Advertisements

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

Archive for the ‘Lata solo’ 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.

“Nand Kishore”(1951) was produced and Vasant Joglekar for M & T Films, Bombay. The movie had Mahipal, Nalini Jaiwant, Durga Khote, Sumati Gupte, Sulochana, Sadhana Bose, Lalita Pawar, Baburao Pendharkar, Rajan, Navin Yagnik, Vasant Thengdi, Master Chhotu, Dinanath Takalkar, Chittaranjan Kolhatkar, Angre, Madhu Apte, Ramesh desai, Surendra Kumar etc in it.

This mythological movie, obviously about Lord Krishna, had nine songs in it. All these songs have ended up becoming obscure songs by now.

One song from this movie has been covered in the blog in the past. Here is the second song from “Nand Kishore”(1951) to appear in the blog. This song is sung by Lata. Pt Narendra Sharma is the lyricist. Music is composed by Snehal Bhatkar.

Only the audio of this song is available. it can be guessed that the song is about some lady missing her beloved (Lord Krishn in this case). The lip syncer could be Nalini Jaiwant, going by the star cast, but i cannot be sure, seeing that the starcast is dominated by the names of ladies. I request our knowledgeable readers to throw light on the picturisation of this song.

I have not been able to get a few words right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.
[Ed Note: Corrected.]


Song-Nainan mein barsaat man mein kaajal kaali raat (Nand Kishore)(1951) Singer-Lata, Lyrics-Pt Narendra Sharma, MD-Snehal Bhatkar

Lyrics

Nainan mein barsaat
man mein kaajal kaali raat
Nainan mein barsaat
man mein kaajal kaali raat
andhkaar hi andhkaar hai
diwas rain ban jaat
andhkaar hi andhkaar hai
diwas rain ban jaat
Nainan mein barsaat
man mein kaajal kaali raat

o o o o
o o o o
o o o o
o o o
o o o o
o o
preet karoon ya reet nibhaaun oon oon
preet karoon ya reet nibhaaun
man ki sunoon ya tan ki
maati ki maayaa dekhoon
ya shobha man madhuwan ki ee
shobha man madhuwan ki ee
praanon ka hansa vyaakul hai
birah saha nahin jaat
praanon ka hansa vyaakul hai
birah saha nahin jaat
Nainan mein barsaat
man mein kaajal kaali raat

o o o o
o o o o
o o o
o o o
ek oar dekhen ke naate
alakh doosri oar
sakhiyaan chandr chakor bani hain
chanda nand kishore
chanda nand kishore
ansuwan mein jharte angaare
dukh nahin nain samaat
ansuwan mein jharte angaare
dukh nahin nain samaat
Nainan mein barsaat
man mein kaajal kaali raat

Advertisements

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.

“Chor”(1950) was directed by Anand Prasad Kapoor for Singh Arts Production, Bombay. The movie had Krishnakant, Cuckoo, Sona Chatterji, Meera Misra, Sankatha Prasad, Alkarani, Baby Asha, Shyama, Shanti Madhok, Shukla, David junior, Dixit, Kochar, Shekhar, Arora, Sachin Ghosh etc in it.

This movie had ten songs in it. The songs, like the movie itself have become rare. The movie itself may no longer be available, but some of the songs are available. Three of these songs have been discussed in the blog.

Here is the fourth song from “Chor”(1950) to appear in the blog. This song is sung by Lata. Vinod Kapoor is the lyricist. Music is composed by Pt Govindram.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Rasiya pawan jhakore aaye (Chor)(1950) Singer-Lata, Lyrics-Vinod Kapoor, MD-Pt Govindram

Lyrics

rasiya pawan jhakore aaye
ho rasiya pawan jhakore aaye
rasiya pawan jhakore aaye
ho rasiya pawan jhakore aaye
jal thhal jhoome naache gaaye
man hai khushi manaaye
jal thhal jhoome naache gaaye
man hai khushi manaaye
rasiya pawan jhakore aaye
o rasiya pawan jhakore aaye

pyaar ki rut aayi jeewan mein
lahar khushi ki daude man mein
pyaar ki rut aayi jeewan mein
lahar khushi ki daude man mein
pyaar ki rut aayi jeewan mein
lahar khushi ki daude man mein
mast jawaani dil ko pakde
mast jawaani dil ko pakde
karti haaye haaye
rasiya pawan jhakore aaye
o rasiya pawan jhakore aaye

bulbul ne ye geet sunaaya
bulbul ne ye geet sunaaya
bulbul ne ye geet sunaaya
phool hanse guncha muskaaya
phool hanse guncha muskaaya
do dil baithhe aahen bharte
do dil baithhe aahen bharte
kaun kise samjhaaye
rasiya pawan jhakore aaye
o rasiya pawan jhakore aaye
jal thhal jhoome naache gaaye
man hai khushi manaaye ae
jal thhal jhoome naache gaaye
man hai khushi manayae
rasiya pawan jhakore aaye
o rasiya pawan jhakore aaye


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

रोक सकता हमें ज़िन्दान-ए-बला क्या मजरूह
हम तो आवाज़ हैं दीवार से छन जाते हैं

Rok sakta hamen zindaan-e-bala kya ‘Majrooh’
Ham to aawaaz hain deewaar se chhan jaate hain.

[Can prison of calamity stop us?
We are the voice which can infiltrate the wall].

This she’r was written by the young Majrooh Sultanpuri probably sometime in the 1940s. Perhaps he was goaded by the idealistic impulses when he was  associated with the Progressive Writers Association (PWA), a left-oriented ideological group.  Nonetheless, for Majrooh Sultanpuri, it has been a quick transformation – from an idealistic poet of PWA  to a lyricist in the film industry.

Today, May 24th 2017 is the 17th Remembrance Day of Majrooh Sultanpuri (01/10/1919 – 24/05/2000) who ruled the Hindi film industry as a lyricist for over 5 decades. His long innings in Hindi film industry can be gauged by the fact that he wrote lyrics for music director Naushad in 1946 to A R Rahman in 2000. He wrote lyrics for the three generation of Kapoor family –  for Raj Kapoor in ‘Andaz’ (1949) to Randheer Kapoor in ‘Rampur Ka Lakshman’ (1972)  and to Karishma Kapoor in ‘Ham To Mohabbat Karega’ (2000). These are the testimonies of his smooth adaptation of the changing environments in Hindi film music. He achieved this without much diluting the quality of his lyrics.

