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

Archive for the ‘Post by Sudhir’ Category


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

Blog Day :

5094 Post No. : 17024

———————————–
This Week, That Year – 9
———————————–
26Jun – 02Jul, 2012

Ah yes, long gap. My intention has been to make this series a weekly affair. But then – ‘man proposes, everybody else disposes’ keeps happening with me. 😀 . And so, intentions aside, this series has been a victim of my preoccupations / laziness / lack of creativity – howsoever I may say it. But of course, no excuses are relevant.

Rear view mirror scenario on the blog, of the week that was – 26th Jun to 2nd July of 2012. Let us take a look at the numbers first.

Here is the table that shows the daily postings on the blog for that week.

Blog Ten Year Challenge (2012-2022) Series
Sl.No. Movie Name Year HFGK NoS ASAD NoS Possible UT Deb/Yip Milestone Film Status Pending
26-Jun-12
1 Mahaa Pooja 1954 9 4 D Pending 5
2 Dhaake Ki Malmal 1956 8 8 Yippeee’d
3 Sangam 1964 8 8 Yippeee’d
4 Taangaawaali 1955 9 7 2 Yc 2 UT
5 Chhote Sarkar 1974 4 4 D Yippeee’d
27-Jun-12
1 Bhoot Bangla 1965 6 6 Yippeee’d
2 Anaamika 1973 5 5 Yippeee’d
3 Jheel Ke Us Paar 1973 6 5 Pending 1
4 Khushboo 1975 4 5 Yippeee’d
5 Baalika Badhu 1976 6 7 Yippeee’d
28-Jun-12
1 Laalten 1956 8 4 D Pending 4
2 First Love 1961 6 6 Yippeee’d
3 Khoobsurat 1952 8 8 AC – 100
(SH Behari)
Yippeee’d
4 NFS – CH Atma 1960 0 3 D Yippeee’d
29-Jun-12
1 Miss Frontier Mail 1936 4 4 D Yippeee’d
2 Amar Jyoti 1936 11 7 Pending 4
3 Baarood 1960 7 7 Yippeee’d
4 Naghma 1953 10 11 Yippeee’d
30-Jun-12
1 Sannaata 1966 5 5 D AC – 1800 (Lata Mangeshkar) Yippeee’d
2 Saheli 1965 6 6 Yippeee’d
3 Johnny Mera Naam 1970 6 6 Yippeee’d
4 Kathputli 1971 8 2 D Pending 6
5 Johar Mehmood in Hongkong 1971 6 4 D Pending 2
1-Jul-12
1 Jugnu 1947 8 8 Yippeee’d
2 Duniya 1968 6 6 Y Yippeee’d
3 Aap Ki Kasam 1974 6 6 Y Yippeee’d
4 Ek Mahal Ho Sapnon Ka 1975 5 7 Yippeee’d
5 Son of India 1962 9 9 Yippeee’d
2-Jul-12
1 Garam Coat 1955 6 6 D Yippeee’d
2 Chhoti Bahen 1959 9 9 Yippeee’d
3 12 O`clock 1958 7 7 Yippeee’d
4 Ardhaangini 1959 7 7 Yippeee’d
5 Hum Matwaale Naujawaan 1961 7 6 Pending 1

A total of 33 songs were posted in that week, at an average of about 4.7 songs per day. The pageant of the calendar covered is four decades – from 1936 to 1976.  Break up of films by decade is as follows,

1930s  –  2 (Both from 1936)
1940s  –  1 (Jugnu, 1947)
1950s  –  12
1960s  –  9
1979s  –  9

No film got repeated and so we covered 33 films during that week, Well actually, it is 32 films and 1 NFS. The NFS was a song by CH Atma.

As many as 9 films made their debut that week. And yes, 2 films got Yippeee’d in that week – ‘Duniya’ (1968) and ‘Aap Ki Kasam’ (1974). Just as an aside, I did a quick check on the Yippeee status of films, till that week. When the week started, we were 3 years, 11 months and 7 days ahead of the blog initiation date of 19 July, 2008. Want to take a guess as to how many films had been Yippeee’d till then? I myself was a little surprised at the number. By that date, we had already Yippeee’d 135 films on the blog. Majority of this list is from the 1950s and 1960s. Surprise item is that there is one film from 1939. Besides, there are 12 films from 1940s, and 17 films from 1970s. The remaining 105 films are from the two decades of 50s and 60s.  We were 6,133 posts old on 26th June.

The week saw two major milestone achieved. On 28th June, with the song “Beech Bajariya Mori Chunariya Sar Se Sarki Jaaye” from film ‘Khoobsurat’ of 1952, SH Behari arrived at his first century milestone. He had made his debut on the blog on 1st December, 2008, and completed his first century in a little more than three and a half years. On 30th June, with the song “Koi Bechaara” from the film ‘Sannata’ of 1966, Lata Mangeshkar breached the 1,800 mark on the blog.

Of all the 33 films that were showcased that week, 25 have been Yippeee’d since then. Seven films continue to be tagged with ‘Pending’ status. One film, ‘Tangaawaali’ from 1955 carries the conditional Yippeee tag. Of the 9 songs in this film, 7 are already posted here. However two songs are not released on 78rpm record. The video of the film has not yet surfaced on public domain. So we tag those two songs as untraceable (UT). And pending their discovery, we tag the film with the status as conditionally Yippeee’d (Yc).

During this current week, two songs of pending films in this week have been posted as part of the ten year challenge series. One song from the 1973 film ‘Jheel Ke Us Paar’  – “Haaye Bichhua Das Gayo Re”, was posted by Avinash ji on 27th June, and actually Yippeee’d that film too. And just a little while ago today, Atul ji has posted the song “Kaaraj Ki Jyot Sadaa Hi Jarey” from the 1936 film ‘Amar Jyoti’. So the numbers given above get modified as pending films reduced to 6 and the number of Yippeee’d films now is 26.

And with the song that I bring to the blog in this post, these numbers will change once again. This song is from the 1961 film ‘Hum Matwaale Naujawaan’. This film so far has only one song remaining to be posted. With this post on the blog, the film will also get Yippeee’d. Pending films list is further reduced to 5 and the Yippeee’d films number increases to 27.

The song is a real gem – a vintage Chitragupt creation. The music director is well known for his melodious commpositions. And this song is a very fine example of his creativity and talent. I listened to this song today, after tons of years, jiggling my memory of the radio listening days. And I am surprised that this melody has been waiting in the wings for so long. This film made its debut here on 28th October, 2010. The previous posted song (fifth one from the film) came on to the blog on 29th September, 2018. The final song of the film comes on board today, after more than eleven and a half years of its debut.

The song is such an endearing duet of Lata and Usha Mangeshkar. The lyrics are from the pen of Mahjrooh Sb.

The words of the song indicate as being a male-female duet. But since it is sung as a all female duet, it is possible that this duet may be a performance by two actresses on screen, one taking the role of the male person. The male person is trying to woo the lady and invites her to visit his alley, And the lady appears to be putting up a refusal to the gentleman’s advances.

A very lively melody, that is a hallmark of Chitragupt’s music. Jiggling memories of the wonderful music that we used to enjoy on the radio.

Listen and enjoy.

Song – Aana Kabhi Hamre Duaar Saanwal Goriya  (Hum Matwaale Naujawaan) (1961) Singer – Lata Mangeshkar, Usha Mangeshkar, Lyrics – Majrooh Sultanpuri, MD – Chitragupt
Chorus

Lyrics

ghar ki hamaare gori
yahi hai dagariya

ho o o o
o o o

aana kabhi hamre duaar saanwal goriya
aana kabhi hamre duaar saanwal goriya
jhootha pardesia ka pyaar saanwal goriya
jhootha pardesia ka pyaar saanwal goriya

jit dolun ut dole zaalim
saath hamaare ho ke
haaye haaye saath hamaare ho ke
jit dolun ut dole zaalim
saath hamaare ho ke
hum to nahin kuchh kehte
khaali raah khade hain roke
haaye haaye raah khade hain roke
o o o
mal mal ke hatheli
reh jaaun main akeli
mal mal ke hatheli
reh jaaun main akeli
kar nahin paaun pukaar saanwal goriya
jhootha pardesia ka pyaar saanwal goriya
aana kabhi hamre duaar saanwal goriya

aanchal ko lehraati pagli
pag pag mudti jaaye
jabse tu ne chheda
lat meri aur bhi udti jaaye
haaye haaye aur bhi udti jaaye
ho o o
ari o gulab juhi
ab ke bhi dekh yun hi
ari o gulab juhi
ab ke bhi dekh yun hi
rutth chali jaaye bahaar saanwal goriya
aana kabhi hamre duaar saanwal goriya
jhootha pardesia ka pyaar saanwal goriya

dekh rahi main
chhalki jaaye tere dil ki pyaali
haaye haaye tere dil ki pyaali
dekh rahi main
chhalki jaaye tere dil ki pyaali
tod ke mera dil
kya paaogi o jhumkewaali
haaye haaye ri o jhumkewaali
ho o o
teri gali aaun bairi
tujhe tadpaaun bairi
aawe tab dil ko
qaraar saanwal goriya
aana kabhi hamre duaar saanwal goriya
hat
jhootha pardesia ka pyaar saanwal goriya
aana kabhi hamre duaar saanwal goriya

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

घर की हमारे गोरी
यही है डगरीया

हो ओ ओ
ओ ओ ओ
आना कभी हमरे दुआर सांवल गोरीया
आना कभी हमरे दुआर सांवल गोरीया
झूठा परदेसिया का प्यार सांवल गोरीया
झूठा परदेसिया का प्यार सांवल गोरीया

जित डोलूँ’ उत डोले ज़ालिम
साथ हमारे हो के
हाय हाय साथ हमारे हो के
जित डोलूँ’ उत डोले ज़ालिम
साथ हमारे हो के
हम तो नहीं कुछ कहते
खाली राह खड़े हैं रोके
हाय हाय राह खड़े हैं रोके
ओ ओ ओ
मल मल के हथेली
रह जाऊन मैं अकेली
मल मल के हथेली
रह जाऊन मैं अकेली
कर नहीं पाऊँ मैं पुकार सांवल गोरीया
झूठा परदेसिया का प्यार सांवल गोरीया
आना कभी हमरे दुआर सांवल गोरीया

आँचल को लहराती पगली
पग पग मुड़ती जाये
जबसे तूने छेड़ा
लट मेरी और भी उड़ती जाये
हाय हाय और भी उड़ती जाये
हो ओ ओ
अरी ओ गुलाब जुही
अब के भी देख यूंही
अरी ओ गुलाब जुही
अब के भी देख यूंही
रुठ चली जाये बहार सांवल गोरीया
आना कभी हमरे दुआर सांवल गोरीया
झूठा परदेसिया का प्यार सांवल गोरीया

देख रही मैं छलकी जाये
तेरे दिल की प्याली
हाय हाय तेरे दिल की प्याली
देख रही मैं छलकी जाये
तेरे दिल की प्याली
तोड़ के मेरा दिल
क्या पाओगी ओ झुमकेवाली
ओ ओ ओ
तेरी गली आऊँ बैरी
तुझे तड़पाऊँ बैरी
आवे फिर दिल को
क़रार सांवल गोरीया
आना कभी हमरे दुआर सांवल गोरीया
हट
झूठा परदेसिया का प्यार सांवल गोरीया
आना कभी हमरे दुआर सांवल गोरीया

 

 


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

Blog Day :

5092 Post No. : 17019

My first real jaan-pehchaan with this actor happened in 1970. The film – ‘Anand’. He plays the role of Dr. Prakash Kulkarni, friend of Dr. Bhaskar Bannerji (Amitabh Bachchan). His role was impressive and touching. At the climax of the film, when Anand is battling for his last breaths, Bhaskar is not present. He has gone on a last ditch hunt for a miracle medicine. Prakash is the doctor present in the room besides Renu (Sumita Sanyal), attending to Anand. It is 4.15 early morning.The final moments arrive. Anand requests for the spool tape player to be put on. Prakash realizes – the worst is about to happen. He asks the attending nurse to prepare an injection. And while the tape is playing Anand calls out for Babu Moshai, and his breathing ceases. Prakash is stunned and cannot move. There is horror and grief and dejection writ large on his face. These moments, this expression, the welling of tears in his eyes, and the unwilling acceptance of a final defeat – left an imprint on my mind strong enough to now remember the name of this actor – Ramesh Deo.

And then, the familiar face with now a recognized name – I could see him in many more films that followed. I would also become familiar with his earlier roles in Hindi films starting with ‘Aarti’ in 1962. I would see these earlier films, later as reruns or on Doordarshan. And somehow, he always made an impact on my mind with his performances. In ‘Khilona’ (1970), as Kishore, the wayward ghar-jamaai (resident son-in-law) of the Thakur Suraj Singh’s (Bipin Gupta) household, he is hell bent on throwing out a pregnant Chand (Mumtaz) for obvious inheritance gains. In 1971, one sees him in ‘Mere Apne’ as Arun Gupta, a low middle income householder, who tricks an aged Anandi Devi (Meena Kumari) to come and live in his home as an unpaid full time servant. In ‘Joru Ka Ghulam’ (1972), he is Ramesh, the scheming nephew of the rich businessman Shyamlal (Om Prakash), who continuously siphons off part of whatever money he handles in the business.

