Archive for the ‘Lata song’ Category
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.
“Sultaana Daaku”(1956), not to be confused with “Sultaana Daaku”(1972), was produced by Ramesh Ganatra and Rajni Modi and directed by Mohan Sinha for R D films, Bombay. This “social”(?) movie had Sheila Ramani, Jairaj, Roopmala, B M Vyas, Anil Kishore, Dubey, Amrit Rana, Krishnakumari, Heera Sawant, Ameena Bai, Raju, Lily Kelkar, Abdul azmeri, Master Babla etc in it.
This by now obscure movie had seven songs in it that were penned by four lyricists and were sung by more than eight singers.
Here is the first song from “Sultaana Daaku”(1956) to appear in the blog. This song is sung by Lata. Tanveer Naqvi is the lyricist. Music is composed by Bipin Baabul.
Only the audio of this song is available. I request our knowledgeable readers to throq light on the movie and also on the picturisation of this song.
While I have been able to get most of the lyrics right, there are still some words where I have got stuck. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.
This is a nice song to listen to, though I wonder what this song in doing in a movie titled “Sultaana Daaku”(1956) where characters should be rough and tough and not used to the tender feelings that this song expresses. 🙂
With this song, “Sultaana Daaku”(1956) makes its debut in the blog.
Song-Hai qismat ka khel dilon ka mel (Sultaana Daaku)(1956) Singer-Lata, Lyrics-Tanveer Naqvi, MD-Bipin Babul
Lyrics
hai qismat ka khel
dilon ka mel
arre dil deewaane
ye hai kaisi reet
ki apne meet
bane hain begaane
hai qismat ka khel
gham ki lay par gaate gaate
gham ki lay par gaate gaate
doob chali aawaaz
taaren bikhrin naghme ujde
taaren bikhrin naghme ujde
toot gaya hai saaz ho o o
ho gaya dil paamaal
hamaara haal zamaana kya jaane
ye hai kaisi reet
ki apne meet
bane hain begaane
hai qismat ka khel
is duniya mein pyaar bhare dil
is duniya mein pyaar bhare dil
hote hain barbaad
kitne dilon ke rotey armaa..aa..aan
kitne dilon ke rotey armaan
karte hai fariyaad ho o
aansoo thhe anjaan
rahe nakaam wafa ke afsaane
ye hai kaisi reet
ki apne meet
bane hain begaane
hai qismat ka khel
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
है किस्मत का खेल
दिलों का मेल
अरे दिल दीवाने
ये है कैसी रीत
कि अपने मीत
बने हैं बेगाने
है किस्मत का खेल
ग़म कि लय पर गाते गाते
ग़म कि लय पर गाते गाते
डूब चली आवाज़
तारें बिखरीं नग़मे उजड़े
तारें बिखरीं नग़मे उजड़े
टूट गया है साज हो ओ ओ
हो गया दिल पामाल
हमारा हाल ज़माना क्या जाने
ये है कैसी रीत
कि अपने मीत
बने हैं बेगाने
है किस्मत का खेल
इस दुनिया में प्यार भरे दिल
इस दुनिया में प्यार भरे दिल
होते हैं बर्बाद
कितने दिलों के रोते अरमा॰॰आं॰॰आं
कितने दिलों के रोते अरमां
करते हैं फरियाद हो ओ
आंसूं थे अंजान
रहे नाकाम वफा के अफसाने
ये है कैसी रीत
कि अपने मीत
बने हैं बेगाने
है किस्मत का खेल
Sajan Salona Maang Lo Ji Koi
Posted on: September 21, 2017
- In: Artist century song in blog | Asha Bhonsle songs | Blog century song | Celebration Song | Century songs for the blog | Dance song | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Group Dance | Guest poster century song | Guest posts | Lata -Asha Bhonsle duet | Lata song | Lyrics contributed by readers | Post by Sudhir | Songs of 1960s (1961 to 1970) | Songs of 1964 | Yearwise breakup of songs
- 19 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
This post is the 13600th post, 600th song of Sahir Ludhianvi and 1100th post of Sudhir Jee in the blog.
One more song that I can’t believe has not yet been included in the annals of our blog. Such a melodious, lilting and fast paced lovable song. It used to be aired on the radio quite regularly, and was one of the listening favorites. The vintage is 1964, and so quite well still retained in the memory. As I started to search for a Sahir song for this post today, I was not quite satisfied with some of the ones that showed up as possible candidates. You see, as we progress and post more songs, and the artist counts starts to close in to their total no. of songs, then in all likelihood, the better ones, the favorite ones are mostly accounted for on the blog. So if one is looking for a favorite song as a representative work of an artist, it becomes quite an effort to locate one.
Ah yes, all this is being said because I have been trying to locate a good, attractive favorite song penned by Sahir Sb, for this celebration post today. So yes, this post is celebrating two major milestones. We arrive at the 13,600th station in this musical journey. In the same stroke, we are also celebrating a score of 600 songs posted, that have come from the pen of Sahir Ludhianvi. Congratulations to one and all members of this musical bandwagon, and all readers and friends on this blog. The going has been somewhat slow during the recent few weeks, but we continue to trek along these musical paths. The going is still strong – we still just at 35 to 40% of the known songs, considering the period from 1931 to 1980 (as covered in the first five volumes of the HFGK).
However, the same cannot be said of the artists. As we continue to progress and as we start getting near to the total number of songs of an artist, it then becomes somewhat of an effort, to search out a suitable, likeable song from the remaining lot. I have been working through the lists of remaining songs of Sahir Sb much of the early part of today. I picked out a few candidate songs, from across the years his career spans. With an excellent poet like him, I notice that majority, and I mean majority, of the songs written by him are accounted for. I run through the Geet Kosh, and the film name will tell me, not even try looking into the list, because this film is most certainly already ‘Yippeee’d’. Oh yes, I do pick up some, as I said earlier, but reaching 1964, checking out this film ‘Dooj Ka Chaand’, I was surprised that this film is not yet part of the Yippeee list on the blog. Scanning the list of songs, it is almost goose bumps running down my back, as I see this song listed. Quick check on the blog and I find this song is not yet present on the blog. I have made this faux pas a few times in the past, so I quickly send an email to Atul ji, to get a confirmation. I start to prepare the post in anticipation, as I wait for his response. The confirmation email from him a little while later is quite a relief, as you may understand. 🙂
The story of Sahir is a journey in bittersweet loneliness. His own life, his experiences and his personal emotions are quite reflected in the songs and his poetry. A romantic at heart, he was once expelled from his college (in Lahore) by the principal, who saw him sitting in the college lawns with a lady student. That same college today has an auditorium named after him. A childhood that begins with bitter family experiences – a strict and abusive father, and a mother who left the household on that account. He was close to his mother, who ensured that his education continued, even though she was not part of the family, strictly speaking. His poetry budded and took shape within him, and he published his first collection while still at college. The collection is titled ‘Talkhiyaan’ (तल्खियाँ). Literally, it means ‘bitternesses’. . .
