke paiyyan seye naiya chhuaao na
bhaiya re bhaiya re bhaiya ho..oo

bhori bhori batiyaan
suratiyaa suhaani hai
to batiyon mein mat phas jaiyo
hmmmmmm
arey haa..aan
bhori bhori batiyaan
suratiyaa suhaani hai
to batiyon mein mat phas jaiyo
batiyon mein mat phas jaiyo
batiyon mein mat phas jaiyo
saaf safaai kar
paaon dhoaai kar
peechhe naiya mein bithaio
ehe ehe ehe..ae
saaf safaai kar
paaon dhoaai kar
peechhe naiya mein bithaio
peechhe naiya mein bithaio
peechhe naiya mein bithaio
e he he bhaiya re bhaiya re bhaiya ho..oo
bhaiya re bhaiya re bhaiya naiya chhuaao na
in ke paiyyan seye naiya chhuaao na
bhaiya re bhaiya re bhaiya ho..oo
dhum tak tak
dhum tak
dhum tak
o tak dhum tak

oo oo ooo ooooooo
ooooooo oooooooooo
ooooooooo ooooooooooo
hum bhi kevat prabhu
tum bhi kevat ho to
bhaichaara hum se nibhaio
prabhu ji bhaichaara hum se nibhaio
oo ooo ooo
nadiya ke paar
nadiya ke paar lagaayen tumhen tum
hum ko bhi paar lagaiyo
haaaaye hum ko bhi paar lagaiyo
bhav saagar se paar lagaiyo
ho ho
bhav saagar se paar lagaiyo
e he he bhaiya re bhaiya re bhaiya ho ho..oo
dhum tak tak
tak tak dhum tak tak
tak tak
dere na dere na taa naa dere na
hoom hoom
dere na dere na taa naa dere na
dhum tak tak
tak tak dhum tak tak
tak tak
dere na dere na taa naa dere na
hoom hoom
dere na dere na taa naa dere na
oo oo ooo ooooooo

———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————

धुम तक
हे तक धुम तक
धुम तक
हे तक धुम तक
हो ता ना देरे ना देरे ना ता ना देरे ना
हूम
हो ता ना देरे ना देरे ना ता ना देरे ना

उहूं आहूँ उहूं आहूँ उहूं आहूँ उहूं आहूँ

भैया रे भैया रे भैया हो॰॰ओ

धुम तक
हे तक धुम तक

भैया रे भैया रे भैया नैया छूआओ ना
इनके पइय्यन से ये नैया छूआओ ना
भैया रे भैया रे भैया हो॰॰ओ
भैया रे भैया रे भैया नैया छूआओ ना
इनके पइय्यन से ये नैया छूआओ ना
भैया रे भैया रे भैया हो॰॰ओ

हमने सुनी कहानी
गाँव वालों की जबानी
जादू वाला है रे ये रमइय्या
ओहो ओहो ओहो ओहो ओहो॰॰ओ
हमने सुनी कहानी
गाँव वालों की जबानी
जादू वाला है रे ये रमइय्या
जादू वाला है रे ये रमइय्या
जादू वाला है रे ये रमइय्या
दैय्या रे दैय्या रे
इक पत्थर छूआ तो
झट बन गई फट से लुगईय्या
दैय्या दैय्या दैय्या
दैय्या रे दैय्या रे
इक पत्थर छूआ तो
झट बन गई फट से लुगईय्या
झट बन गई फट से लुगईय्या
झट बन गई फट से लुगईय्या
हे हे भैया रे भैया रे भैया हो॰॰ओ
भैया रे भैया रे भैया नैया छूआओ ना
इनके पइय्यन से ये नैया छूआओ ना
भैया रे भैया रे भैया हो॰॰ओ