Majrooh Sultanpuri was initially a reluctant lyricist if I go by his as well as others’ interviews. In 1945, he had accompanied his mentor, Jigar Moradabadi to Bombay (Mumbai) for participation in a Mushaira. Many film producers and directors saw such mushaira as an opportunity to select budding poets to write songs for their films. One of the producer-directors who attended the mushaira was AR Kardar. He  was producing and directing ‘Shah Jahan’ (1946) and was keen to engage Jigar Moradabadi to write songs for the film. However, Jigar Moradabadi declined the offer and instead suggested him to take his disciple, Majrooh Sultanpuri who had impressed the audience with his poetry in the mushaira.

Majrooh Sultanpuri was reluctant to write songs for the films as he felt that his association with films would affect his shaayari. However, at the end, he could not say no to his mentor and agreed to write the songs for ‘Shah Jahan’ (1946). This was the start for a reluctant lyricist which culminated into a very long and a successful filmy career.

After the success of his iconic songs ‘Shah Jahan’ (1946) such as gham kiye mushtakil, Majrooh Sultanpuri  also wrote songs for Naushad in films such as  ‘Qeemat’ (1946) and ‘Andaz’ (1949) and for Bulo C Rani in ‘Anjuman’ (1948) and ‘Nazaare’ (1949) among others. The success of ‘Andaz’ (1949) and ‘Aarzoo’ (1950) firmly established Majrooh Sultanpuri as a lyricist. However, his filmy career got a setback sometime in 1950 when the then Government of Bombay arrested him for inciting the workers through his recitation of poems. Although the Government gave him an opportunity to apologise his action, he refused and instead spent 2 years in Arthur Road Jail along with Balraj Sahani.

After his release from the jail, he found it hard to get the assignments. The absence of 2 years in Hindi film industry is a long period to successfully restart the career. By this time, Naushad had Shakeel Badayuni, SD Burman had Sahir Ludhinavi, Raj Kapoor with Shankar-Jaikishan had Shailendra and Hasrat Jaipuri. During this period, Majrooh Sultanpuri got work to write one or two songs in a few films. Perhaps, his jail stint thought him a lesson that he had to keep his ideological views separate from his filmy career. Thanks to his calibre and with some luck, his second inning started with a good number of films albeit with a gap.

In 1953, 9 films in which Majrooh Sultanipuri contributed lyrics were released. However, almost all these films did not fare well on the box office front although they had some very good songs. Among his 1953 released films, ‘Fareb’ (1953) had two beautiful songs aa mohabbat ki basti basaayenge ham and husn bhi hai udaas udaas ishq bhi gham se choor hai.  ‘Baaghi’ (1953) had hamaare baad ab mehfil mein afsaane bayaan honge. ‘Footpath’ (1953) had shaam e gham ki kasam aaj ghamgeen hain ham and ‘Hamdard’ (1953) had tera haathh haathhon mein aa gaya.

The year 1954 was a  milestone  in the filmy career of Majrooh Sultanpuri along with  OP Nayyar and Guru Dutt who all were associated with the film ‘Baaz’ (1953). Despite good songs, the film had failed at the box office. Guru Dutt’s next venture ‘Aar Paar’ (1954) was hopping to recoup the financial losses. The film became a super hit at the box office. For Majrooh Sultanpuri, it was a successful departure from the poignant songs which he used to write earlier to light-hearted songs like appeasement song (ye lo main haari piya huyi teri jeet re) and Hinglish/Bambaiyya/nok jhonk/teasing song (arrey na na na na na tauba tauba).

The success of ‘Aar Paar’ (1954) proved that Majrooh Sultanpuri was also an expert in writing light-hearted songs and that he could easily write songs for pre-set tunes without much compromising in the use of appropriate words in the lyrics. Later he wrote many such songs in films like ‘Mr and Mrs 1955’ (1955), ‘CID’ (1956), ‘Nau Do Gyaarah’ (1957),  ‘Paying Guest’ (1957), ‘Chalti Ka Naam ghaadi’ (1958), ‘Dilli Kaa Thug’ (1958) and many more.

With over 2000 songs in about 350 films during 1946-2000, it is not possible to discuss  the full career of Majrooh Sultanpuri in a single article. So I will skip his works with music directors like SD Burman, OP Nayyar, Chitragupt, Roshan, Madan Mohan, Ravi etc during the 1960s and with music directors like Laxmikant-Pyarelal, Rajesh Roshan, Anand- Milind, Jatin-Lalit, Bappi Lahiri, Anu Malik etc 1970s onward. However, I feel that I must include here the unique and the long lasting association of Majrooh Sultanpuri with  RD Burman.

When Nasir Hussain signed Majrooh Sultanpuri as lyricist for ‘Teesri Manzil’ (1966), the music director for the film was not finalised.  Majrooh Sultanpuri suggested the name of RD Burman as the music director. However, the name had to be vetted by Shammi Kapoor, the lead actor of the film as it was generally known that he would prefer OP Nayyar or Shankar-Jaikishan as the music director. After a presentation by RD Burman, Shammi Kapoor was so much impressed by the tunes of the songs composed by RD Burman that he instantly gave his nod.

The ‘khushnuma’ songs of Majrooh Sultanpuri which RD Burman composed the folk-based tunes with some elements of  rock, jazz and latino became an instant hit with the young generation. Personally, I feel that the songs of ‘Teesri Manzil’ (1966) was the beginning of the end of the golden era of Hindi film music. A new and modern style of Hindi film music started which was well received not only by the  younger  generation but also many of my generation. Majrooh Sultanpuri’s lyrics acted as a continuum during the change of Hindi film musical eras. And what a contrasting style of lyrics he wrote during 1966 itself!  For example, he wrote  o mere sona re sona re sone re, de dungi jaan juda mat hona re for ‘Teesri Manzil’ (1966) and also  chhupa lo yoon dil mein pyaar mera ke jaise mandir mein lau diye ki in ‘Mamata’ (1966).

