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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4277 | Post No. : | 15514 | Movie Count : |
4276 |
Although not listed in the anniversaries list on our blog, a message yesterday from Mahesh ji reminded that it was the remembrance day of the music director Robin Chatterji. Some more discussion followed in which it was mentioned that Rafi Sb had never sung under the baton of this music director. Something tickled in the memory and I searched through the Geet Kosh listings and my collection, coming up with this wonderful solo of Rafi Sb, that he has sung for Robin Chatterjee, in a Bhojpuri film.
Remembering Robin Chatterjee on the anniversary of his passing away (2nd April, 1976).
As is the fate of many such lesser known and lesser appreciated artists, there is very little information available about him. His date of birth is recorded as 8th January, 1914. No details about his family or early years is available. One name is available – his first teacher of classical music was Keshab Ganesh Dhekan. Robin started his career with the venerable New Theatres, in their music department. He sang in the chorus line for NT films like ‘Adhikar’ (1938).
Some records indicate that worked as an assistant to music director Anupam Ghatak. He and Anupam had learnt music from the same teacher (KH Dhekan). Apparently he assisted Anupam Ghatak with some of his films during 1939-40.
Information about his earliest films as an independent music director is not very specific. Based on Geet Kosh listings, the first Hindi film where we see his name appear as a music director is ‘Raaj Lakshmi’ (1945). Listings show that he shared the music direction responsibility for this film with Dhiren Mitra. This film was produced under the banner of MP Productions, Calcutta (now Kolkata). This film has the distinction of being the debut film for Talat Mehmood, as a singer in Hindi films. Prior to this, he had sung under the pseudonym of Tapan Kumar, all recordings being for Bangla films or for non-film Hindi and Bangla songs. The debut solo songs for him in this film are “Jaago Musaafir Jaago, Kholo Mann Ka Dwaar” and “Tu Sun Le Matwaale”.
Browsing through the Geet Kosh, we find the following films listed with his name as the music director –
‘Raj Laxmi’ (1945) (w Dhiren Mitra)
‘Tum Aur Main’ (1947)
‘Wo Dono’ (1947)
‘Sabyasachi’ (1948)
‘Ratnadeep’ (1952)
‘Firdaus’ (1953) (w Roshan)
‘Pehli Shaadi’ (1953)
‘Afreeka’ (1954)
‘Majboori’ (1954)
‘Shobhaa’ (1954)
‘Dhaake Ki Malmal’ (1956) (w OP Nayyar)
‘Saiyan Se Bhaile Milanva’ (1964)
‘Chimni Ka Dhuaan’ (1973)
and possiblye ‘Miss Toofaan Mail’ (1958), for which the name of the music director is given simply as Robin.
Of these, the credits for ‘Raj Lakshmi’ are shared with Dhiren Mitra, for ‘Firdaus’ are shared with Roshan and for ‘Dhaake Ki Malmal’ are shared with OP Nayyar. The film ‘Saiyan Se Bhaile Milanva’ is a Bhojpuri film. And the film ‘Chimni Ka Dhuaan’ was probably completed sometimes in the first half of 1960s, but its release was delayed by many years, finally releasing in 1973.
The above list of films shows a career with sizeable gaps. However, there is other information that says he was also active, rather very active in the Bangla film industry, as well as in the non-film and folk song genres. There are more details available about his films in Bangla. He has scored music for many films starring Suchitra Sen, for whom he has preferentially used the voice of Sandhya Mukherjee.
One additional bit of information from my own memory. I do remember seeing the name Robin Chatterjee as the sound recordist in the credits of some films. I am not sure that such credits are referring to the same person – possibly so.
My personal experience, and also preference, is that to appreciate the music and songs of lesser known and lesser discussed artists is to pull together as many songs of such an artist, as possible, and then listen to them at a stretch, within one, two, three sittings. In my humble opinion, this way one gets a much better feel for both the quality and the quantity of the body of work for the artist. This in turn provides a much better and a wider appreciation of his or her work. In my effort to pull together information and body of work about such artists, I find that I have not yet come across a single instance where I may have failed to appreciate the quality of work created by the artist. For that reason, I humbly state that I never will dismiss an artist only because he or she is lesser known and his/her body of work is obscure and not easily accessible. The same has been my experience with the songs tuned and composed by Robin Chatterjee. We already have 24 songs on our blog, for which he is the music director – please check out in case interested.
About this film, there are no details available, other than the name of the production banner – Messers Technicians Enterprise. No listings of actors is available either. Only the name of the music director, the singers and a list of 4 songs is available.
Regardless, it is a naughty, wonderfully playful song of appreciation – appreciation of the beauty of a young belle. Listen and enjoy.
[Acknowledgements: The above article uses information and details from the Geet Kosh, the book ‘Dhunon Ki Yatra’ by Sh Pankaj Raag, and the web page on Anupam Ghatak at Indiancine.ma/wiki.]
[Ed Note: I believe that the lyrics in the Bhojpuri dialect are not difficult to follow. As the lines are perused, there may be a little transliteration required for one line. In case there is a comment/request, the transliteration of the full lyrics can be provided. The difficult line maybe, “peear peear galba pa chhitke lallaiya” or “पीयर पीयर गलबा पे छिटके लल्लइया”. In simpler Hindi, the line says “pyaare pyaare gaalon pe laali chhitki hai” or “प्यारे प्यारे गालों पे लाली छिटकी है”. 🙂 ]
Song – Jabse Dekh Li Suratiya Tohaar Goriya (Sainyan Se Bhaile Milanva) (1964) Singer – Mohammed Rafi, Lyrics – [Unattributed], MD – Robin Chatterjee
Lyrics
jab se dekh li
jab se dekh li suratiya tohaar goriya
jab se dekh li suratiya tohaar goriya
bas mein na jiyara hamaar goriya
bas mein na jiyara hamaar goriya
jab se dekh li suratiya tohaar goriya
ho goriyaa. . .
umariya hai baari patli kamariya
umariya haee. . .
umariya hai baari patli kamariya
najariya hai teekhi kataar goriya
mar gai lee
najariya hai teekhi kataar goriya
bas mein na jiyara hamaar goriya
bas mein na jiyara hamaar goriya
jab se dekh li suratiya tohaar goriya..ha
peear peear galba pa chhitke lallaiya
peear peear
peear peear galba pa chhitke lallaiya
bole to chooe ras dhaar goriya
aa haa
bole to chooe ras dhaar goriya
bas mein na jiyara hamaar goriya
bas mein na jiyara hamaar goriya
jab se dekh li suratiya tohaar goriya
hamka lut gaili lut jaee hai nagariya
hamka. . .
hamka lut gaili lut jaee hai nagariya
jaiha na ban tthan bajaar goriya
kaise chalbu
jaiha na ban tthan bajaar goriya
bas mein na jiyara hamaar goriya
o bas mein na jiyara hamaar goriya
jab se dekh li suratiya tohaar goriya
o goriyaa. . .
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Hindi script lyrics (Provided by Sudhir)
——————————————
जबसे देख ली
जबसे देख ली सुरतिया तोहार गोरीया
जबसे देख ली सुरतिया तोहार गोरीया
बस में ना जियरा हमार गोरीया
बस में ना जियरा हमार गोरीया
जबसे देख ली सुरतिया तोहार गोरीया
हो गोरीया॰ ॰ ॰
उमरिया हई बारी पतली कमरिया
उमरिया हई॰ ॰ ॰
उमरिया हई बारी पतली कमरिया
नजरिया है तीखी कटार गोरीया
मर गई ली
नजरिया है तीखी कटार गोरीया
बस में ना जियरा हमार गोरीया
बस में ना जियरा हमार गोरीया
जबसे देख ली सुरतिया तोहार गोरीया॰॰हा
पीयर पीयर गलबा पे छिटके लल्लइया
पीयर पीयर
पीयर पीयर गलबा पे छिटके लल्लइया
बोले तो चूए रस धार गोरीया
आ हा
बोले तो चूए रस धार गोरीया
बस में ना जियरा हमार गोरीया
बस में ना जियरा हमार गोरीया
जबसे देख ली सुरतिया तोहार गोरीया
हमका लुट गईली लुट जई है नगरिया
हमका॰ ॰ ॰
हमका लुट गईली लुट जई है नगरिया
जईहा ना बन ठन बजार गोरीया
कैसे चल्बू
जईहा ना बन ठन बजार गोरीया
बस में ना जियरा हमार गोरीया
ओ बस में ना जियरा हमार गोरीया
जबसे देख ली सुरतिया तोहार गोरीया
हो गोरीया॰ ॰ ॰
Tu Ne Mujhe Bulaaya Sheraanwaaliye
Posted on: March 31, 2020
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4274 | Post No. : | 15509 | Movie Count : |
4275 |
Songs Repeated in Hindi Films – 18
– – – – – – – – – – – – – – – – – –
So this suggestion and reminder from Anekant ji, dropped into my mail box yesterday. And I take this opportunity to present this repeat song that is so appropriate for the continuing celebrations of Navratri.
The original song – “Tu Ne Mujhe Bulaaya Sheraanwaaliye“, is from the film ‘Aasha’ (1980) and on screen it is performed by Jeetendra and others. Reena Roy is present in the picturization. Fast forward eight years to 1988 and the song has been repeated in the film ‘Do Waqt Ki Roti’ (1988), as is. Meaning, it is not a re-recording. The song has been replayed as original. The only difference is that a full antaraa is deleted. The original song has two antaraas, and this reuse song has only one.
‘Do Waqt Ki Roti’ is produced by MP Aggarwal and is directed by Satpaal. The primary cast of actors is listed as Feroz Khan, Sanjeev Kumar, Reena Roy, Sulakshana Pandit, Nirupa Roy, Amjad Khan, Shakti Kapoor, Satyendra Kappu, Ranjeet, and Jagdeep. The film has five songs, other that this reuse song.
The interesting similarity that the music directors of these two films are the same. So maybe that is why the reuse may not have been a problem. However, as usual, this reuse song is not listed in the list of songs of this film.
Today is the sixth day of Navratri celebrations. The incarnation of the Goddess Mother that is worshipped today is Maa Kaalratri or Maa Mahakaali. I would like to discuss this appearance of the Mother in a little more detail. It is quite possible that the readers may be quite familiar with this description.