Then in ‘Jeevan Mrityu’ (1970), he plays the role of barrister P Amarnath, one of the three baddies (along with Harishchandra (Ajit) and Ramakant (Krishan Dhawan)), who commit a fraud at a bank and implicate Ashok (Dharmendra). Later, when Ashok returns and plans revenge against these three, he first destroys them financially through stock market wrangling. At this point in the film, there is a scene with an excellent performance by Ramesh Deo. As the news comes in that all their investment is lost at the stock market, it effects the brain of barrister Amarnath, and he goes mad. There is a two minutes long sequence with an editing gap of 15 seconds in between, which is performed by him. He goes mad, he cries, he laughs, he proclaims he wants to be rich, and then he runs out of the office room. He meets Ashok outside. Ashok is supposedly dead. So there is now a reaction of fear and horror, he runs away from him, crashes into a parked car, then runs off on to the road and is hit by another car. This sequence which is about 700 feet of reel length is supposedly shot as a single performance sequence. His histrionics are impressive and authentic.

Ramesh Deo, a veteran of almost 300 Hindi films, about 200 Marathi films, 30 Marathi stage plays with almost a thousand live performances – passed away on 2nd February earlier this year. Besides the impressive portfolio of stage and screen performances, he also has to his credit being the producer of many TV serials, documentaries and approximately 250 ad films through his own production company – Ramesh Deo Productions. A part of this body of work was also directed by him.

He traces his ancestry to the Rajput clans of Jodhpur. His great grandfather and grandfather were engineers who were part of the team that built the Jodhpur palace. Later they were invited by Shahu Maharaj of Kolhapur, for constructing newer parts of the city. His grandfather was appointed as the chief engineer of the project. Later, his father, who studied law, became the legal advisor in the city administration of Kolhapur.

Ramesh was born in Kolhapur on 30th January, 1926. After his normal school and college education, he got introduced to films through Dinkar Patel, a Marathi film maker, who was a family friend. Once when Dinkar Patel was filming in Kolhapur, Ramesh and a group of his friends went to see the shooting. Quite unexpectedly, Dinkar Patel invited the group to join a scene in a college sequence being filmed, as students. The film was ‘Paatlachi Por’ (released in 1951). As per Ramesh, it was by this chance participation that the film bug bit him, and he decided to make acting as a career. This is in 1950.

He started his career as a junior artist and soon graduated to featured roles. His first notable performance that received critical acclaim was as a villain in ‘Andhala Magto Ek Dola’ (1956). Later, he signed up as a villain for ‘Saata Janmaachaa Sobati’, but was offered the lead instead when the hero was removed. Never typecast, many of his films’ publicity material would have a teaser asking audiences to guess whether he was the hero or villain!

Through the 1950s, Ramesh confined himself to Marathi cinema and stage, Then happened a chance encounter. The drama troupe he was working with was traveling in the rural Maharashtra. Having tea at a roadside tea shop, he realized that no one knew him as an actor. He felt let down within, that after having worked in the industry for almost a decade, he was a nobody for the common man. The same common man would readily recognize and acknowledge Hindi film stars. And he made up his mind to move to Hindi cinema also.

His first role in a Hindi film was in ‘Aarti’ 1962. And after that there was no looking back. In film after film in the sixties, he made a mark for himself, and a firm position in the Hindi film industry as a character artist. At 96, when he passed away, he was still actively working. In a manner of speaking, he died literally with his boots on.

The song being presented today is from the film ‘Love And Murder’ from 1966. The film is produced under the banner of Adarshlok, Bombay and is directed by Raja Paranjape. The brief star cast is listed as Prithviraj, Ramesh Deo, Jaimala, Heeralal, Helen, Kammo, Edwina, and Chandrakant Gokhale. Ramesh Deo plays the role of Ranjit, apparently a small time con-man, but in reality he is the unknown boss of the underworld gang. The plot of the film is available on MuVyz website at Love And Murder – Plot.

On screen, the song is performed by Ramesh Deo. The quality of the video is not very good, and I am not able to identify the lady companion for whom Ramesh is lip syncing this song. I request other knowledgeable readers to please help identify the lady actor in this video clip.

Ramesh Deo – a lasting presence in Marathi and Hindi cinema. A career that goes from 1950 to 2022. Seventy two years of active work in the cinema and theater industry – this must be a record of some sort. He had completed 96 years of his life’s journey when he bid the forever good bye to the world. As mentioned earlier, literally with his boots on – still actively working when he passed away.

He leaves behind his wife and two sons. Seema Deo, his spouse of 59 years, is a lasting romance of his life. This must also be a record of some sorts – the two appeared in more than 50 films as husband wife or as lovers. Ramesh had first seen her in a suburban train while heading to a studio and realized that she too was looking for film work. “That day, I got a plum assignment. We introduced ourselves, became friends, and soon got married,” he had said. Today, their children, actor-filmmaker Ajinkya Deo and filmmaker Abhinay Deo (‘Delhi Belly’) have done them proud.

Peace and divinity be with you Ramesh Deo. It has been an especially long innings. You will always be remembered for the huge variety of roles that you presented.

Good Bye.

Video

Audio

Song – Tere Gesuon Ka Saaya Meri Jaan Jis Ne Paaya  (Love And Murder) (1963) Singer – Mohammed Rafi, Lyrics – Aziz Kashmiri, MD – OP Nayyar

Lyrics

tere gesuon ka saaya
meri jaan jis ne paaya
tere gesuon ka saaya
meri jaan jis ne paaya
usey mil gayi khudaai
usey mil gayi khudaai
wo naseeb le ke aaya
tere gesuon ka saaya
meri jaan jis ne paaya
usey mil gayi khudaai
wo naseeb le ke aaya
tere gesuon ka saaya

ye reshmi andhera
jo baney naseeb mera
ye reshmi andhera
jo baney naseeb mera
main na aaftaab dekhoon
main na aaftaab dekhoon
kabhi umr bhar khudaaya
tere gesuon ka saaya
meri jaan jis ne paaya
usey mil gayi khudaai
wo naseeb le ke aaya
tere gesuon ka saaya

is dil ki ye khata hai
ke ye tujh pe mar mita hai
is dil ki ye khata hai
ke ye tujh pe mar mita hai
isey kaise main sambhaloon
isey kaise main sambhaloon
ye to ho gaya paraaya
tere gesuon ka saaya
meri jaan jis ne paaya
usey mil gayi khudaai
wo naseeb le ke aaya
tere gesuon ka saaya

mere dil mein dard bhar de
ya jala ke khaaq kar de
mere dil mein dard bhar de
ya jala ke khaaq kar de
meri khaaq bhi kahegi
meri khaaq bhi kahegi
mujhe yaar ne mitaaya
tere gesuon ka saaya
meri jaan jis ne paaya
usey mil gayi khudaai
wo naseeb le ke aaya
tere gesuon ka saaya

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

तेरे गेसूओं का साया
मेरी जान जिस ने पाया
तेरे गेसूओं का साया
मेरी जान जिस ने पाया
उसे मिल गई खुदाई
उसे मिल गई खुदाई
वो नसीब ले के आया
तेरे गेसूओं का साया
मेरी जान जिस ने पाया
उसे मिल गई खुदाई
वो नसीब ले के आया
तेरे गेसूओं का साया

ये रेशमी अंधेरा
जो बने नसीब मेरा
ये रेशमी अंधेरा
जो बने नसीब मेरा
मैं ना आफताब देखूँ
मैं ना आफताब देखूँ
कभी उम्र भर खुदाया
तेरे गेसूओं का साया
मेरी जान जिस ने पाया
उसे मिल गई खुदाई
वो नसीब ले के आया
तेरे गेसूओं का साया

इस दिल की ये ख़ता है
के ये तुझ पे मर मिटा है
इस दिल की ये ख़ता है
के ये तुझ पे मर मिटा है
इसे कैसे मैं संभालूँ
इसे कैसे मैं संभालूँ
ये तो हो गया पराया
तेरे गेसूओं का साया
मेरी जान जिस ने पाया
उसे मिल गई खुदाई
वो नसीब ले के आया
तेरे गेसूओं का साया

मेरे दिल में दर्द भर दे
या जला के ख़ाक
मेरे दिल में दर्द भर दे
या जला के ख़ाक
मेरी ख़ाक भी कहेगी
मेरी ख़ाक भी कहेगी
मुझे यार ने मिटाया
तेरे गेसूओं का साया
मेरी जान जिस ने पाया
उसे मिल गई खुदाई
वो नसीब ले के आया
तेरे गेसूओं का साया


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

This article is the 17000th song post for the blog.

Blog Day :

5077 Post No. : 17000 Movie Count :

4606

Mega milestone.
Mega event.
And a Mega Rare song being discovered.

Given the age of online proliferation and sharing, it is a great event that one chances to discover a film song that one does not even begin to imagine may even exist.

Of course yes, the song is identified and listed in the Geet Kosh. But as is the case with the majority of the listed songs in the 1931-40 volume of Geet Kosh (Volume I), we do not even pause to glance at the list of songs on page after page, unless we come across a fuller body of description for a film of that era. And verily so. Out of the close to 9,900 hundred songs listed for 930+ films that are slated for that decade, sadly enough, less than 1,200 are actually available at this time. That is the state of affairs we have at this time.

And that so, more acutely, for the first five years of that decade (1931-35) – total films are 433, total songs listed are approximately 5,000+. Films for which one or more songs are available – is just 53. And the songs – just about 152. [Note: These numbers are based on my familiarity of the songs available with myself and a few of the serious collectors within my circle of music lover friends. It is very possible that there are one/some/few more songs that may be existing in some collection, but the same are not known in public domain as yet.]

As is the case with this song. An obscure film from 1932. Geet Kosh has no details about the songs of this film. The film has been produced under the banner of Imperial Movietone. Yes, the very same company that carries the credit for releasing the first Indian talkie film – ‘Alam Ara’ in 1931. The film has two other alias names – ‘The Youth’ and ‘चन्द्रप्रभा’ (‘Chandraprabha’). The name of the director of this film is listed as BP Mishra (the Imperial Movietone company was founded and owned by Ardeshir Irani). As per the Geet Kosh information, the story of this film was also written by BP Mishra. The star cast of this film is listed as Master Vitthal, Armelin, Hadi, Jamshed Ji, Rustom Punawala, and Sakhu.

All that much, and no more. No more information available for the music and songs of this film. As I said, one would not even pause at the page to glance at this film.

But then surprise connections do turn up, which lead to discoveries that can only be termed as major, even though we may not want to use the ‘miraculous’ qualifier. Some years back, we had this sensational discovery of one 78 rpm record that carries two songs whose mukhda (song title) match with two songs which are listed for the 1931 film ‘Trapped’ aka ‘Farebi Jaal’. The credit for the discovery and sharing of the information goes to Dr. Jeetendra Shrimali of Baroda University.

And then, this song. About five weeks ago, I was at the Shah Music Center, near Jama Masjid in Old Delhi. Dear friend Zafar Shah had called me, to show me a set of 78 rpm records that he has recently acquired. A good number of these records are dated for the first decade of the Hindi film song – 1931-40. Majority of these records are in near pristine condition, as if the needle has not yet been placed on them even once. Just to see such rare beauties and to hold them in one’s hand is an experience that makes waves of joy and satisfaction pass through the heart.

And so, here is a very excited Zafar Bhai handing me these shellac discs one by one, and I am gazing at them in awe with a lump in my throat. Then he hands me a disc with an HMV label (back colored), which carries the record number as P5799. He asks me to check the label details. It just has these words on it – ‘Hindi’, ‘Duet’, ‘Azizan, Lateefan’, and a title for the song which reads “कदम तले आजाईओ कटीले काजलवाले” in Hindi, and then also in Urdu script. There is another number close to the bottom of the label – ‘12-14001’. Then Zafar Bhai pointed out a brief scribble in blue pen, on the label. Words written in three lines that read – ‘Zaalim Jawaani 1932’. Then quickly he picked up the GK volume I, turned to the page 58 where this film is listed at serial no. 83. And then pointed to the song no. 12 in the list of songs of this film. Yes, we have a mukhda match – and we have a rare and sensational discovery. I would like to add that incidentally, the 78 rpm record of the songs of film ‘Trapped’ was discovered by Akbar Shah, father of Zafar Bhai.

Since the time of the discovery of the record of ‘Trapped’, Zafar Bhai and I have occasionally discussed the situation of 1931-35. Many possible scenarios may exist. A song that is already released as a non-film song, was picked up for use in a film by the producer director. Most likely, in those years, no one thought of using the words ‘film song’ for the songs used in the film. And then also possible that the songs prepared for the film itself, were recorded and released on discs, not as film song, but as simply a song, with no reference to the film itself. It surely is an exercise of searching for such songs like searching for needle in a haystack. Examining the records of non film songs of that period and then attempting to match the title line with a song listed in GK Volume I. Mind boggling indeed it is. It is only in the next year i.e. 1932, we have the first instances of film songs being released on 78 rpm records, with the name of the film also printed on the label. The film ‘Madhuri’ of 1932 is likely the first film to do this.

