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

Archive for the ‘Invitation song’ Category


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

4430 Post No. : 15859 Movie Count :

4364

Pyarelal Ramprasad Sharma, one halfof the music director Laxmikant-Pyarelal was born on 03/09/1940. So that makes this 80th Birthday of the one of the most proficient, successful and talented musicians of the golden era of hindi film music. It is a well-known fact that both Laxmikant and Pyarelaljistarted their career as players of music instruments in the song recordings. If I am not mistaken, Pyarelalji, was a violinist.

‘Most proficient’ in the film industry’s history is the correct tag for Laxmikant-Pyarelal as they are the composers with the highest no. of songs composed which stands at 2901, in the blog’s stats page.

Laxmikant Pyarelal started as music directors in 1963, they hit the jackpot with Dost (1964). What followed is history, with awards, accolades and they never looked back. They are on record as loyalists of Rafi Sahab till his lifetime, who also sang maximum no of songs for them.

The achievements and success are too many, for me to start listing them. But their association with Anand Bakshi is the longest one, and must be the biggest such combo. I would guess the total songs composed by Laxmikant Pyarelal may have around 2000 written by Anand Bakshi.

On this birthday occasion , I am presenting the song from the film Krodhi (1981), by this very same team/combo of Lakshmikant-Pyarelal with AnandBakshi. The singers are Lata Mangeshkar and Suresh Wadkar. The was a multi-starrer film by Subhash Ghai. The starcast was Dharmendra, Hema Malini, Maushmi Chatterjee, Zeenat Aman, Shashi Kapoor etc and of course the love birds in the song, Sachin and Ranjeeta. The four songs of the film, which I remember are all nice one’s. But the movie is making a debut here on the blog with this song.

I have seen the movie, so can give a little outline of the story. Dharmendra is a gangster or smuggler, Zeenat Aman works for him and has a lot of regard and respect for him, as he has helped her a lot with the responsibilities. Zeenat Aman meets Shashi Kapoor (Police Inpector ?) at her sister’s wedding. Zeenat Aman and Shashi Kapoor get married, but Shashi Kapoor is not aware of the connection between Zeenat Aman and Dharmendra. The police is looking to arrest Dharmendra but he escapes and takes shelter in a village, where people mistake him for a godman or sadhu. Dharmendra adopts the disguise to escape the police. Sachin and Ranjita are the two characters who don’t make much difference to the story.

In the song, which Sachin and Ranjita are singing in the garden ‘Chameli baagh”, Dharmendra is looking on, and I think later on he helps them in some way or they are both murdered, by the villains. Dharmendra is also reminded of his late wife Maushmi Chatterjee while watching the song. Lata Mangeshkar is play backing for both Ranjita and Maushmi in the song.

The sort of word play which was a signature of Laxmikant Pyarelal and Anand Bakshi songs, is visible in this song.


Song-Chal chameli baagh mein mewa khilaaungaa (Krodhi)(1981) Singers-Suresh Wadkar, Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Both

Lyrics

chal
chal
chal
chal
chal
chal
chal
chal
chal
chal
chal

chal chameli
chameli baagh mein
mewaa khilaaungaa
chal chameli baagh mein
mewaa khilaaungaa aa
chal chameli baagh mein
mewaa khilaaungaa aa
mewe ki tehni toot gayi to o
chaadar bichhaaunga
chaadar ka pallu phat gayaa to
darzi bulwaaungaa
darzi ki suyee toot gayi to o
ghodaa daudaangaaaa
ghode ki taang toot gayi to to
to to to to

to tum ko uthhaaungaaaa
dil mein bithhaaungaa
chal chameli
chameli baagh mein
mewaa khilaaungaa aa
chal chameli baagh mein
mewaa khilaaungaa aa

itnaa sab kuchh kar ke
phir dil mein bithhaaugey ae
itnaa sab kuchh kar ke
phir dil mein bithhaaugey ae
pehle se hi dil mein bithhaa lo
tum thhak jaaogey ae
tum thhak jaaogey ae
tum thhak jaaogey ae
chal chameli
chameli baagh mein
jhoolaa jhulaaungi ee ee
chal chameli baagh mein
jhoolaa jhulaaungi ee

jhoole ki rassi toot gayi to
aanchal bichhaaungi
aanchal ka pallu phhat gaya to
see kar dikhaaungi
suyee jo mujh ko chubh gayi
hans kar manaaungi
hans kar jo tum na maane to
ro kar dikhaaungi
tum ko manaaungi
tum maan jaaoge
main roothh jaaungi
tum maan jaaoge
main roothh jaaungi ee

chal chameli
chameli baagh mein
panchhi dikhaaungaa aa
chal chameli baagh mein
panchhi dikhaaungaa aa

panchhi daali se udd gaye to
seeti bajaaungaa
seeti se bhi na wo udey to
bansi bajaaungaa
bansi jo gir ke toot gayi to o
main geet gaaungaa
geeton mein tum ko pyaar ki
baaten sunaaungaa
baaten sunaaungaa
din raat phir tum ko main
yaad aaungaaaa
din raat phir tum ko main
hmmm mmm
yaad aaungaaaa
hmmm mmm

yaad na aana
warna mujh ko
neend na aayegi ee
aakhon hi aankhon mein saari
raat jaayegi ee

chal chameli baagh mein
chori se jaayenge
chal chameli baagh mein
chori se jaayenge
chori se maali ki sabhi
kaliyaan churaayenge
kaiyaan churaa ke teraa
gajra banaayenge
ye to socho o o
kya hogaa jo
pakde jaayenge
pakde jaayenge

pakde jaayenge
pakde jaane se pehle to ham
bhaag jaayenge
pakde jaane se pehle to ham
bhaag jaayenge ae
chal chameli baagh mein
ham mewaa khaayenge


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

Blog Day :

4408 Post No. : 15798

apni kahaani chhod jaa
kuchh to nishaani chhod jaa
kaun kahe iss or
tu phir aaye naa aaye

That is how Balraj Sahni left his mark as an outstanding method actor in most of his nearly 100 films in which he acted during the course of his 27 years of filmy career. Balraj Sahni started his filmy career as an actor almost at the same time as Dev Anand, Dilip Kumar and Raj Kapoor, the trinity of the golden period of Hindi film industry. But he had to struggle hard to establish himself as an actor in demand. It took him more than a decade to do so while his compatriot trinity had become the stars in early 1950s.

Balraj Sahni was very bitter about his early experiences in his filmy career. Having associated with IPTA and being a card member of the Communist Party of India, it was difficult to get roles in the films despite the success of ‘Hum Log’ (1951) and ‘Hulchul’ (1951) in which he had important roles. Those days, it was a fashion to brand any one as communist if he had difference of opinion with men of authorities. Since Balraj Sahni was already a member of Communist Party, many producers were wary of offering him roles. In a few films in which he got the roles, he was unceremoniously dropped later from the films either directly or indirectly by offering him smaller roles.