The description is as per the Devi Bhagwat. As it their wont – the Devatas have been defeated by two powerful aruras (demons) – Shumbh and Nishumbh, and had lost the occupation of the Kingdom of Heavens. The commander of the asura armies was another demon named Raktbeej. Raktbeej had a boon that he had received from Brahma ji. As is usual the asuras, after long periods of penance and austerities, would always end up asking for the blessing of longevity – that they could never be destroyed. This boon has been asked for by the asuras in many different forms. Raktbeej asked for this boon in the form that in case he is in a battle, and he is wounded, then when his blood touches the ground in form of drops, every drop will immediately form a replica of the Raktbeej himself. So even if he is wounded, just by the result of this blessing, an army of Rakbeej clones will be created. By this way, Raktbeej may never be vanquished, and he would only get stronger with additional forces of clones of himself to support him.
The Devatas were in despair, and they prayed to the Mother Goddess. She appeared and asked them what were they seeking from Her. They explained the predicament in their battle against Shumbh and Nishumbh – that they, the Devatas will never be able to defeat the asuras, as long as their commander Raktbeej is leading them. The Mother Goddess assured them of help, and sent them away to wage another war on the asuras. The battle started. Devatas started to target Raktbeej, but his blessing still obstructed the Devatas to make any headway in the fight. In fact, when Devatas would inflict any blow Raktbeej, the drops of blood from his body, as they touched the ground, would sprout into another Raktbeej, thus strengthening the army of asuras.
The Mother Goddess then took on the form of Maa Kaali and joined the battle. The appearance and demeanor of the Mother in the Kaali form was frightening. Completely black in appearance from head to toe, wearing black, long black hair loose open and waving, a garland made of skulls in the neck, and wearing a skirt made from the limbs of the dead, with a khadag (a sword like weapon, curved in a different way) in one hand, and bowl made from the outer layer of a coconut, in the other hand. The fearful appearance was further enhanced with a long red tongue that perpetually remained outside the mouth, waving like a blood red serpent.
She reached close to Raktbeej and hit him with the khadag. An injured Raktbeej started to bleed from his wounds. Maa Kaali reached out with her waving tongue and started to lap up every drop of his blood that oozed out of his wounds. Working feverishly with her long tongue, she picked up very drop of blood from Raktbeej’s body, and continued to strike him. Losing blood, he started to become weak, as he continued to lose blood and his strength. And the boon was going waste because Maa Kali did not allow the drops of his blood to reach the ground. Finally, Maa Kaali cut off the head of Raktbeej with a blow from her khadag. To catch the falling blood from the dethatched neck, Maa Kali held the coconut bowl under it, once again not allowing even a drop of blood to fall on the ground. As the cup would overflow, Maa Kaali would drink from it, to make room to hold more blood.
The appearance and sight of the Mother was really frightful. She seemed to not be under Her own control. Waving the khadag in anger, she started to destroy anything and anybody that crossed her path. The army of asuras was thus decimated, but the Mother could not be stopped. The Devatas then prayed to Lord Shiv and requested him to rescue them from the wrath of Maa Kaali. Lord Shiv appeared to face Maa Kaali, but he too could not dissuade her and calm her down. She continued in her stride, destroying everything in her path. Then Lord Shiv lay down on the ground, in the path where she was headed. Maa Kaali continued in her stride and finally set a foot on Lord Shiv himself. Realizing suddenly that she had stepped on to her own consort, she came to a halt. Her anger dissipated, she stepped back and became calm.
There is a reason that describe this episode today. Today is the day of the worship of Maa Kaalratri, or Maa Kaali, and so it is appropriate to recount her legend. I remember hearing this narrative recounted to me by elders, or reading it in books, and I always used to wonder at the bizarre description of this event. Years passed and as I came to high school, I would finally get a reasonable explanation of this narrative. In the biology class, as we read about viruses and infections and deadly diseases, it suddenly came together in my mind that this description of Maa Kaali is so analogous to weeding out a deadly disease. Raktbeej is the infection that multiplies incessantly. The more you try to root it out, the more it spreads. Like the drops of blood falling on ground, it is the viruses that attack healthy cells, they multiply, and then attack more healthy cells. Maa Kaali is likened to the antidote to the infection, that attempts to cut down the avenues for the infection to spread, not allowing it to reach more healthy cells thus depriving it of its resources to multiply.
That is quite much the situation that is faced by the world in present times. An unbridled and unknown new infection is running rampant through the human population, incurring a very high toll of fatalities. The mechanism of isolation and social distancing is analogous to not allowing the drops of blood of Raktbeej to fall on the ground, and not find newer option to breed and grow. The ideas that had formed in my mind during my high school studies of biology, are kind of getting reflected in the events of this worldwide spread of the deadly virus infection. The containment solution is in being isolated and not allowing propagation. Countries that are practicing this measure, are being somewhat successful in minimizing the fatal damage to the population. And the nations that, for whatever reason of culture or politics are failing to exercise this discipline, are on the way to incur heavy losses in terms of human life. A scenario that is described in our ancient texts is playing out in the real world with a very eerie congruence.
So, the day to pray to Maa Kaali today, is the day also to understand this mechanism of disallowing Raktbeej to replicate itself and to curtail the damage that can be done by an uncontrolled spread of this contagion.
May the Mother Goddess Maa Kaali appear once again on this earth, and destroy this Raktbeej like malady, cleanse this earth and rescue her children.
Ameen.
Song – Tu Ne Mujhe Bulaaya Sheraanwaaliye (Do Waqt Ki Roti) (1988) Singer – Narendra Chanchal, Rafi, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Chorus
Lyrics
saanchi jyoto waali maata. . .
maata. . .
teri jai jaikaar
jai jaikaar. . .
jai jaikaar. . .
jai jaikaar. . .
tu ne mujhe bulaaya sheraanwaaliye. . .
main aaya main aaya sheraanwaaliye
tu ne mujhe bulaaya sheraanwaaliye. . .
main aaya main aaya sheraanvaaliye
o jyotaan vaaliye
pahaadaan vaaliye
o mehraan vaaliye. . .
tu ne mujhe bulaaya sheraanvaaliye. . .
main aaya main aaya sheraanvaaliye
o o o
tu ne mujhe bulaaya sheraanvaaliye. . .
main aaya main aaya sheraanvaaliye
kaun hai raaja
kaun bhikhaari
kaun hai raaja
kaun bhikhaari
ek baraabar tere saare pujaari
tu ne sab ko darshan de ke
tu ne sab ko darshan de ke
apne gale lagaaya sheraanvaaliye
tu ne mujhe bulaaya sheraanvaaliye
o jyotaan vaaliye
pahaadaan vaaliye
o mehraan vaaliye. . .
tu ne mujhe bulaaya sheraanvaaliye. . .
main aaya main aaya sheraanvaaliye
o prem se bolo
jai maata di
o saare bolo
jai maata di
o aate bolo
jai maata di
o jaate bolo
jai maata di
o kasht nivaare
jai maata di
o paar utaare
jai maata di
devi maan bholi
jai maata di
bhar de jholi
jai maata di
o jode darpan
jai maata di
maa de ke darshan
jai maata di
o jai maata di
jai maata di
jai. . . maata di..ee..ee
jai maata di
jai maata di
jai maata di
sheraanwaali ki jai
jai maata di
jai maata di
pahaadaan vaali ki jai,
jai maata di
jai maata di
vaishno raani ki jai
jai maata di
jai maata di
ambe raani ki jai
jai maata di
jai maata di
pahadaan waali ki jai
Gungunaai Fiza Jagmagaaya Samaa
Posted on: March 31, 2020
- In: Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | Honky Tonk song for the blog | Love song | Lover's tête-à-tête | Lyrics contributed by readers | Manorama (singer) Songs | Post by Sadanand Kamath | Shyam Kumar - Manorama (singer) duet | Shyam Kumar song | Songs of 1950s (1951 to 1960) | Songs of 1954 | Yearwise breakup of songs
- 6 Comments
This article is written by Sadanand Kamath, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4274 | Post No. : | 15508 | Movie Count : |
4274 |
In the golden period of Hindi film industry, there were many popular and famous actors (actors include actresses) who were well known to most of the cine goers of their relevant time. Those actors included heroes, heroines, character actors, villains and vamps, comedians, dancers etc. However, there were actors who were not well known to most of the cine goers as most of the time, they would have small roles in films. But even with small roles, some of them have left lasting impressions on the connoisseurs of Hindi films. There was eagerness to know as to who were those actors. Among this set of actors is the playback singer and actor, Shyam Kumar.
Born as Gul Hamid Ali in Pune, Shyam Kumar (1913 – 1981) joined Kardar Studio as a playback singer on the recommendation of Naushad. He sang for Naushad in ‘Sharda’ (1942), ‘Namaste’ (1943), ‘Sanjog’ (1943), ‘Kanoon’ (1943), ‘Ratan’ (1944), ‘Pehle Aap’ (1944), ‘Sanyasi’ (1945), and ‘Dillagi’ (1949). He worked in some of these films but never sang for himself. However, his playback singing career never took off as he had tough competitions from GM Durrani and later from Mohammed Rafi, Mukesh, Talat Mehmood etc. After ‘Guzaara’ (1954), Shyam Kumar virtually gave up playback singing. After 1954, he sang for the last time in ‘Tilasmi Duniya’ (1962).
Being on the payroll of Kardar Productions, Shyam Kumar also acted in the films produced/directed by AR Kardar which included ‘Sharda’ (1942), ‘Sanyasi’ (1945), ‘Dard’ (1947), ‘Dulaari’ (1949), ‘Jaadoo’ (1950), ‘Deewana’ (1952) ‘Dil-e-Naadaan’ (1953), ‘Yaasmeen’ (1955) etc. Due to his impressive physique, he was considered for roles with negative shades though in a few films like ‘Vijaygarh’ (1954), ‘Rashtraveer Shivaji’ (1965) etc, he was the lead actor. During his four decades of filmy career, Shyam Kumar acted in over 140 films and sang around 30 songs in 15 films.
The first time I became aware of Shyam Kumar was in my younger days when I had heard his voice in the iconic song “Tu Mera Chaand Main Teri Chaandni” in ‘Dillagi’ (1949) which used to be often played on Radio Ceylon. It was only during my 78 RPM gramophone record collection period in early 1970s I came to know through my friend, also a record collector, of the confusion created by the name ‘Shyam’ on 78 RPM record. As the song was picturised on the hero of the film, Shyam (actor Shyam Chadha) who was accredited as ‘Shyam’ in the credit titles of the film, many felt that the actor Shyam sang this song for himself. On the other hand, Shyam Kumar, the singer who also acted in this film was accredited as ‘Sham Kumar’ in the credit titles. The fact was that actor Shyam lip synced the voice of Shyam Kumar in the song.