भोरी भोरी बतियाँ
सुरतिया सुहानी है
तो बतियों में मत फंस जइय्यो
हम्ममममम
अरे हाँ॰॰आँ
भोरी भोरी बतियाँ
सुरतिया सुहानी है
तो बतियों में मत फंस जइय्यो
बतियों में मत फंस जइय्यो
बतियों में मत फंस जइय्यो
साफ सफाई कर
पाँव धोआई कर
पीछे नैया में बिठईओ
ऐहे ऐहे ऐहे॰॰ऐ
साफ सफाई कर
पाँव धोआई कर
पीछे नैया में बिठईओ
पीछे नैया में बिठईओ
पीछे नैया में बिठईओ
ऐ हे हे भैया रे भैया रे भैया हो॰॰ओ
धुम तक तक
धुम तक
धुम तक
ओ तक धुम तक

ओ ओs ओss ओsssssss
ओssssss ओsssssssss
ओssssssss ओssssssssss
हम भी केवट प्रभु
तुम भी केवट हो तो
भाईचारा हम से निभईओ
प्रभु जी
भाईचारा हम से निभईओ
ओ ओss ओss
नदिया के पार
नदिया के पार लगाएँ तुम्हें तुम
हम को भी पार लगईओ
हाए हम को भी पार लगईओ
भव सागर से पार लगईओ
हो हो भव सागर से पार लगईओ
ऐ हे हे भैया रे भैया रे भैया हो हो॰॰ओ
धुम तक तक
तक तक धुम तक तक
तक तक
देरे ना देरे ना ता ना देरे ना
हूम हूम
देरे ना देरे ना ता ना देरे ना
धुम तक तक
तक तक धुम तक तक
तक तक
देरे ना देरे ना ता ना देरे ना
हूम हूम
देरे ना देरे ना ता ना देरे ना
ओ ओs ओss ओsssssss


This article is written by Nahm, 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 : 3737 Post No. : 14688

This song from the film Suhaag  (1979) has been waiting in my drafts for a long time now. It is a group song based on Punjabi folk and a popular one at that.

It so happened that when I saw Peevesie’s Mom’s post yesterday on Rekha’s birthday, got an idea in the mind to do a post for Amitabh & Rekhas birthday together with a song of both of them.  There are a lot of songs featuring these two as a couple yet to be posted in the blog.

Somehow I  thought of the song “Naam Re. . . Sabse Bada Tera Naam, O Sheronwaali” from Suhaag, as a trio celebration of Amitabh Bachchan and Rekha’s birthdays plus Navratri.  But when I looked up the movie in the list, this song is already posted by Peevesie’s Mom in 2016. So that choice got ruled out.

Further yesterday was blue day for Navratri, there was a photo session of all ladies in the office, which is the norm all over nowadays in Mumbai offices at least. A colleague made a collage of those photos and put it on the status of the office ladies whatsapp group. It so happened she had mistakenly included one group photograph from another office.

When I pointed it out to her, she said “galti se ho gaya re. . .” . I asked my husband if there was a song with the word ‘galti‘ , he said there was no such song but there is a song with the word ‘bhool‘,  e.g. “Hum Se Bhool Ho Gayee Hum Ka Maafi Dai Do” (‘Ram Balram’, 1980). I remembered the song “Hum Se Ka Bhool Hui Jo Ye Sazaa Hum Ko Mili” (‘Janta Hawaldar’, 1979). But since the song from ‘Ram Balram’ has both Rekha & Amitabh I shared the link to that song in the group. I am appreciated for thinking of a song at the drop of a hat, since we have a Hindi film song for all moments and occasions. I have reliable help in this endeavor, what with my husband being a filmy buff, YouTube etc. 🙂

So back to the song – today is yellow day and in this song at least Parveen Babi can be seen in full yellow, sunny splendour. And it has both Rafi  & Asha Singing for Amitabh & Rekha.  Asha Bhosle in giving playback to Parveen Babi too and Shailendra Singh is doing the honours for Shashi Kapoor. Anand Bakshi is the lyricist for this song composed by Laxmikant Pyarelal. Amitabh Bachchan is in disguise in this song to hide his identity from friend Shashi Kapoor, which is uncovered at the end of the song by Shashi Kapoor. Overall a colourful and enjoyable song to suit a celebratory occasion.