When I completed reading Balraj Sahni’s autobiography in Hindi, I was surprised as to how he got drawn into Hindi films when he had an impressive curriculum vitae before he became an actor in Hindi films. He completed his double M.A. in Hindi and English literature from Government College, Lahore and joined Shanti Niketan along with his wife, Damyanti Sahni to work with Gurudev Rabindranath Tagore. He worked there as a lecturer in Hindi and English. After two years, he and his wife shifted to Sewagram in Wardha to work with Mahatma Gandhi where he also worked as teacher in the institute run in Sewagram. In 1939, with the blessing of Mahatma Gandhi, he and his wife joined BBC London as a Radio Announcer and as a producer, respectively for their Hindi services. In 1944, Balraj Sahni and his wife landed back in Mumbai and got involved in Hindi plays under IPTA. From this point of time, both he and his wife got drawn towards acting in the films, that too not by their own volitions but through Chetan Anand, their close friend.

Balraj Sahni (01/05/1913 – 13/04/1973), was born as Yudhishthir Sahni in Rawalpindi in an Arya Samaji family. His father was a successful businessman – a wholesale cloth merchant who could afford to have a summer villa in Srinagar. In 1930, after completing his matriculation, he joined Government College, Lahore for B.A. His college days coincided with the advent of talkies during which he watched many Hindi and English films. He also participated as an actor in College’s dramatic society. By the time, he had completed M.A. in Hindi and English literature, he had developed an interest in literature rather than in acting in the films.

During four years of his stay in London, Balraj Sahni watched many English plays and Russian films which he felt was ahead of American films. Through Russian films, he got introduced to Marxism and Leninism. By the time, he and his wife returned to Mumbai in 1944, they had embraced Marxism. For some time, both of them stayed at Chetan Anand’s bungalow at Bandra whom he knew from his days in Government College, Lahore. Chetan Anand was also associated with IPTA where Balraj Sahni got acquainted with K A Abbas, Krishan Chandra, Phani Mujumdar, Prem Dhavan, V P Sathe, C P Joshi among others. In IPTA, K A Abbas who was writing a play ‘Zubeida’ selected Balraj Sahni to direct it. The play became a hit. This was the start of his long association with K A Abbas.

During his IPTA days, Chetan Anand offered him and his wife major roles in his maiden film ‘Neecha Nagar’ (1946) which was in the planning stage. However, Chetan Anand was not able to arrange the finances. So, the making of the film got delayed. During the same time, Phani Mujumdar offered him a small role of the hero’s friend in ‘Insaaf’ (1946). At first, Balraj Sahni was not enthusiastic to accept the small role. It was only after Phani Majumdar assured him that in his next film ‘Door Chalen’ (1946), he would give him a major role which he kept his words. Both the films did not click at the box office.

In the meanwhile, IPTA got a licence to produce a full-length feature film which K A Abbas used it for making ‘Dharti Ke Laal’ (1946). It was IPTA’s first and the last film. Both Balraj Sahni and Damyanti Sahni got major roles in the film along with other IPTA actors. This film also failed at the box office as the film’s release coincided with communal violence in Mumbai. However, the film was critically acclaimed both nationally and internationally. Thereafter, both Balraj Sahni and Damyanti Sahni worked in ‘Gudia’ (1947) in lead roles. However, soon after the completion of the film, Damyanti Sahni who also used to work with the slum dwellers in Mumbai as a part of her social work, fell ill. Due to adverse reaction of the medicines, she died in April 1947 at a young age of 26, leaving Balraj Sahni with two kids, Parikshit and Shabnam.

A devasted Balraj Sahni soon left Mumbai and started staying in his father’s summer villa in Srinagar while his kids were sent to Rawalpindi at his parent’s house. But within few months, the communal riots on the eve of the partition made Balraj Sahni and his parents with kids to come back to Mumbai leaving everything behind. While IPTA took care of him on his second coming, he also commenced shooting for ‘Gunjan’ (1948) in which he had got the offer of the lead role opposite Nalini Jaywant when he was in Srinagar.

In 1948-49, Balraj Sahni was mostly associated with IPTA plays and communist party activities. During this period, he got married to Santosh Chandok, his cousin who was a writer and actor in IPTA. During the rehearsal of the play ‘Signalman Dulee’, all IPTA members were called to participate in a procession taken by the communist party which had taken anti-Nehru stance, branding him to be an agent of British Government. Carried away by the party line, Balraj Sahni wrote and acted in an IPTA play ‘Jaadu Ki Kursi’ which was directed by Mohan Sehgal. The play was a satire on Pandit Nehru’s policies. During this time, Communist Party took out a procession in the street of Mumbai with slogan shouting and criticising Nehru’s policies. Balraj Sahni and other IPTA members had also joined the procession. There was lathi charge and police firings. Many prominent activists of IPTA such as Balraj Sahni, Majrooh Sultanpuri, Ali Sardar Jafri, Deena Pathak etc. were arrested and imprisoned in Arthur Road jail for 2 years.

Before his arrest, Balraj Sahni had got a major role in K Asif’s film, ‘Hulchul’ (1951) on the recommendation of Dilip Kumar. Shooting of the film had commenced but Balraj Sahni was in jail. With the good offices of producer, K Asif, Balraj Sahni got permission from the Jailor to join shooting during the day time under the police escorts. Incidentally, Balraj Sahni acted in this film in the role of a Jailor. The arrangements continued until the film’s shooting was completed.

After about 6 months of imprisonment, Balraj Sahni was freed from the jail. It is not known as to how he got released from the jail in 6 months but I feel that there must be some reason for remission in his jail terms and this was not liked by his party. He found to his dismay that the party has branded him as ‘traitor’ and some of his friends and acquaintances avoided meeting him. After some time, Balraj Sahani left IPTA and Communist Party of India due to difference of opinions. Those days, any party member having put forward a different opinion than the party line, used to be branded as ‘reactionary’, ‘traitor’ etc.

Notwithstanding leaving IPTA and Communist Party, Balraj Sahni remained a committed Marxist with ‘Das Kapital’ as his reference point rather than the communist ideaology. Things began to improve in his filmy career as soon as the tag of ‘communist’ against his name was obliterated. Despite film offers coming to him on a regular basis, he could do only few films as he selected mostly socially oriented films – like the role of unemployed and sickly Raj in ‘Hum Log’ (1951), the rickshaw puller, Shambhu Maheto in ‘Do Bigha Zameen’ (1953), the compassionate manager of an orphanage in ‘Seema’ (1955), the idealistic poet, Shrikant in ‘Sone Ki Chidiya’ (1958), a loving elder brother in ‘Chhoti Bahen’ (1959), a committed village doctor in ‘Anuradha’ (1960), a migrant Afghani, Abdul Rehman Khan in ‘Kabuliwala’ (1961) etc. However, as he advanced in age, he started getting the character actor’s roles during which time, he mostly worked in the mainstream Hindi films.