And so, maybe short of an actual miracle, the discovery being shared today is of that proportion. And a proportion the merits and befits the humongous milestone that we reach today. Considering that the first five decades of the Hindi film song, we see listed almost 45,000+ songs. Give or take few hundreds for the later decades, we have today knocked on 17,000th door of this majestic an melodious mansion.

Statistics are always imposing and inspiring. And we do intend to take that route every time a milestone of certain significance is breached. So there are averages and rates and calculations galore. We present the numbers viewed from every which way / direction / perspective. No end to that presentation, as we continue to find more and new ways to slice and dice and present the numbers.

And I think so many times – enough about the numbers. We are all now convinced that this project is not replic-able. It is not surmountable – in any which way. The numbers are simply so huge that it is well nigh impossible to recreate a competitive idea. But then of course, we, our group, is not in here for any competition. When all is said/done/calculated/presented etc. the sublimate that remains is simply – an undying love for this art form, and a dogged persistence (pun intended 🙂 ) that in the final count, has made the difference for this presentation space across the entire and unlimited landscape of the internet.

And yet, the mind still wants to pause, and to savor, and yes, to even gloat about this wonderful flavor that simply says – Seventeen Thousand. A few midnight candles, and a few early morning sunrisers – are always awake every day of every week, of every month, of every year. And there is an incessant click somewhere on the clock of the universe – a tick that has AtulSongADay written on it.

The metronome continues to chime every so often. There is work to be done. There is an equal number, and more, of these musical vignettes that are still waiting – to be touched, to be embellished, to be praised and to be displayed.

And I am reminded of Robert Frost –

(We) . . . have promises to keep
Miles to go before I sleep

The promises are not to people and followers of this Grand Musical Bandwagon.

The promises are to these songs, and to this art form itself.

Yes, miles to go before I sleep

Good night and God bless.

Tomorrow, is another day, and another set of songs.

तमन्ना है ये साथ चलते रहें हम ना बीते कभी ये सफर

The sublime desire that remains is to keep traveling together
And that this journey may never cease

 


Song – Kadamb Taley Aa Jaiyo Ho Kateele Kaajalwaale  (Zaalim Jawaani) (1932) Singer – Azizan, Lateefan, Lyrics – Unknown, MD – Unknown
Azizan + Lateefan

Lyrics

oo oo ooo
aa aaa aaa aaa
aaa aaa aaa

kadamb taley ?? ??
aaa aaaa aaaa
kadamba taley aa jaiyo kateele kaajalwaale
kadamba taley aa jaiyo kateele kaajalwaale

ho raja ji mohe haro ri ranga de
raja ji mohe haro ri ranga de
haro ri ranga de
haro ranga de
peelo ranga de
?? laal ranga de
kadamba taley aa jaiyo kateele kaajalwaale

sone ki thalia mein juna parosa
sone ki thalia mein juna parosa
juna parosa
aahe kadamba taley khaa jaiyo kateele kaajalwaale
kadamba taley khaa jaiyo kateele kaajalwaale

aahe soney ka garva ganga jal paani
soney ka garva ganga jal paani
ganga jal paani
kadamba taley pee jaiyo kateele kaajalwaale
kadamba taley pee jaiyo kateele kaajalwaale

aahe ?? paan ko beeda lagaaya
?? paan ko beeda lagaaya
beeda lagaaya
aahe kadamba taley khaa jaiyo kateele kaajalwaale
kadamba taley khaa jaiyo kateele kaajalwaale
kadamba taley aa jaiyo kateele kaajalwaale

aahe kusum kaliyon ne sej bichhaayi
kusum kaliyon ne sej bichhaayi
sej bichhaayi
aahe kadamba taley so jaiyo kateele kaajalwaale
kadamba taley aa jaiyo kateele kaajalwaale

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Hindi script lyrics (Provided by Sudhir Kapur)
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ओ ओ ओ
आ आ आ आ
आ आ आ

कदम्ब तले ?? ??
आ आ आ
कदम्ब तले आ जइओ कटीले काजल वाले
कदम्ब तले आ जइओ कटीले काजल वाले

हो राजा जी मोरे हरो री रंगा दे
राजा जी मोरे हरो री रंगा दे
हरो री रंगा दे
हरो रंगा दे
पीलो रंगा दे
?? लाल रंगा दे
कदम्ब तले आ जइओ कटीले काजल वाले

सोने की थाली में जूना परोसा
सोने की थाली में जूना परोसा
जूना परोसा
आहे कदम्ब तले खा जइओ कटीले काजल वाले
कदम्ब तले खा जइओ कटीले काजल वाले

आहे सोने का गरवा गंगाजल पानी
सोने का गरवा गंगाजल पानी
गंगाजल पानी
आहे कदम्ब तले पी जइओ कटीले काजल वाले
आहे कदम्ब तले पी जइओ कटीले काजल वाले

आहे ?? पान का बीड़ा लगाया
?? पान का बीड़ा लगाया
बीड़ा लगाया
आहे कदम्ब तले खा जइओ कटीले काजल वाले
कदम्ब तले खा जइओ कटीले काजल वाले
कदम्ब तले आ जइओ कटीले काजल वाले

आहे कुसुम कलियों ने सेज बिछाई
कुसुम कलियों ने सेज बिछाई
सेज बिछाई
आहे कदम्ब तले सो जइओ कटीले काजल वाले
कदम्ब तले आ जइओ कटीले काजल वाले


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

Blog Day :

4996 Post No. : 16893

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Blog 10-Year Challenge (2012-2022) – Song No. 35
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And Kavi Pradeep has written a couple of lines for people such as these. . .

kya log thhey wo deewaane
kya log thhey wo abhimaani

Lines that describe so aptly the young rebel lions of India – a group that came together to fight for unshackling the chains of the oppressive and cruel alien rule that had continued to serve its own ends, at the cost of the assets and riches of our nation.  A group that had members from all parts of the country, a group that was formed cutting across all the divisions and components of the society – Bhagat Singh, Chandrashekhar Azaad, Bhai Parmanand, Kartar Singh Sarabha, Batukeshwar Dutt, Ashfaaqullah, Shivaram Rajguru, Sukhdev, Ramprasad Bismil, Harnam Singh Saini, Bhagwati Charan Vohra, Durgawati Devi, Kishori Lal, Dharam Singh Hayatpur, Jatendranath Das, Sher Ali Afridi, Jai Dev Kapur, Shiv Verma, Kundan Lal, Mahabir Verma, Rajendra Lahiri, Thakur Roshan Singh, Sachindra Bakshi, Keshab Chakravarty, Banwari Lal, Murari Lal Gupta, Mukundi Lal, Manmathnath Gupta, Mohammed Abdullah, Gaya Prasad, Kanwal Nath Tiwari, Vijay Kumar Sinha, Prem Dutt, Des Raj, Ajay Kumar Ghosh. . . the list goes on and on in the pages of the history of the nation’s struggle for freedom.

Yes, they were “deewaane”. Theirs was a single-mindedness of purpose that put to shame even the word ‘deewaana’ itself. Bhagat Singh was a scholar of political ideologies, and his beliefs, his writings are wondrous gems coming from a mind so young. Violence was not his first or last resort, ideas and ideologies were. On 8th April, 1929, when he and BK Dutt threw two bombs in the legislative assembly in Delhi, they also threw leaflets explaining their cause and their action. The leaflet was written by Bhagat Singh himself. A line in the leaflet says – “It is easy to kill individuals but you cannot kill the ideas. Great empires crumbled, while the ideas survived.” He went on to say – “पिस्तौल, बम, तलवार क्रान्ति नहीं लाते, बल्कि क्रान्ति विचारों की शान से पैदा होती है।” (Revolutions are born from the glory of ideas, not from pistols, bombs or swords).

And yes, they were “abhimaani” indeed. The dignity and pride of self-esteem was paramount. His belief in his right to freedom was steadfast. For him, violence was just an instrument for implementing and showcasing the ideas of freedom. To that end, even Gandhi ji has written in one of his famous articles in the magazine ‘Young India’. The article is titled ‘Between Cowardice and Violence’. In this, Gandhi ji writes,

“My creed of nonviolence is an extremely active force. It has no room for cowardice or even weakness. There is hope for a violent man to be some day non-violent, but there is none for a coward. I have, therefore, said more than once….that, if we do not know how to defend ourselves, our women and our places of worship by the force of suffering, i.e., nonviolence, we must, if we are men, be at least able to defend all these by fighting.”

Bhagat Singh himself wrote these words, when making a statement in court, during the trial of the bombing case –

“Force when aggressively applied is ‘violence’ and is, therefore, morally unjustifiable, but when it is used in the furtherance of a legitimate cause, it has its moral justification”.

After the killing of police officers Saunders in Lahore, Bhagat Singh and his associates escaped and had gone underground. When the plans were made to lob bombs in the Legislative Assembly, at first the group was against Bhagat Singh’s participation, because of his earlier association with the Saunders case. In the end, he prevailed and the group agreed to let him take the lead. The bombs were thrown, the leaflets were flung in the ensuing confusion. And it would have been an easy thing for Bhagat Singh and BK Dutt to escape under the cover of the cloud of smoke. But they stood their ground and let themselves be arrested. For Bhagat Singh believed that striking and then fleeing only ended up proclaiming them as terrorists. His purpose was to stand his ground, be arrested, and then get a visibility and a platform to expound his message to the public at large.

The trial of Bhagat Singh and his associates was, at best, a mockery of the Britisher’s own judicial system. The process adopted by the trial court was put in place through an unauthorized ordinance promulgated by the Viceroy, Lord Irwin. The ordinance itself was never approved by the Legislative Council or the Privy Council, as required by their own law. And it lapsed, even before seeing the light of approval by any authority.

On this fateful day in 1931, the execution was carried out in secrecy, and one day in advance of the announced schedule. The mortal remains of the executed heroes were removed from the jail premises in motor lorries in the dead of the night, and disposed of at an unknown place on the banks of Sutlej river, close to Ferozepur.

The news of the execution broke in newspapers on 25th March, 1931. A nation mourned the demise of the young rebel heroes. Gandhi ji said the following,

Bhagat Singh did not wish to live. He refused to apologise, or even file an appeal. Bhagat Singh was not a devotee of non-violence, but he did not subscribe to the religion of violence. He took to violence due to helplessness and to defend his homeland. In his last letter, Bhagat Singh wrote, ” I have been arrested while waging a war. For me there can be no gallows. Put me into the mouth of a cannon and blow me off.” These heroes had conquered the fear of death. Let us bow to them a thousand times for their heroism.

Subhash Bose praised the ultimate sacrifice with the words, “Bhagat Singh has become the symbol of the new awakening among the youths”.

Pt Nehru acknowledged that Bhagat Singh’s popularity was leading to a new national awakening. He said,:

“He was a clean fighter who faced his enemy in the open field … he was like a spark that became a flame in a short time and spread from one end of the country to the other dispelling the prevailing darkness everywhere”. He would later also write, “Bhagat Singh did not become popular because of his act of terrorism but because he seemed to vindicate, for the moment, the honour of Lala Lajpat Rai, and through him of the nation. He became a symbol, the act was forgotten, the symbol remained, and within a few months each town and village of the Punjab, and to a lesser extent in the rest of northern India, resounded with his name. Innumerable songs grew about him and the popularity that the man achieved was something amazing”.

Mohammed Ali Jinnha wrote,

“. . . he believes in the justice of his cause … however much you deplore them and, however, much you say they are misguided, it is the system, this damnable system of governance, which is resented by the people”.

Four years after Bhagat Singh’s execution, the Director of the Intelligence Bureau, Sir Horace Williamson, wrote: “His photograph was on sale in every city and township and for a time rivaled in popularity even that of Mr. Gandhi himself”.

The singular act of ‘deewangi’ and ‘abhimaan’ has made Bhagat Singh a symbol of willful resistance against injustice, in any form or color. These were the young men with a determination of steel, whose resolve to not apologize and not to sign a mercy petition, for their acts of unbridled bravery in the face of an oppressive tyranny.

And the world remembers them. Even more than the image of any other leader of the non-violent or the violent versions of the struggle for freedom, even today one encounters the image of Bhagat Singh staring back from the sides of trucks, rear windshields of cars and other private and public vehicles, graffiti and motifs on the walls in the most unexpected places. It is an enduring legend that has caught the fancy of the people’s minds, from generation to generation.

Ashfaqullah Khan, another legendary martyr who was executed in 1927, at an age of 27 years, for his role in the Kakori train robbery case, wrote this original verse,

शहीदों के मज़ारों पर जुड़ेंगे हर बरस मेले
वतन पे मरने वालों का यही बाकी निशां होगा

On the mausoleums of martyrs
Carnivals of celebration will assemble every year
This shall remain as the last vestige
Of those who sacrificed themselves for the country

Today’s song is from the 1963 film ‘Shaheed Bhagat Singh’. The verses are penned by Qamar Jalaalabaadi and the music is composed by Husnlal Bhagatram. The singing voice is not identified, and I request friends and readers to please help identify it.

The poetry in this song is in Punjabi language. In the lyrics section, I have attempted to also present the lines of poetry in translated Hindi. I seek apology if this translation is not perfect and poetical enough.

23rd March will serve to sustain the legacy and the memory of Bhagat Singh and others.

Lest we forget.

