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 Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

Many aspirants, dreaming of becoming actor, singer, lyricist, music director etc. have been attracted towards Bollywood right from the time that sound films came into existence in 1931. However, a significantly large numbers of such aspirants do not get a chance to prove their perceived talents. Some of them who get chances in Bollywood are mainly those who have their relatives or friends to recommend them to producers/directors. But there is no guarantee that they would be successful and would establish themselves in the Hindi film industry. Many of them had to either leave the film industry or look for some other vocations in the film industry which were not of their choices.

Take, for example, the case of Jaidev, the music director. In 1933, he ran away from home in Ludhiana and landed in Bombay (Mumbai) to become an actor. He did some small roles in films like ‘Hunterwaali’ (1935), ‘Miss Frontier Mail’ (1936), ‘Desh Deepak’ (1937) etc. But he did not get any important acting roles as an actor during those 4 years. However, due to family problems, Jaidev had to return to his home in Ludhiana. He made his second attempt to try his luck in Bollywood, but this time, as a music director. During the break from Bollywood, he got trained in Hindustani classical music under the tutelage of Ustad Ali Akbar Khan. So circumstances made him to give up his dream of becoming an actor in Bollywood and instead chose to be a music director.

The case of Raj Khosla is somewhat unique. The ace director who is remembered for his films like ‘CID’ (1956), ‘Kaala Paani’ (1958), ‘Bambai Ka Babu’ (1960), Wo Kaun Thhi’ (1964), ‘Mera Saaya’ (1966), ‘Do Raaste’ (1969), ‘Mera Gaon Mera Desh’ (1971), ‘Main Tulsi Tere Angan Ki’ (1978), ‘Dostana’ (1980) etc had landed in Bombay from Ludhiana in 1946 to become a playback singer. He was trained in Hindustani classical music and worked with All India Radio in its music department for a short period. He got his first chance in playback singing in ‘Bhool Bhulaiyya’ (1949). His second and probably the last song as a playback singer was rail mein jiya mora sananan hoye re in ‘Aankhen’ (1950) under the baton of Madan Mohan. Interestingly, Raj Khosla worked as an assistant to Madan Mohan for this film.

What was the reason for Raj Khosla to abandon his dream of becoming a playback singer? A chance meeting with Dev Anand changed the course of his filmy career. Dev Anand felt that he had better talent as a director. He put Raj Khosla under Guru Dutt as Assistant Director for ‘Baazi’ (1951) which was produced by Navketan. The film became a grand hit. Raj Khosla also assisted Guru Dutt in ‘Jaal’ (1952).

Raj Khosla’s work as an Assistant Director in these two films in which Dev Anand was in the lead roles must have impressed him. He promoted him to direct ‘Milaap’ (1955), his debut film as a director. N Datta who had assisted S D Burman in ‘Jaal’ (1952) also got his first chance as a full-fledged music director for this film. I have seen the film on YT long back and I enjoyed it both in terms of the treatment of the story as well as the songs. But the film did not fare well at the box office.

The failure of the film at the box office did not deter Dev Anand and Guru Dutt in giving the responsibility of directing latter’s film ‘CID’ (1956). The film was a huge box office success. Raj Khosla had made his presence felt in Bollywood. The rest is history. The assessment of Dev Anand about Raj Khosla’s talent as a director came out to be correct. But in the process, Raj Khosla’s playback singing career was shelved.

In my view, directors who are musically inclined are in a better position to make picturisation of song sequences more interesting for the movie watchers. Raj Kapoor, Guru Dutt, Raj Khosla and Vijay Anand are some such eamples of directors who were musically inclined. I regard them as the top directors whose style of song picturisation is something that I look forward to while watching the videos of songs in their movies.

Sometimes, directors’ knowledge of the film music can cause them to interfere in the work of music directors. Raj Khosla was no exception if I go by a couple of the interviews of music directors. O P Nayyar, who had worked with Raj Khosla in ‘CID’ (1956), was on record saying that when Raj Khosla tried to impose his composition in some songs of ‘Ek Musafir Ek Hasina’ (1962), he threatened to walk out of the film. Shashdhar Mukherjee, the producer of the film had to intervene in the matter. The outcome was that both Raj Khosla and O P Nayyar did not work together in films thereafter. Madan Mohan and Raj Khosla also did not work together after ‘Chiraag’ (1969), though according to Sanjeev Kohli, Madan Mohan’s son, Raj Khosla and Madan Mohan remained good friends till the last.