The saga of the mutual love and attraction between Sahir and Amrita Pritam, the famous Punjabi poetess and author, is well known. It is not really clear what kept them apart. Was it that Amrita was already a married woman when they met? Was is familial or community apprehensions? We would not know. Theirs was an association of silence, and that is how it has remained – a mystery in silence. At one place, Amrita has written –
“our meetings and being together, were passages of silence. . . for me, it seemed as if the loneliness and silences of my soul took a human shape and came to sit besides me. . . he would be smoking all the time, and when he left, what remained behind was an ashtray full of half smoked cigarettes. . . I would keep them as treasures, and once in a while, would smoke them. . . holding that cigarette in my hand was like him holding my hand. . .”
There is one reference one finds to this personal affair. It is said that Sahir once said to his mother that the only one that could have been her ’bahu’ was Amrita.
Cigarettes and drink became his life, and he passed away quite early – just 57. Lines from two songs simply sum up his passage from the world of living. One – “Main Zindagi Ka Saath Nibhaata Chala Gaya”; I refer to the line “Har Fikr Ko Dhuen Mein Udaata Chala Gaya”. And the second – “Mehfil Se Utth Jaane Waalo”; I refer to the line “Mere Saathi. . . Mere Saathi. . . Mere Saathi Khaali Jaam”. A romantic – lived as one, passed away as one.
Today’s song is a wonderful duet between Lata ji and Asha ji. ‘Dooj’ is the second day in the waxing cycle of the moon. It is on this day that the first crescent of the moon really becomes visible. This view of the moon is considered to be the most auspicious. The Muslims celebrate their Id when this crescent moon is sighted. And in scriptures and books of Hinduism, this sighting finds many mentions, as an auspicious occasion. There is couplet (author unknown) which goes like,
avasar kaudi jo chuke, bahuri diye ka lakh
duij na chanda dekhiye, udai kaha bhari pakh
That a timely helping hand of just one ‘kaudi’ is worth much more than lakhs given when not needed; so is the sighting of the moon on ‘dooj’; seeing it that day is worth seeing it in all its phases for the rest of the fortnight.
The crescent moon and the star – which is an occasional sighting of the moon and the planet Venus in conjunction, has been considered as the most beautiful sights. It is the conjunction of the mind (मन) and beauty – moon represents the मन and the Venus represents beauty. Poets and authors have written that this sight is more beautiful than ‘Chaudhvin Ka Chaand’, which is the full moon.
Enjoy this lovely song. It depicts the age old tradition of unmarried girls praying to and paying their respects to this sighting of the moon, asking for the blessing of a beautiful loving husband. On screen, the song is performed as a group dance. B Saroja Devi is the lead dancer, accompanied by Madhumati and other ladies. They are teasing Saroja Devi to pray to the moon, and she is responding by saying that the one who may love her should come seeking her. And her friends respond by saying that her ‘bindiya’ and her ‘paayal’ are giving a different message. A lovely tete-a-tete.
Music is vintage Roshan, what a lovely and endearing melody this one is.
Song – Sajan Salona Maang Lo Ji Koi (Dooj Ka Chaand) (1964) Singer – Asha Bhosle, Lata Mangeshkar, Lyrics – Sahir Ludhianvi, MD – Roshan
Chorus
Lyrics
o ooo oo oo
ooo ooo ooooo
ooo ooo ooo ooo ooo ooo
sajan salona maang lo ji koi
sajan salona maang lo ji koi
nikla hai dooj ka chaand sakhi ri
aaj na kariyo laaj sakhi ri
aaj na kariyo laaj
suno to gori
ui maa
kaahe ki chori
ui maa
sajan salona maang lo ji koi
nikla hai dooj ka chaand sakhi ri
aaj na kariyo laaj sakhi ri
aaj na kariyo laaj
mohe meethi naahi laage aisi baat
sakhi chhedo na
mohe meethi naahi laage aisi baat
sakhi chhedo na
naina chaahe kisi chhaliye ka saath
sakhi chhedo na
aa ha
tu na chaahe kisi mitwa ka saath ri sakhi
ke tori chham chham karti paayal chaahe
koi matwaara rasiya
suno to gori
ui maa
kaahe ki chori
ui maa
sajan salona maang lo ji koi
nikla hai dooj ka chaand sakhi ri
aaj na kariyo laaj sakhi ri
aaj na kariyo laaj
jaa ko bhaaun wo hi maange mera haath
main to maangun na
jaa ko bhaaun wo hi maange mera haath
main to maangun na
badi aai hai ye dooj ki raat
main to maangun na
haaye
tu na maange kachhu aaj ki raat
ri sakhi
ke tori cham cham karti bindiya maange
koi matwaara rasiya
suno to gori
ui maa
kaahe ki chori
ui maa
sajan salona maang lo ji koi
nikla hai dooj ka chaand sakhi ri
aaj na kariyo laaj sakhi ri
aaj na kariyo laaj
la la la la laa
la la la la laa
laaa aaaa la la laa
oo ooo ooo
hmmm hmmm hmmm
hmmm hmmm hmmm
hooo ooo ooo ooo
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
ओ ओss ओs ओs
ओss ओss ओsssss
ओss ओss ओss ओss ओss ओss
सजन सलोना मांग लो जी कोई
सजन सलोना मांग लो जी कोई
निकला है दूज का चाँद सखी री
आज ना करियो लाज सखी री
आज ना करियो लाज
सुनो तो गोरी
ऊई माँ
काहे की चोरी
ऊई माँ
सजन सलोना मांग लो जी कोई
निकला है दूज का चाँद सखी री
आज ना करियो लाज सखी री
आज ना करियो लाज
मोहे मीठी नाही लागे ऐसी बात
सखी छेड़ो ना
मोहे मीठी नाही लागे ऐसी बात
सखी छेड़ो ना
नैना चाहें किसी छलिए का साथ
सखी छेड़ो ना
आ हा
तू ना चाहे किसी मितवा का साथ री सखी
के तोरी छम छम करती पायल चाहे कोई मतवारा रसिया
सुनो तो गोरी
ऊई माँ
काहे की चोरी
ऊई माँ
सजन सलोना मांग लो जी कोई
निकला है दूज का चाँद सखी री
आज ना करियो लाज सखी री
आज ना करियो लाज
जा को भाऊँ वो ही मांगे मेरा हाथ
मैं तो माँगूँ ना
जा को भाऊँ वो ही मांगे मेरा हाथ
मैं तो माँगूँ ना
बड़ी आई है ये दूज की रात
मैं तो माँगूँ ना
हाए
तू ना मांगे कछु आज की रात री सखी
के तोरी चम चम करती बिंदिया मांगे कोई मतवारा रसिया
सुनो तो गोरी
ऊई माँ
काहे की चोरी
ऊई माँ
सजन सलोना मांग लो जी कोई
निकला है दूज का चाँद सखी री
आज ना करियो लाज सखी री
आज ना करियो लाज
ल ल ल ल ला
ल ल ल ल ला
ला आ ल ल ला
ओ ओ ओ
हम्म हम्म हम्म
हम्म हम्म हम्म
हो ओ ओ ओ
O maniyaapur ke chhaila
Posted on: September 18, 2017
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Today’s song is from film Raag Rang-52. The film was produced by Bali sisters, Bombay banner. The producer was Hari Darshan bali, the Director was Digvijay Bali ( elder brother of Geeta Bali) and the heroine of the film was Geeta Bali, opposite Ashok kumar. At this time, the age of Geeta Bali was just 22 years and Ashok kumar was almost double of her age, at 41 years !