This bhangra song is filmed in the old Blighty’s Hyde Park – London, if I am not mistaken.


Song – Teri Rabb Ne Bana Di Jodi (Suhaag) (1979) Singer – Mohammed Rafi, Asha Bhosle (for Rekha), Asha Bhosle (for Parveen Babi), Shailendra Singh, Lyrics – Anand Bakshi, MD – Lakshmikant Pyaarelal
Mohammed Rafi + Asha Bhosle

Lyrics

teri rabb ne banaa di jodi..ee
teri rabb ne
teri rabb ne banaa di jodi 
tu haan kar ya na kar yaaraa
o yaaraa
ye bole jogi ka iktaaraa ho..oo 

o teri rabb ne banaa di jodi 
tu haan kar ya na kar yaaraa
o yaaraa
yeh bole jogi ka ik taaraa ho..oo 

kya bole teraa iktaaraa
kya bole
o kya bole teraa iktaaraa
mujhe kya lena hai jogi
o jogi ee 
meri shaadi marzi se hogi..ee
ho..oo

kya karne hain ghode haathi..ee
kya karne hain baaraati 
nainon ki is doli mein..ea
chal mujhe bittha le saathi
ke aisi ladki kahaan milti hai
gudiya ki tarah hilti hai
din raat tadapte hain bhanwre
tab ek kali khilti hai
hatt
jaao mujhe jaane do..oo
hatt jaao 
o hatt jaao mujhe jaane do
na khankaao khan khan kangana aa
o kangana
mujhe nahin ban’na tera sajna..aa
ho..oo

pehle kyun aankh ladaayi
gori ki neend churaayi
pehle kyun aankh ladaayi
gori ki neend churaayi
kar ke badnaam kisi ko..oo
banata hai ab harjaayi
iss jatt yamle se darna 
ab tu inkaar na karna
chup kar ke ban ja dulha
ye laathi dekh le varna
mat baandho zabardasti se..ea
mat baandho
o mat baandho zabardasti se
mere sar sehre ki ladiyaan
o ladiyaan 
tumhen lag jaayengi hathkadiyaan..aan
ho..oo 

sach bole duniyaa saari..ee
ye ishq buri beemari
tu ne mera dil todaa..aa
mar jaaun maar kataari
chal chhod isey deewani..ee
mat kar barbaad jawaani
laakhon hain is ke jaise
laakhon mein ek tu raani

saun rabb di main mar jaawaan
o saun rabb di
o saun rabb di main mar jaawaan
ladaaayi thhi ye to jhoothi
o jhoothi..ee
pehen le pyaar ki ye angoothi..ee
ho..oo
teri rabb ne banaa di jodi..ee
teri rabb ne
o teri rabb ne banaa di jodi..ee
teri rabb ne

o teri rabb ne banaa di jodi..ee
teri rabb ne
o teri rabb ne banaa di jodi..ee
teri rabb ne

———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————

तेरी रब्ब ने बना दी जोड़ी
तेरी रब्ब ने
तेरी रब्ब ने बना दी जोड़ी
तू हाँ कर या ना कर यारा
ओ यारा
ये बोले जोगी का इकतारा हो॰॰ओ

ओ तेरी रब्ब ने बना दी जोड़ी
तू हाँ कर या ना कर यारा
ओ यारा
ये बोले जोगी का इकतारा हो॰॰ओ

क्या बोले तेरा इकतारा
क्या बोले
ओ क्या बोले तेरा इकतारा
मुझे क्या लेना है जोगी
ओ जोगी॰॰ई
मेरी शादी मर्ज़ी से होगी॰॰ई
हो॰॰ओ

क्या करने हैं घोड़े हाथी॰॰ई
क्या करने हैं बाराती
नैनों की इस डोली में
चल मुझे बिठा ले साथी
के ऐसी लड़की कहाँ मिलती है
गुड़िया की तरह हिलती है
दिन रात तड़पते हैं भँवरे
तब एक काली खिलती है
हट्ट॰॰ जाओ मुझे जाने दो
हट जाओ
ओ हट जाओ मुझे जाने दो
ना खनकाओ खन खन कंगना
ओ कंगना
मुझे नहीं बनना तेरा सजना॰॰आ
हो॰॰ओ