I had no inkling as to how Shyam Kumar looked like though I had seen him in many films as a familiar actor without knowing his name. He generally worked in ‘B’ grade films in negative roles but in most of ‘A’ grade films, he worked as one of the henchmen of the villains. Even in scenes where his presence was minuscule among other prominent actors, by his sheer expressions and unusual dresses he wore for the films, the audience would notice his presence. I have included a few samples of his expressions and dress sense in the films as montages in the audio clip of a song I am presenting with this article.
Shyam Kumar was the lead actor along with Krishna Kumari in the film ‘Vijaygarh’ (1954). The other star cast included Habib, Abu Bakar, Mohammed Sandow, Maqbool, Ranjana, Rafiq etc. The film was directed by AY Sheikh. The film seems to be an obscure one as not much information is available on it. From the title, it would appear that the film belongs to the genre of historical drama. But the star cast of the film gives me an impression that it was a costume drama/stunt film.
The film’s 7 songs are as obscure as the film. Songs were written by two lyricists – Muzaffar Shahjahanpuri and Indivar and were set to music by two music director – Krishna Dayal and AK Prem. I have uploaded the video of the first song from the film which is “Gungunaai Fiza Jagmagaaya Sama”. It is a duet sung by Manorama (not the actress Manorama) and Shyam Kumar. This song is attributed to Muzaffar Shahjahanpuri and AK Prem as lyricist and music director, respectively. I heard the name of Manorama as a playback singer for the first time. She appears to be a trained singer. Checking through the Geet Kosh listings, we find that the singer Manorama was apparently active only during the period of 1954-55 during which time she sang a total of eleven songs for four films.
[Note: Incidentally, Yashodara Katju had a younger sister, Manorama Katju and was associated with a film magazine ‘Screen’ in 1950s.]
It is often said that Shyam Kumar never sang for himself in the films. He gave playback to other actors. In ‘Vijaygarh’ (1954), Shyam Kumar was the lead actor and had sung three songs – two duets with Manorama and one solo. All these 3 songs are mix of romance and joy. Going by the list of other male actors in the film, I do not think that these 3 songs would make much sense if picturised on them. So, it is a point to ponder whether Shyam Kumar performed one or more of his three songs himself.
With this song, ‘Vijaygarh’ (1954) makes a debut in the Blog.
[Ed Note: A honky-tonk coincidence plays in with the addition of this song to our blog. This song belongs to the 4274th film on this blog, and it appears on the 4274th day of the blog. Well, what do you say. 😀 😀 .]
Song – Gungunaai Fiza Jagmagaaya Samaa (Vijaygarh) (1954) Singer – Manorama, Shyam Kumar, Lyrics – Muzaffar Shahjahanpuri, MD – AK Prem
Manorama + Shyaam Kumar
Lyrics
gungunaai fiza jagmagaaya sama
aa aa aa aa
gungunaai fiza jagmagaaya sama
li bahaaron ne do dil mein angdaaiyaan
ho angdaaiyaan
ho o o o
gungunaai fiza jagmagaaya sama
li bahaaron ne do dil mein angdaaiyaan
ho angdaaiyaan
ho o o o
tu ne ghunghat hataaya bahaar aa gayi
tu ne ghunghat hataaya bahaar aa gayi
roop chamka to bijli bhi sharma gayi
roop chamka to bijli bhi sharma gayi
chhaa gayeen muskuraane se rangeeniyaan
ho rangeeniyaan
ho o o o
gungunaai fiza jagmagaaya sama
li bahaaron ne do dil mein angdaaiyaan
ho angdaaiyaan
ho o o o
aisi barsi khushi saare gham dhul gaye
aisi barsi khushi saare gham dhul gaye
zindagi ke naye raaste khul gaye
zindagi ke naye raaste khul gaye
ab basaayenge hum ek niraala jahaan
ek niraala jahaan
ho o o o
gungunaai fiza jagmagaaya sama
haa aa aa aa
gungunaai fiza jagmagaaya sama
li bahaaron ne do dil mein angdaaiyaan
ho angdaaiyaan
ho o o o
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
गुनगुनाई फिज़ा जगमगाया समां
हा आ आ आ
गुनगुनाई फिज़ा जगमगाया समां
ली बहारों ने दो दिल में अंगड़ाइयां
हो अंगड़ाइयां
हो ओ ओ ओ
गुनगुनाई फिज़ा जगमगाया समां
ली बहारों ने दो दिल में अंगड़ाइयां
हो अंगड़ाइयां
हो ओ ओ ओ
तू ने घूँघट हटाया बहार आ गई
तू ने घूँघट हटाया बहार आ गई
रूप चमका तो बिजली बहई शर्मा गई
रूप चमका तो बिजली बहई शर्मा गई
छा गईं मुस्कुयाने से
हो रंगीनियाँ
हो ओ ओ ओ
गुनगुनाई फिज़ा जगमगाया समां
ली बहारों ने दो दिल में अंगड़ाइयां
हो अंगड़ाइयां
हो ओ ओ ओ
ऐसी बरसी खुशी सारे ग़म धूल गए
ऐसी बरसी खुशी सारे ग़म धूल गए
ज़िंदगी के नए रास्ते खुल गए
ज़िंदगी के नए रास्ते खुल गए
अब बसाएँगे हम इक निराला जहां
इक निराला जहां
हो ओ ओ ओ
गुनगुनाई फिज़ा जगमगाया समां
हा आ आ आ
गुनगुनाई फिज़ा जगमगाया समां
ली बहारों ने दो दिल में अंगड़ाइयां
हो अंगड़ाइयां
हो ओ ओ ओ
De Deedar, O Dildaar
Posted on: March 30, 2020
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4273 | Post No. : | 15506 |
A rain drop falls on a smoldering matchstick. And extinguishes it. A poet sees this happening. And the poet’s mind creates the lines that go on to become an iconic song that lead the on screen performer by hand to the rising heights of super-stardom. You may have already guessed it. Ah yes, I am talking about ‘Amar Prem’ (1971) and Rajesh Khanna. The song – “Chingaari Koi Bhadke To Saawan Usey Bhujaaye”. And the poet behind this hit song – Anand Bakshi.
Remembering Anand Bakshi on his remembrance day today. He passed away this day in 2002.
A career that had quite a chequered start, lasted for more than 4 decades. And continued to produce hits after hits all the way till he passed away. Chequered in that he joined the army in 1947 as a switchboard operator in the Signals Core; left the army and came to Bombay (now Mumbai) in early 1950s; made no headway and in despair, returned to join the army; but could not get rid of the film-bug. He resigned from the army again in 1956 and came to Bombay once again. This time he stuck it out. Bhagwan Dada gave him a break in his 1958 film ‘Bhala Aadmi’. The young Anand, then 27 years old, penned six songs for that film. One song by him had already appeared in an obscure 1957 film ‘Silver King’. Sadly, maybe expectedly, no songs of ‘Silver King’ are available. His debut song is probably lost forever, barring some miracle discovery.
The stumbling start led to success, slowly but surely. Popular hits came in ones and twos, and Anand continued to push his career graph, always up and up. Seven films carried his songs in 1959. Not popular hits, but surely a few are a good listen. Attention came his way in 1960, with films like ‘Air Mail’ – “Shoon Shadap Nazron Ki Jhadap” and “Tumhin Ne Mera Dil Chheen Kar”; ‘Mehlon Ke Khwab’ – “Lo Ji Bujh Gayi Bijli Pyaar Ki”; ‘Zameen Ke Taare’ – “Tinke Pe Tinka, Chhutti Ke Din Ka”; Then in 1961 came the film ‘Razia Sultana’ with Nirupa Roy and Jairaj in lead roles. The duet written by Anand went on to become an all time favorite – “Dhalti Jaaye Raat, Keh Le Dil Ki Baat”.
Then came 1962, with the perennial favorite qawwaali – “Meri Taveer Le Ke Kya Karoge”. Plus the films ‘Mehndi Lagi Mere Haath’, ‘Baanke Saanwariya’ with a good repertoire of songs by Anand. And the year was topped by the one song he wrote for ‘Vallah Kya Baat Hai’ – “Ghame e Hasti Se Bas Begaana Hota”. He was 32 years of age.
1963 was adorned with another wonderful qawwali from his pen. The film – ‘Jab Se Tumhen Dekha Hai’, and the song – “Tumhen Husn De Ke Khuda Ne Sitamgar Banaaya Banaaya”. That year, we also have from him “Taaron Ki Chhaon Taley, Shamma Parwaane Miley” in the film ‘Zaraak Khan’, and the sterling Mukesh solo – “Chaand Aaahen Bharega” from the film ‘Phool Baney Angaare’, which was otherwise loaded with a set of charming hits.
Next was 1964 (of course 🙂 ) and the film for which Anand teamed up with Laxmi-Pyaare to produce a set of songs that have remained on the lips and in the mind of music lovers since then – ‘Mr X In Bombay’. And this was the year that this young poet made it to the Binaca Geet Mala listing (at no. 6) for the first time with the song – “Mere Mehboob Qayaamat Hogi”. What a song it is, and what a set of lilting songs this film carries. Anand’s foothold in the tinsel town was now firm and very steady.
1965 – and just the sampling of films should be enough – ‘Himalay Ki God Mein’, ‘Jab Jab Phool Khile’, ‘Lutera’, ‘Shriman Funtoosh’ and ‘Teesra Kaun’ – memorable songs that are too numerous to be listed individually. Notable mentions required though, for “Hamen Kya Jo Har Su Ujaale Huye Hain” from ‘Namaste Ji’ and “Ye Dard Bhara Afsaana” from ‘Shriman Funtoosh’. And yes – “Pyaar Ka Fasaana Bana Le Dil Deewaana” from ‘Teesra Kaun’.
Going from strength to strength, Anand rounded off the year 1966 with fabulous songs in films like ‘Aasra’, ‘Aaye Din Bahaar Ke’, ‘Devar’, ‘Pati Patni’, ‘Preet Na Jaane Reet’, ‘Professor X’, and ‘Sunehre Qadam’.
In 1967, Anand completed 10 years of his career in the Bombay film industry with top hits in films like ‘Milan’, ‘Farz’, ‘Night In London’, ‘Aamne Saamne’, ‘Milan Ki Raat’, ‘Chandan Ka Palna’, and ‘Taqdeer’. What more to say.
The remaining years of the 1960s decade – even listing a sampler would be too much space to cover. Suffice to say that the super hit “Mere Sapnon Ki Raani. . .” that truly launched Rajesh Khanna on the way to super stardom, came from the pen of Anand Bakshi.