Ashok kumar was probably the earliest star actor who was called an Evergreen Actor, because he continued to do Hero’s roles till he was 49 years old ! However, after he retired, Dev Anand overtook him by doing Hero’s roles till he was 66 years old. So, truly speaking, Dev Anand was the real Evergreen Hero ! But, surprisingly, a Meteor, or call it a Hurricane-if you like it- Called Rajesh khanna, swept these two first generation stalwarts and created a Record of doing Maximum Films as a Hero. You will be ( or may be not ) surprised to read that Rajesh Khanna has an Unbroken Record of doing 106 films as a solo Hero, followed by Dev Anand with 92 films and Ashok kumar at the 3rd number with 86 films as a Solo Hero !
In last so many years- till 1980 – I must have seen hundreds of Films- Hindi, Marathi, English, Tamil, Telugu, kannada, Malyalam and Konkani. In the Hindi films, I can not forget 3 actresses, who were Bubbly, playful, with innocent looks and with Natural acting talent. They were Meena Shorey, Nalini Jaywant and Geeta Bali. I enjoyed every film of these actresses, which i saw. It is difficult to forget the role and acting of Meena Shorey in film ” Ek thi Ladki-49″, or Nalini Jaywant in film ” Hum sab chor hain-56″, or Geeta Bali in film ” Aji Bas Shukriya-58″. These were all my favourite actresses. it is very unfortunate that they all met their deaths in very tragic circumstances.
Geeta Bali’s dancing eyes and her animated, expressive face which mirrored her soul were her most outstanding features. Yet life was snatched away from this vibrant personality at an achingly young age of 35.It is some consolation that Geeta crammed a lot into her short life: 80 odd films in a ten-year career.
She married struggling actor-turned-megastar Shammi Kapoor and mothered two children: a son and a daughter. Today, she is remembered as a wonderfully natural actress and a fabulous human being.She was quite close to her sisters and brother. her childhood pet name was KEETA.
True, Geeta’s reputation as an actress rests more on her performances than her roles. Natural, spontaneous and gifted with a spot-on sense of comic timing, she never really found a vehicle worthy of her talent. Largely a shade better than the movies she starred in, she frittered away her talents in B-grade films.
Probably the fact that she was born into a family that had to struggle for sheer survival and the fact that she reached the top through sheer grit had Geeta stress on quantity rather than quality. Film lore has it that when mentor [filmmaker] Kidar Sharma first met Geeta, she was living with her family in somebody’s bathroom!
Geeta, who was born on 30-11-1930 at Amritsar, as Harikirtan Kaur, had done a few small-time dancing roles in pre-Partition Punjab in films like Badnami-46, Kahan gaye-46 and Pat jhad-48, before moving to Mumbai. Impressed by her off-screen vivacity, Sharma cast Geeta in his Suhaag Raat (1948). Audiences related to her instantly and watched wide-eyed as she nonchalantly tossed her unconscious hero, Bharat Bhushan over her shoulder in a scene.
Soon, Geeta was inundated with contracts (that’s what they called film offers then). She accepted most. She won raves even in supporting roles like in the 1949 Suraiya starrer Badi Behan and the Madhubala starrer Dulari.
In 1951, she became a major star with Guru Dutt’s first hit, Baazi (she went on to do three other films under his direction). Geeta played gangster’s moll with a golden heart to Kalpana Kartik’s conventional heroine. But Geeta played her role with such gay abandon that hero Dev Anand divulges, “People came repeatedly to theatres to see Geeta’s spirited dancing to Tadbeer se bigdi hui taqdeer bana de.
Geeta proved she could do tragedy (Sharma’s Raj Kapoor starrer Bawre Nain) or and play the lighthearted heroine to comedian Bhagwan in the super successful Albela. Albela’s swinging C Ramchandra composed songs like Shola jo bhadkeand Sham dhale mere khidki tale made front-benchers dance with the stars and even fling coins on screen.
Pug-nosed Geeta was no conventional beauty, but that transparent face and that smile constantly flirting on her lips made sure you couldn’t tear your eyes away from her.
Watch Geeta Bali in the Guru Dutt-directed Jaal (1952). Dev Anand, a cigarette-smoking smuggler on the run from the police, tries to entice morally upstanding heroine Geeta into his web. Geeta evocatively communicates her struggle against, and her eventual surrender to, handsome Dev’s seduction call Yeh raat, yeh chaandni phir kahan.
Famously down-to-earth despite her star status, Geeta was the antithesis of the coy 1950s’ heroine. She often drove herself to her premieres in an open jeep. Those who knew her claim she was a Samaritan who touched the lives of whoever she met. She is said to have personally groomed Mala Sinha, then a newcomer.
To date, so many years after her death, her secretary Surinder Kapoor’s (Boney Kapoor’s father) productions begin with a shraddhanjali to Geeta Bali.
Shammi Kapoor entered her life when they worked in the quaintly named Miss Coca Cola and Coffee House together. On an impulse, Geeta played a small role of a man in Sharma’s Shammi Kapoor starrer Rangeen Raatein. On the film’s Ranikhet outdoor, Shammi and Geeta fell in love.
Kapoor was a year younger to her and was not yet a star, but the twosome were hell bent on marrying each other. Geeta had worked with Shammi’s eldest brother, Raj Kapoor in Bawre Nain, and with his father, Prithviraj Kapoor in Anand Math, Shammi was unsure about their reaction to this match.
But on August 23, 1955, with producer-director Hari Walia as witness, the couple were married at the Banganga Temple at 4 am.