Raj Khosla had also rendered one version song ‘toote na dil toote na’ from ‘Andaz’ (1949) originally sung by Mukesh for the film. I have heard this song on Radio Ceylon but I could not find it on YT. Although his voice was nowhere near to the voice of Mukesh, but his rendition was flawless.

As I said earlier, Raj Khosla rendered his first playback song for BHOOL BHULAIYYA (1949). The film was produced by Ranjit Movietone and it was directed by Taimur Behram Shaw. The star cast included Agha, Zeb Qureshi, Bhudo Advani, Pesi Patel, Maruti Rao, Anwari etc. From the star cast, the film appears to be a B grade production. Not much is known about the genre or the story of the film.

The film had 10 songs written by B R Sharma (7), Pandit Indra (2) and Rajendra Krishan (1) which were set to music by Bulo C Rani. One song from the film has been covered in the Blog. I am presenting the second song ‘madhur suron mein suno jhamela’ from the film which is the first ever song rendered by Raj Khosla for a film. The song was penned by B R Sharma.

This is a rare song in the sense that it was not available on YT until I made the video of the song from mp3 clip and uploaded the same on YT few months back.

Enjoy this rare fun song from a rare voice.


Song-Madhur suron mein suno jhamela (Bhool Bhulaiyya)(1949) Singer-Raj Khosla, Lyrics-Butaram Sharma, MD-Bulo C Rani

Lyrics

madhur suron mein suno jhamela
madhur suron mein suno jhamela
ek thhaa majnu
ek thhi laila aa
madhur suron mein suno jhamela
ek thhaa majnu
ek thhi laila aa

hil mil ke donon ne
aisa pyaar ka naatak khela
pagdi ban gayi daak kaa thhela
pagdi ban gayi daak kaa thhela
thhela aa
ek thhaa majnu
ek thhi laila aa
madhur suron mein suno jhamela
ek thhaa majnu
ek thhi laila aa

pagdi ke baahar ki makhmal
andar thhi khatmal ki mehfil
ik khatmal ne aag laga dee ee
kaat ke aisi break laga dee
ruk gaya pyaar kaa thhelaa
thhelaa
thhelaa
madhur suron mein suno jhamela
ek thhaa majnu
ek thhi lailaa aaaa

beech bhanwar mein chhod ke naiyya
aap to chhup gaye khatmal bhaiyya
sang liya laala ko apne
toot gaye sab pyaar ke sapne
rah gaya majnu akela
akela
akela
madhur suron mein suno jhamela
ek thhaa majnu
ek thhi lailaa….aaa


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 the film Taksaal-56. It is sung by S.D.Batish and Lakshmi Shankar with chorus.

Normal, ordinary people, after retirement spend time with friends, relatives, engage themselves in a hobby and relax in general. For politicians, there is no retirement and the people from Armed Forces take up another job or join some NGO and do social work.

Ever thought what an Actor, Director or a Singer did after he stops working in film line-voluntarily or by compulsion ? There are people who simply disappear without a trace, few people do some business and still some others spend peaceful time with family.

There are cases where,the person stops working in film line and lives a life of misery,sorrow and helplessness. I remember the case of Master Nissar. Once upon a time he was so popular that even the Governor’s car had to stop because of the fans of Master Nissar crowding around his car in the mid traffic. In his last days he practiced body massaging and died a pauper. Wasti- the handsome Hero of yesteryears was seen begging near Liberty Theatre in Bombay. The singer-actor Parshuram begged on road and died on footpath. Singer Vatsala Kumthekar roamed on the streets of Bombay as a mad woman and died as an unknown person on a bridge in Bombay. One of the onlookers recognised her.

The Lara Lappa Girl Meena Shrey died in poverty. She was seen collecting money from people for her daughter’s marriage and after her own death her last rites were performed thanks to contribution from people. Sajjad Hussain, G.M.Durani, Karan Dewan, Bharat Bhushan, Pradeep Kumar and many others died unsung, unknown and in poverty.

However there are few-only few- cases where, after retiring from films, people have achieved enviable success and earned a brighter image.

Shashichand Kapoor ( Shashi kapoor Sr.) stopped work after 21 films, continued his studies, did a Post Graduation in Maths and then Ph.D. from America and became a Professor of Mathematics in a prestigious University in USA ! Both actor-singer Surendra and actress Durga Khote-separately-started Documentary and Ad film production companies and were very successful.