 


Song – Chadh Ke Sooli Bharat Maa De Jis Ne Kasht Nivaare  (Shaheed Bhagat Singh) (1963) Singer – Unattributed, Lyrics – Qamar Jalaalabaadi, MD – Husnlal Bhagatram

Lyrics

waareya jinen desh ton
bachpan ditti ghol jawaani
kadey wi saanu bhagat singh di
bhulni nahin qurbaani

chadh ke sooli bharat maa de
jis ne kasht nivaare
bhagat singh kaumi parwaana
kadey na hind visaare
chadh ke sooli bharat maa de
jis ne kasht nivaare
bhagat singh kaumi parwaana
kadey na hind visaare

dhan dhan sardar kishen singh
janm jide ghar paaya
thar thar dharti amber kamban
putt sherni jaaya
ghutti de azaadi waali
maata dudh pilaaya
bharat maa ne lai ke us ton
apni god bahaaya
kendi mere kasht nivaarin
je tu mera jaaya
pooja teri hove
mere dukh haringe saare
bhagat singh kaumi parwaana
kadey na hind visaare
chadh ke sooli bharat maa de
jis ne kasht nivaare
bhagat singh kaumi parwaana
kadey na hind visaare

public safety bill firangi
jadon banaavan lagge
hind lai ik navi musibat
hot jagaavan lagge
bhagat singh te dutt enaan nu
mazaa chakhaavan lagge
vich assembly baamb maareya
sab ghabraavan lagge
khabraan gaiaan london
gorey soch daudaavan lagge
hun na bharat sahe ghulami
kaaran kameti saare
bhagat singh kaumi parwaana
kadey na hind visaare
chadh ke sooli bharat maa de
jis ne kasht nivaare
bhagat singh kaumi parwaana
kadey na hind visaare

ona dinaan saandars kise ne
goli naal udaaya
kaatil os da bhagat singh nu
gairaan ne thehraaya
ik baamb da ik katal da
dohra case chalaaya
jhoothiaan lai gawaahiaan onu
faansi da hukam sunaaya
sun ke hukam maut da khidyaa
matthe vatt na paaya
gaj ke naare sheraan vaangu
inqlaab de maare
bhagat singh kaumi parwaana
kadey na hind visaare
chadh ke sooli bharat maa de
jis ne kasht nivaare
bhagat singh kaumi parwaana
kadey na hind visaare

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Hindi script lyrics Punjabi words (Provided by Sudhir Kapur)
———————————————————-

वारेया जिनें देश तों बचपन
दित्ति घोल जवानी
कदे वी सानु भगत सिंह दी
भुलनी नहीं कुर्बानी

चढ़ के सूली भारत माँ दे
जिसने कष्ट निवारे
भगत सिंह कौमी परवाना
कदे ना हिन्द विसारे
चढ़ के सूली भारत माँ दे
जिसने कष्ट निवारे
भगत सिंह कौमी परवाना
कदे ना हिन्द विसारे

धन धन सरदार किशन सिंह
जनम जिदे घर पाया
थर थर धरती अंबर कम्बन
पुत्त शेरनी जाया
घुट्टी दे आज़ादी वाली
माता दुद्ध पिलाया
भारत माँ ने लै के उस तों
अपनी गोद बहाया
कैन्दी मेरे कष्ट निवारीं
जे तू मेरा जाया
पूजा तेरी होवे
मेरे दुख हरींगे सारे
भगत सिंह कौमी परवाना
कदे ना हिन्द विसारे
चढ़ के सूली भारत माँ दे
जिसने कष्ट निवारे
भगत सिंह कौमी परवाना
कदे ना हिन्द विसारे

पब्लिक सेफ़्टी बिल फिरंगी
जदों बनावन लग्गे
हिन्द लई इक नवी मुसीबत
होर जगावन लग्गे
भगत सिंह ते दत्त एनां नू
मज़ा चखावन लग्गे
विच असेंबली बाम्ब मारेया
सब घबरावन लग्गे
खबरान गईआं लंदन
गोरे सोच दौड़ावन लग्गे
हुन ना भारत सहे गुलामी
करन कमेटी सारे
भगत सिंह कौमी परवाना
कदे ना हिन्द विसारे
चढ़ के सूली भारत माँ दे
जिसने कष्ट निवारे
भगत सिंह कौमी परवाना
कदे ना हिन्द विसारे

ओनां दिनां साँडर्स किसे ने
गोली नाल उड़ाया
कातिल ओस दा भगत सिंह नू
गैरां ने ठहराया
इक बाम्ब दा इक क़तल दा
दोहरा केस चलाया
झूठियाँ लाई गवाहियाँ ओनू
फांसी दा हुकम सुनाया
सुन के हुकम मौत दा खिडया
मत्थे वाट्ट ना पाया
गाज के नारे शेरां वांगू
इंकलाब दे मारे
भगत सिंह कौमी परवाना
कदे ना हिन्द विसारे
चढ़ के सूली भारत माँ दे
जिसने कष्ट निवारे
भगत सिंह कौमी परवाना
कदे ना हिन्द विसारे

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

जिसने अपना बचपन देश पर वार दिया
और घोल दी अपनी जवानी
हम कभी भी भगत सिंह की
नहीं भूलेंगे ये कुर्बानी

चढ़ कर सूली पर जिसने
भारत माँ के कष्ट निवारे
भगत सिंह कौमी परवाना
कभी ना हिन्द भूल पाये

धन्य है सरदार किशेन सिंह
जिनके घर पे जन्म पाया
धरती और अंबर थर थर काँपें
इस वीर शेरनी के पुत्र से
माँ ने जिसे दूध में
आज़ादी की घुट्टी पिलाई
और भारत माँ ने उसे ले कर
अपनी गोद में बैठाया
उससे कहा तू मेरा बेटा
मेरे कष्ट निवार दे
तेरी पूजा होगी
जो तू मेरे दुख हर ले सारे

अंग्रेजों ने जब पब्लिक सेफ़्टी बिल
के बनाने की करी तैयारी
हिन्द के लिए एक नई मुसीबत
और जगाने लगे
भगत सिंह और बटुकेश्वर दत्त
इनको मज़ा चखाने लगे
असेम्बली के बीच बम्ब मारा
सब घबरा गए
लंदन तक खबर जा पहुंची
अंग्रेजों की सोच दौड़ लगाने लगी
सब कहने लगे के अब
भारत गुलामी और नहीं सहने वाला

उन्हीं दिनों पुलिस अफसर साँडर्स का
किसी ने क़तल कर दिया
और गैरों ने भगत सिंह को
क़ातिल कह के फंसा दिया
और भगत सिंह पर दोहरा मुक़द्दमा चला
बम्ब का और क़तल का
झूठी गवाहियां करवा कर
भगत सिंह को फांसी की सज़ा सुना दी
फांसी का हुकम सुन के वो खुश हुआ
माथे पर एक भी बल नहीं आया
और शेर की तरह गरज कर
इंकलाब के नारे लगाए


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

Blog Day :

4991 Post No. : 16886

One can easily get philosophical too, besides the celebratory aspect. So okay, one more year, one more Holi celebration, one more set of songs posted. . .  And the wheel of life continues to roll. . .

Into the fourteenth year of continuous daily publication, since July 2008. And we have gone past on the way, fourteen Holi celebrations. In the earlier post today, Peevesie’s Mom ji has written that we have 66 Holi songs already posted here. She refers to one of my earlier posts, in which I have written that the Hindi cinema has an intense liking for this festival. And that we still have quite a number of Holi celebration songs that are awaiting discovery out there, and also, waiting to take their place on this blog.

As I check on the Geet Kosh, I am able to identify three Holi songs in 1932, almost immediately.  There is a film by the name ‘Raas Vilaas’ from this year. The song list of this film includes the following two song titles, which are clearly Holi songs. The first one is “Ab To Ghanshyaam Mache Holi, Ab To Sukhdhaam Mache Holi”. The second one from the same film is “Rang Rangee Main Ab Rang Na Daalo”.

In the same year, there is a film by the name ‘Zaalim Jawaani’ that has a song with the title “Biraj Dhoom Machaayo Kaanha”. Like wise, I am sure there are going to be many more songs for this celebration, where the song title may not immediately lend itself for identification. Ah but. . . how longingly one wishes we had all the songs available with us.

A similar search today has led to me to this very rare song from the 1943 film ‘Zabaan’. The rarity can be measured by the fact that this song is not yet available anywhere on line. I am able to locate it in my collection, and have uploaded it today. In all likelihood, this is the first time this song has been brought online.

It is a very attractive composition. Music is from the mind of C Ramchandra and the singing voices are of Ishwar Lal and Kaushalya, supported by chorus. The lyrics of this song are written by Ratan Piya. I was wondering whether this is a new songwriter for the blog. But no, this poet has written a few songs for the film ‘Shakuntala’, also from 1943, and some of those songs are already showcased here. As I checked the Geet Kosh, I find this name appear only for three films, these two fillms from 1943 and one from 1944 (‘Maali’). After that we do not hear from this poet.

Although quite late in the day, but I would still prompt the readers to listen to this wonderful melody. And maybe not too late either. The astrological computations of the Indian system, being based on the lunar cycle does not exactly synchronize with the standard calendars that are based on solar cycles. The full moon day started around mid day yesterday, and continued well almost up to 2 pm today. And the day that we traditionally called ‘dhulendi’, which is the day of playing Holi with colors and water, continues till tomorrow. And so, although the official holiday for Holi this year has been listed for today, as the astrological charts of the Indian system, ‘dhulendi’ is tomorrow. Now figure this out as well as we can.

Early rather than late, or may be later rather than earlier – based on which system you would prefer, here is wishing all readers and friends, a very auspicious, colorful and happy Holi.

Listen to this newly available old melody, and enjoy.


Song – Aai Aai Re Rangeeli Holi Aai Re  (Zabaan) (1943) Singer – Ishwarlal, Kaushalya, Lyrics – Ratan Piya, MD – C Ramchandra
Chorus

Lyrics

aai aai re
rangeeli holi aai re
rangeeli holi aai re. . .
ho aai re
aaj jholi khushi ki bhar laai re
aaj jholi khushi ki bhar laai re
khushi ki bhar laai re
ho aai re

ho oo oo oo oo
holi ko dekh badi machti umangen
ho oo oo oo oo
holi ko dekh badi machti umangen
rangon ko dekhte hi chadti tarangen
rangon ko dekhte hi chadti tarangen
jaise paani mein aag lagaai re
jaise paani mein aag lagaai re
ho aag lagaai re
ho aai re
aai aai re
rangeeli holi aai re
rangeeli holi aai re. . .
ho aai re

laal aur gulaal le ke phirte hain saare
laal aur gulaal le ke phirte hain saare
pheeke bina saajan ji ke saare. . .
pheeke bina saajan ji ke saare
yaad preetam ki mann mein jagaai re
ho mein jagaai re
ho aai re
aai aai re
rangeeli holi aai re
rangeeli holi aai re. . .
ho aai re

bhaye sajaniya mahina rangeela
bhaye sajaniya mahina rangeela
ghere na koi tujhe baanka chhabeela
ghere na koi tujhe baanka chhabeela
kaan(?) bahuton ne tujh pe lagaai re
kaan(?) bahuton ne tujh pe lagaai re
ho tujh pe lagaai re
ho aai re
aai aai re
rangeeli holi aai re
aai aai re
rangeeli holi aai re
rangeeli holi aai re. . .
ho aai re

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

आई आई रे
रंगीली होली आई रे
रंगीली होली आई रे॰ ॰ ॰
हो आई रे
आज झोली खुशी की भर लाई रे
आज झोली खुशी की भर लाई रे
खुशी की भर लाई रे
हो आई रे

हो ओ ओ ओ
होली को देख बड़ी मचती उमंगें
हो ओ ओ ओ
होली को देख बड़ी मचती उमंगें
रंगों को देखते ही चढ़ती तरंगें
रंगों को देखते ही चढ़ती तरंगें
जैसे पानी में आग लगाई रे
जैसे पानी में आग लगाई रे
हो आग लगाई रे
हो आई रे
आई आई रे
रंगीली होली आई रे
रंगीली होली आई रे॰ ॰ ॰
हो आई रे

लाल और गुलाल ले के फिरते हैं सारे
लाल और गुलाल ले के फिरते हैं सारे
फीके बिना साऊ जी के हैं सारे॰ ॰ ॰
फीके बिना साऊ जी के हैं सारे
याद प्रीतम की मन में जगाई रे
हो मन में जगाई रे
हो आई रे
आई आई रे
रंगीली होली आई रे
रंगीली होली आई रे॰ ॰ ॰
हो आई रे

भए सजनीया महिना रंगीला
भए सजनीया महिना रंगीला
घेरे ना कोई तुझे बांका छबीला
घेरे ना कोई तुझे बांका छबीला
कान(?) बहुतों ने तुझ पे लगाई रे
कान(?) बहुतों ने
हो तुझ पे लगाई रे
हो आई रे

आई आई रे
रंगीली होली आई रे
आई आई रे
रंगीली होली आई रे
रंगीली होली आई रे॰ ॰ ॰
हो आई रे


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

Blog Day :

4977 Post No. : 16855 Movie Count :

4586

Songs Repeated in Hindi Films – 25

– – – – – – – – – – – – – – – – – –

This discovery of a repeat song will have to be termed as Mother of All Repeat Songs. And just in case, before you start wondering whether poor dear me has decided to take a step off the deep end, let me explain.