Geeta continued to work after marriage in a few films like Sohrab Modi’s Jailor (1958), where she won raves as a blind girl. With Shammi Kapoor turning into a huge star and the birth of her two children Aditya (nicknamed Mickey) and Kanchan, she eased her workload.
The desire to do that one fulfilling role she would be remembered for prompted Geeta to attempt the production of a classic for herself. She started Rano, based on Rajinder Singh Bedi’s famous novel, Ek Chaddar Maili Si, based on a widow’s remarriage to her brother-in-law.
Upcoming star Dharmendra played her hero.
Geeta, had not been vaccinated for small pox, despite the fact her father too had died of Small Pox. She had ignored repeated warnings in the child hood. She contracted the dreaded disease while shooting the film. The best care was rushed to her, but her fever apparently reached 107 degrees. Her doctor saw a picture by his patient’s bedside and asked who the pretty lady was. The disease had so wracked Geeta’s frail frame that he didn’t recognise her as the same person!
Geeta Bali passed away on January 21, 1965, leaving behind eight-year-old Aditya and three-year-old Kanchan in the care of a devastated Shammi Kapoor.
Ironically, she was cremated in Banganga, not far from where she was married. ( adapted from Rediffmail.com, with thanks.)
Film Raag Rang-52 had 11 songs. 8 songs are already discussed and posted in the Blog. Today’s song is the 9th song. This is a lively duet. Since I have not seen the movie, I can not say on whom it is filmed, but from the lyrics, it looks that it might have been filmed on Geeta Bali. This duet is sung by Lata Mangeshkar, Trilok Kapoor and chorus. Now, this singer Trilok Kapoor is a case of ‘ Same name confusion’. There was another actor Trilok Kapoor ( famous for the role of Mahadev in Mythological films) operating at the same time in the industry. Since he was the more famous one, most sites, Blogs and enthusiastic new music lovers credit this singer’s songs to the actor. I reproduce here what I wrote about this singer and the actor in my series ” Same name Confusions” posted on http://www.anmolfankaar.com, about 3 years ago.
About the Singer TRILOK KAPOOR….
He too was from Multan, just like the actor Trilok kapoor, and was keen on singing in films. He and his wife have sung many Punjabi songs.
Singer Trilok kapoor sang a song in film Birhan-48 (Tu chanda main teri chakori – a duet with Dilshad Begum- record No. GE 5232). The film was in the making in 1946 at Lahore, but was released in 1948 due to Partition in 47.
The singer of this song can not be the actor Trilok kapoor, for the simple reason that he was busy in making 4 films in 1946 in Bombay and it is impossible that just to sing a song in a film, anybody would go to Lahore in those tumultous days.
Anyway, after the Partition, the singer Trilok Kapoor became a displaced person. He came to Bombay and met MD Shyamsunder, who sympathised with him, being a Punjabi himself from the same region. Shyam Sunder gave him a song in Bhai Behan-1950, a duet with Shamshad Begum. He got a job in Radio and continued singing in films like Guru Dakshina, Raag rang, Titlee,Goonj, Naya Raasta, Miss Mala, Saloni, Tootey Khiloune, Laadla and finally his last song in Trolley Driver-1958.
So, the actor Trilok Kapoor and singer Trilok Kapoor are two different persons-
1) Actor Trilok Kapoor never sang after 1942.
2) Singer Trilok Kapoor never sang in any film featuring actor Trilok Kapoor.
3) If actor Trilok Kapoor was a singer himself, he would have sung his own songs in his films, instead of taking playback from other singers, e.g. G M Durrani in Mirza Sahibaan-47. Those who are singer actors rarely take playback from others.
4) The voice of Trilok Kapoor in songs and the dialogues in films is different.
5) It is likely that,actually the song of Aaj ki Duniya-40 and the duets of Raja Rani also were sung by the singer Trilok Kapoor, as he sang a song in Birhan in 1946, as mentioned above with record number. the entry in HFGK may be just a case of ” Same name confusion” (like few other cases). Since the songs are not available, the benefit of doubt should go to singer Trilok Kapoor because he was a singer and NOT to actor Trilok Kapoor as he was NOT a singer.
6) The final verdict was Shamshad begum had confirmed over Phone that Trilok Kapoor with whom she sang was NOT the actor/brother of Prithviraj Kapoor, but was a different person.
So,please remember,actor Trilok Kapoor and singer Trilok Kapoor were two different persons.
Let us now enjoy the catchy duet from the film Raag Rang-52. The Music Director is Roshan.
Song-O maniyaapur ke chhaila (Raag Rang)(1952) Singers-Lata, Trilok Kapoor, Lyrics-Prakash Bakshi, MD-Roshan
Chorus
Lyrics
gori gori
gori chori
gori gori
gori chori
gori gori
gori chori
(o o o maniyaapur ke chhailaa
ho o o)
gori gori
chori chori
gori gori
gori chori
o maniyaapur ke chhailaa
main roop gaanv ki chhori
main roop gaanv ki chhori
gori gori re
gori chhori re
daar nain mein kaajar raajaa
baat main dekhoon tori
baat main dekhoon tori
chori chori re
chori chori re
o maniyaapur ke chhaila
raat chaandni
rut phaagun ki
tum bin jiyaa lage naa
haaye lage naa
jab se gaye pardes piyaa more
ghar mein diyaa jage naa
haay jage naa
o o o
jag bairi na dekh sake ji
hamri tumhri jori
chaand chakori
main roop gaanv ki chhori
gori gori re
chori chori re
o maniyaapur ke chhailaa
faaslaa hum mein sau kos kaa
beech bahe dariyaa aa aa aa
na naiyyaa na tair sakoon main
kaise aaun bataa aa aa
na naiyyaa na tair sakoon main
kaise aaun bataa aa aa
milnaa ho to raajaaji
milne ke laakh bahaane
laakh bahaane
nadi cheer kar milte hain nit premi ?? deevaane
?? divaane
o o o
teri aas mein jeeti hoon nit ??
joraa jori
main roop gaanv ki chhori
gori chhori re
gori chhori re
This article is 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.
“Teesri Gali” (1958) was directed by Kundan Kumar for Radiant movies production. The movie had Shyama, Abhi Bhattacharya, Prem Adeeb, Gope, Mohan Choti, Kammo, Neeru, Leela Mishra, Nagpal, Bhagwan Sinha, Dubey, Panchotia, Ramlal Pahalwan, Arya Kumar, C N Kapoor etc in it.
This obscure “social” movie had six songs in it. Two of these songs have been covered in the past.
Here is the third song from this movie to appear in the blog. It is sung by Lata. Majrooh Sultanpuri is the lyricist. Music is composed by Chitrgupta.