The singers of today’s song, S.D. Batish and Lakshmi Shankar were also those who did exemplary work abroad to promote the Indian classical music. After he stopped working in Hindi films, S.D.Batish first went to U.K. before settling in USA. S.D.Batish did monumental work in UK and USA to promote Indian classical music. He did shows on BBC, wrote Books like Ragapedia etc, made documentaries and opened ” Batish Institute of music and Fine Arts ” in California. For HFM lovers and old Film lovers, these are matters of Pride.

Laxmi Shankar too went to USA, after retiring from Hindi film playback singing. She won several awards, got nominated for Grammy awards, held several shows and taught Classical music to American students. She was held in high esteem in USA. She died very recently, on 30-12-2013 in USA. After her death, ‘IndiaWest’ published her obituary, which clearly indicated her achievements and respect she earned in USA-

” One of the most influential Indian musicians in America, vocalist Lakshmi Shankar, passed away Dec. 30 evening in Southern California, surrounded by her son, daughter-in-law, grandchildren, and close friends. She was 87.

Shankar was extraordinarily versatile, excelling in Indian classical dance before illness halted her dancing career and she committed herself to vocal music. Shankar was proficient in a wide range of Indian vocal music styles including Carnatic, khayal, thumri, dadra, kajri, Rabindra sangeet and bhajans, and sang in 14 languages.

“Bhajans were her specialty,” her son, Kumar Shankar, told India-West by phone Jan. 2. “As far as I’m concerned, nobody could sing a bhajan like her.”

Lakshmi Shankar was born on June 16, 1926, in the eastern Indian city of Jamshedpur, and first trained as a child in Bharatnatyam. Later on, she was accepted into the prestigious music institute founded by Uday Shankar in Almora, in what is now Uttarakhand.

While working under Shankar, she mastered the Manipuri, Kathakali and ballet styles, and it was there that she met her future husband, Rajendra Shankar, Uday’s brother. The two were married in 1941, and went on to settle in Mumbai, where Lakshmi’s career grew as an actress and dancer, also branching out into playback singing for regional films.

In the early 1950s, she was struck with pleurisy, a condition that leads to painful inflammation of the membrane surrounding the lungs. “She could not dance,” explained Kumar. “She had breathing problems, and problem of weight gain.”

But instead of giving up the arts, Lakshmi Shankar decided to put her talent on course in a different direction. In an interview with Traditions Engaged, she explained, “I know the meaning of what I am singing which is a very big thing in music. When I sing I see the expression and the movement of the words and feel them as a dancer would.”

Lakshmi Shankar had a musical epiphany when she discovered ghazals and other north Indian music forms, and soon started studying with Ustad Abdul Rehman Khan of the Patiala gharana. Her new affection for Hindustani music led her to collaborate with sitar maestro Pandit Ravi Shankar(brother to Uday and Rajendra), for whom she assisted in many projects for ballets, films and festivals. It was a family affair, with her son Kumar handling sound checks for their performances.

Through her work with Ravi Shankar, Lakshmi’s talent was able to reach a global audience. She made numerous recordings with Western artists, including on the soundtrack to Richard Attenborough’s film “Gandhi,” and in 1974 she toured extensively in the U.S. and Europe with George Harrison and Ravi Shankar as the lead singer for George Harrison’s groundbreaking “Music Festival from India.”

Among the many honors she received, her 2008 Grammy nomination for “Dancing in the Light” was a milestone, but Shankar also received a Durfee Foundation grant to teach Indian music to American students; a Kalpana Chawla Award for “Woman of the Year”; a Lifetime Achievement Award from the Bengali Association of New York; and an award for “Uplifting the World with Music” from Sri Chinmoy.

Kumar Shankar explained that a private memorial will be held January 6 in the San Fernando Valley, and a more public memorial will take place at this year’s Ravi Shankar Foundation music festival. A statement from the Shankar family reads: “She had a heavenly voice which would melt any heart. She was a kind and beautiful soul. We will miss her.”

Lakshmi’s children, Kumar and Vijayshri (who passed away in 1995), were blessed to grow up in a household where nonstop music filled every day, explained Kumar. “She would practice for hours and hours each day … we were surrounded by music all the time.”