And he would go on writing for another three and a half decades – including perennial favorites like “Hum Ko Tumse Ho Gaya Hai Pyaar Kya Karen” (‘Amar Akbar Anthony’, 1977), “Tujhe Dekha To Ye Jaana Sanam” (‘Dilwaale Dulhaniya Le Jaayenge’, 1995), and thousands more – in fact a total of 3,500 songs spread out across more than 635 films. Such a career cannot be done justice in a single blog post. 🙂
Thanks Anand Bakshi ji, for so many wonderful memories to hum and enjoy.
Coming to the song for today. As I was seeking to get one of his earliest songs to present today, I came upon this wonderful Rafi solo that has been tuned by S Mohinder. The film is ‘Sun To Le Haseena’ which belongs to his debut year 1958.
Produced under the banner of Filmistan Limited, the film is directed by SP Bakshi. The star cast is listed as Shashikala, Ravindra Kapoor, Agha, P Kailash, Badri Prasad, Randhir, Gulab, Sabita Chatterjee, Kanu Rai, Manju, Manohar Geer, Majnu, Vitthal Das Panchotia, Madhu Apte, Ramlal, Leela, Bazid Khan, Rajeshwar Singh, Noor, Chandramohan, Pathak, Shantaram, Ravi Tandon, Sundar, and Pal.
The film has a total of seven songs written by four songwriters, with Anand’s contribution tally is three. (Other songwriters are Sarshaar Sailaani, Kaif Irfaani and Raahil Gorakhpuri). This is the second song of this film, written by him to be showcased here, and the third song from the film.
Rafi Sb has rendered this call-to-the-beloved song with gusto. A very interesting listen, I am sure you will agree.
Song – De Deedar, O Dildaar (Sun To Le Haseena) (1958) Singer – Mohammed Rafi, Lyrics – Anand Bakshi, MD – S Mohinder
Lyrics
de deedar. . .
o dildaar. . .
haaye jhaank jharokhe se ik baar
aashiq tere dar pe aa ke ban gaya chowkidaar
ke de deedar. . .
o dildaar. . .
hota hai kahin kuchh khatka
lagta hai mujhe ik jhatka
hota hai kahin kuchh khatka
lagta hai mujhe ik jhatka
pal chhalak chhalak jaata hai
mere armaanon ka matka
mere armaanon ka matka. . .
har aahat pe chaunk ke jaani hota hoon taiyaar
ke de deedar. . .
o dildaar. . .
haaye jhaank jharokhe se ik baar
aashiq tere dar pe aa ke ban gaya chowkidaar
ke de deedar. . .
o dildaar. . .
o nakhre takhre waali
ye raat hai kaali kaali..ee. . .
o nakhre takhre waali
ye raat hai kaali kaali
kar saamne chaand sa mukhda
chaahe chhup ja de kar gaali
chaahe chhup ja de kar gaali. . .
varna faand ke aa jaaunga ye oonchi deewaar
ke de deedar. . .
o dildaar. . .
haaye jhaank jharokhe se ik baar
aashiq tere dar pe aa ke ban gaya chowkidaar
ke de deedar. . .
o dildaar. . .
main tujh pe ho ke lattu
tere naam ka ho gaya rattu..uu. . .
main tujh pe ho ke lattu
tere naam ka ho gaya rattu. . .
tere gham ka utha ke bojha
bana aadmi se main tattu
bana aadmi se main tattu. . .
ab tadpa tadpa ke zaalim yun na mujhko maar
ke de deedar. . .
o dildaar. . .
haaye jhaank jharokhe se ik baar
aashiq tere dar pe aa ke ban gaya chowkidaar
ke de deedar. . .
o dildaar. . .
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
दे दीदार॰ ॰ ॰
ओ दिलदार॰ ॰ ॰
हाए झांक झरोखे से इक बार
आशिक तेरे दर पे आके बन गया चौकीदार
के दे दीदार॰ ॰ ॰
ओ दिलदार॰ ॰ ॰
होता है कहीं कुछ खटका
लगता है मुझे ईक झटका
होता है कहीं कुछ खटका
लगता है मुझे ईक झटका
पल छलक छलक जाता है
मेरे अरमानों का मटका
मेरे अरमानों का मटका॰ ॰ ॰
हर आहट पे चौंक के जानी होता हूँ तैयार
के दे दीदार॰ ॰ ॰
ओ दिलदार॰ ॰ ॰
हाए झांक झरोखे से इक बार
आशिक तेरे दर पे आके बन गया चौकीदार
के दे दीदार॰ ॰ ॰
ओ दिलदार॰ ॰ ॰
ओ नखरे टखरे वाली
ये रात है काली काली॰॰ई॰ ॰ ॰
ओ नखरे टखरे वाली
ये रात है काली काली
कर सामने चाँद सा मुखड़ा
चाहे छुप जा देकर गाली
चाहे छुप जा देकर गाली॰ ॰ ॰
वरना फांद के आ जाऊंगा ये ऊंची दीवार
के दे दीदार॰ ॰ ॰
ओ दिलदार॰ ॰ ॰
हाए झांक झरोखे से इक बार
आशिक तेरे दर पे आके बन गया चौकीदार
के दे दीदार॰ ॰ ॰
ओ दिलदार॰ ॰
मैं तुझपे हो के लट्टू
तेरे नाम का हो गया रट्टू॰॰उ॰ ॰ ॰
मैं तुझपे हो के लट्टू
तेरे नाम का हो गया रट्टू॰ ॰ ॰
तेरे ग़म का उठा के बोझा
बना आदमी से मैं टट्टू
बना आदमी से मैं टट्टू॰ ॰ ॰
अब तड़पा तड़पा कर ज़ालिम यूं ना मुझको मार
के दे दीदार॰ ॰ ॰
ओ दिलदार॰ ॰ ॰
हाए झांक झरोखे से इक बार
आशिक तेरे दर पे आके बन गया चौकीदार
के दे दीदार॰ ॰ ॰
ओ दिलदार॰ ॰
Uthh neend se mirziyaa jaag re
Posted on: March 30, 2020
This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day: | 4273 | Post No.: | 15505 |
Hullo Atuldom
Today’s is a “this happened to me” post. It was a “dream” more than a “dream come true”. A chance to see the Dream Girl in person on my last trip to Mumbai.
So this is what happened- we had just landed at Mumbai airport. I was very tired after a long day followed by a delayed-flight. I told my husband that today i am in no position to walk the distance to the baggage-claim and am planning to hop on to any buggy that ferries passengers and I did. There were two passengers already on that buggy and the lady who was sitting mentioned that the passenger who was in the buggy that overtook us was Hema Malini. And I was disappointed that I had missed having a glimpse of her.
When we reached the drop-off point, I saw that the Dream Girl had just got off and was being courteous with the airport staff and allowing selfies. Very hesitantly I waved out to her and she acknowledged. Then I hinted through action that I would like to come closer and also click pictures with her and she permitted. Then my husband clicked a picture and she said:- “you will not get a good pic from so far, come closer.” And we had one more click which I shared instantly with my children.
My son commented immediately “He has never seen me smile so brilliantly.” But my personal feeling was there can be no smile as Brilliant as that of the Dream Girl -Hema Malini. She still looks a dream, and carries herself so elegantly and majestically. She displayed no airs about being a star or MP i.e. Member of Parliament.
My husband mentioned to her that I was a huge fan of hers and occasionally write about her in the blog. To this she replied- “hope you don’t write anything uncomplimentary”, and I said “oh no, not at all. We write only about the songs and their related movies.” And she gave me her brilliant smile. But this is one encounter that will stay with me forever and I am yet to believe it happened to me.
Recently my husband asked me why I haven’t written about my experience and I said I was waiting for an occasion. Plus I was wondering which song of hers should go with the post, and on what occasion do I present it etc. Today seems to be a good enough occasion. The anniversary of the lyricist of the song.
It is the 18th anniversary of lyricist Anand Bakshi (21 July 1930 – 30 March 2002). He was born Bakshi Anand Prakash Vaid, in Rawalpindi, in modern day Pakistan. His family came to India in the aftermath of partition. Poetry writing was his hobby and when he joined the Indian Army he continued to write whenever time permitted.
All of this are well known facts about Anand Bakshi. We also know that simultaneously he tried marketing his songs to Mumbai film industry. He finally got discharged from the army in 1956 and tried to become a writer or singer but found his foothold as a lyrics writer and “Bhala Aadmi” in 1958 was his first released movie where he wrote four songs.
“Mehndi Lage Mere Haath” with music by Kalyanji Anandji was his first success. And then the songs which found a mark in the hearts and minds of cine-goers never stopped. His wish to sing in movies was fulfilled when he sand “Baaghon mein bahaar aayi” and another solo for “Mom Ki Gudiya” in 1972. he has sung few more songs but written close to 3500 and we have 1036 of them on the blog.
Coming back to today’s song. On my return from Mumbai, last weekend, I saw “Pratiggya”(1975) starring Hema Malini, Dharmendra and Ajit. I don’t remember seeing the movie at the time of its release. This was a movie produced by Dharmendra himself and had “main jat yamla pagla deewana” (the only song from the movie on the blog) which is still in the minds of the fans even after a lapse of 45 years.
Laxmikant- Pyarelal were the music directors with whom Anand Bakshi collaborated in 302 movies. As I was writing this I came across the list of movies released in 1975, fifteen of which had songs written by Anand Bakshi, would like to know if it is a record of some kind.
The song with this post comes immediately after the song “jatt yamla pagla deewana” comes to a close. At the end of the song a drunk Ajit Singh (Dharmendra) falls into the river and dreams that Radha (Hema) is Sahibaan and he is Mirza.
So here is this love song where Hema looks a dream in the dream sequence and let us say Thank You to Anand Bakshi for leaving us this gem.
Song-Uthh neend se mirziya jaag jaa (Pratigya)(1975) Singers-Lata, Rafi, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Chorus
aa aa aa aa
aa aa aa
aa aa aa aa aa
aa aa aa
aa aa
hmm hmm hmm
hmm hmm hmm
uthh neend se mirziya jaag ja aa
teri sahibaan kare pukaar
tu ek akela bhaag jaa aa
tere peechhe ae ae ghudsawaar
vo aa gaye badla lene nu
haan aan aan
tere dushman mere veer
bedardi teer kamaan se ae ae
teri chhaati denge cheer
aisa lagta hai pyaar ke ae
nahin achche kuchh sanjog
humko mar ke bhi soniya aa aa aa
nahin milne denge log
sun sahibaan ?? yaqeen ke
rakh pyaar ki laaj jara
meri bakki(??) se daran farishte
te jatt se dare khuda
aane de unko saamne
hone de lahu-luhaan
chupchaap tamaasha dekh tu u u u u
tere sadke meri jaan
ye baat nahin wo jaante
mere dushman tere veer
jo maar sake mujhe soniye
ae ae ae ae
nahin bana abhi vo teer
o o o o o
o o
o o o o
o o o
haaye re
Main hoon Soorma Bhopali
Posted on: March 29, 2020
- In: "bicycle" song | Guest posts | Introduction song | Mohammad Aziz solo song | Mohammad Aziz song | movie opening song | Post by Peevesie's mom | Songs about a place | Songs of 1980s (1981 to 1990) | Songs of 1988 | Songs picturised in cities | Theme song | Title song | Yearwise breakup of songs
- 7 Comments
This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4272 | Post No. : | 15503 | Movie Count : |
4273 |
Hullo Atuldom
Ideally this post should have come last year, when this veteran of about a few hundred movies, turned 80. But then that has not happened.
