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

Archive for the ‘Guest posts’ 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 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.

Saga Of Sleepless Nights – 3
– – – – – – – – – – – – – – –

neend kabhi rehti thi aankhon mein
ab rehte hain saanwariya

Aah, so now we know, the sleep can no longer come to the eyes, for the eyes are already occupied with the images of the beloved. You cannot accommodate two swords in a single scabbard. Or for that matter, two lions in the same cave. So it has to be that sleep will have to wait outside, while the joys of visions of the beloved crowd all the room inside the eyes.

I fall back on Shakespeare, yet once again – this endearing snippet from a sonnet, that tells of why the eyes are without sleep, although the limbs are dreadfully tired. Just read these lines,

weary with toil, i haste me to my bed,
the dear repose for limbs with travel tired;
but then begins a journey in my head
to work my mind, when body’s work’s expired:

for then my thoughts–from far where i abide–
intend a zealous pilgrimage to thee,
and keep my drooping eyelids open wide,
looking on darkness which the blind do see:

save that my soul’s imaginary sight
presents thy shadow to my sightless view,
which, like a jewel hung in ghastly night,
makes black night beauteous, and her old face new.

He is putting the blame on his thoughts; that they are intending to make a pilgrimage to you, and intend to keep the drooping eyelids open wide. And when that sight is reached – “thy shadow to my sightless view”, it is like a bright shining jewel hung in the darkness of the ‘ghastly night’. And the consequential effect – the night becomes ‘beauteous’ and her old tired face seems so new. And this jewel of an image is preferred over the fatigue of the limbs and the sleep that they are demanding.

But even Shakespeare sound somewhat rough around the edges, when we compare his creation to the similar sounding songs of Hindi films. Think of “Neend Kabhi Rehti Thi Aankhon Mein, Ab Rehte Hain Saanwariya” (‘Aasra’, 1966). And my mind would prefer the soft melody of this song. Or the lilting strains of “Meri Aankhon Mein Bas Gaya Koi Re, Mujhe Neend Na Aaye Mein Kya Karoon” (‘Barsaat’, 1949).

Today’s song is somewhat unfamiliar – from the 1950 film ‘Muqaddar’. The singer is Nalini Jaiwant. Lyrics are from the pen of Raja Mehdi Ali Khan, and the music is composed by Khemchand Prakash and Bhola Shreshtha. Yes, the Geet Kosh indicates that the music is composed by the two together. This would be one of the very last films of Kehmchand Prakash, as he passed away on 10th Aug of 1950. So it is possible that the work begun by him, was completed by Bhola Shreshtha.

Nalini Jaiwant has a small repertoire of songs she has rendered in Hindi films. Her singing in films is clustered in two periods – from 1941 to 1943 and then from 1948 to 1950. One solo film follows in 1955. The films are ‘Bahen’, ‘Nirdosh’, ‘Radhika’ in 1941, ‘Aankh Micholi’ in 1942 and ‘Adaab Arz’ in 1943. Then we have ‘Gunjan’ in 1948, ‘Chakori’ in 1949, and then ‘Hindustan Hamaara’ and ‘Muqaddar’ in 1950. The film in 1955 is ‘Chingaari’. Total songs she has sung in films is 40, as per Geet Kosh listings. On the blog, we already have showcased six songs in her voice. This is her seventh rendering to be represented here.

Listen to this perky rendering, and if in love, prepare for another night without sleep.

And so continues the saga of sleepless nights. . .

 

 

Song – Jab Nainon Mein Koi Aan Basey  (Muqaddar) (1950) Singer – Nalini Jaiwant, Lyrics – Raja Mehdi Ali Khan, MD – Khemchand Prakash-Bhola Shreshtha

Lyrics

jab nainon mein koi aan basey
jab nainon mein koi aan basey
phir neend kahaan
o phir chain kahaan
phir neend kahaan
o phir chain kahaan
jab dil mein pyaar ki hook uthey
phir neend kahaan
o phir chain kahaan
phir neend kahaan
o phir chain kahaan

jab boley papiha piya piya
jab boley papiha piya piya
thar thar kaanpe haaye mora jiya
thar thar kaanpe haaye mora jiya
jab thandi hawa betaab bahe
jab thandi hawa betaab bahe
phir neend kahaan
o phir chain kahaan
phir neend kahaan
o phir chain kahaan

jab prem badariya chhaai ho
jab prem badariya chhaai ho
aur yaad
aur yaad kisi ki aai ho
aur yaad kisi ki aai ho
ik dil ko ik dil yaad kare
ik dil ko ik dil yaad kare
phir neend kahaan
o phir chain kahaan
phir neend kahaan
o phir chain kahaan

kuchh keh gaye aankhon aankhon mein
kuchh keh gaye aankhon aankhon mein. . .
dil le gaye
dil le gaye baaton baaton mein
dil le gaye baaton baaton mein
jab dil na kisi ke paas rahe
jab dil na kisi ke paas rahe
phir neend kahaan
o phir chain kahaan
phir neend kahaan
o phir chain kahaan

jab nainon mein koi aan basey
phir neend kahaan
o phir chain kahaan
phir neend kahaan
o phir chain kahaan
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
जब नैनों में कोई आन बसे
जब नैनों में कोई आन बसे
फिर नींद कहाँ
ओ फिर चैन कहाँ
फिर नींद कहाँ
ओ फिर चैन कहाँ
जब दिल में प्यार की हूक उठे
फिर नींद कहाँ
ओ फिर चैन कहाँ
फिर नींद कहाँ
ओ फिर चैन कहाँ

जब बोले पपीहा पिया पिया
जब बोले पपीहा पिया पिया
थर थर काँपे हाए मोरा जिया
थर थर काँपे हाए मोरा जिया
जब ठंडी हवा बेताब बहे
जब ठंडी हवा बेताब बहे
फिर नींद कहाँ
ओ फिर चैन कहाँ
फिर नींद कहाँ
ओ फिर चैन कहाँ

जब प्रेम बदरिया छाई हो
जब प्रेम बदरिया छाई हो
और याद
और याद किसी की आई हो
और याद किसी की आई हो
इक दिल को इक दिल याद करे
इक दिल को इक दिल याद करे
फिर नींद कहाँ
ओ फिर चैन कहाँ
फिर नींद कहाँ
ओ फिर चैन कहाँ

कुछ कह गए आँखों आँखों में
कुछ कह गए आँखों आँखों में॰ ॰ ॰
दिल ले गए
दिल ले गए बातों बातों में
दिल ले गए बातों बातों में
जब दिल न किसी के पास रहे
जब दिल न किसी के पास रहे
फिर नींद कहाँ
ओ फिर चैन कहाँ
फिर नींद कहाँ
ओ फिर चैन कहाँ

जब नैनों में कोई आन बसे
फिर नींद कहाँ
ओ फिर चैन कहाँ
फिर नींद कहाँ
ओ फिर चैन कहाँ

 

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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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today’s song is from the film Ghar Ki Izzat (1948). It is a lively duet of Shamshad Begum and Ram Kamlani. The film is produced and directed by Ram Daryani, under the banner of Murli Cinetone, Bombay. Music was given by Pt Gobind Ram and songs and dialogues were by Ishwar Chandra Kapoor. The cast of the film was Mumtaz Shanti, Dilip Kumar, Gope, Gulab, Dixit, Manorama, Jeevan, Suleiman etc etc.

In the early decades of talkie era, i.e. in the 1930s and 40s, many Muslim actors and actresses took on Hindu names, for obvious reasons. Here are some such examples – Mumtaz Shanti (real name – Mumtaz Begum), Renuka Devi (Begum Khurshid Mirza), Neena (Shahida), Meena Shorey (Khursheed Jehan), Geeta Nizami (Rasheeda Begum), Madhubala (Mumtaz Jehan), Indurani (Ishrat Jehan), Veena (Tajour Sultana), Shyama (Khurshid Akhtar), Dilip Kumar (Yusuf Khan), Jayant (Zakaria Khan), Kumar (Syed Ali Hasan Zaidi), Suresh (Naseem Ahmed), Sudhir (Shah Zamaan Khan) and many more.

However, not all did this. Those who did not change name were Mehboob Khan, Mazhar Khan, Ashraf Khan, Najmul Hasan, Zubeida, Noorjehan, Khursheed etc etc.

After Independence, this trend diminished, but a new trend started – that of taking on a screen name other than the real name. Some examples are Sunil Dutt, Balraj Sahni, Sanjeev kumar, Raaj Kumar, Jeetendra, Rajesh Khanna, Akshay Kumar etc. A full article can be written on this subject, but this is enough for now.

Film ‘Ghar Ki Izzat’ was the only film Mumtaz Shanti did with Dilip kumar. Compared to young Dilip Kumar, Mumtaz Shanti was more successful and experienced with films like ‘Basant’ (1942) and ‘Kismet’ (1943). She had worked with top actors of that era, like Ashok Kumar. In this film, you can see an awkward Dilip Kumar and a vibrant and seasoned actress Mumtaz Shanti.

Mumtaz Shanti or Mumtaz Begum was born in 1922 at village Dinga in Punjab (now in Pakistan). She lost her parents early and she was brought up by her uncle who was a police constable. After his transfer to Lahore, Mumtaz was able to continue her schooling. She learnt dancing and music. She was also an expert in household chores. At the start of filmi career, she was at first rejected by Shorey Pictures. But then the famous writer/lyricist Wali Saheb helped her and took her to Calcutta’s East India Film Co. to work in a Punjabi film ‘Sohni Kumharan’ (1937). She also did another Punjabi film ‘Chambey Di Daali’ (1941) in Calcutta. Now the things were different and she was invited by Shorey Pictures to Lahore, to act in their Punjabi film ‘Mangti ‘ (1942). This film was immensely successful and ran for 65 weeks giving her name and fame.

Rai Bahadur Chunilal Of Bombay Talkies  offered her a role in their film ‘Basant’ (1942). She came to Bombay and did Basant and then ‘Kismet’ (1943). Both the films were hits all over India.  Mumtaz was good looking, tall and lithe, so looked attractive. After ‘Kismet’ she became a free lancer and worked with many different studios. Her notable films are ‘Badalti Duniya’ and ‘Sawaal’ (1943), ‘Bharthari’, ‘Lady Doctor’ and ‘Pagli Duniya’ (1944), ‘Chaand Chakori’ (1945), ‘Shravan Kumar’, ‘Dharti’, ‘Magadhraj’ and ‘Pujari’ (1946), ‘Dekhojee’ and ‘Doosri Shadi’ (1947), ‘Padmini’, ‘Heer Ranjha’ and ‘Ghar Ki Izzat’ (1948), ‘Putli’, ‘Biwi’ and ‘Aahuti’ (1950). Her last film in India was ‘Zamaane Ki Hawa’ (1952). In all she worked in 21 Hindi and 4 Punjabi films. She did 2 films in Calcutta, 4 in Lahore and the rest in Bombay.