Knowing that her loss will also be felt by countless music lovers around the world is small comfort for Kumar. “I have mixed feelings,” he told India-West. “I knew it would happen. But it’s overwhelming.”

Hats off to these two worthy souls who did monumental work in spreading the Indian culture in advanced countries.

TAKSAL-1956 was a Hemen Gupta Production film, Produced and Directed by Hemen Gupta himself.

Hemen Gupta was a well known name in Bangla filmdom,but he also dabbled in Hindi starting with Anand Math,Ferry,Minar,Babar,Kabuliwala and finally Netaji Subhashchandra Bose in 1966.

The mid fifties was era in India where the hugh middle class was besotted with Nehru’s Socialism. Indian Film Industry did not lag behind and in this period many films were made either openly or subtly supporting the socialist cause. Mehboob, K.A.Abbas and others of the ilk were sold to this ideology and made films on such themes.Film makers like B.R.Chopra was another who espoused the cause of correcting the social evils like prostitution, Communal feelings etc.The dignity of labour(Naya Daur) and Villege life of poor farmers(Mother India) were made into films.

For the common man socialism meant all rich is bad, all poor is good.

Those making money,even honestly,were looked down upon.

Taksal was yet another such movie which stressed that Money is not the solution to all problems and money is only the means and not the End.

Jatin Mukherji (Balraj Sahni) an honest and brilliant lawyer, his wife Maya(Nirupa Roy), 3 children and his unmarried sister(Smriti Biswas) are happily living together. Maya is very religious. She does not allow Jatin to take any case of cheating, murder or crime. Slowly his practice goes down and he becomes so poor that his son Ram dies for lack of treatment. At the same time, his sister commits suicide when she is raped by her employer.

Jatin thinks that all his problems are because he is poor, so he decided to make money by hook or crook. He does so, by indulging in many illegal affairs, against the advice of Maya. He becomes very rich.

The “Lambe haath of kanoon” catch up with him one day and no amount of money saves him. He realises then that Money can not solve all problems. But it is too late.

The music is by Roshan, assisted by H.K.Maria. The film had 3 very good bhajans. There were 8 songs and 6 singers-Lata, Rafi, S D Batish, Uma Devi, Laxmi Shankar and Ratna Gupta. This singer Ratna Gupta was the wife of Director/Producer Hemen Gupta. She sang total 6 songs in his 2 films Ferry-54 and Taksaal-56. Ratna Gupta was the mother of actress Archana, who acted in Umang-70, Buddha Mil Gaya-71, and Anokha Daan-72. Then she got married. Archana had acted as a child artist Bula in film Ferry-54. She had even sung a song with another child artist Master Babu ( son of Hemant kumar. Later as an adult actor Ritesh he worked in few films too. He married Maushumi Chatterjee.)

Let us now listen to this duet of Batish and Lakshmi shankar. The song seems to be tuned after some folk song.


Song-Aaye sajna hamaar leke doliyaa kahaar (Taksaal)(1956) Singers- S D Batish, , Lakshmi Shankar, Lyrics-Prem Dhawan, MD-Roshan
Chorus

Lyrics

aaye sajna hamaar
leke doliyaa kahaar
chali jaibe munh dhaanp ke chadariyaa mein
aaye sajna hamaar
leke doliyaa kahaar
chali jaibe munh dhaanp ke chadariyaa mein

mil lo mil lo sakhiyaan
kar lo do do batiyaan
mil lo mil lo sakhiyaan
kar lo do do batiyaan
abse ? nagariya mein
aaye sajna hamaar
le ke doliyaa kahaar
chali jaibe munh dhaanp ke chadariyaa mein

maathe bindiyaa sajaake
hanse mehandiyaa lagake
dekho dulhan saj ke sjaaye ke chali

aisi jaldi machaaye
zara ruke na rukaaye
naata barson ka sabse chhudaaye ke chali
naata barson ka sabse chhudaaye ke chali
bhaiya ansuwaa bahawe
jiya kale nahin paawe
kahe bahna kaahe hamen bisraaye ke chali
koi gale se lagaawe
koi mangiyaa sanwaare
koi itar lagaawe re chunariya mein
aaye sajana hamaar
leke doliyaa kahaar
chali jaibe munh dhaanp ke chadariyaa mein
aaye sajna hamaar
leke doliyaa kahaar
chali jaibe munh dhaanp ke chadariyaa mein