I have decided that we shall not let the occasion go unnoticed. And in south India, the celebration for a person turning 80 is normally on completing 81, as the system of calculating the auspicious date to celebrate says that the person should have witnessed a 1000 full moons in his life, with the life being said to have started after the 1st birthday. Etc. Etc. Etc.
Whatever be the logic, the celebration called “Sadabhishekam” is after the person crosses 81 and our celebrity is turning 81 today. So here we are wishing this veteran a Happy 81st birthday.
He was born Syed Ishtiaq Ahmed Jafri on 29th March 1939 in Amritsar. He made his first screen appearance at the young age of 11 or 12. B.R.Chopra’s “Afsana” was the starting point followed by “Ab Dilli Door Nahin”, “Hum Panchi ek Daal ke”, “Do Bigha Zameen”, “Aar Paar” etc. AVM’s “Bhabhi” saw him in his first role of a grownup. And then there was no looking back and we have seen him in movies till 2017- a really long career. He played a leading man in a few movies before finding his comic timing in “Brahmachari”.
He has had many famous songs filmed on him -“Paas baitho tabiyat bahal jayegi”, “In pyar ki raahon mein”, we have seen him shaking a leg when Shamshad Begum sang, for Kumkum’s debut in movies, “kabhi aar kabhi paar”. This post introduces us to the person whose 81st birthday it is today.
Yes we are wishing “Soorma Bhopali” of Sholay a.k.a father of Jaaved and Naaved Jaafri of ‘Booogie Boogie’ fame. Simply put we are celebrating comedian Jagdeep’s birthday.
He may have done around 100 movies prior to “Sholay” but when Salim-Javed wrote the character of ‘Soorma Bhopali’ it changed Jagdeep’s fortunes forever. He was seen in many movies after “Sholay” too but very few remember him as the sidekick of Gopi (Mithun Chakravarty) ‘Kabari” in Surakksha”” (1979); ‘Chandu alias James Bond’ in the 1977 release “Agent Vinod”; he had a tiny-blink-n-miss role in Feroz Khan’s “Qurbani”. Jagdeep was forever requested to reappraise his Soorma Bhopali, atleast once, in many subsequent movies. He himself wrote and directed a movie with the title “Soorma Bhopali” in 1988. I don’t know much about that movie other than the fact that it had a whole lot of Jagdeep’s co-actors from “Sholay” making guest and special appearances in that movie. IMDB.com gives the list of actors as Agha, Amitabh Bachchan, Master Bhagwan, Birbal, Brahmachari, Danny, Dharmendra; Aruna Irani appears to be the sole female in the starcast.
I have chosen a song from this 1988 movie to accompany this post. The music directors were Dilip Sen- Sameer Sen and songs were written by Asad Bhopali, Jaan Nissar Akhtar and Jagdeep himself has written a song. It was a difficult task selecting a song from this movie as Jagdeep has also sung a few songs in the movie. But I finally decided that we will have a song that accompanies the movie’s credits that is what I have deduced from the available clip. This song is sung by Mohd Aziz and Jagdeep and Asad Bhopali is the lyricist. As I was writing the lyrics I caught the names of lot more actors than those that I have mentioned who were common to Sholay and this movie.
Here is wishing our very own Soorma Bhopali, who had a one-liner to his character in Sholay that said “Soorma Bhopali aise nahin hai”, A very Healthy and happy Birthday.
Song-Main hoon Soorma Bhopali (Soorma Bhopali)(1988) Singer-Md Aziz , Lyrics-Asad Bhopali, MD-Dilip Sen Samir Sen
Jagdeep
Lyrics
assalaam vaalekkum
aadaab arz hai
namaste
aao hanste hanste
aur jaao hanste hanste
paan khaalo
aur issi baat pe bajaao taali
ke main hoon soorma bhopali
arre haan soorma bhopali
ke main hoon soorma bhopali
miyaan haan soorma bhopali
main na rahoon Bhopal mein
toh sheher lage hai khaali ee ee
main hoon soorma bhopali
miyaan haan soorma bhopali
yeh mera bhopal hai
jo pyaar se maalaamaal hai
bairagadh se T T Nagar tak
jo hai yahaan khush-haal hai
moti masjid jaama masjid
Taj ul Masjid dekh kar
jo bhi dekhe birla mandir
chamak uthhe hai uski nazar
kamlapati raani ka mahal hai
beech mein donon taalon ke
jaise meri naak hai pyaare
beech mein donon gaalon ke
meri chaal anokhi sabse
meri chaal anokhi sabse
meri ada hai niraali ee ee
main hoon soorma bhopali
miyaan haan soorma bhopali
meri cycle meri dulhan hai
isko saja ke rakhta hoon
ise akela jab bhi chhodoon
taala laga ke rakhta hoon
logon meri soorat pe na jaao
dil hai mera aaine jaisa
mujhse meri ammi ne kahaa thha
beta haath ka mail hai paisa
paise ki parwaah na karna
bhale kaam mein rehna aage
uske karam par rakhna bharosa
woh jab chaahe kismat jaage
ooparwaala
ooparwaala kadam kadam par
kare teri rakhwaali ee ee
main hoon soorma bhopali
arre haan soorma bhopali
main na rahoon bhopal mein
toh sheher lage hai khaali ee ee
main hoon soorma bhopali
miyaan haan soorma bhopali
main hoon soorma bhopali
miyaan haan soorma bhopali
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4271 | Post No. : | 15502 | Movie Count : |
4272 |
Today, 28th March, is the remembrance day of another famous creator of musical melodies who has given us some of the most charming songs rooted in the classical music of our country. Shrinath Tripathi or SN Tripathi, passed away, this day in 1988 in Bombay, at the age of 75.
Regulars will remember the film ‘Achhoot Kanya’ (1936), and the iconic song “Main Ban Ki Chidiya Ban Ke Ban Ban Boloon Re”, so wonderfully composed by Saraswati Devi, and rendered by Ashok Kumar and Devika Rani, In an interview once, Ashok Kumar had described how this song was prepared. He was a novice at that time, and not a trained singer. He says that this song was rehearsed for almost a month before Saraswati Devi was satisfied enough to proceed to the recording room. The main stumbling notes for Ashok Kumar and for Devika Rani were the enhanced emphasis on “. . .Boloon Re” and “. . .Doloon Re”. Ashok Kumar narrates that it took him and Devika Rani one full month to render this emphasis to the satisfaction of the music director. A lesser known trivia attached to this anecdote is that SN Tripathi was the assistant music director for this film, and he conducted these rehearsals with the singers for the said one month.
Born in Benaras on 14th March, 1913, young Shrinath got associated quite early with Badriprasad, who was also from Benaras. [Note: Yes, the same Badriprasad whom we are more familiar as a character actor / music director / dance director / story and dialogue writer in Hindi films.] Badriprasad was already associated with the theatre scene in Benaras. Shrinath started to assist him with composing music for the stage plays, according to the scene and action on stage. In the company of Badriprasad, he also got wonderful opportunities to meet and listen to many other artists of classical music, vocal and instrumental, as part of the active cultural environment in the city.
Later, Badriprasad made his way to Calcutta and joined the theatre activities there, and eventually moved to films, and thence migrated to Bomabay (now Mumbai). Shrinath came to Lucknow and joined the Morris College of Music. That is where he met with Himanshu Rai and Devika Rani, who had come scouting for music talent for their production house – Bombay Talkies. They invited Shrinath to Bombay, and he joined them as a violinist and and assistant in the music department. The year would have been 1933 or 34, as his first credits are as the assistant music director for the 1934 film ‘Jeevan Naiya’.
He remained with Bombay Talkies till the release of film ‘Bhabhi’ in 1938. The he struck out, seeking assignments as an independent music director. His first break was with the film ‘Chandan’, which was apparently delayed and got released in 1941. There started a career that continued till the mid 1980s. His last film was ‘Mahasati Tulsi’ (1985). From the mid 1960s to mid 1980s, his assignments dwindled quiet a bit. The musical tastes were changing more towards orchestral and western style tunes. He got confined to religious films and regional films. Coming into the 1980s, he did only 3 films from 1981 to 1985.
As happens usually, the industry stopped paying any attention and his last years were spent in financial difficulties. He left this world after a brief illness, in 1988.
The film ‘Choodiyaan’ was released in 1942. The film was produced under the banner of Prakash Pictures and was directed by KJ Parmar and LJ Bhatt. The cast of actors included Prem Adeeb, Maya Bannerji, Jeevan, Shakir, Gulab, Bholaram, Meher Sultana, Baby Tara, Ranibala, Sitaram, Chiman Seth, Lakshmi, Vasant Kanse, Athawale, OP Sharma amongst others.
The film had eleven songs written by five lyricists – Pt Indra, prem Adib, Ramesh Gupta, Sharma and Tiwari. This song is written by Tiwari. My intuition says that the full name of this song writer is Neelkanth Tiwari. The time period is the same. His career also begins from 1941.
The song is rendered by Rajkumari (Rajkumari Dubey). The song presents a generic ode to the jewllery item ‘choodi’ (bangle). The song presents a brief description about its construction, and its importance. The beauty of the song is that it is presented as a first person i,.e. the bangle itself is presenting this song. Given that the name of the film is ‘Choodiyaan’, this song might well have been the theme song of the film, and quite possibly may have been played at the time of credits. I request more knowledgeable readers to please add more information about this song and it picturization.
With this song, the film ‘Choodiyaan’ makes its debut on our blog. 🙂
[Note: There is one word in the lyrics that I seek help from readers to decipher. It is in the second antaraa. I request other readers and friends with keener ears to please help.]