Sometime in 1950, Chetan Anand, the head of Navketan Films, invited Balraj Sahni to write screen-play and dialogues for ‘Baazi’ (1951) which he gladly accepted because it suited to his temperament as a writer. Guru Dutt, the director wanted to start the shooting of the film even before the script was ready. Balraj Sahni made it very clear to him that he would part with screen-play and dialogues only when it is complete in all respect. It was only when he gave the screen-play and dialogues duly bound, the shooting of the film commenced. Though ‘Baazi’ (1951) was a big hit on the box office, Balraj Sahni did not draw any benefit or pleasure from it as his screen-play and dialogues were changed without his consent as was the practice by most of the directors. So, he gave up the idea of taking up the assignment of screen-play writing any more. He also directed ‘Laal Batti’ (1957), the only film as a director during his filmy career. He also worked in some Punjabi films.

By the end of 1950s, Balraj Sahni had adjusted to the unorganized way of working in Bollywood. He was once called for shooting in the morning and he was sitting in the studio throughout the day without being called for a single shot. From then onwards, he decided to carry his typewriter for shooting so that he could use his free time for writing articles and short stories for the magazines. While working in Shanti Niketan in the late 30s, Balraj Sahni was advised by Gurudev Rabindranath Tagore that he should write articles and stories in Punjabi as a writer can effectively express his thoughts in his own mother tongue. Balraj Sahni took his advice seriously and learnt afresh writing in Gurumukhi.

Balraj Sahni major break through as an actor was in a neo-realistic film, ‘Dharti Ke Laal’ (1946). It was just a co-incident that his last film ‘Garam Hawa’ (1973) also happened to be a neo-realistic film. His son, Parikshit Sahni had said in an interview that the film had perfect pathos in almost every scene and dialogues delivered by his father.

And why not? If one sees the events happening in the film in a broader manner, Balraj Sahni had actually experienced them in reality. Towards the end of the film, he lost his young daughter Amina who commits suicide following her bad marriage. This had actually happened to Balraj Sahni about one year before the film’s shooting was completed. His daughter, Shabnam by his first marriage had returned to him after a divorce and died young due to a brain hemorrhage. All the pains in losing his daughter was reflected on his face in the film.

On his 60th birthday, Balraj Sahni was to make an announcement to leave the film industry and settled down in Punjab to devote rest of his life to the literature. For this, he had bought a cottage in Punjab which was being refurbished. But God wished differently. Just before a month of his 60th birthday and a day after completion of his dubbing for ‘Garam Hawa’ (1973), Balraj Sahni died of heart-attack on April 13, 1973. At the Juhu Crematorium, besides close family members, friends and film paternity, there was a large crowd of hotels workers, fishermen and others from the Juhu village whom he had financially helped to improve their living conditions.

Bhisham Sahni, Balraj Sahni’s younger brother and a renown theatre personality (remember his T V Serial, ‘Tamas’, 1988) has talked about his elder brother’s deep and abiding love for his family. He said that the scene from ‘Waqt’ (1965) in which Balraj Sahni sings ae meri zohra-zabeen, showering his love for his wife is the exact reflections of his exuberating nature which many have witnessed in his house. Sometime in mid-1960s, Balraj Sahni constructed his bungalow at Juhu mainly to accommodate his entire family under one roof and for the visiting relatives and friends.

Balraj Sahni had jokingly said in his autobiography that he got more chance to do romance with the heroines of the films when he did character actor’s roles than as a hero. One of the films in which as a hero, he romanced with Geeta Bali was ‘Sapan Suhaane’ (1961). The film was produced under the banner of K R Films which was directed by Kidar Kapoor. The star cast included Balraj Sahni, Geeta Bali, Kamini Kadam, Chandrashekhar, Helen, K N Singh, Leela Mishra, Bhagwan Dada, Praveen Paul, Keshav Rana, Tun Tun, Ram Mohan etc.

Four songs (out of 7) have been covered in the Blog. I am presenting the 5th song, ‘o gori aaja gaddi vich baith jaa’ from ‘Sapan Suhaane’ (1961). The song is rendered by Manna Dey and Lata Mangeshkar for Balraj Sahni and Geeta Bali. The song is written by Shailendra which is set to music by Salil Chaudhuri.

Acknowledgement:

Much of the information for this article has been drawn from:

1. ‘Meri Filmy Aatmkatha’ by Balraj Sahni (1974).

2. Balraj – My Brother by Bhisham Sahni (1981).

3. Two Brothers – Balraj and Bhisham Sahni – Some experience in IPTA by Kalpana Sahni.

Video Clip:

Audio Clip:

Song-O gori aaja gaddi vich baithh jaa (Sapan Suhaane)(1961) Singers-Manna Dey, Lata, Lyrics-Shailendra, MD-Salil Chaudhary

Lyrics

o…o gori aaja gaddi vich baithh jaa
jaao ji koi kya kahega
o….o gori aaja gaddi vich baith jaa
jaao ji koi kya kahega

tu jaise phoolon waali daali..ee
goriye tu to hai naazon ki paali
gora rang jal jaaye na
na to main phoolon waali daali..ee
chhaliye na main hoon naazon ki paali
tu kisi aur ko bana

khadi tarsaaye main ko aaja aa aa
karoon kya jiya kahe na aa aa aaa
o…o gori aaja gaddi vich baith jaa
jaao ji koi kya kahega
o…o gori aaja gaddi vich baith jaa
jaao ji koi kya kahega

ye raahen meri anjaani..ee
nigaahon mein hai bachpan ki naadaani
mera dil kho jaaye na

ye raahen maana hai anjaani…ee
tere sang main jo hoon meri pahchaani
ye saathi chhod jaaye na ae ae
kahenge kya ye duniya waale ae ae
na dekho din mein sapna aa aa aa aaa

o…o gori aaja gaddi vich baith jaa
jaao ji koi kya kahega
o…o gori aaja gaddi vich baith jaa
jaao ji koi kya kahega

kah do doli leke aaun
bana ke dulhan tujhko ghar le jaaun
agar tu dil se kahe haan
agar tum doli leke aao…o
bitha ke palkon mein mujhko le jaao
mera dil kahe chaahe na

bhula mat dena apna waada aa aa
sanam ne kar to diya haan….. aan
o…o gori aaja gaddi vich baith jaa
jaao ji koi kya kahega
o…o gori aaja gaddi vich baith jaa
jaao ji koi kya kahega


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 :

4372 Post No. : 15708

“Jungle Ka Jawaahar” (1952) was a Basant Pictures production movie. It was directed by Homi Wadia. The movie had John Cawas, Nadia, Dalpat, Goldstein, Shapur, Agha, Abdulla etc in it.