I had called RD Burman-Majrooh Sultanpuri combination an unique one. The reason is that after listening to the songs of ‘Teesri Manzil’ (1966), one can immediately feel the vast differences in the types of songs composed earlier with that of the songs of Teesri Manzil. But the lyrical style of Majrooh Sultanpuri remains more or less the same. So it was a sort of blend of the golden era style of lyrics with modern melodies and rhythm.

Majrooh Sultanpuri wrote songs for RD Burman in as many as 75 films during 1966-1996 – the highest number of films he did with a music director. Laxmikant-Pyarelal ranked a distant second with 42 films during 1964-1992 and Chitragupt with 23 films ranked third. His association with music directors like SD Burman, OP Nayyar, Rajesh Roshan, Anand-Milind etc resulted in writing songs for films ranging between 15 and 20. But the fact remains that he worked with almost all the top music directors of his time.

An interesting observation about the association of Majrooh Sultanpuri with then upcoming music directors is in order. The first film which some of them did with him became the turning point for the successful takeoff in their career. Examples are Laxmikant-Pyarelal (Dosti, 1964), RD Burman (‘Teesri Manzil’, 1966), Rajesh Roshan (‘Kunwara Baap’, 1975) and Anand-Milind (‘Qayamat Se Qayamat Tak’, 1985).

In 1993, Majrooh Sultanpuri was conferred with the prestigious Dadasaheb Phalke Award, the first film lyricist to get the award.

As happens in any filmy career, Majrooh Sultanpuri’s  career got a set back during the second half of the 1990s. His favourite music directors were not in much demand and probably he could not adjust to the lyrical demands of the third generation of music directors.

One silver lining during this lean period for Majrooh Sultanpuri was Asha Bhonsle’s non-film pop album ‘Jaanam Samjha Karo’ (1997) in which all the eight songs were written by Majrooh Sultanpuri. This album was sold like a hot cake mainly because of the popularity of the song jaanam samjha karo which won MTV and V Channel award for Asha Bhonsle in 1997. I remember that not a single day passed on the TV musical channels without playing this pop song when the song’s  video was made public. While the younger generation may have liked the pop music and the way the video was shot on Milind Soman and Helen Brodie, I liked more for its lyrics and Asha Bhonsle’s rendition. At that time, I was not even aware that it was written by Majrooh Sultanpuri.

Just a few months before his death on May 24, 2000, one of his fellow lyricists had met him and enquired as to what he was doing. Majrooh Sultanpuri replied in Hindi ‘andhon ke shahar mein aaina bech raha hoon’. (I am selling mirrors in the city of blinds). This, by and large, sums up the status of lyricists in the neo-modern era of Hindi film music.

On the occasion of 17th Remembrance Day of Majrooh Sultanpuri, I recall his five of the six songs he wrote for the film ‘Garam Coat’ (1955), the 6th song being a Meera bhajan.  Five songs were rendered by Lata Mangeshkar for which she did not take any remuneration. Five songs from the film have already been covered in the blog. The film was produced by Rajinder Singh Bedi and was directed by Amar Kumar. The star cast included Balraj Sahani, Nirupa Roy, Vijaylaxmi, Jayant, Brahm Bhardwaj, Baij Sharma, Rashid Khan etc.

Here is the 6th song ‘Nanha Mora Dole Mori Anganiyaa’. The song was set to music by Pandit Amarnath Chawla, who was the senior most disciple of Ustad Amir Khan. The song is picturised on Vijaylaxmi who plays with her kid and admires his aimless walk in the courtyard of her village house. The background of this song is that Balraj Sahani has lost his entire salary on the salary day and his debtors would be asking for the money he owes them. He decides to commit suicide by coming in front of the train. However, by the time he reaches the spot, the train had just passed. A dejected Balraj Sahani waits for another train to come when he suddenly hears humming of a song sung by a mother for her child from a house on the other side of the railway track.  He reaches near the house and what he sees bring some smile on his face. Instead of committing suicide, Balraj Sahani goes back to his home.

Majrooh’s lyrics in this song is the true reflection of the village settings about 60 years back which are  still valid even in the 21st century for many of the villages in India. I have come across a couple of Hindi words used in the lyrics such as ‘humak’ (toddler’s walking attempts), ‘kilkaari’ (toddler’s loud sound when happy) after a long time.

[Ed Note: With this post, the film ‘Garam Coat’ joins the list of films with all songs covered on this blog. Yippeee time. . . ]


Song – Nanha Mora Doley Mori Anganiaa (Garam Coat) (1955) Singer – Lata Mangeshkar, Lyrics – Majrooh Sultanpuri, MD – Pt Amarnath

Lyrics

nanhe re..e..e..
munne re..e..e..
nanhe re..e..e..
munne re..e..e..

nanhe re..e..e..
munne re..e..e..

hmm hmm hmm hmm
hmm hmm hmm hmm
nanha mora doley 
mori anganaiya
nanha mora doley 
mori anganaiya
door se dekhoon aur musakaaun
door se dekhoon aur musakaaun
moond ke ankhiyaan paas bulaaun
moond ke ankhiyaan paas bulaaun
natkhat hans ke chale paiyaan paiyaan
nanha mora doley
mori anganiyaa
nanha mora doley

komal aisa 
mora albela
komal aisa 
mora albela
aankh pade to
rang ho maila
aankh pade to
rang ho maila
daare phiroon main to achra ki chhaiyaan
nanha mora doley 
mori anganiyaa
nanha mora doley

humak humak chaley 
maare kilkaari
humak humak chaley 
maare kilkaari
chhoti chhoti batiyaan 
laage pyaari pyaari
chhoti chhoti batiyaan 
laage pyaari pyaari
laage nazar nahi 
le loon balaiyaan
nanha mora doley 
mori anganiyaa
nanha mora doley

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

नन्हें रे॰॰ए॰॰ए॰॰
मुन्ने रे॰॰ए॰॰ए॰॰
नन्हें रे॰॰ए॰॰ए॰॰
मुन्ने रे॰॰ए॰॰ए॰॰

नन्हें रे॰॰ए॰॰ए॰॰
मुन्ने रे॰॰ए॰॰ए॰॰

हम्म मम्म मम्म मम्म
हम्म मम्म मम्म मम्म
नन्हा मोरा डोले
मोरी अंगनइया
नन्हा मोरा डोले
मोरी अंगनइया
दूर से देखूँ और मुसकाऊँ
दूर से देखूँ और मुसकाऊँ
मूँद के अँखियाँ
पास बुलाऊँ
मूँद के अँखियाँ
पास बुलाऊँ
नटखट हंस के चले पइंय्यां
नन्हा मोरा डोले
मोरी अंगनइया
नन्हा मोरा डोले