Only the audio of this song is avilable. My guess is that this song was picturised on Shyama. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.
Song-Tauba jee tauba na poochho mera haal (Teesri Gali)(1958) Singer-Lata, Lyrics-Majrooh Sultanpuri, MD-Chitragupta
Lyrics
tauba ji tauba
na poochho mera haal
tauba ji tauba
na poochho mera haal
sun kar ke sainyyaan ji thaamenge bainyaan
bahak gayi chaal
tauba ji tauba
na poochho mera haal
unke khayaalon ke jhoole mein jhool ke
kaliyon se kheloon main kaanton ko bhool ke
unke khayaalon ke jhoole mein jhool ke
kaliyon se kheloon main kaanton ko bhool ke
mukh se lagaaa li jo phoolon ki daali
ulajh gaye baal
tauba ji tauba
na poochho mera haal
tauba ji tauba
na poochho mera haal
koi samajh le
kare aisa raam na
maare khushi ke pada dil ko thhaamna
koi samajh le
kare aisa raam na
maare khushi ke pada dil ko thhaamna
kahti hoon ji se jo milna hai pi se
to khud ko sambhaal
tauba ji tauba
na poochho mera haal
tauba ji tauba
na poochho mera haal
ban ke deewaani balam ji ki chaah mein
doloon akeli mohabbat ki raah mein
ban ke deewaani balam ji ki chaah mein
doloon akeli mohabbat ki raah mein
rasta na jaana kahin ye zamaana chale na koi chaal
tauba ji tauba
na poochho mera haal
sunkar ke sainyaan ji thaamenge bainyan
bahak gayi chaal
tauba ji tauba
na poochho mera haal
Dil mein hai baat aisi
Posted on: September 15, 2017
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.
“Chaalis Baaba Ek Chor”(1954) was produced by Kamini Kaushal and it was directed by P L Santoshi. The movie had Kamini Kaushal, Balraj Sahni, Smriti Biswas, Om Prakash, David, Chandabai, Jagdeep etc in it.
Six songs from this movie have been discussed in the past. Here is the seventh song from “Chaalis Baaba Ek Chor”(1954) to appear in the blog. This rare song is sung by Lata. P L Santoshi is the lyricist. Music is composed by S D Burman.
This song has a line in it that goes
ijaazat ho to baabu
ye kehne tumse aaye
Online sources (all mindlessly copying from each other) mention this line as
khincha jo photo babu
ye kahne tumse aaye 🙂
Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Dil mein hai baat aisi (Chaalis Baba Ek Chor)(1954) Singer-Lata, Lyrics-P L Santoshi, MD-S D Burman
unknown male voice
Lyrics
dil mein hai baat aisi
kaanon mein kahi jaaye
kaanon mein kahi jaaye
ijaazat ho to baabu
ye kehne tumse aaye
aaye
kaanon mein kahi jaaye
dil mein hai baat aisi
kaanon mein kahi jaaye
kaanon mein kahi jaaye
kaanon mein kahi jaaye
kaanon mein kahi jaaye
kuchh meri nazren bolen
kuchh teri najren bolen
duniya waalon ki nazren
donon ki najre tolen
itna naazuk dil seene mein
rah rah ke hai ghabraaye
dil ghabraaye
ijaazat ho to baabu
ye kahne tumse aaye
aaye
kaanon mein kahi jaaye
dil mein hai baat aisi
kaanon mein kahi jaaye
kaanon mein kahi jaaye
kaanon mein kahi jaaye
kaanon mein kahi jaaye
mehfil mein teri dil mein
ik raaz hoon lekar aayi
chup hoon to dum ghut’ta hai
keh doon to hai ruswaai
ye ter di hai uljhan
ab tu hi ise suljhaaye
tu suljhaaye
ijaazat ho to baabu
ye kehne tumse aaye
aaye
kaanon mein kahi jaaye
dil mein hai baat aisi
kaanon mein kahi jaaye
kaanon mein kahi jaaye
kaanon mein kahi jaaye
kaanon mein kahi jaaye
ye rukh ki badla badli
ye roothhi mani nigaahen
kehti hain chupke chupke
saahab kuchh kahna chahe
keh do tum bhi kaanon mein
jo koi na sun’ne paaye
sun’ne na paaye
ijaazat ho to baabu
ye kehne tumse aaye
aaye
kaanon mein kahi jaaye
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.
“Chamkee”(1952) was produced by Maganlal G Desai and directed by J K Nanda for National Film Circuit, Bombay. this movie had Raagini (Sr), Shekhar, Roopmala, Ulhas, Murad, Meera Mishra, Cuckoo, Jeewan, Nana palsikar, Mumtaz, Uma Dutt, Khairaati, Brij Sarah, Iqbal, Pannu etc in it.
The movie had nine songs in it. Five songs from the movie have been covered so far.
Here is the sith song from “Chamkee”(1952) to appear in the blog. this song is sung by Lata. The song is penned by Kavi Pradeep. Music is composed by Manna Dey.
Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
Song-Nahin maaloon ki piya jab se miley tum (Chamkee)(1952) Singer-Lata, Lyrics-Kavi Pradeep, MD-Manna Dey
Lyrics
nahin maaloom kyun
nahin maaloom ki piya jab se miley tum
tum
ek niraale nashe mein main hoon gum
ho o
ek niraale nashe mein main hoon gum
nahin maaloom ki piya jab se miley tum
tum
ek niraale nashe mein main hoon gum
ho o
ek niraale nashe mein main hoon gum
tumse jis ghadi meri aankhen ladin
tumse jis ghadi meri aankhen ladin
na jaane kyun mere dil ki dhadkan badhi
na jaane kyun meri paayal kare rumjhum
rumjhum
nahin maaloom kyun
nahin maaloom ki piya jab se miley tum
tum
ek niraale nashe mein main hoon gum
ho o
ek nirale nashe mein main hoon gum
ek chhoti si hai vinti meri mat taalna
main dagmaga rahi hoon
sajan sambhaalna
ek chhoti si hai vinti meri
mat taalna
main dagmaga rahi hoon
sajan sambhaalna
badi aasha se lagaaya hai ye kumkum
kumkum
nahin maaloom kyun
nahin maaloom ki piya jab se miley tum
tum
ek niraale nashe mein main hoon gum
ho o
ek niraale nashe mein main hoon gum
jala ke tumne piya
meri mohabbat ka diya
aa aa aa aa
mohabbat ka diya
jala ke tumne piya
meri mohabbat ka diya
aa aa aa aa
mohabbat ka diya
andhere dil mein mere maano ujaala kiya
mahak uthhe meri aasha ke sab kusum
kusum
nahin maaloom kyun
nahin maaloom ki piya jab se miley tum
tum
ek niraale nashe mein main hoon gum
ho o
ek niraale nashe mein main hoon gum
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.