The movie had five songs in it. One song has been covered in the past.

Today is the 102nd birth anniversary of Saraswati Kumar Deepak (7 july 1918-8 july 1986). While searching the dates of his anniversaries, I drew a blank on google. So it turns out that the anniversary page of this blog is perehaps one of the very few places online where these dates are available.

On this occasion, here is a song from “Jungle Ka Jawaahar”(1952). This song is sung by Shyam Sundar (singer) and Sulochana Kadam. Saraswati Kumar Deepak is the lyricist. Music is composed by Madholal Damodar Master.

The song picturised as a Tarzan and Jane kind of picturisation. My guess is that the actors are the famous John Cawas and Nadia. I request our knowledgeable readers to help identify them.

The lyrics are cute. The city slicker gentleman wants to introduce the lady to the charms of Big cities like Bombay and Delhi, but the lady, comfortable is jungle, wants none of that.

Lyrics of this song were sent to me by Avinash Scrapwala.

Video

Song-Shrimati shrimati aao aao (Jungle Ka Jawaahar)(1952) Singers-Shyam Sundar, Sulochana Kadam, Lyrics-Saraswati Kumar Deepak, MD-Madholal Damodar Master

Lyrics (Provided by Avinash Scrapwala)

O o
shrimati
shrimati
Aao aao aao
Aao o
O na na na na
Na main aaun

Tu aa aa aa
aa aa aa aa

Nayi duniya dikhaaun
Na na na na main aaun
Nayi duniya dikhaaun
Na na na na main aaun
Albeli dikhlaaun main
Chamak damak
Nayi duniya ki
Ja ja
Albeli dikhlaaun main
Chamak damak
Nayi duniya ki
Sun meri pyaari baat
Na na na na
Sharmeeli chal tu saath
Chhod de jungle ka mangal
Badhaa de
Badhaa de apna haath
Na na na na
Haan haan haan haan
Haa

Main tere haath na aaun
Pedon mein
Pedon mein ja chhip jaaun
Main tere haath na aaun
Pedon mein ja chhip jaaun

Sharmeeli dikhlaaun main
Tadak bhadak nayi duniya ki
o meri pyaari ??
sharmeeli chal tu saath
Chhod de jungle ka mangal
Badhaa de apna haath
Na na na
Na na na
na na na na

Aa jungle ki billi
Billi?
Aa jungle ki billi
Tujhe dikhaaun dilli
Dilli se bambai le jaaun
Motor mein juhu dikhlaaun
Na na na na
Na na na na
Na main aaun

Aa jungle ki billi
Tujhe dikhaaun dilli
Dilli se bambai le jaaun
Motor mein juhu dikhlaaun
Halwa khilaaun
Laddoo khilaaun
Chaupaati ki chaat khilaaun
Halwa khilaaun
Laddoo khilaaun
Chaupaati ki chaat khilaaun

Is jungle ko chhod ke
Chau

Chaupaati
Chaupaati na aaun
Haan main chaupaati na aaun

Bambai le jaaun
Raani banaaun
Na na na na na
Achhi achhi film dikhaaun
Achhi achhi film dikhaaun
La la laa
Oon oon oon
Jo kal ??
Sheesh mahal ??
Jo kal??
Sheesh mahal ??
Mila pardesi mehmaan
Ab to kehna mera maan
Jo kal ??
Sheesh mahal ??
Mila pardesi mehmaan
Ab to kehna mera maan
O Na na na
Haan haan haan haan

Nayi duniya dikhaaun
Na na na na main aaun
Albeli dikhlaaun main
Chamak damak
Nayi duniya ki
Sun meri pyaari baat
Pyaari baat
Sharmeeli chal tu saath
Chal tu saath
Chhod de jungle ka mangal
Badhaa de apna haath
Badhaa de apna haath
Badhaa de apna haath
Teri meri Jodi niraali hai
Matwaali hai
Nakhrewaali hai
Teri meri Jodi niraali hai
Ma ma ma ma matwaali hai
Nakhre nakhre nakhre nakhrewaali hai
Nakhre
Nakhre
Nakhre
Nakhrewaali hai
Teri meri Jodi niraali hai


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 : 3856 Post No. : 14869

———————————————
Blog ten year challenge (2009-2019)- Song number 4
———————————————

“Parvarish”(1977) was directed by Manmohan Desai for A G Films, Bombay. This movie had Shammi Kpoor, Amitabh Bachchan, Vinod Khanna, Nitu Singh, Shabana Azmi, Kadar Khan, Amjad Khan, Dev Kumar, Indrani Mukherji, Hina Kausar, Master Ratan, Master Tito, Chand Usmani, Sheikh, Bhushan Tiwari, Viju Khote, Tom Alter, Yusuf, Meena, Baby Shalu, Moolchand etc in it.

This movie has six songs in it. Three of these songs have been covered in the past. This movie made its debut in the blog on 7 february 2009, viz on this day ten years ago. The song was Aji thahro zara thahro.. Jaate ho jaane jaana.

So this movie provided me an opportunity to discuss another song from the movie after exactly ten years. This song is sung by Asha Bhonsle and Kishore Kumar. Majrooh Sultanpuri is the lyricist. Music is composed by Laxmikant Pyarelal.

This song is picturised on Nitu Singh and Amitabh Bachchan. I vaguely recall that our two heroes Amitabh Bachchan and Vinod Khanna play cops and the two heroines Neetu Singh and Shabana Azmi play small time crooks. This being a Hindi movie that too a Manmohan Desai movie, such twains are bound to meet and fall in love after initial chhed chhad etc.

I did not watch any movies from 1972 and 1977 and this movie, like many great movies of my formative years fell in this period. I watched this movie much later in 1980s during summer vacations. Watching the movie nearly one decade later in second or third run of the movie was not th same as it would have been if the movie was released in 1977.

This song, nevetheless is a good song to listen to, and it was a popular song of its time.

So, here is a song from a movie released in 1977 which watched by me in 1984, whose first song was covered in the blog on 7 february 2009 and whose fourth song is being covered in the blog on 7 february 2019. How time seems to have flown as hypersonic speed !