Ostensibly searching for something else totally disconnected with repeat songs in Hindi films, I chanced to read this caption on a YouTube link. The face in the thumbnail image is neither Bharat Bhushan or Shashi Kapoor. And so, intrigued as I was, I clicked on the thumbnail with the face of R Madhavan, to play this song whose caption was sounding so very familiar. It turns out, yes, it is a repeat song – a repeat of the very endearing and a must-have favorite from the 1969 film ‘Pyaar Ka Mausam’. This signature track has been the theme of many an amorous message of love for the connoisseurs of the Hindi film music.

Ah, but the story of my discovery had just started. I checked out the name of the film. Turns out it is ‘Dil Vil Pyaaar Vyaar’ from 2002. I track down the Wikipedia page of this film. I had not heard of this film earlier. The story line weaves around the romance lives of young friends. Seemed like a run-of-the-mill rom-com tales that abound the landscape of the Hindi film world. An immediate analogy that came to mind, from the era familiar to me, was ‘Dekh Kabira Roya’ of 1957. Similar theme, romance tales of three young friends.

Ah but what wonderful and divine music that film has. I will not dwell on the delightful music created by the legendary Madan Mohan – I am sure all readers and friends are already very much taken in by the songs of that film from 1957.

Getting back to ‘DVPV’ (‘Dil Vil Pyaar Vyaar’), I was thinking – seems like the producer of this film did not have much imagination to engage song writers and MDs to create some fresh songs. So he chose to easy route to re-use this song.

But as I continued down the Wikipedia page, and reached the Soundtrack section, my eyes remained agape in wonder. The film has 13 songs listed. And (OK now, hold your breath) – ALL, I repeat ALL songs are repeats of earlier hit songs of the 60s to 80s time period. Looking closey at the list, the second realization, and a big one, hit home. ALL the thirteen tracks are creations of RD Burman. Now this discovery surely something great and different.

A little more research and I am able to locate more information online. The producer of this film is a diehard fan of RD Burman and the music created by him. And this film ‘DVPV’ has been created as a tribute for his favorite MD. So, a story and a screenplay was conjured and 13 of RDB’s famous hits have been woven into it.

The producer of this film is Vivek Vaswani. As it turns out, he himself is the author of the story line of this film. The screenplay has been adapted from the story by Sujit Sen.

Of course the credits for the song will remain with the original creators. But for this film, the music for the songs has been re-arranged and re-recorded by Babloo Chakravorty. So all songs in this film are recorded in different voices.

Ah yes, in case you are wondering – yes, I plan to bring on board all the thirteen songs of this film, in good time. Quite a bonanza here for this series.

This wonderful song from ‘Pyaar Ka Mausam’ has been re-recorded in the voice of Hariharan. On screen, it is performed by R Madhvan. I am sure all are familiar with this new name. My introduction to Madhavan has been through the 2009 hit film ‘3 Idiots’. I will try to say more about this film and its performers, in subsequent episodes, as I venture to cover all the songs of this film.

Other actors we see in this clip are Asrani and Namrata Shirodkar. The wonders that a song can do has not changed across the decades that Hindi films have been created, exhibited and watched. It has only become better, more imaginative and more incredulous. In the very early days of this blog itself, Atul ji had come to a conclusion, and he has so documented it in many a write up. That a situation in Hindi films takes about 3 minutes or so to be transformed. All it takes is a song. The song starts in a particular mood, with a particular expectation, and by the time the song ends, the desired mood and desired outcome is achieved and the expectations realized. In many earlier such discussions, we have seen quite wondrous and amazing things happen during the duration of a song.

With this song, things are no different. Rather, the stretch on the gullibility of comprehension is a bit too much. Madhavan is on a stage, participating in a music competition. Things to be noted about the setting. The stage where the performance happens is designed like a music CD. And the effect is complete with the singer handling a very old fashioned standing microphone. The antics Madhavan attempts with this mike takes us even further back to Elvis Presley performing live on stage, back in the 1950s.

His lady love, Namrata, is at the airport, already checked in for a flight that will take her thousands of miles away to another country, away from her beau. And voila. A ‘strategically’ placed TV screen within her view starts to telecast the music competition just as Madhavan is to present his song. The song starts. It is the replay of the famous aria – this one, from ‘Pyaar Ka Mausam’.

All it takes in one stanza for the lady love to make up her mind to abandon her plans to leave the country, and she decides to go back into the beckoning arms of her lover. The second stanza is even more wondrous. The lady exits from the airport, starts to drive to where the competition is in progress. And, another VOILA – this time in capital letters – she drives through the Bombay traffic, with all her memories about times spent with her lover replaying on the mind’s screen, reaches the location and is on stage with her lover, by the time the second stanza comes to a close. And yes, even has time for a change of attire. The applause by the audience is still in progress as she makes an entrance through a hazy and foggy doorway, with the director making utmost efforts to make it appear like a fairy descending through the clouds.

I remember having seen a cartoon long long back advising filmgoers to please leave their logic and reasoning outside the door, when entering a cinema hall to watch a Hindi film (or maybe any film for that matter).

So mission accomplished. In less than three minutes, from the verge of just starting to board her flight, the lady love makes it from the airport to the competition stage and into the arms of her lover.

Long be loved – the wondrous Hindi film song. Yes, all it takes is a song.

Song – Tum Bin, Jaaun Kahaan. . .  (Dil Vil Pyaar Vyaar) (2002) Singer – Hariharan, Lyrics – Majrooh Sultanpuri, MD – RD Burman
[Music rearranged by Babloo Chakravarty]

Lyricsa

tum bin jaaun kahan
tum bin jaaun kahaan
ke duniyaa mein aake
kuchh na phir chaahaa sanam
tumko chaah ke
tum bin jaaun kahaan
ke duniyaa mein aake
kuchh na phir chaahaa sanam
tumko chaah ke
tum bin

dekho mujhe sar se kadam tak
sirf pyaar hoon main
gale se lagaa lo ke tumhaara
bekaraar hoon main
tum kya jaano ke bhatakta fira
kis kis gali
tum ko chaah ke
tum bin jaaun kahaan
ke duniyaa mein aake
kuchh na phir chaahaa sanam
tumko chaah ke
tum bin

rah bhi sakoge tum kaise
ho ke mujhse judaa
hat jaayengi deewaaren
sun ke meri sadaa
aanaa hogaa tumhen mere liye
saathi meri
sooni raah ke
tum bin jaaun kahaan
ke duniyaa mein aake
kuchh na phir chaahaa kabhi
tumko chaah ke…
tum bin

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

तुम बिन
जाऊँ कहाँ
तुम बिन
जाऊँ कहाँ
के दुनिया में आ के
कुछ ना फिर
चाहा सनम
तुमको चाह के
तुम बिन
जाऊँ कहाँ
के दुनिया में आ के
कुछ ना फिर
चाहा सनम
तुमको चाह के
तुम बिन

देखो मुझे सर से कदम तक
सिर्फ प्यार हूँ मैं
गले से लगा लो के तुम्हारा
बेक़रार हूँ मैं
तुम क्या जानो के भटकता फिरा
किस किस गली
तुमको चाह के
तुम बिन
जाऊँ कहाँ
के दुनिया में आ के
कुछ ना फिर
चाहा सनम
तुमको चाह के
तुम बिन

रह भी सकोगे तुम कैसे
हो के मुझ से जुदा
हट जाएंगी दीवारें
सुन के मेरी सदा
आना होगा तुम्हें मेरे लिए
साथी मेरी
सूनी राह के
तुम बिन
जाऊँ कहाँ
के दुनिया में आ के
कुछ ना फिर
चाहा सनम
तुमको चाह के
तुम बिन

 

 

 


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

This article is the 16800th post in the blog.

Blog Day :

4942 Post No. : 16800

Centuries – pivotal events. And always welcome. Give us a quantized measure of manageable progress.  Like one part of a lo..ong project accomplished. Or like completing one cycle of an endless process. Would we like to compare with the earth going around the sun? Maybe not a good idea. A century taking 365 days to complete. Or maybe compare to Victor Trumper and Don Bradman and Majid Khan – getting a century in the very first session of a test match. Ah but that maybe going too fast for this crowded bandwagon of Atulites.

Well then maybe the Phileas Fogg of the Victorian Britain, who put the girdle around the world in eighty days. Hmm. . . that could be a close measure. Although I assure you that this bandwagon is trotting along somewhat faster than him, and his trusted valet – Passepartout. Now this name always intrigued me till the time I discovered that this faithful valet was a Frenchman. And that explained a lot that happened in the saga of the precise Mr. Fogg.

So let’s see. We are now at the 168th century mark on this trip into the dreamland of music. If he did a Fogg-Song-A-Day on his trip, one girdle of the earth would account for 80 songs. And if he did this 168 times, he would have enjoyed the flavor of 13,440 editions of Hindi film music. So yes, we are doing better than him on that count.

[Ah yes, you may catch the misdirection in my drift, but then this is just a tongue in cheek opening of the one hundred and sixty eighth hundred milestone post of remarkable blog.]

Remarkable is just one word, and it is incapable of spanning the entire gamut of emotions that arise when I begin to describe this blog. And its accomplishments. And yes, we have a gargantuan accomplishment, as recent as three days ago, that we must also talk about. And we will.

So yes, remarkable is an inadequate qualifier. Into the fourteenth year now, and few months away from completing it. And no bureaucratic or corporate infrastructure to drive it. And appearing on a day to day basis, just like the sun rising in the east every day. The drive of THE one person, and the “साथी हाथ बढ़ाना. . .” pull and push of the entire bandwagon. In my entire personal experience of all the young years I have, I have never seen or even heard someone mention something similar; of the classic real life manifestation of the celebrated poetic idiom of Majrooh Sb – “. . . लोग साथ आते गए, और कारवां बनता गया”.

Beyond all the kudos and accolades and all the bouquets and all the doffed headgear that we can shout out with joy, we must also acknowledge and honor – that element of destiny that actually drives all the human endeavors. Like the Marco of ‘Guide’ says to Raju, when he discovers the lost caves of ancient history, replete with sculpted beauties – a lifetime of aspirations realized. He says, “. . . लेकिन तुम जानते हो राजू, आज तक कोई पारखी यहाँ तक क्यों नहीं आया? क्योंकि ये काम मेरी किस्मत में लिखा था।” [“But do you know Raju, why no connoisseur has ever reached here? Because this discovery was destined to be my endeavor.”]

Yes, the endeavors of the chosen, ordained by destiny. For other than that, there is no plausible explanation as to why it happens so in the affairs of men and in the flow of history. Accomplishments, discoveries, explorations, deeds of triumph – history always has a name written on them. It is never that hordes of men discovered America, or that a whole school of mathematicians got together to propose the methods of Calculus. History always has a name – a singular busybody to associate with high tides of achievements.

This blog, by any measure, is a feat of incalculable perseverance, and defined merit that has endured years and years of continuity. And that is yet an understatement, as for the subject matter that this blog deals with – the unending ocean of music that is the Hindi film song. And a project that has now assumed a life of its own. At the 16,800 mark today, we are just about at the one third mark, considering just the first five decades of Hindi cinema. And not even at one fifth, if the scale expands to cover almost the entire ten decades of film music – as the time passes. Only an insightful vision can fathom the purpose, the purposefulness, and the lasting dedication that has brought this humble beginning that started with saying – “Miley Na Phool To Kaanton Se Dosti Kar Li” to that zenith of accomplishment where the burden of the group song now is

Geeton Se Dosti Hai, Music Se Yaari Hai
Aise Maze Ki Pyaare Zindagi Hamaari Hai

A Labor of Love – so rightly printed in the banner of our home page. There is no other way accomplishments of such enormous magnitude are made. Decidedly yes, one song at a time. But the cumulative effect of the persistent doggedness and the dedicated perseverance brings us here to this pinnacle of a looming mountain range ahead.

There is so much about this blog that boggles the mind that I would like to propose we stop calling this Atul-Song-a-Day Blog and start calling it Atul-Song-a-Day Boggler. Because that is what happens with this bandwagon – a new mind boggling something or the other week-in and week-out. Everything is so colossal and titanic about this blog that it is now beyond even creating wonder in the minds of regulars.

And yet, we have events on the blog that shake us all. Three days ago, on 25th Jan, the visitor clock on our home paged logged in the 15 Millionth visit. Atul ji had done some basic averaging to announce that we are clocking more than three thousand visitors per day, which in turn translates to two visitors hitting this blog every minute. Quite a crazy number considering that this blog deals with a topic that one would consider as not being the choice of majority of the social media users. Hindi film song, and that too pre 1980s. And goodness, non digital music – who would prefer that in this age. But of course, the numbers belie expectations. 3000+ hits a day – I am sure very few non-commercial, non-social-media web sites can boast of such a massive following.

So, 168th century. And 15 million visitors. Celebrations are called for and have been announced. But of the date today, there is one more celebration that we must honor and observe. Suman Kalyanpur, an eminent and essential Diva of Hindi cinema, turns 85 today.