She married lyricist/writer/director Wali Saheb in 1947. He directed her in 3 films in India. He was very strict and forced her to come to studios only in burqa. She was not allowed to talk to anyone. No one was allowed to touch her, even in any scene. They migrated to Pakistan after 1953. She retired from films and remained a housewife only. Wali Saheb did 3-4 films in Pakistan, without much success. He passed away in 1977. Mumtaz Shanti passed away in 1993/94, unsung and unknown in Pakistan.

After Independence films were being made on social values which the Indian people wanted to inculcate in their new life, like importance of joint families, need to do hard work, need to abolish bad customs like dowry, bridging the gap between the rich and the poor, importance of education, women’s emancipation, abolition of castes and untouchability, respecting elders and traditions etc. Thus it will be seen that every film had some or the other message for the society.

This was also one such film, in which the makers stressed the need to strengthen the joint family tradition and to reduce the gap between the rich and the poor. The film had become quite popular, as it did not sound like a propaganda film but the message was conveyed in a very entertaining way. The songs were good and became popular. Pt Gobind Ram – the music director was a highly respected composer in the industry for his originality. Stalwarts like C Ramchandra considered Sajjaad Husain and Pt Gobind Ram ji as the original composers. Pt Gobind Ram gave music to 32 films from 1937 to 1955, composing 302 songs.

Just before writing this article, I saw this film on YouTube to refresh my memory. I had seen the film in the early 1950s in its second run in Hyderabad. The cast of the film includes the name Dixit.  Only a handful readers will recollect who he was, but there was a time in the early talkie era of 1930s and the 40s when he was a popular name. He and actor Ghory had formed a comic pair on the lines of the Laurel and Hardy team of the English cinema. In those days 4 comedians were popular – Dixit, Ghory, Kesari and Charlie.

Manohar Janardan Dikshit (this became Dixit in film line) was born on 12-11-1906 at Sinnar in Nashik district of Maharashtra. It seems, his arrival in this world was predicted by a sadhu. Somehow, in Dixit’s career, roles of sadhu played a vital role. He acted as a sadhu in as many as 31 films. His father was a district judge and was very strict at home. Due to frequent transfers, Dixit lost interest in studies. After two unsuccessful attempts in matriculation, he stopped going to school.

He started his film career as an assistant cameraman in Navjeevan Studio, with the help of Mama Varerkar, a noted Marathi writer who was associated with many studios of Hindi films. Of course Dixit did not learn anything of cinematography and did only manual works like carrying the camera etc. On the 14th November 1929, he faced the camera for his first role in the silent film ‘Sparkling Youth’ with P Jairaj and Madhav Kale. In Navjeevan Studios he did 3 more silent films and then joined the prospering, upcoming Ranjit Film company. Here he met his future partner Nazir Ahmed Ghory, who was born on 11-8-1901 at Bombay. Ghory was a graduate in those days. They paired in their first comedy film, ‘Char Chakram’ (1932), directed by Jayant Desai. The four ‘chakrams‘ in the film were Dixit, Ghory, Eddie Bilimoria and Madhuri. It was a hit film and the comedy pair became famous. They copied Laurel and Hardy. They even looked like them. Dixit was the Hardy part of the team.

They continued working together till 1947. I do not know exactly, but my guess is that they worked together in about 20 films. After partition, Ghory migrated to Pakistan and Dixit worked alone. Dixit was described by Baburao Patel as ‘our best comedian’. He was the darling of film critics too. Unfortunately, all the Ranjit Films where in they worked together were destroyed along with other negatives and except for few photos and stories about them, nothing remains now. Dixit worked in 4 silent and 66 Talkie films in 17 years’ time. For a person carrying 220 pounds weight, it was really creditable.

After the film ‘Ghar Ki Izzat’, Dixit suffered from a heart attack and he passed away on 29-6-1949 (adapted from Eena Meena Deeka and MuVyz, with thanks.)

The story of the film,

Seth Chunilal (Dixit) is a rich person. His daughter Radhika (Manorama) has married Chaman (Gope) who is their ‘ghar jamaai‘. He does not work anywhere. Radhika’s mother (Gulab) taunts him every now and then and one day, frustrated Radhika leaves the house along with Chaman. They start an insurance business and prosper in a village nearby. Chunilal’s son Chander (Dilip Kumar) becomes a lawyer. He visits his sister in the village. In same village, lives Roopa (Mumtaz Shanti) with her two brothers (Jeevan and Suleiman).

Chander gets introduced to this family, falls in love with Roopa and they get married. Upon coming to the city home, Chander’s mother starts taunting the new bahu on her poverty. Bahu, being adarsh bhartiya nari tolerates everything, but Chander gets frustrated and starts drinking. Sister Radhika and Chaman bring him to their house.

Chander’s mother and father start repenting and finally they go to Chander and Roopa, beg their pardon and bring them back with honour. They even call Chander and Radhika, but they refuse to come back, as they have prospered now.

So, all is well that ends well.

 

This film has 11 songs. According to the blog 6 songs are already discussed, but it transpires that one song ‘Ae Dard Zara Dum Le’ posted on 17-5-2011 and included as this film’s song, is actually a song from film ‘Zamana’ (1938). It was only used in this film as a radio song. So actually only 5 songs are covered. Today’s song is the 6th song from this film. In the video, Gope and Manorama singing this melodious song. The newer generation folks will remember the Chachi in the 1972 film ‘Seeta Aur Geeta’. Ah yes, this is the same Manorama.


Song – Aankhon Ko Aankhon Se Do Chaar Kiye Jaao (Ghar Ki Izzat) (1948) Singer – Ram Kamlani, Shamshad Begum, Lyrics – IC Kapoor, MD – Pt Gobind Ram
Shamshad Begum + Ram Kamlani

Lyrics 

aankhon se aankhon ko
aankhon se aankhon ko do chaar kiye jaao
pyaar kiye jaao ji
pyaar kiye jaao
aankhon se aankhon ko
aankhon se aankhon ko do chaar kiye jaao
pyaar kiye jaao ji
pyaar kiye jaao

hai teer nigaahon mein
aur bijli adaaon mein
hai teer nigaahon mein
aur bijli adaaon mein
bas yun hi mere dil pe
tum vaar kiye jaao
bas yun hi mere dil pe
tum vaar kiye jaao
pyaar kiye jaao ji
pyaar kiye jaao

aankhon se aankhon ko
aankhon se aankhon ko do chaar kiye jaao
pyaar kiye jaao ji
pyaar kiye jaao

o mast nazar aaj tu
masti ko luta de
aur chaand se chehre se zara
zulfen hataa de
jo dil mein tere hai
jo dil mein tere hai
wo nigaahon se suna de
ulfat ke nibhaane ka iqraar kiye jaao
ulfat ke nibhaane ka iqraar kiye jaao
pyaar kiye jaao ji
pyaar kiye jaao

aankhon se aankhon ko
aankhon se aankhon ko do chaar kiye jaao
pyaar kiye jaao ji
pyaar kiye jaao

pehlu mein mere chhota sa ik
sehma hua hai dil
har taar hai is dil ka
tere pyaar ke kaabil
aa dekh sajaa rakhi hai
kis thaath se mehfil
aa dekh sajaa rakhi hai
kis thaath se mehfil
ji jaan ka nazraana sarkaar liye jaao
ji jaan ka nazraana sarkaar liye jaao
pyaar kiye jaao ji
pyaar kiye jaao

aankhon se aankhon ko
aankhon se aankhon ko do chaar kiye jaao
pyaar kiye jaao ji
pyaar kiye jaao

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

आँखों से आँखों को
आँखों से आँखों को दो चार किए जाओ
प्यार किए जाओ जी
प्यार किए जाओ
आँखों से आँखों को
आँखों से आँखों को दो चार किए जाओ
प्यार किए जाओ जी
प्यार किए जाओ

है तीर निगाहों में
और बिजली अदाओं में
है तीर निगाहों में
और बिजली अदाओं में
बस यूं ही मेरे दिल पे
तुम वार किए जाओ
बस यूं ही मेरे दिल पे
तुम वार किए जाओ
प्यार किए जाओ जी
प्यार किए जाओ

आँखों से आँखों को
आँखों से आँखों को दो चार किए जाओ
प्यार किए जाओ जी
प्यार किए जाओ

ओ मस्त नज़र आज तू
मस्ती को लुटा दे
और चाँद से चेहरे से ज़रा
ज़ुल्फें हटा दे
जो दिल में तेरे है
जो दिल में तेरे है
वो निगाहों से सुना दे
उल्फ़त के निभाने का इक़रार किए जाओ
उल्फ़त के निभाने का इक़रार किए जाओ
प्यार किए जाओ जी
प्यार किए जाओ

आँखों से आँखों को
आँखों से आँखों को दो चार किए जाओ
प्यार किए जाओ जी
प्यार किए जाओ

पहलू में मेरे छोटा सा इक
सहमा हुआ है दिल
हर तार है इस दिल का
तेरे प्यार के क़ाबिल
आ देख सजा राखी है
किस ठाठ से महफिल
आ देख सजा राखी है
किस ठाठ से महफिल
जी जान का नज़राना सरकार लिए जाओ
जी जान का नज़राना सरकार लिए जाओ
प्यार किए जाओ जी
प्यार किए जाओ

आँखों से आँखों को
आँखों से आँखों को दो चार किए जाओ
प्यार किए जाओ जी
प्यार किए जाओ


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


This article is written by Peevesie’s mom, 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.

Hullo to all in Atuldom

Today’s post is under instructions from my husband- Peevesie’s Dad. Oh yes, he is a silent-satulite (a term coined by team Atulites when referring to spouses of Atulites, the term has no geographical or scientific connotation and will be found only in Atulite-lingo 🙂 ). He had asked me to write a post after we returned from a pilgrimage of Sabarimala, which is the abode of Swami Ayyappa. And as far as possible I fulfil every farmaish/ request of his (actually the children, Peevesie more than her brother, rag the two of us for going out of our way to fulfil each other’s requests- there have been no demands between the two of us only requests).

A recent program that I attended at Chowdiah Memorial with Asha Bhonsle as the attraction is a case in point – we were scheduled to go to Kerala on that date to drop my dear mom-in-law at our native village and my husband (sweetly) asked me to go ahead and book tickets for the show and he himself went with his mom. So, when he indulges me how can I not do what he says? 🙂 These last two months I had been looking for a song that would accompany the post but never found any song or bhajan dedicated to Ayyappa in a Hindi song album- filmy or non-filmy. Even looking up dubbed movies drew a blank. Whatever the internet had to offer were songs in the south Indian languages. But now I think I have found a way out.