Song-Aaiye shauq se kahiye(Parvarish)(1977) Singers- Asha Bhonsle, Kishore Kumar, Lyrics-Majrooh Sultanpuri, MD-Laxmikant Pyarelal

Lyrics

hmm mm mm
hmm hmm
hmm mm mm
aaiye
shauq se kahiye
hmm
aaiye
shauq se kahiye
kahiye na
hai koi kaam
aji kaam vaam mein kya rakha hai
ham to hain aapke ghulaam
aaiye
baithiye kahiye
kya hai ji aapka naam

aji naam vaam mein kya rakha hai
ham to hain aapke ghulaam
aaiye
shauq se kahiye

by god
aapka to andaaz hai bada pysara
by god
aapka to andaaz hai bada pyaara
kamre mein aap kya aaye
naqsha badal gaya saara

main bhi yahi sochti
miley na miley mauqa phir ye dobaara
ek do ghadi miley to sabki khidamat karte jaaiye
to aaiye
bathiye kahiye
kya hai ji aapka naam

aji naam vaam mein kya rakha hai
ham to hain aapke ghulaam
aaiye
shauq se kahiye

koi dekho aa rahaa hai
thahro udhar nazar kar lo
koi dekho aa rahaa hai
thahro udhar nazar kar lo
ham apna munh idhar kar len
tum apna munh udhar kar lo
chhup nahin sakoge dear
sundar mukhda tum chaahe jidhar kar lo
time aapne ghalat chuna hai
koshish mat farmaaiye

to phir aaiye
shauq se kahiye
kahiye na
hai koi kaam
aji kaam vaam ko goli maaro
ham to hain aapke ghulaam
to aaiye
baithiye kahiye
kya hai ji aapka naam

aji naam vaam mein kya rakha hai
ham to hain aapke ghulaam


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

Blog Day : 3616 Post No. : 14418

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 14
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

‘ज’ – जब घड़ी बोले चार गोरी करके सिंगार ॰ ॰ ॰

॰ ॰ ॰ ॰ ॰ ॰
तुम्हें रुकना पड़ेगा, मेरी आवाज़ सुन कर ॰ ॰ ॰

जी, आपकी आवाज़ सुन कर तो हम आज भी रुक जाते हैं।  आप खुद ही कहीं दूर हो, जहां हमारी आवाज़ शायद नहीं पहुँचती॰ ॰ ॰

Looking at the title line, I am tempted to start searching for songs which are built around the theme of the clock and  time on the clock. Yes, there are a few songs that come to mind, but then likely many of them are probably already here on the blog. Let me see.

Coming to the next letter in the alphabet for this series. The song that I have selected is a duet of Rafi Sb and Suman Kalyanpur from the film ‘Gambler’. Not, this is not the 1971 Dev Sb starer, but an obscure and forgotten film from 1960. One song of this film is posted on the blog in July 2013. Close to five years now, that we are getting to revisit this film and add to its counter.

When I look at the detailed credits of this film, I am a bit surprised that this film is obscure and unfamiliar. The banner name is Vikas Productions from Bombay. More important, the producers of this film are Ram Kamlani and Dwarka Khosla, the latter being also the director of this film.

The star cast is quite, rather very impressive, for it includes Premnath, Shakeela, Agha, Poornima, Pran, KN Singh, Shammi, Madan Puri, Kanchanmala, Kukku, Mridula, Raja Amrohi, Jai Kumar, Meena, Ram Kamlani. Hmmm, a Premnath and Shakeela starrer in the late 1950s. . . should have been a better known film.

Anyway, seven songs listed. All songs from the pen of Prem Dhawan and music by Chitragupt, assisted by Dilip Dholakia. The song itself has a peculiar signature – a long pause of silence in the middle of the last word in last lines of the mukhda and the antaraas. I can’t recall a similar tune design for a song in Hindi films.

The song is a ‘nok-jhonk’ song – the gentleman says something to offend the lady to start with, she complains about it, he retracts and apologizes, and then all is well once again. And the planned tryst at 4 O’Clock is very much on. The pause becomes so noticeable, as the rest of song is quite fast paced. As I said, a peculiar tune design experimented by Chitragupt. A fun song, I am sure you will enjoy.

Song – Jab Ghadi Bole Chaar Gori Kar Ke Singaar  (Gambler) (1960) Singer – Mohammed Rafi, Suman Kalyanpur, Lyrics – Prem Dhawan, MD – Chitragupt
Mohammed Rafi + Suman Kalyanpur

Lyrics

jab ghadi bole chaar
gori kar ke singaar
chali aana us paar
bolo pa. . . .kki
sainyaan karo aitbaar
main hoon aisi hoshiyaar
jab baje paune chaar
aaun na. . . .kki
jab ghadi bole chaa..aar

kehti paune chaar hai
par aati saade saat hai
arre kehti paune chaar hai
par aati saade saat hai
boley bhi to kya boley
tu aurat ki zaat hai
oo oo oo oo
karey ulti ulti baat
karey ulti ulti baat
kahey din ko bhi raat
ja na bolun tere saath
tu hai jha. . . .kki
jab ghadi bole chaar
gori kar ke singaar
chali aana us paar
bolo pa. . . .kki
jab ghadi bole chaar

khoti kar ke taalna
bas tera to ye kaam hai
tu kya jaane pyaar bhi
kis chidiya ka naam hai
oo oo oo oo
meri baaten nahin khel
o meri baaten nahin khel
sachcha hai ye dil ka mel
teri khaatir jaaun jail
peesoon cha. . . .kki
sainyaan karo aitbaar
main hoon aisi hoshiyaar
jab baje paune chaar
aaun na. . . .kki
jab ghadi bole chaa..aa..aar

yun na khota jaan ri tu
hum mardon ki baat ko
haan samjhi
yun na khota jaan ri tu
hum mardon ki baat ko
tu boley to aaun main
paidal aadhi raat ko
oo oo oo oo
achha maani teri baat
thank you
achha maani teri baat
to phir de haathon mein haath
hoga tera mera saath
bada lu. . . .ckky
jab ghadi bole chaar
gori kar ke singaar
chali aana us paar
bolo pa. . . .kki
sainyaan karo aitbaar
main hoon aisi hoshiyaar
jab baje paune chaar
aaun na. . . .kki
jab ghadi bole chaa..aa..aar

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
जब घड़ी बोले चार
गोरी कर के सिंगार
चली आना उस पार
बोलो प॰ ॰ ॰ ॰क्की
सैंयां करो एतबार
मैं हूँ ऐसी होशियार
जब बजे पौने चार
आऊँ न॰ ॰ ॰ ॰क्की
जब घड़ी बोले चा॰॰आर