कोमल ऐसा
मोरा अलबेला
कोमल ऐसा
मोरा अलबेला
आँख पड़े तो
रंग हो मैला
आँख पड़े तो
रंग हो मैला
डारे फिरूँ मैं तो
अचरा की छइंय्यां
नन्हा मोरा डोले
मोरी अंगनइया
नन्हा मोरा डोले

हुमक हुमक चले
मारे किलकारी
हुमक हुमक चले
मारे किलकारी
छोटी छोटी बतियाँ
लागे प्यारी प्यारी
छोटी छोटी बतियाँ
लागे प्यारी प्यारी
लागे नज़र ना
ले लूँ  बलइंय्यां
नन्हा मोरा डोले
मोरी अंगनइया
नन्हा मोरा डोले


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.

The first time I saw this film, it was on Doordarshan, and the only song that I could appreciate (given my age) was “Bibi Mendaki Ri Tu To Paani Mein Ki Raani”. Rest of the film, its emotional and familial nuances were all lost on me. Those were the days, when watching television was a privilege bestowed upon oneself by a friendly neighbor. One would go to watch television at a neighbor’s home, or hang on to the windows, if entry was not permitted. And so, the opportunity that one gets to watch a movie was in itself a treat, and an accomplishment. And one always wanted to make the most of such opportunities. Getting bored was not only not an option, but it was a thought furthest from the mind. I have this placement in front of a TV screen, and I will watch it for as long as I am allowed, whatever may be the content. The serious stuff was mostly OHT (Overhead Transmission), and the mind would remember and register the fun parts like Balraj Sahni having poori and lassi at a halwai shop in the morning before reaching his office, or singing this above mentioned song with his children on the Sunday when he is at home. But as far as watching time is concerned, it was to be religiously spent, to watch the entire film, whether I could make out more of it or not.

In later years, small memories of the films, snatches of screen shots, would replay randomly in the mind – Jayant taking Rashid Khan to task very onerously, or Balraj Sahni with a bundle of mail in his hand, standing in front of the sorting dockets, trying to quickly put the mail items into the correct dockets, Balraj Sahni admiring a new coat hanging in the display window of a tailor’s shop. Mind you, the names of the characters and the words to describe the scene are all being currently generated. In the mind’s eye, it is just the images themselves that are very familiar, without any labels, without any words.

Many years on, just on a memory recall, I started to search for this film. For quite a long time this film was not available. A friend once got a version of it, but that was just about an hour long. So one can imagine what would have remained after such merciless cutting. That version seemed to have gone around, and a rumor followed it – the songs of this film are lost forever. Then, when the Geet Kosh volume three was released, it also carried a footnote to this film which says that except for one song, all songs were deleted from this film, and the film was truncated to half its length, and renamed as ‘The Clerk & The Coat’. This further strengthened the fears of the lost songs and lost film.  However, in all probability, this was just a version created from the original, for consumption in the foreign markets, or for participation in foreign film festivals. Thankfully, none of these prophecies proved to be true eventually. Once the VCD binge started, and more and more films started landing in the market, the original of this film also finally appeared in a near complete state. And then, I got to see it once again.

‘Garam Coat’ is a very poignant film. It deals with the everyday problems in the lives of lower middle income strata of society in a newly independent and developing India. Balraj Sahni is a lowly paid postal clerk, with a monthly salary of one hundred rupees, and a family of five. In the hands of Rajendra Singh Bedi and performance lead Balraj Sahni, both stalwarts of the IPTA movement, the film has descended to the practical levels of realism, and to pragmatic heights of credibility. The home of this clerk is a bare bones home. The kitchen is frugally stocked. The children are not well dressed. The housewife is very simply presented. The protagonist himself wears an old and ragged coat throughout the entire film. The name of the banner is Cine Co-operative Ltd, Bombay. In all probability, this was yet another joint effort of social conscience of IPTA.

The clerk fancies a new coat. On his way to work, he always pauses outside a tailor’s shop, admiring a new coat on display. The owner of the shop, sees him daily, and one day invites him into the shop, enquiring whether he plans to buys some new clothes. Unable to defend himself, and knowing that he is unable to afford the price of a new coat, he sheepishly tells about the qualities and the warmth of the coat that he is wearing, and that, no, he does not plan to buy a new one.

Come pay day, and the clerk returns home, happy with the load of a solitary one hundred rupee note in his pocket. Life is spring, and all is happiness in the household. Next morning, it is going to be a shopping spree for the month, and all expectations are high. The morning begins with the fun song “Bibi Mendaki Ri. . .”, and off goes the clerk to the market, with a list of shopping and hundred rupees in his pocket.

His first stop is a toy shop. He browses, he selects something for his children, almost pays for the items pulling out the hundred rupee note; but then thinks better of it, and saying he will return shortly, stuffs the note back into his coat pocket. His next stop is a halwaai shop where he has poori and lassi. He is in high moods, joking with the shopkeeper and other customers. As gets up to leave and pushes his hands in his coat pocket to pay for the breakfast – all the agonies of hell descend upon him. The note is missing. An impressive portrayal of a person who has lost everything in life – Balraj Sahni is insulted and kicked out of the halwaai shop. He runs back to the toy shop, tries to convince the shopkeeper that he might have dropped his money at his shop. Once again, he is insulted and made to leave the premises. Now, he simply has no place to go.

The remaining part of the movie is about his trials and tribulations on trying to survive without his salary through at least one more month till the next pay day. The movie is full of scenarios of what such a person will do – he tries to borrow, he tries to get advance, he tries to take up a part time job as a tutor, he goes without lunch, he contemplates suicide, even tries it. But the agonies simply do not cease. How he shares this calamity with his wife, and how does his wife respond, are all classic scenes to be visited again. The wife goes to the pansaari (grocery shop owner) and tried to get groceries on account, she and children start to make paper bags out of newspapers in an effort to raise some money. There are friends at office like Jayant who try their best to help him within his limited means. And there are unfriendly colleagues like Rashid Khan, who are completely unmoved by the troubles of their co-worker. There are scenes and performances that move me to tears as I watch the helplessness of an honest good man, trying to keep his wits together and to keep his family alive. The saving grace of the film is that the lost money is located at the end. And it is a very interesting way that it turns up.