Song – Choodi Hoon Main, Ek Kahaani Hoon Main (Choodiyaan) (1942) Singer – Rajkumari, Lyrics – Tiwari, MD – SN Tripathi
Lyrics
choodi hoon main
ek kahaani hoon main
choodi hoon main
ek kahaani hoon main
naari ke
naari ke sukh ki nishaani hoon main
naari ke
naari ke sukh ki nishaani hoon main
choodi hoon main
ek kahaani hoon main
bana kaanch ka hai kada mera tan
bana kaanch ka hai kada mera tan
darpan sa nirmal hai par mera mann
darpan sa nirmal hai par mera mann
zara thhes pahunchi tadakti hoon main
zara thhes pahunchi tadakti hoon main
aisa hai naari ka komal ye mann
aisa hai naari ka komal ye mann
naari ke sapnon ki rani hoon main
naari ke sapnon ki rani hoon main
choodi hoon main
choodi hoon main
ek kahaani hoon main
naari ke
naari ke sukh ki nishaani hoon main
naari ke
naari ke sukh ki nishaani hoon main
choodi hoon main
ek kahaani hoon main
patli kalaai hai phoolon ki daal
patli kalaai hai phoolon ki daal
chidiya si us par chehakti hoon main
patli kalaai hai phoolon ki daal
chidiya si us par chehakti hoon main
pyaari ke yauwan ka main hoon basant
pyaari ke yauwan ka main hoon basant
preetam ke mann mein thhirakti hoon main
preetam ke mann mein thhirakti hoon main
laakhon baras ki jawaani hoon main
laakhon baras ki jawaani hoon main
choodi hoon main
choodi hoon main
ek kahaani hoon main
naari ke
naari ke sukh ki nishaani hoon main
naari ke
naari ke sukh ki nishaani hoon main
choodi hoon main
ek kahaani hoon main
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
चूड़ी हूँ मैं
एक कहानी हूँ मैं
चूड़ी हूँ मैं
एक कहानी हूँ मैं
नारी के
नारी के सुख की निशानी हूँ मैं
नारी के
नारी के सुख की निशानी हूँ मैं
चूड़ी हूँ मैं
एक कहानी हूँ मैं
बना काँच का है कड़ा मेरा तन
बना काँच का है कड़ा मेरा तन
दर्पण सा निर्मल है पर मेरा मन
दर्पण सा निर्मल है पर मेरा मन
ज़रा ठेस पहुंची तड़कती हूँ मैं
ज़रा ठेस पहुंची तड़कती हूँ मैं
ऐसा नारी का कोमल ये मन
ऐसा नारी का कोमल ये मन
नारी के सपनों की रानी हूँ मैं
नारी के सपनों की रानी हूँ मैं
चूड़ी हूँ मैं
चूड़ी हूँ मैं
एक कहानी हूँ मैं
नारी के
नारी के सुख की निशानी हूँ मैं
नारी के
नारी के सुख की निशानी हूँ मैं
चूड़ी हूँ मैं
एक कहानी हूँ मैं
पतली कलाई है फूलों की डाल
पतली कलाई है फूलों की डाल
चिड़िया सी उस पर चहकती हूँ मैं
पतली कलाई है फूलों की डाल
चिड़िया सी उस पर चहकती हूँ मैं
प्यारी के यौवन का मैं हूँ बसंत
प्यारी के यौवन का मैं हूँ बसंत
प्रीतम के मन में थिरकती हूँ मैं
प्रीतम के मन में थिरकती हूँ मैं
लाखों बरस की जवानी हूँ मैं
लाखों बरस की जवानी हूँ मैं
चूड़ी हूँ मैं
चूड़ी हूँ मैं
एक कहानी हूँ मैं
नारी के
नारी के सुख की निशानी हूँ मैं
नारी के
नारी के सुख की निशानी हूँ मैं
चूड़ी हूँ मैं
एक कहानी हूँ मैं
- In: "beach" song | Asha Bhonsle songs | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | Kishore Kumar songs | Kishore Kumar-Asha Bhonsle duet | Love song | Lyrics contributed by readers | Post by Sudhir | Songs of 1970s (1971 to 1980) | Songs of 1973 | Yearwise breakup of songs
- 3 Comments
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.
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Blog Day : |
4271 | Post No. : | 15501 |
Four films in his debut year. An accomplishment that is not claimed by many other music directors. The year – 1966. And the films – ‘Thakur Jarnail Singh’, ‘Smuggler’, ‘Shera Daku’ and ‘Husn Aur Ishq’. And a sampler of hits from these films – the all time favorite “Hum Tere Bin Jee Na Sakenge Sanam”; the timeless Rafi Sb – Suman Kalyanour duet “Hum Jahaan Hai Wo Maqaam Husn Aur Ishq Hai”; the lilting Mukesh solo “Ae Mere Dil Teri Manzil”; the haunting Lata solo “Intezaar Ka Aalam, Tanhaai Aur Hum”; the racy cabaret number by Lata – “Dil Ka Lagaana Is Duniya Mein”. Songs all made memorable by the lilting tunes mixed with wonderful rhythm and orchestration – the music coming from the mind of Ganesh Prasad Sharma.
Remembering music director Ganesh – he passed away on 28th March, 2000. He was 58.
Ganesh Prasad Sharma, son of the venerable Ram Prasad Sharma, came on to the film scene in early 1960s, working along with the music director duo of Laxmikant Pyaarelal. He was the younger brother of Pyaarelal. His work accompanying his elder brother as and arranger and orchestration expert. As the word got around about his talent, and his ability to create attractive rhythm and orchestration arrangements, and by the middle of the decade he started getting assignments as independent music directors. The rush of assignments was such that he had to turn down some offers, right at the beginning of his career.
Over the years, however, despite creating some very wonderful music for films, his career did not really develop much beyond the initial euphoria. Around mid 1970s, after having composed music for almost 25 films, his career simply faded away. The general opinion is that Ganesh could not get away from the shadow of the more illustrious and successful team of Laxmi-Pyaare. Since he continued to work with L-P also, the quality and characteristics of the music of his own independent films never really stood out as distinct. The similarity between the two threads of music did not allow him to create a truly independent identity for himself.
Today, I present a duet song from the 1973 film ‘Ek Naari Do Roop’. The film is remembered for the iconic favorite in Rafi Sb’s voice – “Dil Ka Soona Saaz Taraana Dhoondega”. The film is produced by the famous BR Ishara under the banner of Co-Operative Pictures, Bombay, and is directed by Madhusudan. The cast of actors is listed as Shatrughan Sinha, Rashmi Dhawan, Mehmood (Junior), Iftekhar, Madan Puri, Nadira, Roopesh Kumar, Malika, Chaman Puri, Honey Chhaya, Sapru, Lalita Kumari, Maruti, Kaajal, Rajni, Moolchand, Qureshi, Ranveer Raj, Subhash, Master Sheru, Master Ratan, and Master Chiku, with a guest appearance by Asha Sachdev.
The film has five songs listed. Four of these songs are already showcased on our blog. Today we bring on board the fifth and final song of this film. The song is penned by Naqsh Lyallpuri. The singing voices are of Asha Bhosle and Kishore Kumar. On screen, the song is performed by Shatrughan Sinha and Rashmi Dhawan. The name Rashmi Dhawan is not very familiar as a heroine. Her name can be seen in just one more film ‘Mann Tera Tan Mera’ from 1971, which is also produced by BR Ishara. She had a side role in that film – the lead pair is listed as Anil Dhawan and Rehana Sultana. So apparently, ‘Ek Naari Do Roop’ is the only film of this actress as the heroine.
The song is picturised as a love song, with the protagonists expressing their feelings of first love for each other, in a beach scenario. Shatrughan has a very trim and fresh look in this film,
The post also rings in the Yippeee status for this film. The earlier four songs of this film have appeared in the blog as follows.
|
S.No. |
Song Title | Film | Year | Post No, |
Post Date |
| 1 | Dil Ka Soona Saaz Taraana Dhoondhega | Ek Naari Do Roop | 1973 | 13 | 31-Jul-08 |
| 2 | Mere Mann Pawan Sang Udd Chal | Ek Naari Do Roop | 1973 | 7771 | 28-Mar-13 |
| 3 | Zindagi Mein Sada Muskuraate Raho | Ek Naari Do Roop | 1973 | 14830 | 8-Jan-19 |
| 4 | Ham Hi Jaanen Ek Torey Manwa Ki Peer | Ek Naari Do Roop | 1973 | 15028 | 14-May-19 |
A very interesting thing to note here. The first song of this film, posted as far back as on 31st July, 2008, is the first teen song of our blog. And the film is the first teen film. What I mean is that this film made its debut as the 13th song on the blog, and also that it is the 13th film to appear on the blog. 🙂
And further, those were the days when the blog was still following ‘song-a-day’ convention. So it was also the 13th day for the blog. 🙂
Song – Tum Samjho To Achha Hai, Main Bolun To Kya Bolun (Ek Naari Do Roop) (1973) Singer – Asha Bhosle, Kishore Kumar, Lyrics – Naqsh Lyallpuri, MD – Ganesh
Asha Bhosle + Kishore Kumar
Lyrics
hmmmm hmmmm hmmm
hmmm hmmm
hmmm hmmmmmm
aa ha ha ha ha
arey
chup kyon ho gayi
gaao naa
na
na
na
na
oohn hoon
tum samjho
to achha hai
main bolun
to kya bolun
tum samjho to achha hai
main bolun to kya bolun
bolo bolo bolo bolo bolo
tum se hi jawaani hai
ye duniya suhaani hai
meri jaan
tum ye kya jaano
kya keh rahin hain aap
tum samjho to achha hai
main bolun to kya bolun
arey tum samjho to achha hai
main bolun to kya bolun
ho ke dewwana main kaise luta
dil se mere tum ye poochho zara
ho ke dewwana main kaise luta
dil se mere tum ye poochho zara
kehta hai ye mera dil
meri hai yahi manzil
meri jaan tum ye kya jaano
tum bolo to achha ha
main bolun. . .