कहती पौने चार है
पर आती साड़े सात है
अरे कहती पौने चार है
पर आती साड़े सात है
बोले भी तो क्या बोले
तू औरत की ज़ात है
ओ ओ ओ ओ
करे उल्टी उल्टी बात
करे उल्टी उल्टी बात
कहे दिन को भी रात
जा ना बोलूँ तेरे साथ
तू है झ॰ ॰ ॰ ॰क्की
जब घड़ी बोले चार
गोरी कर के सिंगार
चली आना उस पार
बोलो प॰ ॰ ॰ ॰क्की
जब घड़ी बोले चार

खोटी कर के टालना
बस तेरा ये काम है
तू क्या जाने प्यार भी
किस चिड़िया का नाम है
ओ ओ ओ ओ
मेरी बातें नहीं खेल
ओ मेरी बातें नहीं खेल
सच्चा है ये दिल का मेल
तेरी खातिर जाऊँ जेल
पीसूँ च॰ ॰ ॰ ॰क्की
सैंयां करो एतबार
मैं हूँ ऐसी होशियार
जब बजे पौने चार
आऊँ न॰ ॰ ॰ ॰क्की
जब घड़ी बोले चा॰॰आर

यूं ना खोटा जान री तू
हम मर्दों की बात को
हाँ समझी
यूं ना खोटा जान री तू
हम मर्दों की बात को
तू बोले तो आऊँ मैं
पैदल आधी रात को
ओ ओ ओ ओ
अच्छा मानी तेरी बात
थैंक यू
अच्छा मानी तेरी बात
तो फिर दे हाथों में हाथ
होगा तेरा मेरा साथ
बड़ा ल॰ ॰ ॰ ॰क्की
जब घड़ी बोले चार
गोरी कर के सिंगार
चली आना उस पार
बोलो प॰ ॰ ॰ ॰क्की
सैंयां करो एतबार
मैं हूँ ऐसी होशियार
जब बजे पौने चार
आऊँ न॰ ॰ ॰ ॰क्की
जब घड़ी बोले चा॰॰आर


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

Blog Day : 3474 Post No. : 13950

Missing Films of 1960s – 48
– – – – – – – – – – – – – – –

Going by just the numbers, possibly the ‘Tarzan’ genre of films is the longest such category of films in the Hindi film industry. In the first five decades (from 1931 to 1980), I have tried to pick out the filmography by manual browsing through the Geet Kosh, I am able to locate a total of 15 films that starts with the word ‘Tarzan’ – and this might well be a record in the history of Hindi films.

Debut film for today is one of these Tarzan films – ‘Tarzan Aur Circus’. This 1965 film is produced under the banner of Sargam Chitra, Bombay, and is directed by Shiv Kumar. The brief list of actors includes Azad, Chitra, Sherry, Sundar, Sujata, Rajan Kapoor etc.

The film has six songs listed. All songs are from the pen of Madhukar Rajasthani. And the music is composed by the duo of Husnlal Bhagatram.

The debut song is rendered by Asha Bhosle. The song is an ‘invite’ song in which the lady is trying to incite the gentleman to come and take refuge under the shadow of her tresses. The words by Madhukar Rajasthani are certainly very meaningful. Madhukar Rajasthani, a Hindi poet of significant fame, had some limited forays into the Hindi film industry. He has approximately 18 films to his credits, writing under two names – Madhukar and Madhukar Rajasthani.

A breezy melody from Husnlal-Bhagatram, enjoy this catchy rendition by Asha Bhosle.

 

Song – Meri Zulfon Ki Chhaaon Taley Aa Ja  (Tarzan Aur Circus) (1965) Singer – Asha Bhosle, Lyrics – Madhukar Rajashtani, MD – Husnlal-Bhagatram

Lyrics

meri zulfon ki chhaon taley aa ja
nigaahon mein samaa ja
chhupa loon tujhe pyaar se
oo oo
meri zulfon ki chhaon taley aa ja
nigaahon mein samaa ja
chhupa loon tujhe pyaar se
oo oo oo
phero na mukhda bahaar se
haa..aaye
phero na mukhda bahaar se
meri zulfon ki chhaon taley aa ja
nigaahon mein samaa ja
chhupa loon tujhe pyaar se
oo oo
meri zulfon ki. . .

mehak raha hai mera husn salona
mehak raha hai mera husn salona
sharmaaun pakdoon main chunri ka kona
sharmaaun pakdoon main chunri ka kona
jaane hu hai kya
main naa kahoongi jaao
zulmi bedardi dildaar se
oo oo oo oo oo oo
zulmi bedardi dildaar se
meri zulfon ki chhaon taley aa ja
nigaahon mein samaa ja
chhupa loon tujhe pyaar se
oo oo
meri zulfon ki. . .

aa ke panghat pe main pyaasi na jaaun
aa ke panghat pe main pyaasi na jaaun
tadap tadap chaahe jaan gawaaun
tadap tadap chaahe jaan gawaaun
thaam le haath mera
de de tu saath mera
baat banaa de iqraar se
oo oo oo oo oo oo
baat banaa de iqraar se
meri zulfon ki chhaon taley aa ja
nigaahon mein samaa ja
chhupa loon tujhe pyaar se
oo oo
meri zulfon ki. . .

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
मेरी ज़ुल्फों की छांव तले आ जा
निगाहों में समा जा
छुपा लूँ तुझे प्यार से
ओ ओ
मेरी ज़ुल्फों की छांव तले आ जा
निगाहों में समा जा
छुपा लूँ तुझे प्यार से
ओ ओ ओ
फेरो ना मुखड़ा बहार से
हाए॰॰॰
फेरो ना मुखड़ा बहार से
मेरी ज़ुल्फों की छांव तले आ जा
निगाहों में समा जा
छुपा लूँ तुझे प्यार से
ओ ओ
मेरी ज़ुल्फों की॰ ॰ ॰

महक रहा है मेरा हुस्न सलोना
महक रहा है मेरा हुस्न सलोना
शरमाऊँ पकड़ूँ में सारी का कोना
शरमाऊँ पकड़ूँ में सारी का कोना
जाने हुआ है क्या
मैं ना कहूँगी जाओ
ज़ुल्मी बेदर्दी दिलदार से
ओ ओ ओ ओ ओ ओ
ज़ुल्मी बेदर्दी दिलदार से
मेरी ज़ुल्फों की छांव तले आ जा
निगाहों में समा जा
छुपा लूँ तुझे प्यार से
ओ ओ
मेरी ज़ुल्फों की॰ ॰ ॰

आके पनघट पे मैं प्यासी ना जाऊँ
आके पनघट पे मैं प्यासी ना जाऊँ
तड़प तड़प चाहे प्राण गँवाऊँ
तड़प तड़प चाहे प्राण गँवाऊँ
थाम ले हाथ मेरा
दे दे तू साथ मेरा
बात बना दे इक़रार से
ओ ओ ओ ओ ओ ओ
बात बना दे इक़रार से
मेरी ज़ुल्फों की छांव तले आ जा
निगाहों में समा जा
छुपा लूँ तुझे प्यार से
ओ ओ
मेरी ज़ुल्फों की॰ ॰ ॰