The pilgrimage to Sabarimala is neither easy nor tough; what it needs is commitment on the part of the devotee. It can be undertaken by all men and females below the age of 10 and above the age of 50. There are a few legends to explain why this restriction is in place for the ladies. But the main reason, for ladies of age group 10-50 not being allowed is biological and instead of arguing against it; which some sections of the equality for females brigade has undertaken, my personal view is we should respect it. If some rule has been in place for an activity we follow it. If there is a dress code to a party we adhere to it. I have seen people follow the rule of covering their heads at gurudwaras and mosques (am not sure if churches have this rule, but have seen some sections of Kerala Christians cover their heads). If rules can be followed at these places then why not at Hindu places of worship. (I hope that my thoughts are not construed to be against equality for the female gender, they are just my way of looking at things)

The Sabarimala temple is open for a few days (of the Malayalam calendar) every month and from November 15th to January 20th (I think). Devotees who plan to undertake the trip normally live a satvik life for a period of 40 days. They abstain from wine and women, the stricter followers make their own food, visit an Ayyappa temple twice a day, walk bare foot and also don’t shave. Then just before leaving for the trip they have a ritual wherein they gather the main things needed for the pilgrimage in a bag which is carried on their heads till they reach the temple. The bag typically contains two or three coconuts, one of which is filled with ghee for the abhishek of the deity. Plus, pooja items like camphor, agarbatti, pan-supari, beaten rice etc.

The temple itself is in the Periyar Tiger Reserve of western ghats in Kerala’s Pathanamthitta District. One can go up to the Pampa river (which is at the base of the path leading up to the temple) by road, from where it is a climb of about 5 kms of which the initial 2 km or so is very steep. Of course, there are a few palkhis available to carry up those who find the climb difficult. But when one sees the passion in those climbing alongside us it spurs us to try and do the distance without palki assistance. That is what happened with me. I felt a sense of tiredness after the initial half an hour; then I saw who were the people around me. There was a small boy taking his almost 80-year-old grandparents with him. Then there was a man with a twisted ankle making his way uphill and that made me feel I should complete the route. And there is the chant of Swamiye Sharanam Ayyappa (we take refuge in you ayyappa) reverberating about the route, enough to egg you on. A seasoned devotee (like my husband who has gone close to 25 times) may do the path in about two or two and half hours depending on the weather; and I took about two hours and forty minutes in spite of the initial panting and nausea due to the height. But I must admit that then it had felt like a never-ending walk.

Now any person undertaking the pilgrimage for the first time is called a “Kanni Ayyappan” and our group had two of us. And then last month around Onam time when the temple was open my sister’s family- her husband and two nine-year-old sons- also went to the temple. The twins were the life of the group along with a few other kids. About 10-15 years back my aged parents-in-law and parents had undertaken the trip. So, what I am trying to say is age and health should not stop a determined soul from making the trip and there are experienced Ayyappas (that is the term with which the male devotees address each other) to guide those who want to make the trip and believe me it was a great experience enough to make me feel I should redo it.

Reading the above description may have sent images of the trek to Kedarnath, Yamunotri or Vaishno Devi to the reader. Even I recalled my Kedarnath, Yamunotri trip as I was chanting Swamiye Sharanam Ayyappa and singing all the Ayyappa songs I knew to myself during the walk. And in my mind, I visualised my dearest mom-in-law undertaking the Vaishno Devi pilgrimage about 10 years back. Hats off to her spirit! I hope I am half as energetic when I reach her age.

Now that I have mentioned vaishno devi I looked for a song that will show the journey to the temple in the Himalayas in Kashmir. And I found that there is a song in the 1980 released J. Om Prakash movie which shows Rameshwari and Jeetendra going to Vaishno Devi as “Mannat” fulfilment of his mother Sulochana. (wonder why she didn’t accompany them 🙂 ) it shows them trudging up to the temple along with other devotees much like what I experienced. But the difference is the distance which my mom-in-law says is close to 14 kms. The song is from the pen of Anand Bakshi and Laxmi- Pyare are the music directors. Narendra Chanchal and Mohd. Rafi are the playback.
I think this is a good song to start Navaratri with. Bolo Jai Mata Ki!

Editor’ note:- This is the sixth and final song from “Asha”(1980) to appear in the blog. with this song, “Asha”(1980) joins the list of movies that have all their songs covered in the blog.


Song-Toone mujhe bulaaya shera waaliye (Asha)(1980) Singers-Narendra Chanchal, Rafi, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Chorus
Rafi + Chanchal

Lyrics

saanchi jyoto waali maata
maata
teri jay-jay-kaar
jay-jay-kaar
jay-jay-kaar
jay-jay-kaar

toone mujhe bulaaya shera waaliye ae
main aaya
main aaya shera vaaliye

toone mujhe bulaaya shera vaaliye
main aaya,
main aaya shera vaaliye

o jyota vaaliye
pahaada vaaliye
o mehra vaaliye ae
toone mujhe bulaaya shera vaaliye
main aaya,
main aaya shera vaaliye

o o
toone mujhe bulaaya shera vaaliye
main aaya
main aaya shera vaaliye

saara jag hai ik banjaara
saara jag hai ik banjaara
sabki manzil tera dwaara
oonche parvat lamba rasta
oonche parvat lamba rasta
par main rah na paaya shera vaaliye
toone mujhe bulaaya shera vaaliye
ho o
main aaya,
main aaya shera vaaliye
toone mujhe bulaaya shera vaaliye

soone man mein jal gayi baati
tere pathh mein mil gaye saathi
munh kholoon kya tujhse maangoon
munh kholoon kya tujhse maangoon
bin maange sab paaya
shera vaaliye ae

toone mujhe bulaaya shera vaaliye
o o o
main aaya
main aaya shera vaaliye

toone mujhe bulaaya shera vaaliye

kaun hai raaja
kaun bhikhaari
kaun hai raaja
kaun bhikhaari
ek baraabar tere saare pujaari
toone sabko darshan de ke
toone sabko darshan de ke
apne gale lagaaya shera vaaliye
toone mujhe bulaaya shera vaaliye
o jota vaaliye
pahaada vaaliye
o mehra vaaliye ae
toone mujhe bulaaya shera vaaliye
main aaya
main aaya shera vaaliye

o prem se bolo
jay maata di
o saare bolo
jay maata di
o aate bolo
jay maata di
o jaate bolo
jay maata di
o kasht nivaare
jay maata di
o paar utaare
jay maata di
devi maan bholi
jay maata di
bhar de jholi
jay maata di
o jode dar par
jay maata di
maa deke darshan
jay maata di
o jay maata di
jay maata di
jay ay ay maata di
jay maata di

jai bhavaani ki jai
pahaada vaali ki jay,
vaishno raani ki jay
ambe raani ki jay
pahada waali ki jai


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

Today’s song is from film Raag Rang-52. The film was produced by Bali sisters, Bombay banner. The producer was Hari Darshan bali, the Director was Digvijay Bali ( elder brother of Geeta Bali) and the heroine of the film was Geeta Bali, opposite Ashok kumar. At this time, the age of Geeta Bali was just 22 years and Ashok kumar was almost double of her age, at 41 years !

Ashok kumar was probably the earliest star actor who was called an Evergreen Actor, because he continued to do Hero’s roles till he was 49 years old ! However, after he retired, Dev Anand overtook him by doing Hero’s roles till he was 66 years old. So, truly speaking, Dev Anand was the real Evergreen Hero ! But, surprisingly, a Meteor, or call it a Hurricane-if you like it- Called Rajesh khanna, swept these two first generation stalwarts and created a Record of doing Maximum Films as a Hero. You will be ( or may be not ) surprised to read that Rajesh Khanna has an Unbroken Record of doing 106 films as a solo Hero, followed by Dev Anand with 92 films and Ashok kumar at the 3rd number with 86 films as a Solo Hero !

In last so many years- till 1980 – I must have seen hundreds of Films- Hindi, Marathi, English, Tamil, Telugu, kannada, Malyalam and Konkani. In the Hindi films, I can not forget 3 actresses, who were Bubbly, playful, with innocent looks and with Natural acting talent. They were Meena Shorey, Nalini Jaywant and Geeta Bali. I enjoyed every film of these actresses, which i saw. It is difficult to forget the role and acting of Meena Shorey in film ” Ek thi Ladki-49″, or Nalini Jaywant in film ” Hum sab chor hain-56″, or Geeta Bali in film ” Aji Bas Shukriya-58″. These were all my favourite actresses. it is very unfortunate that they all met their deaths in very tragic circumstances.

Geeta Bali’s dancing eyes and her animated, expressive face which mirrored her soul were her most outstanding features. Yet life was snatched away from this vibrant personality at an achingly young age of 35.It is some consolation that Geeta crammed a lot into her short life: 80 odd films in a ten-year career.

She married struggling actor-turned-megastar Shammi Kapoor and mothered two children: a son and a daughter. Today, she is remembered as a wonderfully natural actress and a fabulous human being.She was quite close to her sisters and brother. her childhood pet name was KEETA.

True, Geeta’s reputation as an actress rests more on her performances than her roles. Natural, spontaneous and gifted with a spot-on sense of comic timing, she never really found a vehicle worthy of her talent. Largely a shade better than the movies she starred in, she frittered away her talents in B-grade films.

Probably the fact that she was born into a family that had to struggle for sheer survival and the fact that she reached the top through sheer grit had Geeta stress on quantity rather than quality. Film lore has it that when mentor [filmmaker] Kidar Sharma first met Geeta, she was living with her family in somebody’s bathroom!

Geeta, who was born on 30-11-1930 at Amritsar, as Harikirtan Kaur, had done a few small-time dancing roles in pre-Partition Punjab in films like Badnami-46, Kahan gaye-46 and Pat jhad-48, before moving to Mumbai. Impressed by her off-screen vivacity, Sharma cast Geeta in his Suhaag Raat (1948). Audiences related to her instantly and watched wide-eyed as she nonchalantly tossed her unconscious hero, Bharat Bhushan over her shoulder in a scene.

Soon, Geeta was inundated with contracts (that’s what they called film offers then). She accepted most. She won raves even in supporting roles like in the 1949 Suraiya starrer Badi Behan and the Madhubala starrer Dulari.

In 1951, she became a major star with Guru Dutt’s first hit, Baazi (she went on to do three other films under his direction). Geeta played gangster’s moll with a golden heart to Kalpana Kartik’s conventional heroine. But Geeta played her role with such gay abandon that hero Dev Anand divulges, “People came repeatedly to theatres to see Geeta’s spirited dancing to Tadbeer se bigdi hui taqdeer bana de.