“Chhatrapati Shivaji”(1952) was directed by Bhalji Pendharkar for Prabhakar Pictures, Bombay. The historical movie had Chandrakant, prithviraj, Baburao Pendharkar, Leela, Gajanan Jaageerdaar, Ranjana, Ratnamala, Jaishankar, Vasant, Lalita Pawar, Thengdi, Sureshnath, Vanmala, Vasantrao Pahalwan, Master Vitthal, Krishna Rao Chonkar, Takalkar, Varne etc in it.
The movie had eight songs in it. One song from the movie has been discussed in the past. Here is the second song from “Chhatrapati Shivaji”(1952) to appear in the blog. this song is sung by Lata. Shailendra is the lyricist. Music is composed by C Ramchandra.
Only the audio of this rare song is available. i request our knowledgeable readers to throw light on the picturisation of this song.
Song-Aao mere ghar aao (Chhatrapati Shivaji)(1952) Singer-Lata, Lyrics-Shailendra, MD-C Ramchandra
Lyrics
aao
mere ghar aao
man mandir ke vaasi
aao
mere ghar aao
man mandir ke vaasi
tere darshan ko tarse
tere charnan ki daasi
aao
mere ghar aao
man mandir ke vaasi
aao
tum to gaye thhe ladne
anyaayi dushman se
yahaan ladi main akeli
apne akelepan se
apne akelepan se
ek oar main birhan
ek oar main birhan
dooji oar udaasi
tere charnan ki daasi
aao
mere ghar aao
man mandir ke vaasi
aao
teri ranbhoomi mein
chamki thhin talwaaren
yahaan bijuriya chamki
barsi yahaan phuhaaren
barsi yahaan phuhaaren
jal se bhari meri ankhiyaan
jal se bhari meri ankhiyaan
phir bhi rah gayin pyaasi
tere charnan ki daasi
aao
mere ghar aao
man mandir ke vaasi
aao
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Today’s song is from film Lajawab-50. It was a production of Variety pictures – a company owned by actress Ashalata Biswas- wife of Anil Biswas ( real name Mehrunnisa Bhagat). It is needless to state that the music for this and every film of this company, was composed by Anil Biswas. The film was directed by the veteran J.P.Advani, who was known to Anil Biswas from the mid 30s. However, they came together only in 3 successive films, namely Veena-48, Laadli-49 and Lajawab-50.
Jagatrai Pesumal Advani was born on 17-5-1903 in Hyderabad ( Sindh ). After graduating, he studied film making in Germany in the 1920s. After coming back to India, he joined Mohan Bhavnani – a big gun in those days- as his assistant. His first film as a Director was Heer Ranjha-1931. He shifted to Saroj Movietone in 1934 and then to Karachi to work for Golden Eagle Company. He was considered an expert who could handle the Heroines at his will.
He directed about 30 films, including a Hindi/Punjabi bilingual film Sassi-Punnu-46. His Filmography is- 1931: Heer Ranjha; 1933: Zehar-e-Ishq; 1934: Afghan Abla; Dilara; Gafil Musafir; Johar-e-Shamsheer; Tilasmi Talwar; Vasantsena; Flashing Sword; 1935: Bahar-e- Sulemani; Farebi Duniya; Shah Behram; 1936: Elaan-e-Jung; Shokh Dilruba; Sipahsalaar; 1937: Saqi; Insaaf; 1939: Dekha Jayega; 1940: Dharma Bandhan; Sneh Bandhan; 1941: Shehzadi; 1942: Suhagan; 1943: Sahara; 1946: Sassi Punnu; 1948: Veena; 1949: Laadli; 1950: Wafaa; Lajawaab; 1952: Saloni; 1954: Danka; 1955: Hasina.
The cast of the film consisted of Rehana, Sohan, Kuldeep Kaur, David, Pran, Iftekhar etc etc. Not much information is available about this Hero- Sohan. In Hindi films, many aspirants tried their luck. Not all of them got an opportunity to enter films. In the early era, it was easy, but as the years passed by, it became difficult for the hopefuls. Few lucky ones got a Mentor- it helped them to only to enter films but not stay in the industry.
“Aaye bhi vo, gaye bhi vo, khatam fasana ho gaya “. These newcomers were given a fair opportunity to showcase their abilities, but unfortunately, despite their honest efforts, their skill did not show up and the audience was unimpressed. They got big banners, good experienced directors, but they disappointed their Mentors with non existent abilities to act. They proved to be ‘Non- Actors ‘.
Among them, some male actor’s names which I remember off hand are Arjun in Malhar-51, Rattan Chopra in Aman-67,Mom ki Gudia-72, Vijay kumar in Alif laila-54,Premendra in Holi aayee re-70, Deepak kumar in Aabroo-68, Ajay in Wapas-69, Som Dutt in mann ka meet-68, Vikram in Julie-75,Rajeev Kapoor in Raam teri Ganga maili-85, Shekhar Suman in Utsav-84, Kaycee mehra in Chhabilee-60 and mem didi-61, prashant in Sehra-63, Ashok Sharma in Hamari yaad aayegi-61, Ajit Chitnis in Aaj ki baat-55, Nusrat Kardar in Dard-47, Manish in Saraswati Chandra-68, Rajiv in Nayi umar ki nayi fasal-65, Aroop kumar in Bezubaan-62 etc etc.
Sohan kapila was also one such actor, who was not successful as a Hero. Actually, big banners like Filmistan supported him. He got seasoned Heroines like Geeta Bali and Rehana as well as Debutants Jayashree Gadkar and Nalini Chonkar, but nothing worked. He proved that you can take the Horse to the water, but you can not make it drink !!! He acted in Girls school-49, lajawab-50, Sanskar-58, Ek armaan mera-59, Chaand ki duniya-59, Babar-60, Commercial pilot officer-63 and picnik-66 and may be some more as character roles. After he retired, his daughter actress Padmini Kapila also had the same fate !
Film Lajawab-50 had another interesting artiste- Kuldeep kaur. Her life story is very interesting. Born in 1927 at Lahore, Kuldeep Kaur was the daughter of a wealthy landlord family of Punjab and the daughter-in-law of the grandson of Ranjit Singh’s daredevil military commander, General Sham Singh Attariwala.
Her in-laws lived in the village of Attari. Located on Amritsar district’s border with Lahore district, just off the Grand Trunk Road, it was 18 miles away from both Amritsar and Lahore.
Kuldip Kaur was a very shy and simple, beautiful Sikh woman.