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

Blog Day : 3468 Post No. : 13923

Now, none of the regulars can say they have not heard this song. In a film that boasts of more than one song that competes for the title of the best song in the film, this song surely is one of the best songs in this film. Wow – that sure is saying something for the quality of songs of this film. In 1962, music director Ravi has been active as an independent music director for about seven years now, and he already has about 30 films behind him, that he has composed for. His films include such notable hits as ‘Ek Saal’ (1957), ‘Dilli Ka Thug’ (1958), ‘Ghar Sansaar’ (1958), ‘Chaudhvin Ka Chaand’ (1960), ‘Ghunghat’ (1960), ‘Gharaana’ (1961), ‘Modern Girl’ (1961), ‘Bombay Ka Chor’ (1962) and many more. And then in 1962, out comes this Shammi Kapoor, Shakila, Helen starrer called ‘China Town’ – and the popular response is “Baar Baar Dekho, Hazaar Baar Dekho”. Oh yes, the songs of this film – one just does not feel done with them, no matter how many times you have heard them.

Produced and directed by Shakti Samant, the cast of actors includes such notables – Shammi Kapoor, Shakila, Helen, Madan Puri, SN Bannerjee, Keshav Rana, TunTun, Rashid Khan, Polson, Samson, Shetty, Jeevankala, Mridula and about twenty more names.  Songwriter of all the eight songs in this film is Majrooh Sultanpuri, and the music, already mentioned, is by Ravi.

Eight songs in all, seven of which have already been showcased on our blog. And we come to the yippeee night for this film, brining on board this last, but not the least, songs of this film. It is a lovely composition, and just by listening to it, even without the visual, the image that comes to mind is – Helen. Ravi has tried to recreate the magic of “Mera Naam Chin Chin Chu” – albeit a slower pace, and has done a great composition.

But wait. What is this that I discover? The song that we have always heard in the film, and also as generally available in most uploads – goodness that song is missing from the listings in Geet Kosh. This question took up most of my time today afternoon and evening. I must admit that either I have been forgetful, or plain ignorant. Other folks may already know this, but this song has two versions, which, as I discovered after some leg work on the internet and searching my own collection, are quite different from each other, in terms of wordings. The tune and the melody is exactly the same but the words are noticeably different.

The Geet Kosh listing shows the title of this song as “Laakhon Haseenon Se Hai Gulzar China Town”. But as we play the video clip of this film, this song appears as the film beginning song, with the title line changed to “Rangeen Bahaaron Se Hai Gulzar China Town”. This latter version is the one that is the most available in all the searches one makes online. It is almost as if the former version does not exist. I checked in my collection, and am relieved to find that I have both versions in the folder of this film. And then, with some more intense search online, I am finally also able to locate a Sa Re Ga Ma upload, which is the “Laakhon Haseenon” waala version. The upload comment specifically states that this recording is from the vinyl record prepared from the sound track. There is some error here possibly, because the sound track version is “Rangeen Bahaaron Se”. I checked some more and then I am able to locate an Eraksoldies upload of an SLBC (Sri Lanka Broadcasting Corp) program that presents all songs of this film. Knowing this is an SLBC recording, these songs are quite surely from 78 rpm records. And this selection contains the “Laakhon Haseenon” waala version. I checked again in my collection, and sure enough, this version in my collection also is from a 78 rpm recording. So anyways. . .

What may have been the reason to make two versions, is not clear at this time. We know that it was an era that all songs were recorded twice, once for the 78 rpm record, and once for the final sound track. We see many instances that the two versions are different, in that there is either a different antaraa, or an additional antaraa in the sound track version. More noticeably, the difference in the two versions generally is the music – different lengths of preludes and interludes, maybe an extra couplet in the beginning, subtle variations in the music arrangement and the instruments used. However, it is only rarely that we see that there is a considerable variation in the wordings of different lines themselves. It is generally accepted that the 78 rpm version is released first. Also generally that both versions are recorded simultaneously. But yes, there are known cases where these two recordings may have been done at different points in time, as per circumstantial requirements. Recall the song of ‘Chhalia’ (1960) in which the song “Chhalia Mera Naam. . .” was re-recorded for sound track after the censors raised objections to some words in the original recording.

By that logic, it would seem that the “Laakhon Haseenon” waala version is recorded earlier and the “Rangeen Bahaaron Se” version which appears in the sound track was probably done later. The former, 78 rpm version carries two antaraas, and the latter soundtrack version carries three antaraas. And there is a sizeable modifications of words themselves. Now what prompted these wording changes – that needs to be explored. I would request our knowledgeable readers and friends to please add information related to this query.

The earlier songs posted for this film are listed below.

Baar Baar Dekho Hazaar Baar Dekho 617 25-Jan-09
Dekho Ji Ek Baalaa Jogi 3486 2-Feb-11
Yamma Yamma Yamma Tu Parwaana Main Shamma 4858 21-Oct-11
Hum Se Na Poochho Hum Kahaan Chale 11688 24-Dec-15
Ye Rang Na Chhootega Ulfat Ki Nishaani Hai 13586 15-Sep-17
Bada Qaatil Hai Mera Yaar China Chin Chin Chu 13917 14-Jan-18

 

Of the above listed songs, the “Yamma Yamma Yamma. . .” song actually includes two songs, which are listed at nos. 5 and 6 in the Geet Kosh. And the song “Bada Qaatil Hai Mera Yaar. . .” is the song listed at no. 8 in the Geet Kosh.

So we bring to Yippeee land, this most musical film, that started its journey on our blog close to – goodness, nine years. Wow. Maybe one day we shall do an analysis on the patterns in the time taken to bring all songs of a film on board. Maybe it brings out some interesting results.

Enjoy both these “Rangeen Bahaaren” and “Laakhon Haseeen” versions of the song. And welcome ‘China Town’ to Yippeee land. 🙂

[Ed Note: Ah yes, and the titling on the video clip (it is uploaded in the Rajshri channel) is also incorrect. They have captioned the upload as “Thandi Bahaaron Se. . .” whereas it is very clearly heard as ‘Rangeen Bahaaron Se. . .”.]