Geeta proved she could do tragedy (Sharma’s Raj Kapoor starrer Bawre Nain) or and play the lighthearted heroine to comedian Bhagwan in the super successful Albela. Albela’s swinging C Ramchandra composed songs like Shola jo bhadkeand Sham dhale mere khidki tale made front-benchers dance with the stars and even fling coins on screen.

Pug-nosed Geeta was no conventional beauty, but that transparent face and that smile constantly flirting on her lips made sure you couldn’t tear your eyes away from her.

Watch Geeta Bali in the Guru Dutt-directed Jaal (1952). Dev Anand, a cigarette-smoking smuggler on the run from the police, tries to entice morally upstanding heroine Geeta into his web. Geeta evocatively communicates her struggle against, and her eventual surrender to, handsome Dev’s seduction call Yeh raat, yeh chaandni phir kahan.

Famously down-to-earth despite her star status, Geeta was the antithesis of the coy 1950s’ heroine. She often drove herself to her premieres in an open jeep. Those who knew her claim she was a Samaritan who touched the lives of whoever she met. She is said to have personally groomed Mala Sinha, then a newcomer.

To date, so many years after her death, her secretary Surinder Kapoor’s (Boney Kapoor’s father) productions begin with a shraddhanjali to Geeta Bali.

Shammi Kapoor entered her life when they worked in the quaintly named Miss Coca Cola and Coffee House together. On an impulse, Geeta played a small role of a man in Sharma’s Shammi Kapoor starrer Rangeen Raatein. On the film’s Ranikhet outdoor, Shammi and Geeta fell in love.

Kapoor was a year younger to her and was not yet a star, but the twosome were hell bent on marrying each other. Geeta had worked with Shammi’s eldest brother, Raj Kapoor in Bawre Nain, and with his father, Prithviraj Kapoor in Anand Math, Shammi was unsure about their reaction to this match.

But on August 23, 1955, with producer-director Hari Walia as witness, the couple were married at the Banganga Temple at 4 am.

Geeta continued to work after marriage in a few films like Sohrab Modi’s Jailor (1958), where she won raves as a blind girl. With Shammi Kapoor turning into a huge star and the birth of her two children Aditya (nicknamed Mickey) and Kanchan, she eased her workload.

The desire to do that one fulfilling role she would be remembered for prompted Geeta to attempt the production of a classic for herself. She started Rano, based on Rajinder Singh Bedi’s famous novel, Ek Chaddar Maili Si, based on a widow’s remarriage to her brother-in-law.

Upcoming star Dharmendra played her hero.

Geeta, had not been vaccinated for small pox, despite the fact her father too had died of Small Pox. She had ignored repeated warnings in the child hood. She contracted the dreaded disease while shooting the film. The best care was rushed to her, but her fever apparently reached 107 degrees. Her doctor saw a picture by his patient’s bedside and asked who the pretty lady was. The disease had so wracked Geeta’s frail frame that he didn’t recognise her as the same person!

Geeta Bali passed away on January 21, 1965, leaving behind eight-year-old Aditya and three-year-old Kanchan in the care of a devastated Shammi Kapoor.

Ironically, she was cremated in Banganga, not far from where she was married. ( adapted from Rediffmail.com, with thanks.)

Film Raag Rang-52 had 11 songs. 8 songs are already discussed and posted in the Blog. Today’s song is the 9th song. This is a lively duet. Since I have not seen the movie, I can not say on whom it is filmed, but from the lyrics, it looks that it might have been filmed on Geeta Bali. This duet is sung by Lata Mangeshkar, Trilok Kapoor and chorus. Now, this singer Trilok Kapoor is a case of ‘ Same name confusion’. There was another actor Trilok Kapoor ( famous for the role of Mahadev in Mythological films) operating at the same time in the industry. Since he was the more famous one, most sites, Blogs and enthusiastic new music lovers credit this singer’s songs to the actor. I reproduce here what I wrote about this singer and the actor in my series ” Same name Confusions” posted on http://www.anmolfankaar.com, about 3 years ago.

About the Singer TRILOK KAPOOR….

He too was from Multan, just like the actor Trilok kapoor, and was keen on singing in films. He and his wife have sung many Punjabi songs.
Singer Trilok kapoor sang a song in film Birhan-48 (Tu chanda main teri chakori – a duet with Dilshad Begum- record No. GE 5232). The film was in the making in 1946 at Lahore, but was released in 1948 due to Partition in 47.

The singer of this song can not be the actor Trilok kapoor, for the simple reason that he was busy in making 4 films in 1946 in Bombay and it is impossible that just to sing a song in a film, anybody would go to Lahore in those tumultous days.
Anyway, after the Partition, the singer Trilok Kapoor became a displaced person. He came to Bombay and met MD Shyamsunder, who sympathised with him, being a Punjabi himself from the same region. Shyam Sunder gave him a song in Bhai Behan-1950, a duet with Shamshad Begum. He got a job in Radio and continued singing in films like Guru Dakshina, Raag rang, Titlee,Goonj, Naya Raasta, Miss Mala, Saloni, Tootey Khiloune, Laadla and finally his last song in Trolley Driver-1958.

So, the actor Trilok Kapoor and singer Trilok Kapoor are two different persons-

1) Actor Trilok Kapoor never sang after 1942.

2) Singer Trilok Kapoor never sang in any film featuring actor Trilok Kapoor.

3) If actor Trilok Kapoor was a singer himself, he would have sung his own songs in his films, instead of taking playback from other singers, e.g. G M Durrani in Mirza Sahibaan-47. Those who are singer actors rarely take playback from others.

4) The voice of Trilok Kapoor in songs and the dialogues in films is different.

5) It is likely that,actually the song of Aaj ki Duniya-40 and the duets of Raja Rani also were sung by the singer Trilok Kapoor, as he sang a song in Birhan in 1946, as mentioned above with record number. the entry in HFGK may be just a case of ” Same name confusion” (like few other cases). Since the songs are not available, the benefit of doubt should go to singer Trilok Kapoor because he was a singer and NOT to actor Trilok Kapoor as he was NOT a singer.

6) The final verdict was Shamshad begum had confirmed over Phone that Trilok Kapoor with whom she sang was NOT the actor/brother of Prithviraj Kapoor, but was a different person.

So,please remember,actor Trilok Kapoor and singer Trilok Kapoor were two different persons.

Let us now enjoy the catchy duet from the film Raag Rang-52. The Music Director is Roshan.


Song-O maniyaapur ke chhaila (Raag Rang)(1952) Singers-Lata, Trilok Kapoor, Lyrics-Prakash Bakshi, MD-Roshan
Chorus

Lyrics

gori gori
gori chori
gori gori
gori chori
gori gori
gori chori

(o o o maniyaapur ke chhailaa
ho o o)
gori gori
chori chori

gori gori
gori chori

o maniyaapur ke chhailaa
main roop gaanv ki chhori
main roop gaanv ki chhori
gori gori re
gori chhori re

daar nain mein kaajar raajaa
baat main dekhoon tori
baat main dekhoon tori
chori chori re
chori chori re

o maniyaapur ke chhaila

raat chaandni
rut phaagun ki
tum bin jiyaa lage naa
haaye lage naa
jab se gaye pardes piyaa more
ghar mein diyaa jage naa
haay jage naa
o o o
jag bairi na dekh sake ji
hamri tumhri jori
chaand chakori
main roop gaanv ki chhori
gori gori re
chori chori re

o maniyaapur ke chhailaa

faaslaa hum mein sau kos kaa
beech bahe dariyaa aa aa aa
na naiyyaa na tair sakoon main
kaise aaun bataa aa aa
na naiyyaa na tair sakoon main
kaise aaun bataa aa aa

milnaa ho to raajaaji
milne ke laakh bahaane
laakh bahaane
nadi cheer kar milte hain nit premi ?? deevaane
?? divaane

o o o
teri aas mein jeeti hoon nit ??
joraa jori
main roop gaanv ki chhori
gori chhori re
gori chhori re


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.

Saga Of Sleepless Nights – 2
– – – – – – – – – – – – – – –

koi chupke se aa ke
sapne sulaa ke
mujhko jagaa ke boley
ke main aa raha hoon. . .

Our dear departed President had once made a statement that has now become a quotable quote, appearing in many PR campaigns and posters. He had said, “Dream is not that which you see while sleeping, it is something that does not let you sleep”.

President Abdul Kalam was a very influential statesman. His work, his accomplishments, and his vision are a shining example of a motivated personality with a very positive world view. In recent times, this is a quote that has become one of the top inspirational guiding light, for students and young generations.

No, I do not wish to take away the import and the magnitude of significance that this statement entails. I just want to point out that this theme, this concept has been written about by the poets, especially the romantic types, since time immemorial. That the dreams keep you awake. It is the thoughts of the beloved that will occupy the mind’s inner spaces. The dreams will go on an on – about the one you love, being with the one you love, missing the one you love, pining for the one you love, and. . . just simply dreaming to be with the one you love.

Shakespeare has something to say about this,

All days are nights to see till I see thee,
And nights bright days when dreams do show thee me.

That even the days are dark and lonely, like nights when I do not see you; but when I see you even in my dreams, the nights turn into bright days.

It is well known that we dream when we sleep. But tell me, when we are dreaming, does it not seem so very real? Does it not seem that we are living a real experience in real time? Till of course you wake up. And when you wake up from some dreams, it is hard to believe for a few moments that you were asleep – the experience was so very real.

And so the poets write about being awake in the dreams. The poetry that they write about dreams, especially when dream is about love and is about the loved one, tells us about how the beloved comes and wakes you up while you are dreaming – and the trance continues.

So many songs from Hindi films to pick about this experience. The one that is dearest to me is the song from ‘Anubhav’ (1971) – mentioned at the start of this article. Today, I present another lovely song, back from before the golden era of HFM. The song comes from a team that has created so many delightful musical offerings for us to savor. Words from the pen of Kedar Sharma, music from the mind of RC Boral and the lilting voice of Kaanan Devi. As I was searching for a song about dreams – ‘सपना’, I chanced upon this wonderful melody from the 1939 film ‘Sapera’.

The film is produced under the banner of New Theatres, and is directed by Debaki Bose. The cast is impressive – Kaanan Devi, Nawab, Pahadi Sanyal, Prithviraj Kapoor, KC Dey, Bikram Kapoor, Sham Laha, Satya Mukherji and Vinay Goswami etc. As is characteristic of RC Boral’s creations, the song has a significant prelude, before the singing comes on.

The song tells about the sleepless nights when the beloved comes visiting in the dreams. There is a touch of sensuousness – the words tell about meeting of lovers’ lips in the dream. There is a touch of melancholy – the words tell of tears flowing when the lovers’ eyes meet. And there is a strong presence of the emotions of longing throughout the song. Listen. . . and dream of your beloved.