Her rich landlord husband, Mohinder Singh Sidhu (also called Mohinder Singh Pompa), was a spoiled chap. He hardly spent a day without visiting either Lahore or Amritsar. He was a good friend of Maharaja Jagatjit Singh of Kapurthala and visited his French style palace – modelled on the Versailles – as well as the magnificent Jagatjit Club several times during the winters. During the summers the Maharaja himself was often on a tour of France and other European countries and was seldom available in Kapurthala.
Kuldip Kaur was brought up like a princess. Her spoiled Sardar husband wanted his wife to be like a modern westernized lady. He wanted his wife to learn swimming and rub shoulders with the club-going English elite based in Lahore and Amritsar.
Once exposed to the club culture, Kuldip Kaur also started getting a taste of its dark side. Since Lahore was a film city, Kuldip Kaur started dreaming about becoming a film actress.
According to one story, Kuldip Kaur started admiring the professional qualities of actor Pran Nath, who was in film acting in Lahore since 1940, when he successfully performed the role of a hero in Punjabi film “Yamla Jutt” (The Simple Peasant).
By July and August of 1947, communal violence erupted into a full-fledged exercise in ethnic cleansing, with Muslims on one side and Sikhs and Hindus on the other. Both Lahore and Amritsar were engulfed in the worst sectarian violence in recent history.
Both Pran and Kuldip Kaur were made to leave Lahore in a jiffy, leaving virtually every belonging behind. Her own village being right on the border was also not peaceful. So Kuldip
Kaur left straight for Bombay. According to one story, in order to impress Pran, Kuldip Kaur decided to bring Pran’s stranded car from Lahore to Bombay.
In a gesture of unprecedented daredevilry, she travelled from the safety of Amritsar to Lahore and drove Pran’s car first to Amritsar and then all the way to Bombay, where she handed over the keys to a surprised but grateful Pran.
After leaving for Bombay, Kuldip Kaur’s contact with her parents and in-laws got diminished. On arrival in Bombay, Kuldip Kaur made up her mind to plunge headlong into the film industry. She was prepared to act in Hindi/Urdu as well as Punjabi films. The experts of film industry were of the opinion that her large piercing eyes and her flat
chin made her an ideal choice for the role of a vamp.
The first ranking heroines of the time included Naseem Bano, Madhubala, Nargis, Suraiya and Nutan. Other heroines included Binarai, Shyama, Nimmi, Nirupa Roy, Meena Shori, Nigar Sultana, Veena and Kamini Kaushal. There was a shortage of ladies willing to perform the role of vamps.
One of Kuldip Kaur’s first films was a Punjabi blockbuster “Chaman” (1948). Within the same year Kuldip Kaur acted in two Hindi/Urdu films “Ziddi” and “Grahasthi“. All her 1948 films did well. After that she never looked back and went from strength to strength. At one stage Kuldip Kaur was so busy in her film roles that for a long duration she did not visit Punjab.
In 1949, Kuldip Kaur worked in at least two films “Ek Thi Ladki” and “Kaneez”. “Ek Thi Ladki” was a blockbuster. Music Director Vinod composed some great tunes for this movie. “Kaneez” did not do too well.In 1950, Kuldip Kaur acted in two great musical Hindi movies “Samadhi” and “Adhi Raat” and did two Punjabi movies “Madaari” and “Chhai”.
1951 was a great year for her: she played the roles of vamps in six movies – “Stage”, “Rajput”, “Nai Zindagi”, “Ek Nazar”, “Afsana” and “Mukhra”. Her role in film “Afsana” received critical acclaim.
1952 was another great year for Kuldip Kaur. She worked in four movies – “Shisham”, “Nau Bahar”, “Baiju Bawra” and “Anjaam”. Again her role was highly praised in what became an all-time classic, “Baiju Bawra”. In 1953 again, Kuldip Kaur had four films – “Mashooka”, “Baaz”, “Anarkali” and “Aabshar”. Of these, “Anarkali” was a super hit and her role stole the limelight. 1954 proved another great year. She was featured in three movies – “Lal Pari”, “Gul Bahar” and “Daak Babu”.
1955 was one of her busiest professional years. She played the bad girl’s role in “Teer Andaz”, “Miss Coca Cola”, “Mast Qalandar” and “Jashan”. In 1956, things slowed down a bit. She worked in two films, but none was released. Two of Kuldip Kaur starrers spilled over into the new year and were released in 1957. These were “Sheroo” and “Ek Saal”. In 1958 Kuldip Kaur had her roles in two films “Sahara” and “Panchyat”. In 1959, she did three films – “Pyaar Ka Rishta”, “Mohar” and “Jagir”. Out of these, one film, “Mohar,” was a great musical. Its music composed by Madan Mohan was simply outstanding.
When Kuldip had fewer Hindi films in hand, she worked in Punjabi films. 1960 started as a reasonably good year for Kuldip Kaur. She had a Hindi film, “Maa Baap,” and a Punjabi film, “Yamla Jutt”.But during this very year, her life was cut short when she got some thorns in her feet and legs and she pulled those out by herself. True to her character of a daredevil woman, she did not seek medical advice immediately. Her sores became not only septic, but she contracted tetanus too, which was then incurable.
Kuldip Kaur died in 1960.
Today’s song is the 5th song to be posted from this film. There were total 11 songs. I feel this film had some of the best songs of Anil Biswas. All the 3 duets of Anil Biswas and Lata are very good. Today’s duet is the third of them, in which Anil Biswas has no words but makes only funny sounds. Enjoy this melodious duet….