In this sad and poignant film, this song is probably the saddest and the most pain filled song. Having come to know of the calamity that has befallen her husband, and the manner in which he is trying to fight these problems, there comes a point when the wife’s hopes probably break and she calls for help. The entire scenario and the get up of the film is so deeply entrenched into the simple values of our social system. She has no help at hand, she has no one with whom she can share her pain. For a woman in our culture, her last hope is her maternal family. But she is too afraid to inform them or talk to them. So she tells the bird to take her message to her parents and family, and let them know that she just a cheerless bundle of tears these days.

Then after telling this to the crows, she starts to make amendments to her request. First, she prohibits the crow from telling her mother, she will break down and cry. Then, thinking some more she prohibits the crow from telling her father also, he will cry into the cloth of his pugree (head dress) and not know what to do. She tells the crow to tell everyone, but not these two.

Then in the next stanza she makes some more amendments. She tells the crow not to tell her sister either, for she may give up her own food. Then she says, do not even tell my bhaabhi (sister-in-law, brother’s wife), for the fear that she might spread this in her own maternal family and make fun of it. She tells the crow to tell everyone, but not these two.

The embattled lady then ends the verses with telling the crow, to go an tell this tale of woes to her brother only. He will surely come to her aid, riding the blue steed.

The agony and the poignancy contained in these verses is so emphatic. She wants this message to be told to everyone in her family, and then slowly, one by one she decides not to tell this or that person, and finally, in conclusion she is ready to tell it to her brother only. The words, the composition and the rendition, brings tears to my eyes, as many times as I have heard this play. And it also underscores the vitality of the brother-sister relationship in our culture. When all seems to be lost and the lady is totally helpless, it is her brother that she thinks of, to go and share. (You may have noticed, I have tagged this song as a ‘brother-sister song’).

This low key, less heard of film, is one of my favorites – in and about the art of telling a poignant story through cinema. Although Lata ji has herself selected “Jogiya Se Preet Kiye Dukh Hoye” from this film, as one of her most favorite songs, in my humble opinion, I would rate this song even higher than “Jogiya Se . . .”.

Wonderful memories of an era of very simple living, of traditions and culture, of values – a touch of India that is very dear to me.

Song – Kahiyo Roye Dukhia Re, Ja Re Panchhi Tu Ja Re (Garam Coat) (1955) Singer – Lata MangeshkarLyrics – Majrooh Sultanpuri, MD – Pt Amarnath

Lyrics

kahiyo roye dukhia re
jaa re panchhi tu jaa re. . .
kaaga des hamaare
udd jaa re
kahiyo roye dukhia re
jaa re panchhi tu jaa re. . .
kaaga des hamaare
udd jaa re
kahiyo roye dukhia re

ek na kahiyo maa raani ko
royegi wo meri gudiyon ko dekh ke
ek na kahiyo maa raani ko
royegi wo meri gudiyon ko dekh ke
ek na kahiyo babul ji se
ek na kahiyo babul ji se
royenge pagdi ko munh se lapet ke
aur sab se kahiyo tu pyaare
jaa re panchhi tu jaa re. . .
kaaga des hamaare
udd jaa re
kahiyo roye dukhia re

ek na kahiyo behna meri se
haathon ki roti gira degi ro ke
haathon ki roti gira degi ro ke
ek na kahiyo bhabhi meri se
maike mein jaa ke hansegi wo munh pe
maike mein jaa ke hansegi wo munh pe
aur sab se kahiyo tu pyaare

kahiyo re dukh mera bhaiyya se jaa ke
kahiyo re dukh mera bhaiyya se jaa ke
aayega wo neela ghoda uda ke
utrega mere duaare
jaa re panchhi tu jaa re. . .
kaaga des hamaare
udd jaa re
kahiyo roye dukhia re
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
कहियो रोये दुखिया रे
जा रे पंछी तू जा रे॰॰॰
कागा देस हमारे
उड़ जा रे
कहियो रोये दुखिया रे
जा रे पंछी तू जा रे॰॰॰
कागा देस हमारे
उड़ जा रे
कहियो रोये दुखिया रे

एक ना कहियो माँ रानी से
रोएगी वो मेरी गुड़ियों को देख के
एक ना कहियो माँ रानी से
रोएगी वो मेरी गुड़ियों को देख के
एक ना कहियो बाबुल जी से
एक ना कहियो बाबुल जी से
रोएँगे पगड़ी मुंह से लपेट के
और सब से कहियो तू प्यारे
जा रे पंछी तू जा रे॰॰॰
कागा देस हमारे
उड़ जा रे
कहियो रोये दुखिया रे

एक ना कहियो बहना मेरी से
हाथों की रोटी गिरा देगी रो के
हाथों की रोटी गिरा देगी रो के
एक ना कहियो भाभी मेरी से
मायके में जाके हंसेगी वो मुंह पे
मायके में जाके हंसेगी वो मुंह पे
और सब से कहियो तू प्यारे

कहियो रे दुख मेरा भैया से जाके
कहियो रे दुख मेरा भैया से जाके
आएगा वो नीला घोडा उड़ा के
उतरेगा मेरे द्वारे
जा रे पंछी तू जा रे॰॰॰
कागा देस हमारे
उड़ जा रे
कहियो रोये दुखिया रे


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

Wow, what a song, what a lovely song, what a lovely marathon of a song; so full of words, so full of emotions, so full of insistence of emotions. Rajendra Krishan has outdone himself in writing this song. And so does C Ram, outshine himself in tying this song into threads of music. And what rendition, Lata ji outshines herself. I am hearing this song for the first time today, and have simply fallen in love with it.

The film is ‘Meenaar’ from 1954. As Atul ji and I exchanged notes about films close to ‘Yippeee’, this film turned up with two songs still to be posted, as per the listing in the Geet Kosh. As I started to explore this film and its songs, it turns out that the two pending songs are actually two parts of the same song. When I checked Geet Kosh for details, I found that these two ‘parts’ of the song are actually residing on the same 78 rpm record, further confirming that these are actually parts of one very long song.