The profiles and biographies and discographies – all have been touched upon and presented in numerous posts on this blog itself. I will not attempt to present those details again. I will talk about Suman Kalyanpur, as I see her in my mind, an artist, an accomplished singer who has made her mark on the history of Indian cinema, in face of many odds and struggles.

The singular expression that comes to mind when her name is mentioned – a quiet and humble persona that has led a blemish-less career as a playback singer, a career that has lasted almost four decades of active performance. The tinsel town that is India’s film industry, is a hard and difficult place to survive. Much has been said about the circumstances that have been faced by many a talented and gifted artists who did not get their seat on the stage of first tier performers. And it is surprising to see many a name that did not make it.

But surely, here is a name that was not a first preference of the top line banners and music directors. Despite that, to make a mark and leave behind memories of songs that will never be forgotten – that is surely an accomplishment. A major part of her repertoire belongs to the B and C grade cinema. And when one listens to those obscure and forgotten sounds and melodies, one is surely inclined to wonder.

Today, I present an obscure and unheard melody – a song from an obscure film from 1963 – ‘Royal Mail’. One of the many variations of the theme of Zorro that have kept appearing regularly in Indian cinema. For a long time, this film was unavailable, until recently, when the video of this appeared online. Although the film is available now, but all the songs of this film are not. Especially this song, a solo rendition by Suman Kalyanpur – I have not been able to locate it online, and so I have uploaded it from my collection.

Way back in 2014, I had uploaded one song of this film, at the request of a reader of another blog. That song is “Chali Jaaye Re Jeevan Ki Gaadi”. The lead pair in this film are somewhat unknown names – Mahesh Kumar and Ambika. The above mentioned song was picturised on this lead pair. And today’s song also features the lead pair. Mahesh Kumar is present in the clip, but only Ambika is lip syncing the song. The dialogues leading into the song indicate the situation. The Rajkumari (Ambika) was in some trouble, and a masked vigilante (Mahesh Kumar) saves her. This masked person is known in the land as Royal Mail, and is a friend of the poor and the oppressed, and a foe of the oppressors. And when he asks permission to leave, Rajkumari breaks into this song, expressing her gratitude and requesting the masked masquerader to stay and accept her love.

The words are from the pen of Indeevar, and the music is by Avinash Vyas. An unheard and lovely song that I post today, to honor Suman ji on her 85th birthday. I wish her well, I wish her good health and comfort and I wish her many more such celebrations to follow.

So, we have had centuries today, we have had millions, and we also have an important birthday celebration. 28th Jan, 2022 – a red letter day of sorts.

I wish Atul ji, and the rest of the gang of bandwagoneers many more centuries up ahead. That the drums may keep rolling and the band keeps on playing – all the wonderful music that we love.

I would like to close this post with some lines remembered from the very first song posted by Atul ji, four thousand nine hundred and forty one days ago –

ab aage jo bhi ho anjaam, dekha jaayega
khuda tarash liya, aur bandagi kar li

Happy listening.


Song – Zindagi Dene Wale Dil To Mera Leta Jaa  (Royal Mail) (1963) Singer – Suman Kalyanpur, Lyrics – Indeewar, MD – Avinash Vyas

Lyrics

zindagi dene waale
dil to mera leta ja
pyaar tu de ke na de
yaad to apni deta ja
zindagi dene waale

dil ki aankhon se tujhko dekha
hum ne pehchaan liya
tere dil ki pooja mein
hum ne tujhe apna maan liya
hum ne tujhe apna maan liya
zindagi dene waale
dil to mera leta ja
pyaar tu de ke na de
yaad to apni deta ja
zindagi dene waale

phool sa dil seena parbat sa
tujh sa koi dildaar kahaan
tere iraade rok sakey jo
aisi hai deewaar kahaan
aisi hai deewaar kahaan
zindagi dene waale
dil to mera leta ja
pyaar tu de ke na de
yaad to apni deta ja
zindagi dene waale

sab kuchh de kar kuchh na liya
tu kaisa dene waala hai
tera shukriya jaane waale
kaisa jaadu daala hai
kaisa jaadu daala hai
zindagi dene waale
dil to mera leta ja
pyaar tu de ke na de
yaad to apni deta ja
zindagi dene waale

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

ज़िंदगी देने वाले
दिल तो मेरा लेता जा
प्यार तू दे के ना दे
याद तो अपनी देता जा
ज़िंदगी देने वाले

दिल की आँखों से तुझको देखा
हमने पहचान लिया
तेरे दिल की पूजा में
हमने तुझे अपना मान लिया
हमने तुझे अपना मान लिया
ज़िंदगी देने वाले
दिल तो मेरा लेता जा
प्यार तू दे के ना दे
याद तो अपनी देता जा
ज़िंदगी देने वाले

फूल सा दिल सीना परबत सा
तुझ सा कूई दिलदार कहाँ
तेरे इरादे रोक सके जो
ऐसी है दीवार कहाँ
ऐसी है दीवार कहाँ
ज़िंदगी देने वाले
दिल तो मेरा लेता जा
प्यार तू दे के ना दे
याद तो अपनी देता जा
ज़िंदगी देने वाले

सब कुछ दे कर कुछ ना लिया
तू कैसा देने वाला है
तेरा शुक्रिया जाने वाले
कैसा जादू डाला है
कैसा जादू डाला है
ज़िंदगी देने वाले
दिल तो मेरा लेता जा
प्यार तू दे के ना दे
याद तो अपनी देता जा
ज़िंदगी देने वाले


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

Blog Day :

4915 Post No. : 16737 Movie Count :

4556

I count the minutes the days the hours. . .
I count the stars. . .

Days, then weeks, then months – on to years and decades. The march of time incessantly continues. Superimposed on this unremitting progression is a calendar that allows us to measure passages of time. The philosophers of yore had no tools other than observation and contemplation, by which they used to measure natural phenomena. And then this measurement and contemplation over long periods of time uncovered patterns of celestial movements which tied into the the design of changing climate on earth. And thus was born the concept of calendar and measures of years. Over a period of time it got refined into a detailed structure that we now see as twelve months and 365 days. Of course with further refinements of leap years and leap centuries to make accurate adjustments to synchronize the this framework with the precise movement of Sun in our skies.

As aeons progressed, the year became a substantive measure of passage of time that fitted well into the cycle of seasons, and hence into the cycle of agriculture and farming of crops. This was the basic standard that started it all – there is nothing more critical in the world than food for survival. Air and water are available, but food – it has to be grown.

So the year became a standard of passages in life. The human life, its works and its achievements got tied with the cycle of years. Age of humans, education, performance measures of all kinds et al, got tied to the cycle of years. Longevity of relationships and the apparent joy of happiness, trust and loyalty, financial turnovers – you name it. Everything happens with the passage of years.

And the year also become the benchmark of celebrations, be it birthdays, anniversaries etc., everything is in terms of number of years.

And this pyramid is completed when we celebrate the passage of the ‘year’ itself. From time immemorial, different races, different nations, different belief systems, different working systems, and more – have identified their own regulated time points within a year, when the completion of one year is announced. Within our own country we have multiple celebrations around the year, when we announce the dawn of a new year. And so have many other countries, religions and sects of people.

The Gregorian calendar is the most prevalent and accepted calendar around the world at present times. And hence the start of a fresh year as per this calendar is also a celebration that has been accepted worldwide. Come 1st January, and the dawn of the New Year is celebrated across all nations and across all time zones. So that brings us to the celebration of the New Year on our blog also.

Over the past thirteen plus years, we have celebrated this day fourteen times, starting with 1st January 2009, and counting up to today i.e. 2022. As I tried to trace out the songs which are specifically New Year celebration songs, I could locate only 11 songs that have been used so far on this blog. No doubt the celebration and greetings messages are contained in some more posts that are dated 31st Dec and 1st Jan. But not all those songs are specifically New Year celebration songs. Here is the list of these eleven songs. In case I have missed any, please leave a comment, and I shall update this table.

Ye Saal Ki Aakhhri Raat Hai Beraham 1980 31-Dec-11
Saal Mubaarak Saahib Jee Do Jaasoos 1975 1-Jan-12
Naya Saal Aaye Tamaashe Dikhaaye Nazraana Pyaar Ka 1980 1-Jan-12
Aanewaale Saal Ko Salaam Aap Ke Saath 1986 1-Jan-12
Sabko Mubarak Naya Saal Samrat 1954 1-Jan-13
Saal Mubaarak Aaya Ho Jiyo Mere Raaja Toote Khilaune 1954 1-Jan-13
Happy New Year To You Do Jaasoos 1975 1-Jan-13
Naye Puraane Saal Mein Ek Raat Baaki Hai Raksha 1981 31-Dec-14
Aadhi Raat Aayi To Khayaal Aaya Hai Bahaaron Ki Manzil 1991 1-Jan-15
Assalaam-aile-Qum, Saal Mubaarak Ho Telephone 1986 31-Dec-19
Sach Kehta Hai Ye Saara Zamaana Jaagir 1984 1-Jan-20

Our dear Prakash Chandra ji has been very diligent with ferreting out songs for special occasions, and he has been very helpful in the past in getting details about New Year celebration songs to Atul ji and myself. Actually two of his suggested songs are still waiting. As I was trying to use one of them for this post, I discovered that the links provided were not functional at this time. So for today, we are using this song from the 1977 film ‘Zehreeli’. The film makes its debut on our blog today.

‘Zehreeli’ is a run-of-the-mill crime and punishment tale. A B-grade movie, that most likely came and went without raising much interest. The film comes from the production house of Amba Films,Bombay and is directed by VN Reddy, who is also the cinematographer of this film. The star cast of this film is listed as Neetu Singh, Shailendra Singh, Bindu, Jalal Agha, Imtiaz, Virendra, Jairaj, Purnima, Sharat Saxena, Jagirdar, Satish Arora, Nandita Thakur and others.

As per Geet Kosh, there are three songs in this film. The music director for this film is Sharda, whom we better know as a singer.  As I check the MD details on the blog, we already have four songs on board, that have been composed by her. This now is the fifth song composed by her to be showcased here.

Two songs of this film are penned by Vithalbhai Patel and one song is written by Abhilaash. This song is from the pen of Vithalbhai Patel. The singing voices are of Mohammed Rafi and Aarti Mukherji. On screen, Bindu is lip syncing the voice of Aarti Mukherji. I had a hard time trying to identify the gentleman who lip syncs Rafi Sb’s voice. The name is M Naidu, and he is also the choreographer for the film. I must thank my dear friend Ahsaan Bhai, an ardent fan of Rafi Sb, for this identification.

The song is somewhat peculiar. It has only one stanza after the mukhda, and it was also an exercise to confirm that this is the complete version. The audio of the song, and also the song on screen has a longer duration. More than half the duration of the song is simply music and dance by Bindu. Oh well, the powers that may be. It is a song of Happy New Year message, so here we are.

This is the opening song of the film immediately after the credits are displayed on screen.

And so, it is a goodbye to the dear 2021, and a welcome to the fresh and new 2022.
Wishing all readers, friends and fellow band-wagoneers, a Very Happy and Peaceful New Year.

gaya saal gaya aur naya saal aaya

Audio

Video


Song – Jawaan Samaa Jawaan Bahaar Chaman Muskuraaya  (Zehreeli) (1977) Singer – Mohammed Rafi, Aarti Mukherji, Lyrics – Vithalbai Patel, MD – Sharda
Mohammed Rafi + Aarti Mukherji
Chorus

Lyrics

hey
jawaan samaa jawaan bahaar
chaman muskuraaya
gaya saal gaya aur naya saal aaya
jawaan samaa jawaan bahaar
chaman muskuraaya
gaya saal gaya aur naya saal aaya
dil mein pyaar ka nasha
jhoomti disha disha
chaaron or jaadu sa chhaa gaya
chaaron or jaadu sa chhaa gaya

[sounds of revelry and laughter]

har nazar mein pyaar ki hai roshni
muskura rahi hai nai zindagi
hey
hara adaa lagey hamein bhali bhali

baahon mein aa gai hai har khushi
mujh se koi mujh ko hi chura gaya
aankhon mein taare sajaa gaya

hey. . .
jawaan samaa jawaan bahaar
chaman muskuraaya
gaya saal gaya aur naya saal aaya

Happy New Year

[sounds of revelry and laughter]
[music and dance sequence]

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

हे
जवां समा जवां बहार
चमन मुस्कुराया
गया साल गया और नया साल आया
जवां समा जवां बहार
चमन मुस्कुराया
गया साल गया और नया साल आया
दिल में प्यार का नशा
झूमती दिशा दिशा
चारों ओर जादू सा छा गया
चारों ओर जादू सा छा गया

[आमोद प्रमोद और हंसी के शब्द]

हर नज़र में प्यार की है रोशनी
मुस्कुरा रही है नई ज़िंदगी
हर अदा लगे हमें भली भली
बाहों में आ गई है हर खुशी
मुझसे कोई मुझको ही चुरा गया
आँखों में तारे सजा गया

हे
जवां समा जवां बहार
चमन मुस्कुराया
गया साल गया और नया साल आया

हैप्पी न्यू यीयर

[आमोद प्रमोद और हंसी के शब्द]
[नृत्य संगीत]


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

Blog Day:

4909 Post No. : 16723

———————————–
This Week, That Year – 8
———————————–
07Nov – 13Nov, 2011

OK yes, the tag line is correct, but the date is definitely out of sequence. Sincere apologies for this parallax effect. This is not the week of 7th Nov. This post should have come at least 6 weeks ago. And truly, the post template and lyrics and all the tag stuff was ready then, but the words to compose the post were trapped behind some real and imagined ‘constraints’.