ja tu raam hawaale
daata tujhko sambhaale
wohi sabhoon ki laaj nibhaaye ri sakhi
chhod des begaana
piya ghar tohe jaana
bhaye ham sab ab to paraaye ri sakhi
bhaye ham sab ab to paraaye ri sakhi
jo bhi likha
so hi hoye
bas chale nahin koi
yoon hi saara jag ansuwaa bahaaye ri sakhi
yahaan kiska thhikaana
ye to khel puraana
sada rahe aana jaana
ya dagayiraa mein
sada rahe aana jaana
ya dagayiraa mein

aaye sajna hamaa aaa aa aa aar


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

I had never thought highly of producer-director Kishore Sahu until I read an article written in August 1942 issue of ‘Filmindia’ by Hyacinth (a pseudo name for Susheela Rani Patel) a few months back. Until then, I had come across his name as the director of ‘Dil Apna Aur Preet Paraayi’ (1960) which I had seen in the theatre. Then, I was also aware of him of his association with ‘Kaalighata’ (1951) and ‘Mayur Pankh’ (1954). But in all these films, Kishore Sahu was not in my radar as my attention was more on Shankar-Jaikishan for their melodious songs in these movies.

I had no idea how Kishore Sahu looked like until I saw ‘Poonam Ki Raat’ (1965) in which he had the role of a doctor. After that I saw him in ‘Guide’ (1965) in the role of Marco. In both these films, he did not impress me either with his personality or with his acting. Even in the song picturisation of phoolon ka taaron ka sabka kehna hai, his acting during lip syncing one line ‘daady ko mummy ko…..sung by R D Burman was pedestrian.

But the article referred to above, read with many tit bits and news snippets appearing on the various issues of ‘Filmindia’ magazines about his films, revealed that in the 1940s, he had directed many successful films. Even as an actor, he had a good fan following if I go by readers' mail in the Filmindia magazines. The fact that Sardar Vallabhbhai Patel attended the premier of the film ‘Veer Kunal’ (1945), produced and directed by Kishore Sahu would testify to the fact that he had a charming and pleasing personality in his younger days.

Kishore Sahu (22/11/1915 – 22/08/1980) was born in Durg in a wealthy family. His grandfather was the Diwan (Prime Minister) of Raja of the State of Raigarh and Rajnandgaon (now in Chhattisgarh). After completion of high school, Kishore Sahu completed graduation from Morris College, Nagpur in 1936. He was a brilliant student and was the Secretary of his college’s English Literary Society. He also edited the College magazine and took part in college dramas.

His father was keen to send him abroad for higher studies to become a barrister. But the young Kishore was attracted towards film industry and he was keen to become an actor. After knowing the intense desire of Kishore Sahu to become an actor, his father encouraged him in his pursuit. In 1937, Kishore Sahu came to Bombay (Mumbai) and met Himanshu Rai, the founder of Bombay Talkies. After his interview, Kishore Sahu was selected for the lead role opposite Devika Rani for the film ‘Jeewan Prabhat’ (1937). The film was commercially successful. However, in the review of the film in ‘Filmindia’ magazine, Kishore Sahu was pronounced as “another misfit as an actor. He is a big disappointment. He is worse than Ashok Kumar”.

Kishore Sahu’s entrepreneurial ambition made him to leave Bombay Talkies and float a film production company called ‘India Artists Ltd’ for which he was the Managing Director. ‘Bahurani’ (1940) was the first film produced under this banner in which he acted in the lead role opposite Rose. The film was commercially successful. However, during the making of the film, Kishore Sahu had differences with one of the largest contributors of finance for the banner. After the release of the film, Kishore Sahu resigned from the company and returned to Bombay Talkies to take the lead role in the film ‘Punar Milan’ (1940) opposite Snehprabha Pradhan. The film was a runaway hit.

During the making of ‘Punar Milan’ (1940), Kishore Sahu fell in love with Snehprabha Pradhan. They got married on September 13, 1940. However, in less than six months of their marriage, they separated leading to divorce sometime in 1942. The separation in less than six months of the marriage affected Kishore Sahu to such an extent that he left Bombay and stayed for months in his native town and Nagpur.

After recovering from the shock of separation, Kishore Sahu returned to Bombay with a story of ‘Kunwaara Baap’ (1942) which was his debut film as a director. He was also the lead actor opposite Protima Dasgupta. The film was a light social comedy. The box office success of this film encouraged him to direct two more social comedy films – ‘Raja’ (1943) and ‘Sharaarat’ (1944) in which he was again paired with Protima Dasgupta. While ‘Raja’ (1943) was a commercial success, ‘Sharaarat’ (1944) did not fare well at the box office.