पहले क्यों आँख लड़ाई
गोरी की नींद चुराई
पहले क्यों आँख लड़ाई
गोरी की नींद चुराई
कर के बदनाम किसी को
बंता है अब हरजाई
इस जट्ट यमले से डरना
अब तू इंकार ना करना
चुप कर के बन जा दूल्हा
ये लाठी देख ले वरना
मत बांधो ज़बरदस्ती से
मत बांधो
ओ मत बांधो ज़बरदस्ती से
मेरे सर सेहरे की लड़ियाँ
ओ लड़ियाँ
तुम्हें लग जाएंगी हथकड़ियाँ॰॰आं
हो॰॰ओ

सच बोले दुनिया सारी
ये इश्क़ बुरी बीमारी
तू ने मेरा दिल तोड़ा॰॰आ
मर जाऊँ मार कटारी
चल छोड़ इसे दीवानी॰॰ई
मत कर बर्बाद जवानी
लाखों हैं इस के जैसे
लाखों में एक तू रानी
सौं रब्ब दी मैं मर जांवाँ
ओ सौं रब्ब दी
ओ सौं रब्ब दी मैं मर जांवाँ
लड़ाई थी ये तो झूठी
ओ झूठी॰॰ई
पहन ले प्यार की ये अंगूठी॰॰ई
हो॰॰ओ

तेरी रब्ब ने बना दी जोड़ी
तेरी रब्ब ने
ओ तेरी रब्ब ने बना दी जोड़ी
तेरी रब्ब ने
ओ तेरी रब्ब ने बना दी जोड़ी
तेरी रब्ब ने


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

Blog Day : 3658 Post No. : 14521

ASAD 10th Anniversary Celebrations – 18
———————————————————————

#the Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # 70 #
——————————————

Congratulations to Atul ji and all team members on this tenth anniversary of this wonderful musical blog!!! Our beloved blog – ASAD – has completed ten years now and as expected the celebration has to be bigger and bigger.  And other than this being a great achievement, it’s also the time to gear up for the next bigger celebrations i.e. 15000 posts, 20000 next and more. . .

For this special occasion, and as it was expected of, all members were asked to share their joy and happiness through write ups and songs. So, when the ‘circular’ 😊 to this effect was received in mail and the deadline was given I started to look for those special subjects close to heart, which can be shared here on the blog with songs on this special occasion. I started thinking over the main reason for me to be associated with this blog – which is nostalgia and specifically related to the movies of the ‘seventies’, and the years when I was growing.

When my association with this blog started, and I started sending contribution for lyrics, they were mainly the songs which have over the years been in my memory since childhood and/or those which I have been looking for all the years during which I grown up – songs that used to be there and were listened to during those years – the seventies. . . and continuing to the initial years of the ‘eighties’. . .

There was something special there in those years. I think that the decade of seventies, from the point of view of ‘History of Hindi Cinema’ was a very important decade since it has many things happening in those years. But since it is subject of a different post I will not go into the detail (which I wish to write) in today’s article here.

Next, I started thinking about the movies which made news or hits or were popular in those years, then the stars, and the directors who ruled the roost and enthral the audiences with their charisma and talent. . .  If we look back now on this decade the very first thing that comes to our mind is the rise of Superstardom of Rajesh Khanna. But then in those years I was not the fan of Rajesh Khanna which I became much in the later years of the decade and in the starting years of the eighties.

And the movie watching years those bring back memories for me I think are 1973 (when I was five years old) to 1980 or 1981 to 1982 till I get into tenth standard. These years are very ‘nostalgic’ years for me I think, because many memories of movies and songs for me are from these years. So, what were the specialities of these years – ‘multi starrer movies’, ‘lost and found’ stories, ‘revenge stories’, ‘mythological movies too’, then we have ‘movies with dacoits looting the ‘gaon’ and the poor villagers’, etc. We were not the fan of any actor or actresses, we just loved to watch the movies whatever be the cast.