Ah but you will say, why pitch in with the week of 7th Nov now, six weeks later. Well surely, for a special reason. That was a special week, with a very special milestone reached by the blog. On Saturday, the 13th November, 2011, we reached the 5000th post. That day, the blog had been in existence for 1,213 days – exactly 3 years, 3 months and 26 days. And we completed 5,000 posts, at a simple daily average of 4+ songs – day on day.

Superlatives have become repetitive on this blog now, as we have written time and again about the blog’s progress over the years. But the wonder is that the wonder simply does not cease to amaze – the wonder of the blog itself, of being on the blog, of being part of the bandwagon. Whether the pace is slow or fast, we have never been without steam.

Looking back then, from this 13+ years vantage point, it seems like just a speck on the past time line. But just think about it – about the feelings then, on arriving at the 5000th station of this journey. And I am sure, as we looked ahead at the future, this 16,700+ post compendium, was not even visible on the time line. And probably not even in the minds of the bandwagoneers. Some member or members did mention 10,000, maybe. But going beyond that, then crossing the 15,000 mark, and still continue to merrily chug along – probably that thought did not even cross anyone’s mind. The ambience has changed so much since those days 10 years ago. Now, the feeling is that nothing is impossible for this bandwagon and its fearless leader.

It was a dhamaaka celebration. A celebration that store the hearts of everyone – literally. The blog ne loot liya mil ke gaana sun’ne waalon ko. . .

It was a calculated and a planned choice – the song I mean. Lyrics from the pen of Shewan Rizvi, music composed by Bulo C Rani and rendered with such zest and fervor by Ismail Azaad Qawwaal. And on screen, a name that we had some hard time digging up and confirming – Sheikh, the comedian. Yes, the qawwaali “Hamen To Loot Liya Mil Ke Husn Waalon Ne”. The qawwali that merits to be counted amongs the top 5 iconic qawaalis in Hindi films. That was the choice for the 5000th milestone song for the blog. The write up that day was a shared effort by Atul ji, Raja ji and yours truly. It truly is an honor to be part of that write up.

Ten years later, as we look back, it surely is a major joy that we picked this song for the 5000th milestone.

Now let’s play the numbers game for the week that was – from 7th to 13th November. A whopping 50 songs were posted that week, for an average of little above 7 songs per day. Quite a prolific week that was. Total number films showcased were 43. The film ‘Khel’ of 1950 made four appearances, the film ‘Mayur Pankh’ of 1956 made 3 appearances and ‘Anurodh’ from 1977 made two. The film name ‘Taqdeer’ appeared twice in that week, albeit from different years – 1943 and 1967.

The decade of 1941-50 was represented by 11 songs, the decade of 1951-60 by 12 songs, the decade of 1961-70 by 17 songs, the decade of 1971-80 by eight songs, and the 80s and 90s were represented by one song each. And so 1960s was the prominent decade with almost 30% songs posted that week.

As many as 13 films made their debut this week, and yes, 3 films also got Yippeee’d already. All three films are from 1970s – ‘Amar Prem’ (1971), ‘Mili’ (1975) and ‘Anurodh’ (1977). Since that week was done, 18 more films that appeared in that week are Yippeee’d by now.

We had two major artist milestone also come up that week. Hasrat Jaipuri completed 300 appearances on the blog, on 12th November with the song “Tu Kyun Mujhko Pukaare” from the film ‘Mayur Pankh’. And then on the 13th, the 5000th post also celebrated the century of songs composed by Bulo C Rani.

Here is the week’s data in table form.

Blog Ten Year Challenge (2011-2021) Series
Sl.No. Movie Name Year HFGK NoS ASAD NoS Possible UT Deb/Yip Milestone Film Status Pending
7-Nov-11
1 Khel 1950 9 9 Yippeee’d
2 Stree 1961 11 8 1 Pending-c 2+ 1 UT
3 Hum Deewaane 1965 8 3 1 D Pending-c 4+ 1 UT
4 Paalki 1967 10 9 Pending 1
5 Chhoti Si Mulaaqaat 1967 7 7 Yippeee’d
6 Pyaar Ki Baazi 1967 5 2 1 D Pending-c 2+ 1 UT
7 Anurodh 1977 6 6 Yippeee’d
8 Rudaali 1993 8 4 Pending 4
8-Nov-11
1 Dharam 1945 10 4 3 D Pending-c 3+ 3 UT
2 Patanga 1949 10 10 Yippeee’d
3 Hum Matwaale Naujawaan 1961 7 6 Pending 1
4 Samson 1964 5 5 Yippeee’d
5 Dara Singh, The Iron Man 1964 6 3 Pending 3
6 Mere Sanam 1965 9 9 Yippeee’d
7 Mom Ki Gudiya 1972 5 5 Yippeee’d
8 Kinaara 1977 8 6 Pending 2
9-Nov-11
1 Village Girl 1945 12 11 3 Yc 3 UT
2 Khel 1950 9 9 Yippeee’d
3 Mastaana 1954 8 9 Yippeee’d
4 Doctor Z 1959 8 5 2 D Pending-c 1+ 2 UT
5 Raaz 1967 8 7 1 Yc 1 UT
6 Sachcha Jhootha 1970 6 5 Pending 1
7 Mili 1975 3 3 Y Yippeee’d
8 Kotwal Sahab 1977 3 3 D Yippeee’d
10-Nov-11
1 Lahore 1949 10 9 Pending 1
2 Nageena 1951 8 8 Yippeee’d
3 Chalti Ka Naam Gaadi 1958 8 8 Yippeee’d
4 Aas Ka Panchhi 1961 7 7 Yippeee’d
5 Asli Naqli 1962 7 7 Yippeee’d
6 Watan Se Door 1968 5 3 D Pending 2
7 Shubh Chintak 1989 3 1 D Pending 2
8 Man Jeete Jag Jeet 1973 10 2 D Pending 8
11-Nov-11
1 Namoona 1949 9 7 Pending 2
2 Taqdeer 1967 8 8 Yippeee’d
3 Duniya 1968 6 7 Yippeee’d
4 Inquilaab 1956 8 8 Yippeee’d
5 Mayur Pankh 1953 6 6 D Yippeee’d
6 Anurodh 1977 6 6 Y Yippeee’d
12-Nov-11
1 Khel 1950 9 9 Yippeee’d
2 Bhai Saahab 1954 10 6 2 D Pending-c 2+ 2 UT
3 Mayur Pankh 1953 6 6 AC – 300 (Hasrat Jaipuri) Yippeee’d
4 Kavi Kaalidas 1959 9 10 Yippeee’d
5 Mulzim 1963 7 5 5 Yc 5 UT
6 Amar Prem 1971 6 6 Y Yippeee’d
13-Nov-11
1 Taqdeer 1943 10 4 2 D Pending-c 4+ 2 UT
2 Jagbeeti 1946 9 4 5 D Yc 5 UT
3 Khel 1950 9 9 Yippeee’d
4 Mayur Pankh 1953 6 6 Yippeee’d
5 Miss Coca Cola 1955 8 8 Yippeee’d
6 Al Hi Laal 1958 8 2 2 D BC – 5000/AC – 100 (Bulo C Rani) Pending-c 4+ 2 UT

Since 13th November of 2011, after this iconic qawwaali was posted, just one more song from the film ‘Al Hi Lal’ has appeared on the blog. That song is “Amma Main Bada Hoke Bahut Kaam Karoongaa” which appeared on the blog on 29th July, 2017. Here is one more song from this film – a duet sung by Manna Dey and Suman Kalyanpur. This is a lilting melodious song af a lovers’ tete-a-tete – a typical running-around-the-tree love song. On screen, this song is lip synced by Mahipal and Shakila.

The song is written by Shewan Rizvi, music composed by Bulo C Rani. The lovers are complaining about stolen hearts, and are naming each other as the thief responsible for it. Apparently it seems that once the qawwaali became the big hit that it is, somehow the remaining songs got very little attention from the listeners. This song is a wonderful one in its own right, but not so well known. I too got to hear it for the first time as I was searching for other songs of this film.

Listen to this lovely duet, I am sure you will like it.

 

Song – Tum Ho Dil Ke Chor, Kare Dil Shor  (Al Hi Laal) (1958) Singer – Manna Dey, Suman Kalyanpur, Lyrics – Shewan Rizvi, MD – Bulo C Rani
Manna Dey + Suman Kalyanpur

Lyrics

tum ho dil ke chor
kare dil shor
tumhen pehchaan liya. . .
o ho ho haan
aaj khula ye raaz
hamaara raaz
kisi ne jaan liya

aa haan
tum ho dil ke chor
kare dil shor
tumhen pehchaan liya
aaj khula ye raaz
hamaara raaz
kisi ne jaan liya

bedard ne deke dard
kiya dil sard
nigaahen pher ke
teri chaah ne
dil ki aah ne loota
raah mein hamko gher ke
laakh bachaaya
bach nahin paaya
dil ye hamaara
tum par aaya
o ho ho haan
tum ho dil ke chor
kare dil shor
tumhen pehchaan liya
aaj khula ye raaz
hamaara raaz
kisi ne jaan liya

o mast nazar
jaata hai kidhar
ik teer sa dil pe maar ke
badnaam na ho
badnaam na kar
ilzaam na de bekaar ke
raaz hamaara
tu ne jaana
jaan na le
bedard zamaana
o ho ho haan
tum ho dil ke chor
kare dil shor
tumhen pehchaan liya
aaj khula ye raaz
hamaara raaz
kisi ne jaan liya

sharma ke na ja
tadpa ke na ja
iqraar to kar le pyaar ka
jab aankh jhuke
aur lab na hiley
ye matlab hai iqraar ka
neechi nigaahen
dil ki kahaani
pyaar ki hai ye
khaas nishaani
o ho ho haan
tum ho dil ke chor
kare dil shor
tumhen pehchaan liya
aaj khula ye raaz
hamaara raaz
kisi ne jaan liya

————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
तुम हो दिल के चोर
करे दिल शोर
तुम्हें पहचान लिया॰ ॰ ॰
ओ हो हो हाँ
आज खुला ये राज़
हमारा राज़
किसी ने जान लिया

आ हाँ
तुम हो दिल के चोर
करे दिल शोर
तुम्हें पहचान लिया
आज खुला ये राज़
हमारा राज़
किसी ने जान लिया

बेदर्द ने देके दर्द
किया दिल सर्द
निगाहें फेर के
तेरी चाह ने
दिल की आह ने लूटा
राह में हमको घेर के
लाख बचाया
बच नहीं पाया
दिल ये हमारा
तुम पे आया
ओ हो हो हाँ
तुम हो दिल के चोर
करे दिल शोर
तुम्हें पहचान लिया
आज खुला ये राज़
हमारा राज़
किसी ने जान लिया

ओ मस्त नज़र
जाता है किधर
इक तीर सा दिल पे मार के
बदनाम ना हो
बदनाम ना कर
इल्ज़ाम ना दे बेकार के
राज़ हमारा
तू ने जाना
जान ना ले
बेदर्द ज़माना
ओ हो हो हाँ
तुम हो दिल के चोर
करे दिल शोर
तुम्हें पहचान लिया
आज खुला ये राज़
हमारा राज़
किसी ने जान लिया

शर्मा के ना जा
तड़पा के ना जा
इक़रार तो कर ले प्यार का
जब आँख झुके
और लब ना हिले
ये मतलब है इक़रार का
नीची निगाहें
दिल की कहानी
प्यार की है ये
खास निशानी
ओ हो हो हाँ
तुम हो दिल के चोर
करे दिल शोर
तुम्हें पहचान लिया
आज खुला ये राज़
हमारा राज़
किसी ने जान लिया

 


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

Blog Day :

4908 Post No. : 16721 Movie Count :

4552

The magic of ’83 endures. . .

Some years before the ’83’ was planned and launched, ’83 already had made an appearance in another film that came in 2007. This film is not about ’83, but is about the inspiration that ’83 becomes for an orphan child who loves to play cricket.

The film is ‘Chain Kulii Ki Main Kulii’. Probably not a well known film, and probably many readers may not be aware of it. It did not appear on YouTube for a very long time. The clips that are available now were uploaded as recently as 2019. But in terms of financial stats, it is deemed to be a successful film.

Another very key aspect of this film – Kapil Dev makes a live appearance in this film, as himself. Watching the film way back when, as Kapil Paa ji suddenly appears in the hotel lobby where the India team (in the film storyline) is staying, it was really a pleasant surprise. Plus more – I was reminded of the disclaimer at the beginning of the film that announces this film to be a work of fiction, and that all characters are fictitious, and that any resemblance to persons living or dead is purely coincidental. So maybe, Kapil Paa ji, appearing in the film as Kapil Paa ji is merely a pure ‘coincident’. 🙂

Ah, but I stray. Way back then, I was already in the mode for over two decades of not seeing films, or to be precise, not seeing films on the big screen. A friend handed me a copied DVD of the film, telling that a very interesting film it is, must watch. I did. And sincerely, I very much liked it, enough to immediately make a copy of it i.e. pirate a pirated DVD. My concern was / is that whenever I tried to bring up this film in discussions, most people expressed ignorance. And I used to wonder. So I considered this pirated DVD to be a prized possession.