Kishore Sahu’s next film belonged to the historical genre in which he was not so far been involved as an actor and director. The success of ‘Veer Kunal’ (1945) took him to a greater height. In the same year, he bought Hindustan Chitra Production from Chinubhai Madhavlal. So he had now his own film production company. However, his next three films – ‘Sindoor’ (1947), ‘Saajan’ (1947) and ‘Nadiya Ke Paar’ (1948) which he directed, were produced by Filmistan. With these films, Kishore Sahu scored a hat trick of box office hits followed by his home production ‘Saawan Aaya Re’ (1949) in which he was in the lead role and the director.

In the 1950s, Kishore Sahu seems to have lost his ‘golden touch’ in most of the films which he produced and/or directed. The one film during this period which was critically acclaimed and also fared well at the box office was ‘Dil Apna Aur Preet Paraayi’ (1960) which he directed. In the 1960s, ‘Grahasti’ (1963) directed by him for the Gemini was a box office success. His home production ‘Poonam Ki Raat’ (1965) did not create ripples at the box office.

To launch his daughter Naina Sahu as heroine, Kishore Sahu produced and directed ‘Hare Kaanch Ki Choodiyaan’ (1967) which was a box office failure. He made one more attempt to promote his daughter by producing and directing ‘Pushpanjali’ (1970) which also failed at the box office. The last film which Kishore Sahu produced and directed was ‘Dhuen Ki Lakeer’ (1974) which sealed his fateas producer and director. His last film as an actor was ‘Vakil Babu’ (1982) which was released after his sudden death in Bangkok on 22nd August 1980.

Apart from acting and directing films, Kishore Sahu was known for his short stories which he used to contribute to Hindi journals. Most of the short stories were written during his early days in the film industry. In 1942, he published his select collection of short stories in a book ‘Tes Ke Phool’ in Hindi.

RAJA (1943) was the second of his trilogy of light social comedy films, the other two films being ‘Kunwaara Baap’ (1942) and ‘Sharaarat’ (1944) in which Kishore Sahu acted in the lead roles and also directed the films. In these three films, his leading lady was Protima Dasgupta.

The film had 8 songs written by Rammurti Chaturvedi (4), Amritlal Nagar (1) and Bhagwati Charan Verma (2). Lyricist for the remaining one song is not known. All the songs were set to music by Khan Mastana. As far as I know, this was the only film in which Bhagwati Charan Verma, a well-known Hindi novelist and the poet was associated as lyricist. In fact, one of the twosongs credited to him in the film, namely ‘hum deewaanon ki kya hasti' was written by him as a poem in 1928:

Hum deewaanon ki kya hasti
Hai aaj yahaan kal wahaan
Masti kaa aalam saath chala chale
Hum dhool udaate jahaan chale

I wanted to present this song sung by Kishore Sahu. Unfortunately, this song is not available on the internet. In fact, none of the 8 songs were available on YT until one song ‘niraali duniya hamaari’ was uploaded by me on YT about a month back which I am presenting for this post. The song is sung by Kishore Sahu and Protima Dasgupta on the words of Rammurthi Chaturvedi.

Enjoy this rare song in the voice of the lead actors.

With this song, ‘Raja’ (1943) makes its debut on the Blog.


Song-Niraali duniya hamaari (Raja)(1943) Singers-Kishore Sahu, Protima Dasgupta, Lyrics-Rammurty Chaturvedi, MD-Khan Mastana
Both

Lyrics

niraali duniya hamaari
niraali duniya hamaari
niraali duniya hamaari
niraali duniya hamaari
niraali duniya hamaari
niraali duniya hamaari

yahaan mahlon ki tarah
dard bhare geet nahin
yahaan mahlon ki tarah
dard bhare geet nahin
yahaan hain meet sabhi
haar nahin jeet nahin
yahaan hain meet sabhi
haar nahin jeet nahin

yahaan hai preet nahin
khoon si seenchi huyi kyaari
yahaan hai preet nahin
khoon si seenchi huyi kyaari
niraali duniya hamaari
niraali duniya hamaari
niraali duniya hamaari
niraali duniya hamaari

wahaan hai bair
yahaan madhur milan
madhur milan

wahaan hai bair
yahaan madhur milan
madhur milan

yahaan hai preet
wahaan jee ki jalan
yahaan hai preet
wahaan jee ki jalan
yahaan sukh dukh ke phool khilte hain
milte kahin daari
yahaan sukh dukh ke phool khilte hain
milte kahin daari

haan haan
milte kahin daari
haan haan

milte kahin daari
haan haan
milte kahin daari
niraali duniya hamaari
niraali duniya hamaari
niraali duniya hamaari
niraali duniya hamaari


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.