 

Song – Sapnon Mein Koi Aata Hai  (Sapera) (1939) Singer – Kaanan Devi, Lyrics – Kedar Sharma, MD – RC Boral

Lyrics

sapnon mein koi aata hai
sapnon mein koi aata hai
kuchh chupke se keh jaata hai
kuchh chupke se keh jaata hai
hothon se honth milaata hai
hothon se honth milaata hai
hriday ka kanwal khilaata hai
hriday ka kanwal khilaata hai
sapnon mein koi aata hai
sapnon mein koi aata hai

main thandi aahen bharti hoon
main thandi aahen bharti hoon
wo aisi aag lagaata hai
koi poochhe mere saajan se
koi poochhe mere saajan se
koi poochhe mere saajan se
jo us se aankh ladaata hai
kyon uska dil moti ban kar
yun aankhon se beh jaata hai
kyon uska dil moti ban kar
yun aankhon se beh jaata hai
sapnon mein koi aata hai
sapnon mein koi aata hai

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

सपनों में कोई आता है
सपनों में कोई आता है
कुछ चुपके से कह जाता है
कुछ चुपके से कह जाता है
होंठों से होंठ मिलाता है
होंठों से होंठ मिलाता है
हिरदे का कंवल खिलाता है
हिरदे का कंवल खिलाता है
सपनों में कोई आता है
सपनों में कोई आता है

मैं ठंडी आहें भरती हूँ
मैं ठंडी आहें भरती हूँ
वो ऐसी आग लगाता है
कोई पूछे मेरे साजन से
कोई पूछे मेरे साजन से
कोई पूछे मेरे साजन से
जो उस से आँख लड़ाता है
क्यों उसका दिल मोती बन कर
यूं आँखों से बह जाता है
क्यों उसका दिल मोती बन कर
यूं आँखों से बह जाता है
सपनों में कोई आता है
सपनों में कोई आता है


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

Today’s song is from film, which not many people will rememeber – ‘Shri Chaitanya Mahaprabhu’ (1953).

During the Bhakti movement period, almost all regions had their own Saints and Great Bhakts. One such great soul enlightened the people of Eastern India. He was known as Shri Chaitanya Mahaprabhu.

In a short life span of just 48 years (1486-1534), he did extraordinarily religious and reformative work in the 16th century in the regions of Bengal (both the current East Bengal (now in Bangladesh) and West Bengal), Bihar, Jharkhand, Manipur, Assam and Orissa. Not much information is available about him in other regions, so here is a short biography of Shri Chaitanya Mahaprabhu, adapted and edited from Stephen-Knapp.com – with thanks.

Sri Chaitanya Mahaprabhu (pronounced ‘चैतन्य’) (February 27, 1486 to 1534 AD) was born in Navadvipa, Bengal, on a full moon night during a lunar eclipse. It is typical for people to bathe in the Ganges during an eclipse and chant the Lord’s holy names for spiritual purification. So, everyone in the area was chanting the holy names when He was born. His parents, Shri Jagannatha Misra and Mata Shachi Devi, gave Him the name of Vishvambhara, meaning the support of the universe, because astrologers had predicted His super human qualities and that He would deliver the people of the world. He was also nicknamed Nimai because He had been born under a nima tree.

During His childhood He exhibited extraordinary qualities, even having philosophical discussions with His mother. While growing up, His brilliant intelligence began to become apparent. While still a child, He mastered Sanskrit and logic to the point of defeating local pandits, and established the truth of the spiritual and Vedic philosophy. He became so well known that many logicians of various religious and philosophical persuasions began to fear His presence and refused to debate with Him. Thus, Sri Chaitanya established the authority of the Vaishnava tradition through the process of debate and logic.

When Sri Chaitanya went to Gaya on the pretext to perform ceremonies for the anniversary of His father’s death, He received Vaishnava initiation from Shri Ishvara Puri. Thereafter, He lost all interest in debate and simply absorbed Himself in chanting and singing the names of Lord Krishna in devotional ecstasy. Upon returning to Navadvipa, He gathered a following with whom He would engage in congregational singing of the Lord’s holy names. Thus, He started the first ‘sankirtana‘ movement (congregational devotional singing), and established the importance of chanting the names of God in this age as the most elevated of spiritual processes, and the prime means for liberation from material attachments. At first, His chanting with people was for the few participants who were a part of His group, but then Sri Chaitanya ordered that the ecstasy of love of God be distributed to all people of the area. He gave no recognition for the privileges of caste, or for position, or type of philosophy a person had, or yogic asceticism. He only emphasized the devotional chanting of the Lord’s holy names, using the Hare Krishna mantra – “Hare Krishna, Hare Krishna, Krishna Krishna, Hare Hare / Hare Rama, Hare Rama, Rama Rama, Hare Hare”, which has the power to bring out the natural loving sentiments for God.

It was at the age of 24 when He shaved His head and took the order of sanyaasa, the renounced stage of life, when He accepted the name of Krishna Chaitanya from Shri Keshav Bharati during the initiation. He then spent four years travelling through South India, and also visited Vrindavana and Varanasi. During this time he also gave special instructions to his main followers, Shri Roop Goswami and Shri Sanatana Gosvami, who then also spread the glories of the Divine Love for Radha and Krishna. They settled in Vrindavana where they spent their years in writing many books elaborating the instructions of Lord Chaitanya and the glories of bhakti for Radha and Krishna. They also revealed the places where Radha and Krishna performed many varied pastimes in that land of Vrindavana, which have remained special spots where devotees can become absorbed in the bliss of love of Radha and Krishna.

Lord Chaitanya spent His remaining years in Jagannatha Puri. During this time He was absorbed in ecstatic devotion to Krishna in the loving mood of Radharani, in which He would lose all external consciousness. He freely distributed the divine nectar of this love for Krishna to everyone and anyone, day and night. Even His presence or mere touch could transform everyone that came near Him into the same devotional mood. He remained like this until He finally left our vision at the age of 48.

Lord Chaitanya is considered and was established by Vedic scripture as the most recent incarnation of God. The Lord always descends to establish the codes of religion. This is confirmed in Bhagavad-gita (4.6-8) where Lord Krishna explains that although He is unborn and the Lord of all living beings, He still descends in His spiritual form in order to re-establish the proper religious principles and annihilate the miscreants whenever there is a decline of religion and a rise in irreligious activity.

The birthplace of Shri Chaitanya Mahaprabhu, popularly known as Mayapur, is located on the banks of the Ganges river, at the point of its confluence with the Jalangi, near Navadveep, West Bengal (India), 130 km north of Kolkata (Calcutta). The headquarter of ISKCON (International Society for Krishna Consciousness) is situated in Mayapur. It is considered a holy place of pilgrimage by a number of other traditions within Hinduism. It is of special significance to followers of Gaudiya Vaishnav tradition, as the birthplace of Shri Chaitanya Mahaprabhu, regarded as a special incarnation of Krishna in the mood of Radha. It is visited by over a million pilgrims annually.

Mayapur can be reached by boat, and more commonly by train or bus. ISKCON Kolkata operates regular bus service from Kolkata to Mayapur. Frequent train service is available to Krishnanagar, Nadia from Kolkata’s Sealdah Station, then 18 km by auto or cycle rickshaw to Mayapur. During the visit one can see the huge headquarters of ISKCON and a long stream of saffron-robed devotees chanting the Hare Krishna mantra. I visited the place about two decade ago. For all those who visit Kolkata, it is like a rite of passage to visit Mayapur.

The music director of this film is the legendary RC Boral aka Raichand Boral, famous for his New Theatre, Calcutta  films and songs. Once upon a time New Theatres was a great institution. It gave many entertaining and meaningful films, in Bangla and Hindi. A highly capable band of authors, writers, actors, actresses, directors, music directors, lyricists, singers and a whole lot of technical staff started their careers here, and spent their best and most productive years with this institution. New Theatres was known for clean entertainment. This was true in the 20s, 30s and till late 40s. The atmosphere in the studio was like a family.

However, it is the law of nature that whatever goes up must come down also, with time. This process started from the mid 1930s itself when Nitin Bose and Debaki Bose had a big tiff – an ego clash. Later on PC Barua also left, followed by Kaanan Devi, who joined the new company founded by Barua. Uma Shashi eloped with some outsider. In the early 1940s a group of artistes, consisting of actors and directors left NT, to go to Bombay. KL Saigal, Prithviraj Kapoor, KN Singh, Kidar Sharma etc. left for Bombay. Around 1943, Nitin Bose came to Bombay. The Second World War had already broken the back of Film Industry in Calcutta. Additionally, this exodus caused greater harm. People like Pankaj Mullick, though unhappy in NT, did not leave. By about 1950, New Theatres was almost a non-entity !

A giant like Raichand Boral, music director, was invited by Nitin Bose to Bombay. Wanting to try his hand, RC Boral did 3 films in Bombay, namely, ‘Dard e Dil’ (1953) – a film made by Nitin Bose himself, ‘Shri Chaitanya Mahaprabhu’ (1953), a film made by the giant Prakash Pictures of the Bhatt brothers and ‘Swami Vivekanand’ (1955), a film made by Amar Mullick. RC Boral’s music was still in the traditional Bangla style. In Bombay, during the 1950s, the trend was for fast melodies. New generation MDs Shankar-Jaikishan were in full swing. C Ramchandra and SD Burman etc. were churning out  fast melodies. The newer generation of the music lovers was wary of the slow, sentimental, bhajan-like songs now. Boral’s traditional music was unacceptable to them. Therefore the music from none of the three films become popular. Moreover 2 of the 3 films of Boral, had subjects meant only for a limited captive audience of middle age to old age category. Thus Boral proved to be a failure and after these 3 films went back to Calcutta to be amongst his comfort zone of Bangla films.

RC Boral (19-10-1904 to 25-11-1981) was undoubtedly one of the greatest composers of Indian films – be it Bangla or Hindi. From his first Hindi Talkie film ‘Zinda Laash’ (1932) till his last Hindi film ‘Amar Saigal’ (1955),  Boral gave music to 33 Hindi films, most of which were made bilingual in Bangla and Hindi at Calcutta. According to the famous film music historian Dr. Ashok D Ranande, Boral made a significant contribution to the Indian film music. First, he gave lot of importance to background music to enhance the effectiveness of screen images. Secondly, he developed the concept of prelude and interlude music segments in film songs. Thirdly, he is credited with the introduction of playback singing in films . The songs of ‘Pooran Bhagat’ (1933), ‘Chandidas’ (1934), ‘President’ (1937), ‘Mukti’ (1937), ‘Street Singer’ (1938), ‘Lagan’ (1941), ‘Saugandh’ (1942), ‘Wapas’ (1943) and ‘Hamraahi’ (1944) are enough to make him immortal in the annals of film music in India. KL Saigal, Kaanan Devi, Pahadi Sanyal, Harimati and Binota Bose owe their fame and name to Boral. He composed the present tune of our national anthem “Jana Gana Man“, for his film ‘Hamrahi’. Boral got the President’s award in 1959, Sangeet Natak Academy award in 1978 and the prestigious Dada Saheb Phalke award in 1979. He passed away on 25-11-1981 but RC Boral-the legend will always live in the minds of music lovers.