In my childhood, movies were the biggest entertainment other than outdoor sports, plays, then orchestras, radio and then there were movies. I vaguely remember that I always use to think the stars acting in movies were from a different planet and not like us. Then I used to think how a person who dies in a movie came back again in another movie?😊 And it took me sometime to understand the reality and come to know that the ‘stars’ are actually normal human beings like us.

Movies were the biggest fascination for us then and may be for many like me. From buying tickets for a movie and getting entry into the theatre and then the darkness surrounding gradually and starting the ‘newsreel’ everything was mesmerizing. Sometimes if we got delayed we had to enter in the darkness and then the gate-keeper will come and guide us the way signalling with a torch. And after the ‘newsreel’ (always in black and white 😊) finally the censor certificate of the movie which we eagerly await to the titles of the movie – all fascinating and spellbinding.

Then as I have mentioned earlier we brothers used to collect the cut pieces of films of movies and try to watch them after magnifying from a small mirror (sometimes a piece of mirror) to reflect the sunlight and finally projecting on a piece of cloth (preferably white) in a room which was covered to create darkness even in a daylight outside. I also remember that there was the advertisement for the 16mm projectors in newspapers and magazines which always attracted me and I was always thinking of buying one 😊 (which was not possible and never became possible) 😊.

Reading about movies and stars in print media and discussions about movies and the personal likes and dislikes among friends/groups was almost a routine. And yes, the ‘booklets’ for the songs of the movies, though I don’t remember to have bought many but yes we used to buy them and sing the songs reading from it 😊

Every summer vacation was special and awaited because of movie watching only. It was the main attraction of the vacations as we used to travel to stay with paternal grandparents and cousins would also gather from different places and together we used to watch movies in theatres – ah, how wonderful those were the days!!!

Sometimes on Sundays or a holiday we would even watch back to back movies to utilise the time as we have to travel back to our colony around 25 kms from the district place. The today’s movie we are discussing was passed by the Censor Board on 06.04.1979 and in all possibility, I am sure that I watched it in that ‘summer vacation’ that year. We children were very crazy about watching movies and I think this continued so far till ‘Laawaaris’ (1982) where I remember to get the tickets I joined the long queue which was I think around 500 metres from the ticket window, and it was already on the road where we sat in the queue for a long time 😊.

Recollecting it now all that happened seems to be very crazy and exciting. And I had to share this one incident when I was beaten up by my father as I was disappointed and started shedding tears for not getting ticket to watch a movie as it became house full. The movie was ‘Jaani Dushman’ from 1979. It was directed by Rajkumar Kohli who has given us many multi starrer movies and I have watched many of them viz. ‘Nagin’ (1976), ‘Jaani Dushman’ (1979), ‘Naukar Biwi Ka’ (1983), ‘Raaj Tilak’ (1984), ‘Jeene Nahin Doonga’ (1984), and ‘Insaniyat Ke Dushman’-1987’. After that I think I have not watched any movies from this production house.

At first, for this post I was thinking of a song from a Manmohan Desai movie or a song from a ‘multi starrer movie’, but selected this movie because to watch it I had to first undergo my father’s fury 😊. How is that possible? Was the movie was not for children? Yes, it was not for us – children – then to watch this movie, because it was released with an ‘A’ certificate (released with restricted viewing) 😊. But, I can now guess that may be on my insistence my father may have been somehow agreed to allow us to watch the movie.

However, we could not get the tickets as the show was house full and we – me and my younger brothers were standing watching movie posters – I got disappointed and tears rolled my eyes and the next moment was darkness in front of my eyes because my father had slapped me since I started crying for watching a movie. Later on, my father called me separately and told me to go alone next day to watch the movie and don’t take my younger brothers with me since they will be frightened, as the movie was said to be a ‘HORROR’ movie 😊. Next day I watched the movie and never feel scared while watching the movie, as the movie was making news as a ‘horror’ movie or like that. I was just above eleven years old then 😊.