na na na
tum samjho to achha hai
dekha jo tumko ae mere sanam
meri jawaani ke behke kadam
oy hoy
dekha jo tumko ae mere sanam
meri jawaani ke behke kadam
pehle bhi mila saawan
bheega bhi nahin daaman
meri jaan tum ye kya jaano
tum samjho to achha hai
na
tum bolo to achha ha
main bolun to kya bolun
baahon mein le lo ye mehka badan
tum ho meri tumko jaane chaman
baahon mein le lo ye mehka badan
tum ho meri tumko jaane chaman
chheena hai
hazaaron se
maanga hai
bahaaron se
meri jaan tum ye kya jaano
tum bolo to achha ha
main bolun to kya bolun
bolo
bolo bolo bolo bolo bolo bolo
tum se hi jawaani hai
ye duniya suhaani hai
meri jaan
tum ye kya jaano
kya keh rahin hain aap
tum bolo to achha ha
main bolun to kya bolun
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
हम्ममम हम्ममम हम्मम
हम्मम हम्मम
हम्मम हम्ममममम
आ हा हा हा हा
अरे चुप क्यों गईं
गाओ ना
ना
ना
ना
ना
ऊँ हूँ
तुम समझो
तो अच्छा है
मैं बोलूँ
तो क्या बोलूँ
तुम समझो तो अच्छा है
मैं बोलूँ तो क्या बोलूँ
बोलो बोलो बोलो बोलो बोलो
तुमसे ही जवानी है
ये दुनिया सुहानी है
मेरी जाँ
तुम ये क्या जानो
क्या कह रहीं हैं आप
तुम समझो तो अच्छा है
मैं बोलूँ तो क्या बोलूँ
अरे तुम समझो तो अच्छा है
मैं बोलूँ तो क्या बोलूँ
हो के दीवाना मैं कैसे लुटा
दिल से मेरे तुम ये पूछो ज़रा
हो के दीवाना मैं कैसे लुटा
दिल से मेरे तुम ये पूछो ज़रा
कहता है ये मेरा दिल
मेरी है यही मंज़िल
मेरी जाँ तुम ये क्या जानो
तुम बोलो तो अच्छा है
मैं बोलूँ॰ ॰ ॰
ना ना ना
तुम समझो तो अच्छा है
देखा जो तुमको ए मेरे सनम
मेरी जवानी के बहके कदम
ओय होय
देखा जो तुमको ए मेरे सनम
मेरी जवानी के बहके कदम
पहले भी मिला सावन
भीगा भी नहीं दामन
मेरी जाँ तुम ये क्या जानो
तुम समझो तो अच्छा है
ना
तुम बोलो तो अच्छा है
मैं बोलूँ तो क्या बोलूँ
बाहों में ले लो ये महका बदन
तुम हो मेरी तुमको जाने चमन
बाहों में ले लो ये महका बदन
तुम हो मेरी तुमको जाने चमन
छीना है
हजारों से
मांगा है
बहारों से
मेरी जाँ तुम ये क्या जानो
तुम बोलो तो अच्छा है
मैं बोलूँ तो क्या बोलूँ
बोलो
बोलो बोलो बोलो बोलो बोलो बोलो
तुमसे ही जवानी है
ये दुनिया सुहानी है
मेरी जाँ
तुम ये क्या जानो
क्या कह रहे हैं आप
तुम बोलो तो अच्छा है
मैं बोलूँ तो क्या बोलूँ
- In: Artist century song in blog | Asha Bhonsle songs | Blog century song | Century songs for the blog | Guest posts | Manna Dey songs | Post by Raja | qawwali | Rafi songs | Song sung by three or more singers | Songs of 1980s (1981 to 1990) | Songs of 1982 | Thousandth song for the artist | Thousandth song in the blog | Yearwise breakup of songs
- 3 Comments
This article is written by Raja, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
4270 | Post No. : | 15500 | Movie Count : |
4271 |
Ok, so Atul approached me a few days ago requesting me for a post for a special occasion.
My posts have become very infrequent here – in fact, before my latest post on Sahir’s birth anniversary (8th March), my previous post was on his death anniversary last year (25th October). So a gap of more than 4 months.
But then, like often happens in Test cricket, you wait and wait for a wicket to fall – and when one falls, another quickly follows.
Same has happened here. Following quickly on the heels of the 8th March post, here is another one.
And on such an occasion that I just could not refuse. Let’s just call it the perfect yorker. 🙂
Friends, I am SO honoured here to present Rafisaab’s 3000th song on this blog.
Please allow me now to take a deep breath to let this sink in.
I don’t remember now when we got to Rafisaab’s 1000th and 2000th songs, but as we scale new heights, it feels like we’re entering rarified space.
3000 songs of one artiste on our blog is quite an astonishing achievement. Of course, we’ve already got there with Lata Mangeshkar (she’s going strong with 3500+ right now) but Rafisaab is only the second artiste to hit this milestone here.
Even as I write this post, I feel extremely humbled – and undeserving of this honour. This post is supposed to be a tribute not just to Rafisaab, but to this blog itself.
And there have been so many more here, starting with Atul himself, who deserve to write this. My contributions have dramatically reduced – while there are at least a dozen others (actually many more), who contribute much more, and far more regularly.
But since I am a big Rafisaab fan, I think Atul approached me for this. (In fact there are even bigger Rafisaab fans here – but let’s not start comparing. :-))
Having said all that, let’s talk a bit about Rafisaab here – and our love for him.
I say “our”, because I know I speak for everyone here when I say, we all love Rafisaab here. Only the degree might differ.
Speaking for me personally (and maybe for others too), it has never been about just Rafisaab’s voice.
Sure, for his voice alone, he would easily have had a special place in my heart. That divinity in his voice, his ability to transport me into a different realm altogether, the intonations, the “thehraav” – all of these put him on a level that’s stratospheric for me.
I have spent hours listening to Rafisaab, often intending to listen to just one song. 🙂 I’d listen to one, then get tempted to listen to another, then another, and so on. And before I’d realize it, the minutes would turn into hours. I’ve even spent all night listening to him (ok, that was a few years ago, when I coul stay awake all night). 🙂
It has been said many times before, and by many, but I will say it again – at least in HFM, I haven’t seen any singer with the versatility of Rafisaab. He could deliver every single song in exactly the mood and range required for it. Which is why he could do rock and pop singing just as comfortably as he could do bhajans and ghazals.
Rafisaab could totally get you into any mood the song demanded. He could just mesmerize you into it.
One moment he’s singing the breezy “pukaarta chala hoon main” or the sensuous “aaja re aa zaraa”, the next he’s singing the bhajan “sukh ke sab saathi”. 🙂
One moment, you’re imagining yourself as Shammi Kapoor with “aaja aaja main hoon pyaar tera”, the next you’re Bharat Bhushan lamenting “o duniya ke rakhwaale”. 🙂
They said of Rafisaab that he was an extremely shy and quiet person outside the recording room. You could barely hear his voice.
But once, in the room, recording?
He was a totally different person.
He would be so totally immersed in the song, giving it the very best he could, that you couldn’t believe it was the same person who, outside the room, hardly ever spoke.
In this sense, Rafisaab was a thorough professional. He always sought to give his very best, regardless of who the composer was.
In stature, he was often far higher than most of the composers he sang for. So it is only normal that composers might have hesitated to ask him for a retake, and could have just gone with whatever had been recorded, even if they were not fully satisfied.
But such was Rafisaab’s humility, such was his professionalism, such was his lack of ego, that he would ask the composer if it was ok – and if the composer had any suggestions for improvement, Rafisaab would redo it to the composer’s satisfaction.
That is truly the sign of greatness of an artiste.
And, considering how many successful artistes end up with ego too to match, Rafisaab stands out as an exception.
There are so many other things about Rafisaab that speak of the greatness of him as a human being.
There are other examples of Rafisaab’s nature that are also endearing.
For example, the fact that he sang for composers for a nominal fee, even just a token one rupee, because he knew they could not afford to pay him fees compatible with his stature.
Even in the royalty issue, which resulted in his fallout with Lata, his stand was typical. I don’t want to play judge here, and talk about whether his/Lata’s action was right or wrong, but it was typical of Rafisaab to feel that he had been adequately compensated for the work he had done, and shouldn’t ask for more.
Rafisaab’s generosity went beyond the industry. He provided financial support to people who did not even know who their benefactor was.
All of this, without the slightest arrogance. When someone would praise one of his songs, Rafisaab would just smile and point upwards , as if to say “sab ooparwaale ki kripa hai”.
There’s SO much one could learn from Rafisaab and his values. Ever-polite, ever-professional, ever-helpful, ever-smiling, ever-humble. And ever the family man too, because he always enjoyed spending time with his family.
I’ve written many times about him here – and much of what I’m saying here is repetitive (and possibly boring), but it always gives me great joy to write about Rafisaab, whatever the occasion.
I invariably then write about his character and not just his songs, because his character amazes me just as much as his amazing voice.
So the fact that we have now got 3000 songs of Rafisaab on this blog is a hugely satisfying achievement. My hearty congratulations to Atul, and to everyone else who has been part of this process.
Oh, and in all the discussion about Rafisaab and his 3000th song, I almost forgot.
There’s another milestone to celebrate today – today’s song also happens to be the 15500th song on the blog.
Yes, 15,500.
There was a time, in the early years of the blog, when every century was a major milestone. Then, as the centuries began getting clocked with regularity, the celebration around them decreased. We had entered the chiliad league, so our major milestones became 1000, 2000, 3000 and so on….now past 15000.
The 100s became minor milestones.
While this is understandable to some extent after 155 centuries, I still think every century deserves to be celebrated.
Let us NEVER forget that EVERY song involves a fair amount of effort, and though contributors (*cough*, *cough*) do their bit, every song still requires time & effort from Atul/Sudhirji. And they’ve put this effort 100 times, since 15400. So, I definitely think they deserve appreciation and a round of applause for this.
Now onto the song for today.
You can always trust Atul to unearth songs that have long faded from people’s memory. Or maybe they never got attention when they were released.
The same applies to films too. After all, the Hindi film industry is prolific, with hundreds of films being released every year, and thousands of songs.
As a result, many songs and films never get attention.
This blog has always tried to unearth such songs and films, and to give them their share in the limelight, even if it is several years after their release. After all, every song involves a lot of effort from many artistes. And for a film? The effort is several times more – involving so many more people, in various capacities, each one playing his/her role hoping to see the film succeed at the box-office.
I don’t know the success rate of films, but I’d say there are far more films that don’t click at the box-office, than those which do. Let’s not get into reasons here – I’m no pundit – but I do always like to acknowledge the effort that has gone into making a film anyway.
Why so much of a build-up in this post?
Because the song for today has as much to do with the film as with the song itself.
Prima facie, the song looks like a routine song. It’s a qawwali, with its usual nok-jhok, and, as isn’t uncommon in movies, with disguises. 🙂
Now I’m a sucker for qawwalis, so even though this probably isn’t in the same league as many more illustrious ones, I’m happy to just listen to it, and enjoy it.
Besides, this was 1982 – and by then, qawwalis were slowly on the decline. The times had changed, and naturally films had to reflect the changed times.
So I wouldn’t judge this qawwali, keeping other classics in mind. 🙂
When Atul sent me an e-mail requesting me for a write-up, he explained why he picked this song. It has to do with not just the song, but the film as well.