Not only RC Boral, but many other artists from Bengal, who came to Bombay for their career felt uncomfortable and uneasy with the Bombay film culture and they always tried to gather Bangla artists in their work environment to feel safe. This was not so with Bombay film people when they went to Bengal or South. Even the musicians and directors from the South, operated in Bombay atmosphere quite comfortably. Probably, for the Bangla artists, the impact of regional pride and language of Bengal was a hindrance in Bombay.

The film ‘Shri Chaitanya Mahaprabhu’ had a total of 16 songs. In the 1950s, the Hindi films had an average of 8 to 10 songs only. Along with Asha, Lata, Rafi and Talat, Boral also used Dhananjay Bhattacharya and Binota Chakraborty from Calcutta, as playback singers. The name of Binota Chakraborty sounds completely Bengali, but she was a Marathi mulgi from Bombay and her real name was Vinita Amladi. Today’s song is sung by her.

Vinita Raghvendra Amladi was born on 9-8-1928 in Bombay. She had 3 sisters and 3 brothers. Her father, Raghavendra, used to play tabla. Her elder sister Hemlata, sang classical music. Vinita learnt singing from her sister Hemlata. Once, when Vinita was about 15-16 year old, she sang in a private birthday party, in which composer Sardar Malik was present. He was impressed with her singing and she was given an offer to sing songs in film ‘Rain Basera’ (1947), at a princely sum of Rs.250/-. After this film she also sang in the film ‘Renuka’ (1947).

When she went to record songs with Sardar Malik, she met her future husband Krishna Chakraborty, who worked as a pianist in the orchestra. She then met composer Vinod. She says-

“I was introduced to the sound recordist of Shorie films, at a song and dance group meeting. He in turn took me to Vinod. He heard my singing and included me in the chorus of a song of Lata in ‘Ek thi Ladki’ (1949). Then he said, “You have met me very late. Now I have only one song left. You sing it”. The song was “Dilli Se Aaya Bhai Tingu” from ‘Ek Tthhi Ladki’. The song became a super hit in those days.”

After this she did some Marathi films. In 1950 she got married to Krishna Chakraborty, against opposition from  her family and they moved to Calcutta and settled there. In 1952 Pankaj Mullick called her to sing a Meera Bhajan in film ‘Yatrik’. When she went to New Theatres for recording this song, she was thrilled. Her father was so happy with this song that they forgot the past and reunited. Pankaj Mullick sent her to Kamal Dasgupta and under his baton she sang some songs in Bengali films. By now her name had automatically tranformed from Vinita to Binota in the Bengali style. As Binota Chakrawarty she sang songs in yet another Hindi film from Calcutta ’25th July’ (1951).

In 1953 she came back to Bombay after her husband’s untimely death, to look after her ailing father. In Bombay she sang songs in ‘Kasturi’ and ‘Shri Chaitanya Mahaprabhu’, both in 1954. Now she stopped getting songs and she retired. She used to live in Goregaon, Mumbai.

The cast of the film was Bharat Bhushan, Ameeta, Krishnakumari, Durga Khote, BM Vyas, Umakant, Madan Puri, Raj Kumar, Pinakin Shah etc. Bharat Bhushan had received the Filmfare best actor Award for this film, in 1955. (Though the film was censored in 1953 December, it got released only in 1954).

Enjoy the song.


Song – Nimai Chaand, Gore Chaand (Shri Chaitanya Mahaprabhu) (1953) Singer – Binota Chakravarty, Lyrics – Bharat Vyas, MD – RC Boral

Lyrics 

nimai chaand
gore chaand o mere
chhod mohe kahaan. . .
kahaan re chalaa

ghar soona soona
kar ke chala re. . . hey. . .
o bap ik baar
mukhda dikha re
o bap nimai mere tu
ek baar mukh to dikha re. . .
ey. . .
nimai chaand

mann pinjre mein
panchhi hriday ka..aa..
jatnon se jisko main ne samaaya
haaye
udd gaya chhalia..aa
tod ke taala
bole vishnu ke ab hoon
roye
roye re
re. . . hey. . .
kaise dheer hey bandhaaun main
o bap nimai mere
kaise dheer hey bandhaaun main
??
nimai chaand

baal umar mein
bairaagi na hoyio
sanyaasi na hoyio
ghar reh ke let naam re nimai
maai ko tu layio re nimai
baal umar mein
sanyaasi na hoyio

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

नीमाई चाँद
गोरे चाँद ओ मोरे
छोड़ मोहे कहाँ॰॰॰
कहाँ रे चला

घर सूना सूना
कर के चला रे॰॰॰
हे॰॰॰
ओ बप इक बार
मुखड़ा दिखा रे
ओ बप निमाई मेरे तू
इक बार मुख तो दिखा रे॰॰॰
ए॰॰॰
नीमाई चाँद

मन पिंजरे में
पंछी हृदय का॰॰आ॰॰
जतनों से जिसको मैंने समाया
हाय
उड़ गया छलिया॰॰आ॰॰
तोड़ के ताला
बोल विष्णु के अब हूँ
रोये
रोये रे
रे॰॰॰
हे॰॰॰
कैसे धीर हे बंधाऊँ में
ओ बप निमाई मेरे
कैसे धीर हे बंधाऊँ में
??
निमाई चाँद

बाल उमर में
बैरागी ना होइयो
सन्यासी ना होईओ
घर रह के लेत नाम रे निमाई
माई को तू लईओ रे निमाई
बाल उमर में
सन्यासी ना होईओ


This article is written by Bharat Upadhyay, 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.

Jaidev Ki Non-Filmi Suraavali – 05
—————————————————-

This melodius singing by Penaaz under the baton of Jaidev will not easily leave your mind long after the last note is played and heard. “Wow’ is what I can say after listening to her.

Thanks to ‘Wikipedia’ and other internet sites, I am able to write such a long article, for a change. (And now, I have also started to understand the meaning of ‘Research’.)

Padmashree Peenaz Masani is a ghazal singer from India whose performances have enthralled audiences around the world. She has performed extensively at concerts, which have left a riveting impact on the audiences. She has created euphoria and continues to perform and sing leaving one and all spellbound. Her tender looks, glorious voice and impeccable Urdu diction is worthy of every praise bestowed on her. Peenaz has had the famous ghazal exponent Madhurani ji as her mentor and guide.

She was discovered by the legendary composer Jaidev and she proved to be a true blood child prodigy. She cut her first album in 1981. She has the distinction of having one Platinum and three Gold Discs to her name. She has made over 20 albums. Her dedication and commitment to the traditional form of Indian music is highly commendable. She has sung in over dozen languages. She has in a way created a priceless national treasure by way of her contribution to music. She can spin and render a vast repertoire of ghazals from the traditional to the most modern. That is the magic of her voice. She is one of the leading female singers to have achieved an eminent status in what is a traditionally a male-dominated world of ghazal singing.

She has had the honour of being invited by then President Zail Singh to perform at the Rashtrapati Bhavan, as the President wanted to hear a good ghazal artist.

In her career, she has won a number of awards, including the title of ‘Shehzadi Tarunnam’, by the state government of Uttar Pradesh 1996 and the 11th ‘Kalakar Award’ for ‘Outstanding Contribution to Music’, in 2002. She was honoured with the Padma Shree award on 26 January 2009.

She has given her voice as a playback singer for Bollywood, in more than 50 Hindi movies and sung in over ten languages. Under the aegis of the Indian Council for Cultural Relations, she has performed in countries as far reaching as Germany, South Africa, Nigeria, Ghana, Senegal and Vietnam.

Jaidev ji brought quite a lot of young talent to the mainstream in late 1970s and 80s, especially with the Doordarshan program ‘Aarohi’. Here is Peenaz Masani singing Balkavi Bairaagi’s ‘Mora Ang Ang Navrang’ beautifully composed by the MD.


Song – Mora Ang Ang Navrang Ranga Kyon Rasiya (Peenaz Masani NFS) (1985) Singer – Peenaz Masani, Lyrics – Balkavi Bairaagi, MD – Jaidev

Lyrics

aaa aaaaaa
aaa aaaaa aaa
aaaaa aaaaa
mora ang ang
ang ang navrang
ranga kyon rasiya
ang ang navrang
ranga kyon rasiya

mora ang ang navrang
ranga kyon rasiya

mohe janam janam ke
janam janam
mohe janam janam ke liye sureela
dard diya kyon rasiya
ang ang navrang ranga kyon rasiya
mora ang ang navrang ranga kyon rasiya
 
mann karta..aa..aaaa
mann karta chandaa ko chhoo loon
mann karta..aaaaa
mann karata chandaa ko chhoo loon
kirnon ka main jhoola jhooloon
kirnon ka main jhoola jhooloon
kirnon ka main jhoola jhooloon
tu ne mann ke nandan ban mein
mera naam liya kyon rasiya
ang ang navrang
ranga kyon rasiya

mora ang ang navrang
ranga kyon rasiya

 
pyaar bhari pichkaari aisi maari
pyaar bhari pichkaari aisi maari
tu ne pyaar bhari pichakaari aisi maari
pachrang chunar satrang bhayee saari
pyaar bhari pichakaari aisi maari
satrang chunar satrang bhayee saari
mahek gayaa
mahek gayaa aa

mahek gaya mora jiyaa
jiyaa ke sang hiya bhi rasiya

ang ang navrang ranga kyon rasiya
mora ang ang navrang ranga kyon rasiya
mohe janam janam ke
janam janam
mohe janam janam ke liye sureela
dard diya kyon rasiya
ang ang navrang ranga kyon
navrang ranga kyon, navrang ranga kyon rasiya
aaaa rasiya..aaa
aaa aaa rasiyaa..aaa

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

आ आ
आ आ आ
मोरा अंग अंग
अंग अंग नवरंग
रंगा क्यों रसिया
अंग अंग नवरंग
रंगा क्यों रसिया
मोरा अंग अंग नवरंग
रंगा क्यों रसिया
मोहे जनम जनम के
जनम जनम
मोहे जनम जनम के लिए सुरीला
दर्द दिया क्यों रसिया
अंग अंग नवरंग रंगा क्यों रसिया
मोरा अंग अंग नवरंग रंगा क्यों रसिया