Further searching on the YT, I am able to locate an edited composite video clip that is probably made up of three or maybe four parts – the number of times this song appears in the film, making this a multi part song.

I have not seen this film, but as I watched and played this clip multiple times to write down the lyrics, I get feeling of having encountered this theme and this scenario more than once. Listening and viewing this song brings to the mind snatches of the haunting strains of “Aayega Aayega, Aayega Aanewaala” (from ‘Mahal’ (1949)), “Naina Barsen Rim Jhim Rim Jhim” (from ‘Wo Kaun Thi’ (1964)), “Kahin Deep Jaley Kahin Dil” (from ‘Bees Saal Baad’ (1962)) and more. Watching the video brings in tremors of scenes from ‘Madhumati’ (1958), ‘Mera Saaya’ (1966), ‘Kudrat’ (1981) etc., giving a glimpse into the story line of this film. I would request other knowledgeable readers and friends who may have seen this film, to please comment on the theme and the story line of this film.

On screen this song is presented mostly as a background song, with a couple of places where one can see Beena Rai lip syncing the words in the playback.

And with this composite representation of this multi part song, the film ‘Meenaar’ now joins the ranks of films with all songs posted on our blog. Time to callout ‘Yippeee’ . . .

Song – Barbaad e Mohabbat Ko Kab Tak Ye Sazaa Dogey (Meenaar) (1954) Singer – Lata MangeshkarLyrics – Rajendra Krishan, MD – C Ramchandra

Lyrics

dil e betaab dhadakta hai
dikhaayen kaise
ik shola sa bhadaktaa hai
bujhaayen kaise
ya mere saamne aa
ya mujhe awaaz de
ya bataa de main ye parda uthaaun kaise

barbaad e mohabbat ko
kab tak ye sazaa dogey
barbaad e mohabbat ko
kab tak ye sazaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

poochho to zara dil se
main kaun hoon aur kya hoon
toota hua taara hoon
sookha hua dariya hoon
ghaayal ki tadap hoon main
ghaayal ki tadap hoon main
bismil ki tamanna hoon
tum shakl ho us shay ki
jis shay ka main saaya hoon
tum shakl ho us shay ki
jis shay ka main saaya hoon
socha bhi na tha ik din
tum dil se bhula dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

ik roz basaaya tha
tum ne hi jahaan mera
raaten thi mohabbat ki
har din tha jawaan mera
main tum se bichhad ke bhi
main tum se bichhad ke bhi
kuchh door nahin tum se
dekhoge agar dil mein
paaoge nishaan mera
dekhoge agar dil mein
paaoge nishaan mera
laut aayengi yaadein jab
maazi ko sadaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

barbaad e mohabbat ko
kab tak ye sazaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

dum bhar ke liye thehro
sun lo mera afsaana
yun shamma talak aa kar
jaata nahin parwaana
beeti hui ghadiyon ko
zaraa dohraayen
beeti hui ghadiyon ko
zaraa dohraayen
ik raat ka kiss hai
kal subah chaley jaana
ik raat ka kiss hai
kal subah chaley jaana
bigdega tumhaara kya
bigdi jo banaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

barbaad e mohabbat ko
kab tak ye sazaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

ye raat ye khaamoshi
ye chaand ye tanhaai
aise mein seenon mein
bajti hui shehnaai
maano to haqeeqat hai
na maano to afsaana
maano to haqeeqat hai
na maano to afsaana
jaago to zaraa zaalim
dekho main chali aayi
jaago to zaraa zaalim
dekho main chali aayi
na meri wafaaon ke
badle mein wafaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

barbaad e mohabbat ko
kab tak ye sazaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

kuchh dard e mohabbat ki
tum ko bhi khabar hogi
chanda ki chakori par
kab tak na nazar hogi
nazron se meri chhup kar
nazron se meri chhup kar
jaana bada mushkil hai
jaaoge to is shab ki
mushkil se sehar hogi
jaaoge to is shab ki
mushkil se sehar hogi
aakhir mujhe pehlu mein
kab tak na jageh dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–

दिल ए बेताब धड़कता है
दिखाएँ कैसे
इक शोला सा भड़कता है
बुझाएँ कैसे
या मेरे सामने आ
या मुझे आवाज़ दे
या बता दे मैं पर्दा उठाऊँ कैसे

बरबाद ए मोहब्बत को
कब तक ये सज़ा दोगे
बरबाद ए मोहब्बत को
कब तक ये सज़ा दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

पूछो तो ज़रा दिल से
मैं कौन हूँ और क्या हूँ
टूटा हुआ तारा हूँ
सूखा हुआ दरिया हूँ
घायल की तड़प हूँ मैं
घायल की तड़प हूँ मैं
बिस्मिल की तमन्ना हूँ
तुम शक्ल हो उस शै की
जिस शै का मैं साया हूँ
तुम शक्ल हो उस शै की
जिस शै का मैं साया हूँ
सोचा भी ना था इक दिन
तुम दिल से भुला दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

इक रोज़ बसाया था
तुमने ही जहां मेरा
रातें थी मोहब्बत की
हर दिन था जवां मेरा
मैं तुम से बिछड़ के भी
मैं तुम से बिछड़ के भी
कुछ दूर नहीं तुमसे
देखोगे अगर दिल में
पाओगे निशां मेरा
लौट आएंगी यादें जब
माज़ी को सदा दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

बरबाद ए मोहब्बत को
कब तक ये सज़ा दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

दम भर के लिए ठहरो
सुन लो मेरा अफसाना
यूं शम्मा तलक आ कर
जाता नहीं परवाना
बीती हुई घड़ीयों को
ज़रा दोहराएँ
बीती हुई घड़ीयों को
ज़रा दोहराएँ
बीती हुई घड़ीयों को
ज़रा दोहराएँ
इक रात का किस्सा है
कल सुबह चले जाना
बिगड़ेगा तुम्हारा क्या
बिगड़ी जो बना दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

बरबाद ए मोहब्बत को
कब तक ये सज़ा दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

ये रात ये खामोशी
ये चाँद ये तनहाई
ऐसे में सीनों में
बजती हुई शहनाई
मानो तो हक़ीक़त है
ना मानो तो अफसाना
जागो तो ज़रा जालिम
देखो मैं चली आई
जागो तो ज़रा जालिम
देखो मैं चली आई
ना मेरी वफाओं के
बदले में वफा दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

बरबाद ए मोहब्बत को
कब तक ये सज़ा दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

कुछ दर्द ए मोहब्बत की
तुमको भी खबर होगी
चंदा की चकोरी पर
कब तक ना नज़र होगी
नज़रों से मेरी छुप कर
नज़रों से मेरी छुप कर
जाना बड़ा मुश्किल है
जाओगे तो इस शब की
मुश्किल से सहर होगी
जाओगे तो इस शब की
मुश्किल से सहर होगी
आखिर मुझे पहलू में
कब तक ना जगह दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को


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.