This is what he said:
The song that I have chosen for the occasion is a special song. It is a rare song. It is composed by an obscure music director called B T Singh. It is the only song of B T Singh with Rafi in his career. HFGK mentions that music was arranged and composed by Uttam Singh. He could be assistant to B T Singh.
The movie is an obscure movie called “Chambal Ke Daaku”(1982). This movie was Produced by R S Sandhu , written and directed by S Azhar for S L Cheema films, Bombay.
The USP of the movie was “Real dacoits pesented first time on screen.”
The movie had real dacoits viz Mohar Singh, Madho Singh, Fateh Singh, Lakhan Singh, Kalyan Singh and hundred of ex dacoits, and actors like Nazneen, Javed Khan, Madhumalini, Sulochana, Malti Joshi, Yasmeen, Birbal, Dushyant, Deep, Ashok, S S Khan, Nirmal Singh, Shamsher Singh, Jeewan Singh, Joginder Singh, Amreek Singh, Joginder Singh Laddhar, Mahendra Singh, Chandrakala, Ramesh Deo, Sohel Khan, Joga Singh, Sayyad Khan, Praveen Lakhad, Gajendra Gadge, Rajkumar, Baw Brar, Shabbir Khan, Guest apppearances by Padma Khanna, Hina Kausar, Mahendra, Raza Murad etc.”
Wow!
So now we have a film here where real-life dacoits just decided to act in a film. Maybe there are other examples too (what about “Jis Desh Mein Ganga Behti Hai”)?
In any case, it is a rather fascinating scenario. And of course, when I learnt about this, my mind began working overtime, imagining all sorts of things.
– Were they active dacoits, wanted by the police? If so, how did they get to act? Or had they served their sentence, and reformed? In which case, they shouldn’t be judged on their past, of course.
– How much were they paid?
– Was it maybe just a smart move for the producer to co-opt real-life dacoits so that not only does he have a USP, but he also has access to their expertise, and could film in locations he wouldn’t otherwise dare to?
– How did co-stars, and the rest of the crew feel? Imagine having chai with a real-life dacoit. You’d probably not want to upset him, or even crack a joke about him, for fear of him taking offence at it
– In the shooting scenes, was anyone worried that the dacoits might just get excited and take it all too literally?
Such thoughts, and more, came to my mind, because this was reel life and real life potentially getting mixed up. The key word here is “potentially”. 🙂
Chambal itself was a common film theme in those days – especially in the 70s and early 80s. Films mirror real-life events, and dacoity used to be in the news off and on in those days. There were plenty of dacoit films made in that time, the most famous being Sholay, of course. 🙂
I remember VP Singh, CM of UP (1980-82) came down hard on dacoity in his time, and even got a lot of praise for it. But soon after, there was a major dacoity, as if to spite him – and he offered to resign as CM.
I myself used to travel a lot by train from Orissa to Delhi in the early 80s, and go through Gwalior-Morena (I think Dholpur in Rajasthan also), which I think is the Chambal area. The landscape would be “interesting”, and would trigger my imagination. 🙂
Anyway, enough of digression.
Back to the song, it is sung by Rafisaab (of course), together with Asha Bhosle and Manna Dey. Rafisaab passed away in 1980, so it’s possible this is one of his last few songs – unless the film took a while to get released.
I must admit I couldn’t recognise many faces – but Ramesh Deo is, of course, unmistakeable.
Hope you enjoy the song, and imagine yourself singing it with real-life dacoits in Chambal Valley. 🙂
And once again, congratulations to the blog for clocking Rafisaab’s 3000th, and the blog’s 15500th.
Audio
Video
Song-Uljhan ho chaahe koi aa jaaye mushqil (Chambal Ke Daaku)(1982) Singers-Rafi, Asha Bhonsle, Manna Dey, Lyrics-Gauhar Kanpuri, MD-B T Singh
Male chorus
Female chorus
Lyrics
banaayenge bhanwar mein raasta
aur lahron pe saahil
bhanwar kehte hain uljhan ko o
lahar ka naam hai ae ae mushqil
uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil
mil ke rahegi yahin apni manzil
mil ke rahegi yahin apni manzil
kehta hai aaj yehi mera dil
uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil
kahaan se aaye ho
bolo ji kya iraada hai
Ji kya iraada hai
hamaari baat hai
ya doosron se waada hai
ye dil ka raaz hai
dil mein hi rehne do dilbar
haan rehne do dilbar
banega baat ka afsaana honthon pe aa kar
dilon ke raaz ko
o o o o o o
dilon ke raaz ko
nazron se ham to
kehte hain
kehte hain
kehte hain
ham si haseenon ko samjho na gaafil
gaafil
ham si haseenon ko samjho na gaafil
uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil
haaye
haseen adaaon ka rangeen nazaara dekhenge
nazaara dekhenge
ham apni aankh se kismat ka taara dekhenge
haaye ae ae ae
ae ae ae
aa aa aa aa aa
aa aa aa aa
nazar nawaaz
nazaaron mein jee nahin lagta
haaye ae ae
haseen chaand sitaaron mein aen
jee nahin lagta
sa ni ma dha pa ni
dhi ma pa ni sa
sa ni sa dha ni
pa dha
ma pa
ma ga ma
ga re ga sa re
sa re ga ma pa
nigaah e naaz ka hamko ishaara mil jaaye
ishaara mil jaaye
hamen bhi jeene ka
koi sahaara mil jaaye
isharaa paaoge ae ae ae
isharaa paaoge
jhaanko hamaari aankhon mein
aankhon mein
aankhon mein
chaand se chehre pe
taaron ki jhilmil
jhilmil
chaand se chehre pe taaron ki jhilmil
uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil
samajh gaya hoon main
dil aur nazar ke afsaane
nazar ke afsaane
anaar ek hai
aur uske do hain deewaane
deewaana kaun hai
duniya ko ye bataana hai
yahi bataana hai
nazar ke teer se taqdeer aazmaana hai
jo hoshiyaar hai
ae ae ae ae ae
jo hoshiyaar hai
duniya usi ke kaabil hai
kaabil hai
kaabil hai
mehfil se baahar bhi hai ek mehfil
mehfil
mehfil se baahar bhi hai ek mehfil
uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil
kahin uljhan hai
kahin mushqil hai
kahin mehfil kahin manzil
ye lo mera fasaana
ye kissa hai puraana
oho
hamaara dil na todo
oho
ye dil ki bat chhodo
oho
mere nazdeek aao
oho
qayaamat na uthhaao
oho
tumhaara dil hai patthar
aha
magar tum ho sitamgar
oho
mujhe tarpaaya tumne
oho
mujhe uljhaaya tumne
oho
tujhe hamne pooja
oho
mere dil mein hai dooja
oho
kahaan hai wo kidhar hai
oho
idhar hai ye udhar hai
Phool gulaab ka
Posted on: March 25, 2020
This article is written by Peevesie’s mom, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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4268 | Post No. : | 15495 | Movie Count : |
4270 |
hullo Atuldom
Under Sudhirji’s current series “Songs repeated in hindi films” he posted Ek Ladki Bheegi Bhaagi Si on March 17th, that reminded me that Farooque Sheikh’s Birth anniversary was round the corner. he would have turned 72 today (25 march 2020).
I was reading up about Farooque Sheikh ((25 March 1948 – 28 December 2013) and discovered he was the son of a lawyer and was a law graduate himself. He had leanings towards theatre and met his future wife Roopa and future co-star Shabana Azmi on the stages of St. Xavier’s College in Mumbai.
His first released movie was M.S. Sathyu’s “Garam Hawa”. What followed was a list of movies that represented the meaningful cinema of the 70s and 80s, movies that were neither ART or COMMERCIAL but more of the MIDDLE-OF-THE-ROAD kind; movies that the middle class audiences of those times identified with. We saw him in Chashme Baddoor, Katha, Rang Birangi, Ek Baar Chale Aao, Faasle, Ab Aayega Maza, Biwi Ho Toh Aisi etc.
Today we shall have a song from “Biwi Ho Toh Aisi” which had an unusual pairing. We were used to seeing Farooque with Deepti Naval in most films back then, but “BHTA” had Farooque pairing with Rekha romantically, and Kadar Khan and Bindu played his parents and Salman Khan (this was Salman Khan’s debut movie) played his brother.
This was not the first time that Rekha teamed up with Farooque Sheikh. He had played a Nawaab who was in love with Umrao in Umrao Jaan. There was one other movie with the same pairing but we see Farooque Sheikh playing the typical romantic Bollywood hero here.
Here is today’s song.
Song-Phool gulaab ka (Biwi Ho To Aisi)(1988) Singers-Md Aziz, Anuradha Paudwal, Lyrics-Anjaan, MD-Laxmikant Pyarelal
Both
Lyrics
phool gulaab ka
phool gulaab ka
laakhon mein hazaaron mein
ek chehra janaab ka aa aa
phool gulaab ka
haan jhonke suroor ke
jhonke suroor ke ae
aisi taareefen taareefen
aisi taareefen karna
seekhe koyi huzoor se ae ae
phool gulab ka
haan jhonke suroor ke ae
gore gore haathon mein mehandi mehakti hai
gore gore haathon mein mehandi mehakti hai
phool si kalaayi mein choodi khanakti hai ae
choodi khankati hai ae ae
maujen chenaab ki
maujen chenaab ki ee
maathhe pe chamakti hai bindiya hijaab ki ee ee
phool gulaab ka
khushbuon ke saaye mein
kya kya gul boote hain
khushbuon ke saaye mein
kya kya gul boote hain
prem rang sachcha hai
baaki rang jhoothhe hain
baaki rang jhoothhe hain ae ae
mausam jawaan hai
mausam jawaan hai ae
tauba boloon kya boloon
mushkil mein jaan hai ae ae
jhonke suroor ke ae ae
thhami thhami lehren hain
ruka ruka paani hai
thhami thhami lehren hain
ruka ruka paani hai
teri meri aankhon mein
raat ki kahaani hai
teri meri aankhon mein
raat ki kahaani hai
raat ki kahaani hai ae ae
waada bahaar ka
waada bahaar ka aa
umrr bhar gaayenge
naghma yeh pyaar ka aa aa
phool gulaab ka
laakhon mein hazaaron mein
ek chehra janaab ka aa aa
jhonke suroor ke
aisi taareefen karna seekhe koyi huzoor se ae ae
phool gulab ka
laakhon mein hazaaron mein
ek chehra janaab ka aa aa
phool gulaab ka
laakhon mein hazaaron mein
ek chehra janaab ka
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