The main character in this film is a cricket bat. Let me explain. Karan (role played by Zain Khan) is an orphan child just stepping into his teens. He is an inmate of John’s orphanage, which is a motley group of children of all ages. Their keeper is John Kakkar (role played by Rajesh Khera). His appearance and mannerism is a throwback on the character of Fagin in the novel ‘Oliver Twist’ by Charles Dickens. And the motley group of children call him by his nickname – Hitler.

Karan desires two things, to become part of a family, and to play cricket. As is the case in every such motley group, there is the local bully child. He is Raghav (role played by Raj Bhansali), and his fans call him Raghav Dada. He is envious of Karan’s batting skills, and often has squabbling spats with him. One day, he snatches Karan’s bat and throws it such that it breaks. Karan is distraught and pained, but can do nothing.

Some days later, a cartload of toys donated by someone arrive at the orphanage. The children pounce on them and there is quite a melee as they try to grab what they fancy to be their favorite. There is a cricket bat in that cart, and it somehow makes its way into Karan’s hand.

And now starts the magic. As Karan is examining that sturdy but worn out bat, his eyes pick out four letters etched with a knife on the shoulder of the bat. The letters are – KD83. Having been fed on the cricketing stories, especially of the 1983 world cup victory and Kapil Paa ji by Bholu Dada (role played by Sushil Parashar), one of the caretakers of the children at the orphanage, the joyous fantasy of Karan knows no bounds when he deciphers these letters to be ‘Kapil Dev – 1983’. He is earnestly convinced that fortune has played him a golden hand and sent him the actual bat with which Kapil Paa ji had played the World Cup tournament in 1983.

The love affair is instantly established, and Karan does not part with the bat even while sleeping.

Concurrently at that time, Pakistan’s cricket team is on tour of India, and the one day match series is in progress. India team is performing dreadfully, and they are already two down in the five match series. The coach (role played by Vijay Krishna) is a troubled man. On a fateful day in between matches, he is on road in his car, and waiting at a traffic light, when a cricket ball lands on his windshield, as if dropping in from the skies. He is intrigued. He parks the car, and based on some trajectory estimations and some inquiries, he reaches a dusty barren maidan where a group of teenagers are squabbling about who should go to retrieve the ball. He walks in and asks in a commanding tone, who hit this shot. Karan, who has hit that shot, is terrified and in complete denial mode. However Raghav, sensing a possible opportunity to get Karan into trouble quickly and vociferously points out that Karan has hit the shot.

Karan is waiting for some punishment. But the coach surprises him by saying he wants to see more of his batting. So the coach of the India team is bowling and Karan is facing him. Coach bowls one over, and each delivery is dispatched high and far away from the ground. With an intervening scene of the Coach trying to convince and cajole John ‘Hitler’ to allow Karan to go with the Coach for some time, the next scene is the cricket stadium. It is late evening. Coach has summoned the selection committee members, Varun, the captain of the India team (role played by Rahul Bose), and Sohail (role played by Vineet Kumar Singh) the fast bowler in the India  team. Coach convinces and invites the present audience to view Karan’s exploits with the bat. With lots of doubts and misgivings, and with a dash of derision, they agree. Of course everyone is stunned to view the ensuing flourish of shots by Karan on the bowling of the recognized fast bowler.

With some back and forth between the selectors, the coach and the team captain, there is agreement to experiment with Karan, on a trial basis, for one match against Pakistan. And the stage is set for the career debut of ostensibly the youngest ever cricketer to make an appearance in an international match.

Interesting segue here as to how Karan starts any of his innings. As he takes his stance, he would lift the bat and touch it to his forehead, say a prayer to Kapil Paa ji, and then whisper a brief chant – “Chain Kulii Ki Main Kulii”. Apparently, this is one of those phrase jingles that children make up, and use it as a conversation enhancer no matter what the emotional content or context of the situation be. Something like a ‘तकिया कलाम’ (takia kalaam). As he chants this short jingle, we see a momentary aura around the bat and Karan’s hands, and the batting magic is initiated.

Karan opens the innings with Varun. Pakistan team is captained by Rafique (role played by Bobby Bedi). Their main bowler is Wasim (role played by Chandan Anand). The opening pair each score an unbeaten century for an unbeaten partnership of 356. Of course India goes on to win the match. Karan continues in the rest of games as the opening partner for Varun. India wins the next match, and then the series.

Other performers visible in this clip are – the two umpires, roles played  by Gary Tantony and Krishan Prem Upadhyay; and in the commentator’s box Maru Sharma (role played by Nasir Khan) and Nadira (role played by Manini Mishra).

There are other interesting twists and turns in the story before it ends. There is a love angle in Varun’s life, Malini (role played by Meera Vasudevan), whom Karan quite magnanimously ‘approves’; Varun has an estranged father, and Karan becomes instrumental in bringing them together once again; there is the magical tryst between the prodigal batting sensation and his legendary inspiration – the phenomenal Kapil Paa ji, an encounter in which the legend ‘recognizes’ his bat and autographs it for the prodigy; and the happily ever after decision of Varun and Malini to adopt Karan. Close to the end of the movie there are episodes that also bring a transformation in Karan – the realization that his batting prowess is not actually in the bat engraved with KD83, but in his own self.

In my opinion, this film is a wholesome entertainer, with lots of interesting imaginary cricket imagery included – Kapil Paa ji is for real though. The full movie is available on YouTube, and I would recommend it to those who may not have seen it before.

This song being showcased today plays in the background as Karan makes his batting debut against Pakistan. The song has been penned by Irfan Siddique and set to music by Salim-Sulaiman. There are six singers listed against this track – Kailash Kher, Vijay Prakash, Hrushitesh Kamarker, Mangal Mishra, John Stewart and Salim Merchant. Being quite unfamiliar with the voices of the current singers, I request other readers to please help identify the main singer. As far as I can make out, there is one lead voice and a chorus of supporting voices.

Some interesting additional viewing. Here is the link for the short Films Division Newsreel clip of the reception accorded to the winning team by the then President Giani Zail Singh, and Prime Minister Indira Gandhi.

And here is the link for the last full get together of the Kapil’s Devils earlier this year, on 25th June, 2021, when OPUS has announced the release of the limited edition coffee table book on this victory (only 1983 copies to be monogrammed). I say last ‘full get together’, because sadly Yashpal Sharma, one of the mainstay batsmen of the team, especially during the 1983 World Cup tournament, passed away on 13th July, 2021, just eighteen days after recording this session.

The time line has now seen 38 more years since 1983, and we are now in the 39th year of continued celebrations of that path breaking first of the first world cricketing championship victory. There are, there have been and there will be many more such victories. But the legendary sensation of the magical fortunes and cricketing prowess that came to fruition on that fateful unforgettable day of 25th June, 1983 has cast an everlasting spell whose charm is indelible for generations to come.

Jai Hind.

 

Song – Koi Tere Aage Tik Paaye Na  (Chain Kulii Ki Main Kulii) (2007) Singer – Kailash Kher, Vijay Prakash, Hrushitesh Kamerker, Mangal Mishra, John Stewart, Salim Merchant, Lyrics – Irfan Siddique, MD – Salim-Sulaiman
Chorus

Lyrics

de de de de
de de de de
de
de de
de de de de
de de de de
de

de de de de
de de de de
de
de de
de de de de
de de de de
de

dhadakka

aa
de de de de
de de de de
de
de de
de de de de
de de de de
de

de de de de
de de de de
de
de de
de de de de
de de de de
de

dhadakka

koi tere aage tik paaye naa
de de de de
de de de de
de
de de
jo bhi tere saamne aayega
de de de de
de de de de
de
de de
koi tere aage tik paaye naa
jo bhi tere saamne aayega
tu kar de
dhamaaka
sab dekhen aaj tamaasha
tu kar de
dhamaaka
har ball ko de tamaacha
de chauka
de chhakka
aaj ho jaaye ho jaaye dhoom dhadakka
chauka
de chhakka
aaj ho jaaye ho jaaye dhoom dhadakka
chauka
de chhakka
aaj ho jaaye ho jaaye dhoom dhadakka
chauka
de chhakka
aaj ho jaaye ho jaaye dhoom dhadakka. . .

de de de de
de de de de
de
de de
de de de de
de de de de
de
de de
de chauka
de de de de
de de de de
de
de de
de de de de
de de de de
de
de de
de chhakka
de de de de
de de de de
de
de de
de de de de
de de de de
de
de de
dhoom dhadakka
de de de de
de de de de
de
de de
de de de de
de de de de
de
de de

kya mode
kya tode
tu na kisi ko bhi chhode
na naape
na toley
sab hil hil hil hil doley
tu ne natkhat
yun jhatpat
kya jaadu chalaaya sarpat
teri harkat
hai aafat
tak dhinak dhinak dhin tak tak

tu kar de
dhamaaka
ab sab se le le tu panga
tu kar de
dhamaaka
chal aaj macha de danga
de chauka
de chhakka
aaj ho jaaye ho jaaye dhoom dhadakka
chauka
de chhakka
aaj ho jaaye ho jaaye dhoom dhadakka
chauka
de chhakka
aaj ho jaaye ho jaaye dhoom dhadakka
chauka
de chhakka
aaj ho jaaye ho jaaye dhoom dhadakka

aaa aaa aaaaa
de de de de
de de de de
de
de de
aaa aaa aaaaa
de de de de
de de de de
de
de chauka
(aaa aaa aaaaa)
(de de de de)
(de de de de)
(de)
de chhakka
(aaa aaa aaaaa)
(de de de de)
(de de de de)
(de)
dhoom dhadakka
(aaa aaa aaaaa)
(de de de de)
(de de de de)
(de)
de de de de
de de de de
de
dhadakka

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

दे दे दे दे
दे दे दे दे
दे
दे दे
दे दे दे दे
दे दे दे दे
दे

दे दे दे दे
दे दे दे दे
दे
दे दे
दे दे दे दे
दे दे दे दे
दे

धड़क्का

आ॰॰
दे दे दे दे
दे दे दे दे
दे
दे दे
दे दे दे दे
दे दे दे दे
दे

दे दे दे दे
दे दे दे दे
दे
दे दे
दे दे दे दे
दे दे दे दे
दे

धड़क्का

कोई तेरे आगे टिक पाये ना
दे दे दे दे
दे दे दे दे
दे
दे दे
जो भी तेरे सामने आएगा
दे दे दे दे
दे दे दे दे
दे
दे दे
कोई तेरे आगे टिक पाये ना
जो भी तेरे सामने आएगा
तू कर दे
धमाका
सब देखें आज तमाशा
तू कर दे
धमाका
हर बॉल को दे तमाचा
दे चौका
दे छक्का
आज हो जाये हो जाये धूम धड़क्का
चौका
दे छक्का
आज हो जाये हो जाये धूम धड़क्का
चौका
दे छक्का
आज हो जाये हो जाये धूम धड़क्का
चौका
दे छक्का
आज हो जाये हो जाये धूम धड़क्का
दे दे दे दे
दे दे दे दे
दे
दे दे
दे दे दे दे
दे दे दे दे
दे
दे दे
दे चौका
दे दे दे दे
दे दे दे दे
दे
दे दे
दे दे दे दे
दे दे दे दे
दे
दे दे
दे छक्का
दे दे दे दे
दे दे दे दे
दे
दे दे
दे दे दे दे
दे दे दे दे
दे
दे दे
धूम धड़क्का
दे दे दे दे
दे दे दे दे
दे
दे दे
दे दे दे दे
दे दे दे दे
दे
दे दे

क्या मोड़े
क्या तोड़े
तू ना किसी को भी छोड़े
ना नापे
ना तोले
सब हिल हिल हिल हिल डोले
तूने नटखट
यूं झटपट
क्या जादू चलाया सरपट
तेरी हरकत
है आफत
तक धिनक धिनक धिन तक तक

तू कर दे
धमाका
अब सब से ले ले तू पंगा
तू कर दे
धमाका
चल आज मचा दे दंगा
दे चौका
दे छक्का
चौका
दे छक्का
आज हो जाये हो जाये धूम धड़क्का
चौका
दे छक्का
आज हो जाये हो जाये धूम धड़क्का
चौका
दे छक्का
आज हो जाये हो जाये धूम धड़क्का

आss आss आsss
दे दे दे दे
दे दे दे दे
दे
दे दे
आss आss आsss
दे दे दे दे
दे दे दे दे
दे
दे चौका
(आss आss आsss)
(दे दे दे दे)
(दे दे दे दे)
(दे)
दे छक्का
(आss आss आsss)
(दे दे दे दे)
(दे दे दे दे)
(दे)
धूम धड़क्का
(आss आss आsss)
(दे दे दे दे)
(दे दे दे दे)
(दे)
दे दे दे दे
दे दे दे दे
दे
धड़क्का


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

This is a labour of love, where “new” songs are added every day, and that has been the case for over THIRTEEN years. This blog has over 17000 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

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