I don’t remember having watched this movie again after that, either on TV or in theatre. Watching a suspense thriller again doesn’t generate the same interest and thrill. However, I think I should watch it for nostalgia and to enjoy its beautiful songs again. This movie has some very good songs and so far, only two of its songs have been posted on the blog. And when I go through these two posts by Atul ji I find he also had expressed similar feelings about this movie and he had also watched it as a ‘non-adult’, but still he was elder than me then 😊.

The song I present today is a ‘happy song’ to suit our celebration mood and reviving the nostalgia. In the movie too it occurs in celebration after Bindiya Goswami’s marriage and her ‘doli’ not being looted and the ‘dulhan’ not getting killed by the ‘Jaani Dushman’ 😊. The pitcturisation of this song has some typical specialities of that period – the village, the celebration, the grandeur and the music and the multi star cast. . . And over and above all we have Sanjeev Kumar and Shatrughan Sinha in their ‘own style’ 😊 and with so many other artists present in this song. The orchestra music by Laxmikant-Pyarelal makes it very special and nostalgic to revive those memories. . .

So, let us enjoy this song and revive some ‘bhooli bisri yaadein’. . . on this special occasion 😊

And actually, in the flow of the song I was thinking,

blog nahin koi ASAD jaisa
leader nahin koi mere ‘leader’ jaisa
editor nahin koi hamaare ‘editor’ jaisa
aur ‘contributor’. . .
nahin koi hamaari team jaisa 😊

 

Song – Mausam Na Koi Bahaar Jaisa (Jaani Dushman) (1979) Singer – Kishore Kumar, Mahendra Kapoor, Asha Bhosle, Lyrics – Verma Malik, MD – Laxmikant Pyaarelal
Female Chorus
Male Chorus

Lyrics

arey sun bhai sadho
bol re madho
sun bhai sadho
arey bol re madho

ho ho ho ho ho o
ho ho ho ho ho o
chhum chhum chhanana na na
chhum chhum chhum
ho ho ho ho ho o
ho ho ho ho ho o

chhum chhum chhanana na na
chhum chhum chhum
ho ho ho ho ho o
ho ho ho ho ho o
 
mausam na koi bahaar jaisa
tohfa na phoolon ke haar jaisa
saaz na koi sitaar jaisa
raag na koi malhaar jaisa
haan aa

heera nahin kohinoor jaisa
haan
parbat nahin koh-e-toor jaisa
haan
meethha na koi khajoor jaisa
haan
meva na dekha angoor jaisa

jaanch liya parakh liya
soch liya
gaur kiya
rishte bhi dekhe
naate bhi dekhe
naata naa koi pyaar jaisa
suraj bhi dekha
chanda bhi dekha
par dekha naa saiyyaan hamaar jaisa
dekha naa saiyyaan hamaar jaisa
naata nahin koi pyaar jaisa
dekha naa saiyyaan hamaar jaisa
dekha naa saiyyaan hamaar jaisa

roop tera kaagaz ki paati
dhoop lage murjhaaye
hey roop tera kaagaz ki paati
dhoop lage murjhaaye
aa tujhko palkon mein rakh loon
daal baahon ke saaye
roop gori tera patang jaisa
arey ang nahin tere ang ang jaisa
he rang nahin hothon ke rang jaisa
haan
sang nahin sajna ke sang jaisa

jaanch liya parakh liya
soch liya
gaur kiya
dil bhi dekhe dilwaale bhi dekhe
dil nahin dekha dildaar jaisa
raje bhi dekhe
mahaaraje bhi dekhe
par dekha naa saiyyaan hamaar jaisa
dekha naa saiyyaan hamaar jaisa
naata nahin koi pyaar jaisa
dekha naa saiyyaan hamaar jaisa
dekha naa saiyyaan hamaar jaisa