मन करता॰॰आ॰॰आsss
मन करता चंदा को छू लूँ
मन करता॰॰आsss
किरणों का मैं झूला झूलूँ
किरणों का मैं झूला झूलूँ
किरणों का मैं झूला झूलूँ
तूने मन के नन्दन बन में
मेरा नाम लिया क्यों रसिया
अंग अंग नवरंग
रंगा क्यों रसिया
मोरा अंग अंग नवरंग
रंगा क्यों रसिया

प्यार भरी पिचकारी ऐसी मारी
प्यार भरी पिचकारी ऐसी मारी
तूने प्यार भरी पिचकारी ऐसी मारी
पचरंग चुनर सतरंग भई साड़ी
प्यार भरी पिचकारी ऐसी मारी
सतरंग चुनर सतरंग भई साड़ी
महक गया
महक गया॰॰आ
महक गया मोरा जिया
जिया के संग हिय भी रसिया
अंग अंग नवरंग रंगा क्यों रसिया
मोरा अंग अंग नवरंग रंगा क्यों रसिया
मोहे जनम जनम के
जनम जनम
मोहे जनम जनम के लिए सुरीला
दर्द दिया क्यों रसिया
अंग अंग नवरंग रंगा क्यों
नवरंग रंगा क्यों, नवरंग रंगा क्यों
रसिया
आss रसिया॰॰आs
आs आs रसिया॰॰आs


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

Today’s song is from film Lajawab-50. It was a production of Variety pictures – a company owned by actress Ashalata Biswas- wife of Anil Biswas ( real name Mehrunnisa Bhagat). It is needless to state that the music for this and every film of this company, was composed by Anil Biswas. The film was directed by the veteran J.P.Advani, who was known to Anil Biswas from the mid 30s. However, they came together only in 3 successive films, namely Veena-48, Laadli-49 and Lajawab-50.

Jagatrai Pesumal Advani was born on 17-5-1903 in Hyderabad ( Sindh ). After graduating, he studied film making in Germany in the 1920s. After coming back to India, he joined Mohan Bhavnani – a big gun in those days- as his assistant. His first film as a Director was Heer Ranjha-1931. He shifted to Saroj Movietone in 1934 and then to Karachi to work for Golden Eagle Company. He was considered an expert who could handle the Heroines at his will.

He directed about 30 films, including a Hindi/Punjabi bilingual film Sassi-Punnu-46. His Filmography is- 1931: Heer Ranjha; 1933: Zehar-e-Ishq; 1934: Afghan Abla; Dilara; Gafil Musafir; Johar-e-Shamsheer; Tilasmi Talwar; Vasantsena; Flashing Sword; 1935: Bahar-e- Sulemani; Farebi Duniya; Shah Behram; 1936: Elaan-e-Jung; Shokh Dilruba; Sipahsalaar; 1937: Saqi; Insaaf; 1939: Dekha Jayega; 1940: Dharma Bandhan; Sneh Bandhan; 1941: Shehzadi; 1942: Suhagan; 1943: Sahara; 1946: Sassi Punnu; 1948: Veena; 1949: Laadli; 1950: Wafaa; Lajawaab; 1952: Saloni; 1954: Danka; 1955: Hasina.

The cast of the film consisted of Rehana, Sohan, Kuldeep Kaur, David, Pran, Iftekhar etc etc. Not much information is available about this Hero- Sohan. In Hindi films, many aspirants tried their luck. Not all of them got an opportunity to enter films. In the early era, it was easy, but as the years passed by, it became difficult for the hopefuls. Few lucky ones got a Mentor- it helped them to only to enter films but not stay in the industry.

“Aaye bhi vo, gaye bhi vo, khatam fasana ho gaya “. These newcomers were given a fair opportunity to showcase their abilities, but unfortunately, despite their honest efforts, their skill did not show up and the audience was unimpressed. They got big banners, good experienced directors, but they disappointed their Mentors with non existent abilities to act. They proved to be ‘Non- Actors ‘.

Among them, some male actor’s names which I remember off hand are Arjun in Malhar-51, Rattan Chopra in Aman-67,Mom ki Gudia-72, Vijay kumar in Alif laila-54,Premendra in Holi aayee re-70, Deepak kumar in Aabroo-68, Ajay in Wapas-69, Som Dutt in mann ka meet-68, Vikram in Julie-75,Rajeev Kapoor in Raam teri Ganga maili-85, Shekhar Suman in Utsav-84, Kaycee mehra in Chhabilee-60 and mem didi-61, prashant in Sehra-63, Ashok Sharma in Hamari yaad aayegi-61, Ajit Chitnis in Aaj ki baat-55, Nusrat Kardar in Dard-47, Manish in Saraswati Chandra-68, Rajiv in Nayi umar ki nayi fasal-65, Aroop kumar in Bezubaan-62 etc etc.

Sohan kapila was also one such actor, who was not successful as a Hero. Actually, big banners like Filmistan supported him. He got seasoned Heroines like Geeta Bali and Rehana as well as Debutants Jayashree Gadkar and Nalini Chonkar, but nothing worked. He proved that you can take the Horse to the water, but you can not make it drink !!! He acted in Girls school-49, lajawab-50, Sanskar-58, Ek armaan mera-59, Chaand ki duniya-59, Babar-60, Commercial pilot officer-63 and picnik-66 and may be some more as character roles. After he retired, his daughter actress Padmini Kapila also had the same fate !

Film Lajawab-50 had another interesting artiste- Kuldeep kaur. Her life story is very interesting. Born in 1927 at Lahore, Kuldeep Kaur was the daughter of a wealthy landlord family of Punjab and the daughter-in-law of the grandson of Ranjit Singh’s daredevil military commander, General Sham Singh Attariwala.

Her in-laws lived in the village of Attari. Located on Amritsar district’s border with Lahore district, just off the Grand Trunk Road, it was 18 miles away from both Amritsar and Lahore.
Kuldip Kaur was a very shy and simple, beautiful Sikh woman.

Her rich landlord husband, Mohinder Singh Sidhu (also called Mohinder Singh Pompa), was a spoiled chap. He hardly spent a day without visiting either Lahore or Amritsar. He was a good friend of Maharaja Jagatjit Singh of Kapurthala and visited his French style palace – modelled on the Versailles – as well as the magnificent Jagatjit Club several times during the winters. During the summers the Maharaja himself was often on a tour of France and other European countries and was seldom available in Kapurthala.

Kuldip Kaur was brought up like a princess. Her spoiled Sardar husband wanted his wife to be like a modern westernized lady. He wanted his wife to learn swimming and rub shoulders with the club-going English elite based in Lahore and Amritsar.

Once exposed to the club culture, Kuldip Kaur also started getting a taste of its dark side. Since Lahore was a film city, Kuldip Kaur started dreaming about becoming a film actress.

According to one story, Kuldip Kaur started admiring the professional qualities of actor Pran Nath, who was in film acting in Lahore since 1940, when he successfully performed the role of a hero in Punjabi film “Yamla Jutt” (The Simple Peasant).

By July and August of 1947, communal violence erupted into a full-fledged exercise in ethnic cleansing, with Muslims on one side and Sikhs and Hindus on the other. Both Lahore and Amritsar were engulfed in the worst sectarian violence in recent history.

Both Pran and Kuldip Kaur were made to leave Lahore in a jiffy, leaving virtually every belonging behind. Her own village being right on the border was also not peaceful. So Kuldip
Kaur left straight for Bombay. According to one story, in order to impress Pran, Kuldip Kaur decided to bring Pran’s stranded car from Lahore to Bombay.

In a gesture of unprecedented daredevilry, she travelled from the safety of Amritsar to Lahore and drove Pran’s car first to Amritsar and then all the way to Bombay, where she handed over the keys to a surprised but grateful Pran.

After leaving for Bombay, Kuldip Kaur’s contact with her parents and in-laws got diminished. On arrival in Bombay, Kuldip Kaur made up her mind to plunge headlong into the film industry. She was prepared to act in Hindi/Urdu as well as Punjabi films. The experts of film industry were of the opinion that her large piercing eyes and her flat
chin made her an ideal choice for the role of a vamp.

The first ranking heroines of the time included Naseem Bano, Madhubala, Nargis, Suraiya and Nutan. Other heroines included Binarai, Shyama, Nimmi, Nirupa Roy, Meena Shori, Nigar Sultana, Veena and Kamini Kaushal. There was a shortage of ladies willing to perform the role of vamps.

One of Kuldip Kaur’s first films was a Punjabi blockbuster “Chaman” (1948). Within the same year Kuldip Kaur acted in two Hindi/Urdu films “Ziddi” and “Grahasthi“. All her 1948 films did well. After that she never looked back and went from strength to strength. At one stage Kuldip Kaur was so busy in her film roles that for a long duration she did not visit Punjab.

In 1949, Kuldip Kaur worked in at least two films “Ek Thi Ladki” and “Kaneez”. “Ek Thi Ladki” was a blockbuster. Music Director Vinod composed some great tunes for this movie. “Kaneez” did not do too well.In 1950, Kuldip Kaur acted in two great musical Hindi movies “Samadhi” and “Adhi Raat” and did two Punjabi movies “Madaari” and “Chhai”.
1951 was a great year for her: she played the roles of vamps in six movies – “Stage”, “Rajput”, “Nai Zindagi”, “Ek Nazar”, “Afsana” and “Mukhra”. Her role in film “Afsana” received critical acclaim.

1952 was another great year for Kuldip Kaur. She worked in four movies – “Shisham”, “Nau Bahar”, “Baiju Bawra” and “Anjaam”. Again her role was highly praised in what became an all-time classic, “Baiju Bawra”. In 1953 again, Kuldip Kaur had four films – “Mashooka”, “Baaz”, “Anarkali” and “Aabshar”. Of these, “Anarkali” was a super hit and her role stole the limelight. 1954 proved another great year. She was featured in three movies – “Lal Pari”, “Gul Bahar” and “Daak Babu”.

1955 was one of her busiest professional years. She played the bad girl’s role in “Teer Andaz”, “Miss Coca Cola”, “Mast Qalandar” and “Jashan”. In 1956, things slowed down a bit. She worked in two films, but none was released. Two of Kuldip Kaur starrers spilled over into the new year and were released in 1957. These were “Sheroo” and “Ek Saal”. In 1958 Kuldip Kaur had her roles in two films “Sahara” and “Panchyat”. In 1959, she did three films – “Pyaar Ka Rishta”, “Mohar” and “Jagir”. Out of these, one film, “Mohar,” was a great musical. Its music composed by Madan Mohan was simply outstanding.

When Kuldip had fewer Hindi films in hand, she worked in Punjabi films. 1960 started as a reasonably good year for Kuldip Kaur. She had a Hindi film, “Maa Baap,” and a Punjabi film, “Yamla Jutt”.But during this very year, her life was cut short when she got some thorns in her feet and legs and she pulled those out by herself. True to her character of a daredevil woman, she did not seek medical advice immediately. Her sores became not only septic, but she contracted tetanus too, which was then incurable.