To keep up our New Year resolution of one movie getting Yippeeeed per day I found that the 1982 Manmohan Desai produced & directed “Desh Premee” falls short by a song to achieve YIPPEEHOOD.

The movie had six songs (referred myswar.com for this information) of which the blog has 5 songs. The songs were penned by Anand Bakshi and Laxmi -Pyare were the music directors. The movie had one song by Mohd. Rafi- his last in a Manmohan Desai movie (that is the left over song). Manmohan Desai with Laxmi-Pyare and Mohd. Rafi had created a magical era of Bollywood music. This movie had Shammi Kapoor in a supporting role with the Bengali superstar of that era- Uttam Kumar; but both didn’t have any song to lip-sync. The movie payed tribute to Mehmood’s Hydrabadi- character from “Gumnaam” and we had Amitabh Bachchan dressing up; as Mehmood had done in Gumnaam and singing “Khatoon Ki Khidmat Me” in a Hyderabadi lingo in Kishore Kumar’s voice. Laxmikant’s voice was used for both Prem Chopra and Amitabh in the song “Gore Nahin Hum Kaale Sahi”; the only time he sang in movies (credits of the movie shows his name as Laxmikant Karpe.) This was one movie where Parveen Babi didn’t sing a song. Though it was an “Average” movie everywhere else it was a “Golden Jubilee” at Hyderabad’s Ramakrishna (I remember that as the movie hall where I saw Sholay for the first time in my life). The film paid tribute to Mohd. Rafi and Uttam Kumar both of whom died two years before the movie released. It’s censor cerificate has the date 6-3-1982 and it was released on 23-04-1982.

So here is the last song. It is filmed in a Basti- Bharat Nagar; trust Manji (thats how Amitabh refers to Manmohan Desai in his interviews) to make things very clear to the public. It is shown to be a refugee camp of sorts and has Premnath playing a Nair- South Indian, Shammi Kapoor a Sardar- North Indian of course, Uttam Kumar a Bengali- Indian from east, and Parikshit Sahni representing western India and a muslim for added effect; things cannot be more explicit than this- right? The song preaches to love our fellow Indians and respect the ideals of the nation.
Foot Note: just saw the title sequence of the movie and I recommend it for the thought behind how Amitabh’s blood is shown dripping from his leg and “Inquilaab Zindabad” is formed. Hatsoff to MANJI.


Song-Nafrat ki laathhi todo laalach ka khanzar phenko (Deshpremi)(1982) Singer-Rafi, Lyrics-Anand Bakshi, MD-Lamikant Pyarelal
Chorus

nafrat ki laathi todo
laalach kaa khanjar phenko
zid ke peechhe mat daudo
tum prem ke panchhi ho
desh premiyon
desh premiyon
aapas mein prem karo desh premiyon
mere desh premiyon
aapas mein prem karo desh premiyon
nafrat ki laathi todo
laalach kaa khanjar phenko
zid ke peechhe mat daudo
tum prem ke panchhi ho
desh premiyon
aapas mein prem karo desh premiyon
mere desh premiyon
aapas mein prem karo
desh premiyon

meethe paani mein
ye zahar na tum gholo o o
jab bhi
kuchh bolo o
ye soch ke tum bolo
bhar jaataa hai gahraa ghaav
jo bantaa hai goli se
par vo ghaav nahin bhartaa
jo banaa ho kadvi boli se
do meethe bol kaho o
mere desh premiyon
aapas mein prem karo
desh premiyon

mere desh premiyon
aapas mein prem karo
desh premiyon
aa aa aa aa aa
aa aa aa aa aa