“Band Master”(1963) was directed by Ravindra Dave for R L Films, Bombay. This obscure movie had Jagdeep, Azra, Lalita Pawar, Rajan Haksar, Ravikant etc in it.

According to HFGK, this obscure “Social” movie had four songs in it. Details of singers of these songs are not given in HFGK. Fortunately, all these four songs are available and one can make out the singers of these songs as well. The movie had one Rafi-Geeta Dutt duet, one Rafi-Lata duet, one Rafi solo and one Lata solo in it.

The Rafi-Geeta Dutt duet has been discussed in the blog as far as in 2010.

Here is the second song from “Band Master”(1963) to appear in the blog. This song is sung by Lata. Prem Dhawan is the lyricist. Music is composed by Chitragupta.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song. My own guess is that this song may have been picturised on Azra, the leading lady of the movie, going by the star cast.

I had never heard this song before. It is nice to be able to listen to this forgotten gem of a song.


Song-Ham tumhaara naam sun ke (Band Master)(1963) Singer-Lata, Lyrics-Prem Dhawan, MD-Chitragupta

Lyrics

hum tumhaara naam sun ke
dil lage hain thhaamne
hum tumhaara naam sun ke
dil lage hain thhaamne
jaane kaisa haal hoga
aaoge jo saamne
hum tumhaara naam sun ke
dil lage hain thhaamne

nazron mein pyaar bhi hai
tera intzaar bhi hai
inhin bekaraariyon mein
thhoda sa karaar bhi hai
nazron mein pyaar bhi hai
tera intzaar bhi hai
inhin bekaraariyon mein
thhoda sa karaar bhi hai
maar daala
maar daala
humko tere naam ne
hum tumhaara naam sun ke
dil lage hain thhaamne
hum tumhaara naam sun ke
dil lage hain thhaamne

tu hi to hai aas meri
barson ki pyaas meri
kabse hai tere gham mein
duniya udaas meri
tu hi to hai aas meri
barson ki pyaas meri
kabse hai tere gham mein
duniya udaas meri
itni bhi der kya hai
aa bhi jaao saamne
hum tumhaara naam sun ke
dil lage hain thhaamne
hum tumhaara naam sun ke
dil lage hain thhaamne

aankhon mein ishaare honge
palkon pe taare honge
kaise kahen aaj kya kya
jalwe tumhaare honge
aankhon mein ishaare honge
palkon pe taare honge
kaise kahen aaj kya kya
jalwe tumhaare honge
humen tadpa diya hai
waadon waali shaam ne
hum tumhaara naam sun ke
dil lage hain thhaamne
hum tumhaara naam sun ke
dil lage hain thhaamne


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.

de de
de de
allah ke naam pe de de
ek time machine ka sawaal hai baba

I need a time machine. Ah yes, you will all also say the same; exactly, we all need a time machine. I want to go back into the previous century, and view all these movies that create so much mystery and intrigue. Every film that I am not able to find anything about, makes me want to invent a time machine, and fly back into the past and watch the films, and then come back and write a more informed article about it.

Par kya karen, science has made a lot of promises, tried to explain a lot of things, but has not been successful in communicating with the past. Oh how I wish it were possible. There are ten thousand reasons that I want this wish to be fulfilled, and majority of them are the old cinema that I just crave to be able to lay my eyes on. And this lacuna is only increasing by the day.

Here we are Yippeeing films regularly, and here I am, lost and thinking – here is a film I am writing the post for its final song to be posted. Today’s Yippeee films is ‘Madam XYZ’ (1959). And we have absolutely no inkling what this film contained, how did the storyline progress, how did the songs fit into the screenplay, how did the actors perform on screen, etc. Most such films are financially not successful and hence they are lost without anyone wanting to take care of them.

Ah yes, these are the “lost children” of the industry, whom no one cared for. These creatures were ‘conceived’, then ‘developed’ and ‘produced’ putting together many methods, and then they were finally ‘delivered’. But for some reason these ‘children’ were not accepted by the society. Mind you, nothing illegitimate about them. Just that many people, not many enough people took a liking for them. And so the very parents who had conceived and developed and delivered them, now chose to discard them on the trash heap. And no one bothered. No one paused to consider – these are legitimate creations, they have a certain content and a certain beauty, and more importantly, each one has a story to tell. And beyond that, even more important, each such offspring knew some very beautifully crafted poems and songs, that were probably sung to either empty halls or to un-appreciative audiences. Nobody, or let me say, not enough people paid up to watch these toddlers sing. Some of them; nay most of them had some very wonderful, some very touching, some very exciting melodies to share. But they were shunned, by the very people for whom they created this music. And the worst is, even their ‘parents’ stopped caring for them. Even they shunned them, and simply let them go.

So many of these new born babes were lost, some thrown in the garbage dumps, some even put to fire by greedy men who just wanted to take the silver thread from the adornment and ornamentation stitched into the clothes of these innocent, blameless and helpless children, uncared for by their own creators, who let them out without any support, to be lost in the vagaries of a cruel world, of a cruel and greedy industry. We are searching for more information, and yes, hoping against hope to trace the visuals. And then, when such pursuits all fail, then one realizes the utility of a time machine. Oh how I wish. . .

As I write the Yippeee post for this film today, I have gone back and listened to all the five songs that came before this one. And goodness, what a lovely set of creations these songs are –

Chali Chali Matwaali Hawaa”, such delightful melodious three some shared by Lata, Usha and Sudha.