ho
ho ho ho ho
ho
ho ho ho ho o o
ho
ho ho ho ho o o

ban ke main sapna suhaana
teri neendon mein kho jaaun
he ban ke main sapna suhaana
teri neendon mein kho jaaun
main pyaar ki chandni mein ji chaahe so jaaun
kyunki
dukh naa judaai ki maar jaisa
sukh nahin dil ke qaraar jaisa
yaar nahin koi mere yaar jaisa
haan
jantar bhi dekhe mantar bhi dekhe
jaadoo naa koi pyaar jaisa
preet bhi dekhi
preetam bhi dekhe
par dekha na saiyyaan hamaar jaisa
dekha naa saiyyaan hamaar jaisa
naata nahin koi pyaar jaisa
dekha naa saiyyaan hamaar jaisa
dekha naa saiyyaan hamaar jaisa

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

अरे सुन भाई साधो
बोल रे माधो
सुन भाई साधो
अरे बोल रे माधो

हो हो हो हो हो ओ
हो हो हो हो हो ओ
छुम छुम छनन न न 
छुम छुम छुम
हो हो हो हो हो ओ
हो हो हो हो हो ओ
छुम छुम छनन न न 
छुम छुम छुम
हो हो हो हो हो ओ
हो हो हो हो हो ओ

मौसम न कोई बहार जैसा
तोहफा न फूलों के हार जैसा
साज़ न कोई सितार जैसा
राग न कोई मल्हार जैसा
हाँ आ
हीरा नहीं कोहिनूर जैसा
हाँ
परबत नहीं कोह ए तूर जैसा
हाँ
मीठा न कोई खजूर जैसा
हाँ
मेवा न देखा अंगूर जैसा
जांच लिया
परख लिया

सोच लिया
गौर किया
रिश्ते भी देखे
नाते भी देखे
नाता ना कोई प्यार जैसा
सूरज भी देखा
चंदा भी देखा
पर देखा ना सैंय्या हमार जैसा
देखा ना सैंय्या हमार जैसा
नाता नहीं कोई प्यार जैसा
देखा ना सैंय्या हमार जैसा
देखा ना सैंय्या हमार जैसा

रूप तेरा कागज़ कि पाती
धुप लगे मुरझाये
हे धुप लगे मुरझाये
आ तुझको पलकों में रख लूं
डाल बाहों के साए
रूप गोरी तेरा पतंग जैसा
अरे अंग नहीं तेरे अंग अंग जैसा
हे रंग नहीं होठों के रंग जैसा
हाँ
संग नहीं सजना के संग जैसा
जांच लिया परख लिया
सोच लिया
गौर किया
दिल भी देखा दिलवाले भी देखे
दिल नहीं देखा दिलदार जैसा
राजे भी देखे
महाराजे भी देखे
पर देखा ना सैंय्या हमार जैसा
देखा ना सैंय्या हमार जैसा
नाता नहीं कोई प्यार जैसा
देखा ना सैंय्या हमार जैसा
देखा ना सैंय्या हमार जैसा

हो
हो हो हो हो
हो
हो हो हो हो हो ओ
हो
हो हो हो हो हो ओ

बन के मैं सपना सुहाना
तेरी नींदों में खो जाऊं
हे बन के मैं सपना सुहाना
तेरी नींदों में खो जाऊं
मैं प्यार कि चांदनी में जी चाहे सो जाऊं
क्यूंकि
दुःख ना जुदाई कि मार जैसा
सुख नहीं दिल के करार जैसा
यार नहीं कोई मेरे यार जैसा
हाँ
जंतर भी देखे
मंतर भी देखे

जादू ना कोई प्यार जैसा
प्रीत भी देखि
प्रीतम भी देखे
पर देखा ना सैंय्या हमार जैसा
देखा ना सैंय्या हमार जैसा
नाता नहीं कोई प्यार जैसा
देखा ना सैंय्या हमार जैसा
देखा ना सैंय्या हमार जैसा


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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 over TEN years. This blog has over 14900 song posts by now.

This blog is active and online for over 3900 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14995

Number of movies covered in the blog

Movies with all their songs covered =1167
Total Number of movies covered =4104

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