dekho
ye dharti ee ee
ham sab ki maataa hai ae ae
socho o
aapas mein aen
kyaa apnaa naataa hai
ham aapas mein lad baithhe
to desh ko kaun sambhaalegaa
koi baahar waalaa
apne ghar se
hamen nikaalegaa
deewaanon hosh karo o o
mere desh premiyon
aapas mein prem karo
desh premiyon
mere desh premiyon
aapas mein prem karo
desh premiyon

todo
deevaaren
ye chaar dishaaon ki ee ee
roko
mat raahen
in mast hawaaon ki
poorab pashchim uttar dakkhan waalon
meraa matlab hai
is maati se poochho
kyaa bhaashhaa
kyaa iskaa mazhab hai
phir mujhse baat karo o o
mere desh premiyon
aapas mein prem karo
desh premiyon
mere desh premiyon
aapas mein prem karo
desh premiyon
desh premiyon
aapas mein prem karo
desh premiyon
mere desh premiyon
aapas mein prem karo
desh premiyon


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 the film Hatimtai-56.

Among older generations, reading books, novels etc, other than the school Text books, was considered a gateway to general knowledge and an aid to develop an impressive personality. As times changed, I think this habit has diminished with every new generation and today I find that students do not read anything ( not even Newspapers-except sports and films section) other than school or college syllabus and Guide books. Their general knowledge is below par in most cases. I do not blame them, because the education system in our country has been modelled on such lines that students will only read what brings them more marks. Nothing else. They have no time left for general reading due to college and classes. Additionally parents too encourage only this – not general reading…out of helplessness ! Of course their intelligence and skills have not diminished but have different openings suitable for today’s life-struggle.
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This article is written by Sadanand Kamath, 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.

During the early days of sound films in 1931, Calcutta (Kolkata) film centre had actresses like Patience Cooper, Jahanara Kajjan, Violet Cooper, Anwari, Sabita Devi (real name: Iris Maude Gasper), Kanan Devi, Radharani etc. Most of them had graduated from the silent films. Those days, in the absence of playback singing system, actresses had to sing their own songs in the films. So, those with good voices also got chance to act in the films made especially in the 30s. Begum Akhtar, Mukhtar Begum, Indubala, Kamala Jharia etc are few names that come to my mind. Ratan Bai was also one of those who joined the bandwagon of actresses in Calcutta in 1932 as an actor-singer. Incidentally, this Ratan Bai (Begg) was a different actor and as such she should not to be confused with Ratan Bai (Shilotri), the mother of Shobhna Samarth.
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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

People talk about the rich voice quality that Amitabh Bachchan has – the baritone etc. But has it occurred to anyone that there are and were and will be other actors who have or had similar voice? One such voice was that of Mogambo. There are tales that tell how the makers of “Mr. India” went from Danny to Amjad Khan to any other known faces of that era to play the character of Mogambo. Each one had his own reason for not taking up that character and eventually Amrish Puri ended up being The Mogambo and now it is impossible to even imagine any other person as Mogambo. I am unable to distinguish the man from the character and part of the power in the role was the voice of the actor.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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(11 january 2017), we are celebrating two milestones on the Blog. First, Sudha Malhotra has hit her maiden century on the Blog. Second, her 100th song happens to be the 12800th song on the Blog. So this is double celebration post. Congratulations to Atulites for adding one more century to the Blog making it the 128th century.
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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.

Genius of Jaidev – 57
——————————–
Ek Hans Ka Joda (1975) was a coloured social film produced by Punch Films, Bombay and directed by Avtar Bhogal. Anil Dhavan and Jhahira were the main stars supported by Utpal Dutt, Indrani Mukherjee, Iftikhar, Achala Sachdev, Anvar Hussain, Brahm Bharadwaj, Prabhu Dayal, Birbal, B Bhalla, Mama, Pushpanjali, Manorama, Sudama, Sreedhar Nayak, Sunil Hattangadi, Madhu, Maadhavi, Sitara, V Gopal and Anjali Kadam. The film also introduced two new finds as guests, Dharam veer and Ajit Sinh.
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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 Sheesh Mahal-1950. It was a Minerva Movietone production directed by Sohrab Modi. Vasant Desai was the music director. There were nine songs in the film, which were penned by four Lyricists.
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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 eight years. This blog has over 12800 song posts by now.

This blog is active and online for over 3000 days since its beginning on 19 july 2008.

Total number of songs posts discussed

12814

Number of movies covered in the blog

Movies with all their songs covered =865 Total Number of movies covered =3595

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Blog Start date: 19 july 2008 Active for 3000 days.
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