Kuldip Kaur died in 1960.

Today’s song is the 5th song to be posted from this film. There were total 11 songs. I feel this film had some of the best songs of Anil Biswas. All the 3 duets of Anil Biswas and Lata are very good. Today’s duet is the third of them, in which Anil Biswas has no words but makes only funny sounds. Enjoy this melodious duet….


Song-Do din bahaar hai do din ka pyaar hai (Laajawaab)(1950) Singers-Lata, Lyrics-Prem Dhawan, MD-Anil Biswas
Male chorus + Anil Biswas
Female chorus

Lyrics

hoyi hoyi hoyi
hoyiya re hoyiya
hoyi hoyi hoyi
hoyiya re hoyiya

ho ho ho ho ho ho
hoyi hoyi hoyi
hoyiya re hoyiya

ho ho ho ho ho
hoyi hoyi hoyi
hoyiya re hoyiya
hoyi hoyi hoyi
hoyiya re hoyiya

ho ho ho ho ho
hoyi hoyi hoyi
hoyiya re hoyiya
hoyi hoyi hoyi hoyiya
re hoyiya
hoyi hoyi hoyi
hoyiya re hoyiya

do din bahaar hai
do din ka pyaar hai
do din ki hai ye zindgaani
hoyi hoyi hoyi
hoyiya re hoyiya

do din bahaar hai
do din ka pyaar hai
do din ki hai ye zindgaani
hoyi hoyi hoyi
hoyiya re hoyiya

duniya jawaan hai
dil mein toofaan hai
duniya jawaan hai
dil me toofaan hai
kar le ji bhar ke tu manmaani ee
do din bahaar hai
do din ka pyaar hai
do din ki hai ye zindgani
hoyi hoyi hoyi
hoyiya re hoyiya
hoyi hoyi hoyi
hoyiya re hoyiya
hoyi hoyi hoyi
hoyiya re hoyiya

bhanwron se boli ye baad e saba
bhanwron se boli ye baad e saba
lo kaliyaan hansi
lo chaman khil gaya
lo kaliyaan hansi
lo kaliyaan hansi
lo kaliyaan hansi
lo chaman khil gaya
phoolon pe jhoom lo
kaliyon ko chum lo
phoolon pe jhoom lo
kaliyon ko choom lo
aayegi phir na rut suhaani ee
do din bahaar hai
do din ka pyaar hai
do din ki hai ye zindgaani
hoyi hoyi hoyi
hoyiya re hoyiya
hoyi hoyi hoyi
hoyiya re hoyiya

jo kahana hai tumse wo kah na sakoon
na kahne ke dukh ko main sah na sakoon
jo kahana hai tumse wo kah na sakoon
na kahne ke dukh ko main sah na sakoon
dil bekaraar hai
tumpe nisaar hai
dil bekaraar hai
tumpe nisaar hai
itni si hai meri kahaani ee
do din bahaar hai
do din ka pyaar hai
do din ki hai ye zindgani

hoyi hoyi hoyi hoyiya re hoyiya
do din bahaar hai
do din ka pyaar hai
do din ki hai ye zindgani

hoyi hoyi hoyi
hoyiya ri hoyiya
hoyi hoyi hoyi
hoyiya re hoyiya

ho ho ho ho ho
hoyi hoyi hoyi hoyiya re hoyiya
ho ho ho ho ho
hoyi hoyi hoyi hoyiya re hoyiya
ho ho ho ho ho
hoyi hoyi hoyi hoyiya re hoyiya


This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

Hullo to all in Atuldom

If it is a post by me then it has to be someone’s’ birthday.

It is 8thSeptember. Our beloved Asha Bhonsle’s 84thbirthday. So let me wish her a very Happy Birthday with this very lively number from her Non- Film album ‘Janam Samjha Karo’ (1997). I just thought that it will be a lovely departure from routine to showcase the versatility of the forever young-at-heart Asha.

I am not going to get into her life history in this post, I will just say I am super excited that I am going to be seeing her in person, live in the show which goes by the name Rendezvous with Asha Bhonsle, which I assume will be as exhilarating an experience as the Rendezvous with Hema Malini has been last year. The minute I got the invite for this I had posted it on our WhatsApp group to find out if any Atulite will be interested and we could have gone as a gang. Our dear Rajaji said that much as he would like to be therehe cannot make it. But I am glad that I will have Gajendraji and his wife as company. By the time we had decided on the number of tickets to be purchased the stock of tickets with the organisers were exhausted but Gajendraji was an angel to book the tickets.

So, coming back to the song which I had in mind for the occasion is from a music album ‘Janam Samjha Karo’ (the only non-film cassette in my collection) which came out when the non-film music industry was booming with albums of people like Hariharan with Leslie Lewis as ‘Colonial Cousins’, Alisha Chinai, Suneeta Rao etc. This was the period when MTV and Channel V exploded on television in the name of satellite television. Songs of this genre were called Indie pop. The album had eight songs all written by Majrooh Sultanpuri and Leslie Lewis was the music director.  Asha Bhonsle was in her sixties and Majrooh in late seventies but the songs were everything that a young at heart could ask for. It had love songs in all the moods that accompany the emotion- roothna-manana; ikraar- inkaar aur takraar; etc.

For people who are not introduced to Leslie Lewis he is the son of prolific film choreographer Devaraj Peter Lewis – going by the name PL Raj in Bollywood. Leslie used to play guitar at the Café Royal, Oberoi Towers Mumbai and recorded with Kalyanji Anandji, Laximkant Pyarelal, RD Burman and Louis Banks. Starting with 1987, he composed advertising jingles and was nominated for awards from the Indian Academy of Advertising Film Art (IAAFA). In 1989 received an award for his work. He went on to make some famous jingles such as “Doodh-Doodh-Doodh (Piyo full glass)”, “Mango Fruity fresh and juicy”, “Thums Up taste the thunder”, “Santoor Santoor”, etc.

Video (2 Stanzas)

Audio (3 stanzas)

Song – Raat Shabnami Bheegi Chaandni (Asha Bhosle – NFS) (1997) Singer – Asha Bhosle, Lyrics – Majrooh Sultanpuri, MD – Leslie Lewis

 

Lyrics

raat shabnami
bheegi chandani
teesra koi
door tak nahin
is ke aage hum
aur kya kahen
jaanam samjha karo
raat shabnami
bheegi chandani
teesra koi
door tak nahin
is ke aage hum
aur kya kahen
jaanam samjha karo
ho is ke aage hum
aur kya kahen
jaanam samjha karo

sanam tumko jis din se dekha hum ne
deewaana dil kaboo mein nahin
bada pyaara ye bhi itefaaq dekho
tum hi mil jaate ho har kahin
tum hi mil jaate ho har kahin pyaare
aage khud hi jaan lo
aur kya kahen
jaanam samjha karo
raat shabnami
bheegi chandani
teesra koi
door tak nahi
is ke aage hum
aur kya kahen
jaanam samjha karo
ho is ke aage hum
aur kya kahen
jaanam samjha karo

agar tum bhi wo chaaho jo main chaahun
to gul khil jaaye iqraar ka
dilon ko milne de kuchh na bolen hum
mazaa aaye phir to pyaar ka
mazaa aaye phir to pyaar ka jaani
aage khud hi jaan lo
aur kya kahen
jaanam samjha karo
raat shabnami
bheegi chandani
teesra koi
door tak nahi
is ke aage hum
aur kya kahen
jaanam samjha karo
ho is ke aage hum
aur kya kahen
jaanam samjha karo

thehro padi hai raat yeh saari
kaahe ki jaldi jaane mann
daale hue yeh reshmi bahen
yun hi lipte raho tum gulbadan
taqdeer se yeh mil gaya mauqa
aage khud hi jaan lo
aur kya kahen
janam samjha karo
raat shabnami
bheegi chandani
teesra koi
door tak nahi
is ke aage hum
aur kya kahen
janam samjha karo

raat shabnami
bheegi chandani
teesra koi
door tak nahi
is ke aage hum
aur kya kahen
janam samjha karo
ho is ke aage hum
aur kya kahen
janam samjha karo
ho is ke aage hum
aur kya kahen
janam samjha karo
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

रात शबनमी
भीगी चाँदनी
तीसरा कोई
दूर तक नहीं
इस के आगे हम
और क्या कहें
जानम समझा करो
रात शबनमी
भीगी चाँदनी
तीसरा कोई
दूर तक नहीं
इस के आगे हम
और क्या कहें
जानम समझा करो
हो इस के आगे हम
और क्या कहें
जानम समझा करो

सनम तुमको जिस दिन से देखा हमने
दीवाना दिल काबू में नहीं
बड़ा प्यारा ये भी इत्तेफाक़ देखो
तुम ही मिल जाते हो हर कहीं
तुम ही मिल जाते हो हर कहीं प्यारे
आगे खुद ही जान लो
और क्या कहें
जानम समझा करो
रात शबनमी
भीगी चाँदनी
तीसरा कोई
दूर तक नहीं
इस के आगे हम
और क्या कहें
जानम समझा करो
हो इस के आगे हम
और क्या कहें
जानम समझा करो

अगर तुम भी वो चाहो जो मैं चाहूँ
तो गुल खिल जाये इक़रार का
दिलों को मिलने दें कुछ ना बोलें हम
मज़ा आए फिर तो प्यार का
मज़ा आए फिर तो प्यार का जानी
आगे खुद ही जान लो
और क्या कहें
जानम समझा करो
रात शबनमी
भीगी चाँदनी
तीसरा कोई
दूर तक नहीं
इस के आगे हम
और क्या कहें
जानम समझा करो
हो इस के आगे हम
और क्या कहें
जानम समझा करो

ठहरो पड़ी है ये रात सारी
काहे की जल्दी जाने मन
डाले हुये ये रेशमी बाहें
यूं ही लिपटे रहो तुम गुलबदन
तक़दीर से ये मिल गया मौका
आगे खुद ही जान लो
और क्या कहें
जानम समझा करो
रात शबनमी
भीगी चाँदनी
तीसरा कोई
दूर तक नहीं
इस के आगे हम
और क्या कहें
जानम समझा करो

रात शबनमी
भीगी चाँदनी
तीसरा कोई
दूर तक नहीं
इस के आगे हम
और क्या कहें
जानम समझा करो
हो इस के आगे हम
और क्या कहें
जानम समझा करो
हो इस के आगे हम
और क्या कहें
जानम समझा करो


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(© 2008 - 2017) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

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

13603

Number of movies covered in the blog

Movies with all their songs covered =1020
Total Number of movies covered =3725

Total visits so far

  • 9,671,848 hits

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Historical dates

Blog Start date: 19 july 2008

Active for more than 3250 days.

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