Song-Do din bahaar hai do din ka pyaar hai (Laajawaab)(1950) Singers-Lata, Lyrics-Prem Dhawan, MD-Anil Biswas
Male chorus + Anil Biswas
Female chorus
Lyrics
hoyi hoyi hoyi
hoyiya re hoyiya
hoyi hoyi hoyi
hoyiya re hoyiya
ho ho ho ho ho ho
hoyi hoyi hoyi
hoyiya re hoyiya
ho ho ho ho ho
hoyi hoyi hoyi
hoyiya re hoyiya
hoyi hoyi hoyi
hoyiya re hoyiya
ho ho ho ho ho
hoyi hoyi hoyi
hoyiya re hoyiya
hoyi hoyi hoyi hoyiya
re hoyiya
hoyi hoyi hoyi
hoyiya re hoyiya
do din bahaar hai
do din ka pyaar hai
do din ki hai ye zindgaani
hoyi hoyi hoyi
hoyiya re hoyiya
do din bahaar hai
do din ka pyaar hai
do din ki hai ye zindgaani
hoyi hoyi hoyi
hoyiya re hoyiya
duniya jawaan hai
dil mein toofaan hai
duniya jawaan hai
dil me toofaan hai
kar le ji bhar ke tu manmaani ee
do din bahaar hai
do din ka pyaar hai
do din ki hai ye zindgani
hoyi hoyi hoyi
hoyiya re hoyiya
hoyi hoyi hoyi
hoyiya re hoyiya
hoyi hoyi hoyi
hoyiya re hoyiya
bhanwron se boli ye baad e saba
bhanwron se boli ye baad e saba
lo kaliyaan hansi
lo chaman khil gaya
lo kaliyaan hansi
lo kaliyaan hansi
lo kaliyaan hansi
lo chaman khil gaya
phoolon pe jhoom lo
kaliyon ko chum lo
phoolon pe jhoom lo
kaliyon ko choom lo
aayegi phir na rut suhaani ee
do din bahaar hai
do din ka pyaar hai
do din ki hai ye zindgaani
hoyi hoyi hoyi
hoyiya re hoyiya
hoyi hoyi hoyi
hoyiya re hoyiya
jo kahana hai tumse wo kah na sakoon
na kahne ke dukh ko main sah na sakoon
jo kahana hai tumse wo kah na sakoon
na kahne ke dukh ko main sah na sakoon
dil bekaraar hai
tumpe nisaar hai
dil bekaraar hai
tumpe nisaar hai
itni si hai meri kahaani ee
do din bahaar hai
do din ka pyaar hai
do din ki hai ye zindgani
hoyi hoyi hoyi hoyiya re hoyiya
do din bahaar hai
do din ka pyaar hai
do din ki hai ye zindgani
hoyi hoyi hoyi
hoyiya ri hoyiya
hoyi hoyi hoyi
hoyiya re hoyiya
ho ho ho ho ho
hoyi hoyi hoyi hoyiya re hoyiya
ho ho ho ho ho
hoyi hoyi hoyi hoyiya re hoyiya
ho ho ho ho ho
hoyi hoyi hoyi hoyiya re hoyiya
This article is 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.
“Raam Laxman”(1957) was produced by M Nanabhai directed by Mohan Sinha for Harihar Chitra, Bombay. This mythological movie had Sulochana, Shahu Modak, Anant Kumar, Nanda, Ramesh Sinha, Dar Kashmiri, Bhalerao, Tilak Raj, Tiwari, laita Pawar, Gope, Rajendra, Minu Mumtaz, Tum Tun, Dube etc, with guest appearances by Sulochana Chatterji, Krishna Kumari, Naina and Gopikishna in it.
This movie had eight songs in it.
One song from the movie has been covered in the past.
Here is the second song from “Raam Laxman”(1957) to appear in the blog. This song is sung by Lata. Bharat Vyas is the lyricist. Music is composed by Avinash Vyas.
Only the audio of this song is available. Going by the knowledge of Ramayana, it appears that this song could be picturised on a character playing Shoorpnakha trying to woo Laxman. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Main hoon albeli naar kar solah singaar(Raam Laxman)(1957) Singer-Lata, Lyrics-Bharat Vyas, MD-Avinash Vyas
Lyrics
main hoon albeli naar
kar solah singaar
aayi hoon tere dwaar
mo se bol re
zara ras ke bhare naina khol re
main hoon albeli naar
kar solah singaar
aayi hoon tere dwaar
mo se bol re
zara ras ke bhare naina khol re
o o o o
o o o o
o o o o
mere baalon mein simti saawan ki ghata
saawan ki ghata
aa aa aa aa
saawan ki ghata
mere gaalon pe chhitki poonam ki chhata
mere gaalon pe chhitki poonam ki chhata
mere honthon mein pyaar
nainon mein nikhaar
aaj jogi tu aasan se dol re ae
zara ras ke bhare naina khol re
main hoon albeli naar
kar solah singaar
aayi hoon tere dwaar
mo se bol re
zara ras ke bhare naina khol re
rut hai basanti main raswanti
ang ang lahraaye ae ae
ang ang lahraaye
aaja kar len preet ki baaten
aaja kar len preet ki baaten
awsar chooka jaaye
ho o
awsar chooka jaaye
pade ras ki phuhaar
kare koyal pukaar
aaj jeevan mein preet ras ghol re ae
zara ras ke bhare naina khol re
main hoon albeli naar
kar solah singaar
aayi hoon tere dwaar
mo se bol re
zara ras ke bhare naina khol re
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.
“Jaadoo Nagri”(1961) was directed by Radhakant for Mukul Pictures, Bombay. the movie had Ranjan, Vijaya Chaudhary, Tiwari, Helen, Majnoon etc in it.
This fantasy movie had si songs in it. One song was covered in the blog as far back as in 2012.
Here is the second song from “Jaadoo Nagri”(1961) to appear in the blog. This song is sung by Lata. Hasrat Jaipuri is the lyricist. Music is composed by S N Tripathi.
Only the audio of this song is available. i request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.
Song-Aankhen meri jaadoo nagri roop rangeela jaadoogar (Jaadoo Nagri)(1961) Singer-Lata, Lyrics-Hasrat Jaipuri, MD-S N Tripathi
Lyrics
aankhen meri jaadu nagri
roop rangeela jaadugar
aankhen meri jaadu nagri
roop rangeela jaadugar
wohi dekhe pyaar ke sapne
daal doon jispe ek nazar
aankhen meri
aankhen meri jaadu nagri
roop rangeela jaadugar
wohi dekhe pyaar ke sapne
daal doon jispe ek nazar
aankhen meri
mausam bhi aahen bhare
aisi bahaar hoon
mausam bhi aahen bhare
aisi bahaar hoon
teri nazar ka lekin main to shikaar hoon
jaane kab hogi haal pe mere
pyaar ki ek nazar r r
aankhen meri
aankhen meri jaadu nagri
roop rangeela jaadugar
wohi dekhe pyaar ke sapne
daal doon jispe ek nazar
aankhen meri
humse chhupaaya toone
kaisa wo raaz hai
humse chhupaaya toone
kaisa wo raaz hai
ham bhi huzur ke hain
hamko to naaz hai
jaan se jaayenge
phir to na aayenge
tadpega tu umar bhar r
aankhen meri
aankhen meri jaadu nagri
roop rangeela jaadugar
wohi dekhe pyaar ke sapne
daal doon jispe ek nazar
aankhen meri
main wo pari hoon tere dil ke jahaan ki
main wo pari hoon tere dil ke jahaan ki
sair karaaun tujhe
saaton aasmaan ki
aankhon mein pyar liye
dekhega chaand bhi
jaayenge hum tum jidhar r
aankhen meri
aankhen meri jaadu nagri
roop rangeela jaadugar
wohi dekhe pyaar ke sapne
daal doon jispe ek nazar
aankhen meri
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