[Video Version – from Fim Clip]

[Audio Version – from Gramophone Record]

Song – Rangeen Bahaaron Se Hai Gulzaar China Town  (China Town) (1962) Singer – Asha Bhosle, Lyrics – Majrooh Sultanpuri, MD – Ravi
Chorus

Lyrics

Video Version
rangeen bahaaron se hai gulzar china town

shehar waalon ki shaam e bahaar china town
aa ke to dekho ek baar china town
china town
china town
china town

ho oo
dekho dekho
idhar to dekho
dil ki ye raahen
hawaayen
ye rang raliyaan
ho oo
behki behki
ye mehki mehki
zulfon ki bhaanti
balkhaati
lehraati kaliyaan
nomoshkaar

rangeen bahaaron se hai gulzar china town
shehar waalon ki shaam e bahaar china town
aa ke to dekho ek baar china town
china town
china town
china town

oo oo
chung chung cheena
o chun chun chinna
kehte hain pyaare
ishaare
sambhal ke zara
oo oo
babu aana
par kho na jaana
ye dil ka pyaala
matwaala
na chhalke zara
bo-shu
rangeen bahaaron se hai gulzar china town
shehar waalon ki shaam e bahaar china town
aa ke to dekho ek baar china town
china town
china town
china town

oo oo
kar le baaten
pyaari hain raaten
tujhko duniya se
begaana
ho jaana hai to aa
oo oo
kar le baaten
pyaari hain raaten
tujhko duniya se
begaana
ho jaana hai to aa
aa-shu
rangeen bahaaron se hai gulzar china town
shehar waalon ki shaam e bahaar china town
aa ke to dekho ek baar china town
china town
china town
china town
china town
china town

Audio Version

laakhon haseenon se hai gulzar china town
dil waalon ki hai shaam e bahaar china town
aa ke to dekho ek baar china town
china town
china town
china town

oo oo
chung chung cheena
qaatil haseena
karti hai pyaare
ishaare
sambhal ke zara
oo oo
babu aana
par kho na jaana
ye dil ka pyaala
matwaala
na chhalke zara
bo-shu
laakhon haseenon se hai gulzar china town
dil waalon ki hai shaam e bahaar china town
aa ke to dekho ek baar china town
china town
china town
china town

oo oo
kar le baaten
pyaari hain raaten
tujhko deewaana
mastaana
ho jaana hai to aa
oo oo
khud hai masti
yahaan ki basti
haare alam ko
har gham ko

bhulaana hai to aa
aa-shu
laakhon haseenon se hai gulzar china town
dil waalon ki shaam e bahaar china town
aa ke to dekho ek baar china town

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
विडियो संस्करण
रंगीं बहारों से है गुलज़ार चाइना टाउन
शहर वालों की शाम ए बहार चाइना टाउन
आ के तो देखो एक बार चाइना टाउन
चाइना टाउन
चाइना टाउन
चाइना टाउन

हो ओ॰॰॰
देखो देखो
इधर तो देखो
दिल कि ये राहें
हवाएँ
ये रंग रलियाँ
हो ओ॰॰॰
बहकी बहकी
ये महकी महकी
ज़ुल्फों की भांति
बलखाती
लहराती कलियाँ
नोमोष्कार

रंगीं बहारों से है गुलज़ार चाइना टाउन
शहर वालों की शाम ए बहार चाइना टाउन
आ के तो देखो एक बार चाइना टाउन
चाइना टाउन
चाइना टाउन
चाइना टाउन

ओ ओ॰॰॰
चुँग चुँग चीना
ओ चुन चुन चिन्ना
कहते हैं प्यारे
इशारे
संभाल के ज़रा
ओ ओ॰॰॰
बाबू आना
पर खो ना जाना
ये दिल का प्याला
मतवाला
ना छलके ज़रा
बो-शू
रंगीं बहारों से है गुलज़ार चाइना टाउन
शहर वालों की शाम ए बहार चाइना टाउन
आ के तो देखो एक बार चाइना टाउन
चाइना टाउन
चाइना टाउन
चाइना टाउन

ओ ओ॰॰॰
कर ले बातें
प्यारी हैं रातें
तुझको दुनिया से
बेगाना
हो जाना है तो आ
ओ ओ॰॰॰
कर ले बातें
प्यारी हैं रातें
तुझको दुनिया से
बेगाना
हो जाना है तो आ
आ-शू
रंगीं बहारों से है गुलज़ार चाइना टाउन
शहर वालों की शाम ए बहार चाइना टाउन
आ के तो देखो एक बार चाइना टाउन
चाइना टाउन
चाइना टाउन
चाइना टाउन
चाइना टाउन
चाइना टाउन

औडियो संस्करण
लाखों हसीनों से है गुलज़ार चाइना टाउन
दिल वालों की है शाम ए बहार चाइना टाउन
आ के तो देखो एक बार चाइना टाउन
चाइना टाउन
चाइना टाउन
चाइना टाउन

ओ ओ॰॰॰
चुँग चुँग चीना
क़ातिल हसीना
करती है प्यारे
इशारे
संभल के ज़रा
ओ ओ॰॰॰
बाबू आना
पर खो ना जाना
ये दिल का प्याला
मतवाला
ना छलके ज़रा
बो-शू
लाखों हसीनों से है गुलज़ार चाइना टाउन
दिल वालों की है शाम ए बहार चाइना टाउन
आ के तो देखो एक बार चाइना टाउन
चाइना टाउन
चाइना टाउन
चाइना टाउन

ओ ओ॰॰॰
कर ले बातें
प्यारी हैं रातें
तुझको दीवाना
मस्ताना
हो जाना है तो आ
ओ ओ॰॰॰
खुद है मस्ती
यहाँ की बस्ती
हारे अलम को
हर ग़म को
भुलाना है तो आ
आ-शू
लाखों हसीनों से है गुलज़ार चाइना टाउन
दिल वालों की है शाम ए बहार चाइना टाउन
आ के तो देखो एक बार चाइना टाउन
चाइना टाउन
चाइना टाउन
चाइना टाउन
चाइना टाउन
चाइना टाउन

 


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

A few days back I got a very personal email from our Sudhir Kapurji. This was a personal invite for contributing to the blog on the occasion of it reaching 10000 songs. At that time we were on song number 9720. Today before writing this when I visited the blog I see we are at song number 9750. So it is an alarm bell for slow pokes like me to send contributions to Atul at the earliest. Also when I saw the mail I had mentally decided that whatever I send till the D-Day of our blog should be happy and peppy songs. So here I am with my own version of an invitation song.
Read more on this topic…


When one talks of a movie called “Baazi”, one normally means the Dev Anand- Geeta Bali starrer of 1952. It turns out that there was another movie with the same title 32 years later. This movie “Baazi” (1984) was a Dharmendra Rekha starrer and it did not have much impact at the box office.
Read more on this topic…


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TWELVE years. This blog has over 15900 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

15932

Number of movies covered in the blog

Movies with all their songs covered =1224
Total Number of movies covered =4365

Total visits so far

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Blog Start date: 19 july 2008

Active for more than 4000 days.

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