Jaadoo Bhari Ye Chaandni”, such a magical number, making you feel the moonlight in the words, materializing the ‘pyaar ka samaa’ right in front of the eyes

Qadam Qadam Pe Bahaaren Lutaataa”, such a soft and romantic setup created so beautifully by Rafi Sb and Lata ji

Kuchh Meri Nazar Madhosh Hai”, another such soft romantic contemplation by Lata ji, ‘madhosh’ and ‘mastaani’ nazar, kya kehne

and “O Goriye O Poriye O Chhoriye”, such an unbelievable foot tapping number by Manna Da and Geeta Dutt, it takes all the persuasion to confirm that it IS Chitragupt and not Jimmy or Sardool Kwatra.

On listening to these wonderful gems, one just can’t help thinking of the film itself, and the people who created these delightful melodies. Luckily, in this case, we have ‘inside help’. Our own in-house encyclopedia, dear Arun ji, has seen this movie when it was released on the big screen, and he has provided us the story outline, in one of the previously posted songs. I reproduce here, the synopsis that he has shared earlier.

MADAME XYZ (1959) was a B/C grade stunt picture, under the banner of Neo Light films, produced by Ram Kamlani and Balawant Bhatt and directed by Nanubhai Bhatt.
This film was the ultimate in extremes that a hindi film can show.To see such films, one has to suspend the use of brain and normal thinking.

Radha Kishen has 3 daughters – Asha (Shakila), Laxmi(Nalini Chonkar) and Kirti(Purnima). They are shown as super-women. They are trained in Music, Dance, Drama, Riding, Driving, Martial Arts, Swimming, Flying Aircrafts (and all other skills I forgot to mention). They are kind, lovable, rich and God knows what else ! They have 3 boy friends – Suresh, Bhagwan and Sudesh respectively who are equally qualified like them.

A terribly rich friend of Radha Kishen, Raja Biharilal, on a visit to them is murdered in their house. Radha Kishen is arrested and given 15 days to prove his innocence. Raja Biharilal’s hugh wealth is in a safe,which has 4 keys. 3 Keys are kept with people in 3 corners of India, and the 4th Master key is here.

The girls and their friends start their chase of the killer and move from Qutub Minar to Brindavan Gardens to Jagannath puri to Calcutta and Punjab. They fight the criminals on road, in rail and in aircraft, as well as on a ship.

Finally they all gather in Calcutta, where they send a remote controlled riderless motor cycle after the killer (Pran) and arrest him.

Need I further tell you what happens next ? Of course I must (why only I should suffer alone?).

The end is sweet, father is released – ba-izzat, and the 3 daughters get married to 3 (idiots, you said?) boy friends.

The End (at last !).

This movie is a Neolite films production. It was produced by Ram Kamalani, Balwant Bhatt and directed by Nanabhai Mistry. The movie had Suresh, Shakeela, David, Nalini Chonkar, Purnima, Shammi, Bhagwan, Pran, Sudesh Kumar, Nana Palsikar, Kumar, Jamal, Hari Shivdasani, Hameed, Majnu, Genius, Raja Amrohi, Brahmadutt, Fazloo, Arvind Pandya, Douglas etc in it.

This song is sung by Lata ji. Prem Dhawan is the lyricist. Music is composed by Chitragupta.

A delightful semi classical construction. Quite a wonder that the same music director has composed this aria, the foot tapper “O Goriye, O Poriye. . .” and the soft romantic “Qadam Qadam Pe Bahaaren Lutaata”, all of them together in this film. Chitragupt at his most versatile best.

With this song, the film ‘Madam XYZ’ now joins the ranks of the films with all their songs represented on our blog.

Yippeee. . .

Song – Maane Na Maane Na Manmohan (Madam XYZ) (1959) Singers – Lata Mangehskar, Lyrics – Prem Dhawan, MD – Chitragupt

Lyrics

maane na maane na
manmohan
maane na maane na
manmohan
murali bajaaye
jiya tadpaaye
murali bajaaye
jiya tadpaaye
murali bajaaye
jiya tadpaaye
maane na maane na
manmohan
maane na maane na
manmohan

aaa aaa aaaaaaaa
jamuna kina..aa..are
jab wo puka..aa..are
jamuna kina..aa..are
jab wo puka..aa..are
daudi daudi aaun
raha nahin jaaye
maane na maane na
manmohan
maane na maane na. . .
maane na maane na. . .
maane na maane na . . .

ga ma re sa
re ma ni ni pa ma
pa ni sa re sa
bainyaan maro..o..ode
anchra na chhode
bainyaan maro..o..ode
anchra na chhode
ro ro main haari
jiya ghabraaye
maane na maane na
manmohan
maane na maane na..aa..aa

sa re sa
pa ni pa
ga ma re sa re ga
dha pa ma pa
pa ni pa
pa dha ni sa ni re sa
dha pa ma pa pa ni pa pa dha ni sa ni re sa ga

aaa aaa aaa aaa aaa aaaaaa
aaa aaaa aaaaa aaaaa aaaaaaaa
maane na maane
na
maane na maane
na
maane na maane na..aa..aa..aaa

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

माने ना माने ना
मनमोहन
माने ना माने ना
मनमोहन
मुरली बजाए
जिया तड़पाये
मुरली बजाए
जिया तड़पाये
मुरली बजाए
जिया तड़पाये
माने ना माने ना
मनमोहन
माने ना माने ना
मनमोहन

आss आs आssssss
जमुना किना॰॰आ॰॰रे
जब वो पुका॰॰आ॰॰रे
जमुना किना॰॰आ॰॰रे
जब वो पुका॰॰आ॰॰रे
दौड़ी दौड़ी आऊँ
रहा नहीं जाये
माने ना माने ना
मनमोहन
माने ना माने ना॰ ॰ ॰
माने ना माने ना॰ ॰ ॰
माने ना माने ना॰ ॰ ॰

ग म रे स
रे माँ नी नी प म
प नी स रे स
बइय्यां मरो॰॰ओ॰॰ड़े
अँचरा ना छोड़े
बइय्यां मरो॰॰ओ॰॰ड़े
अँचरा ना छोड़े
रो रो मैं हारी
जिया घबराए
माने ना माने ना
मनमोहन
माने ना माने ना॰॰आ॰॰आ

स रे स
प नी प
ग म रे स रे ग
ध प म प
प नी प
प ध नी स नी रे स
ध प म प प नी प प ध नी स नी रे स ग

आs आs आs आs आs आsssss
आs आss आsss आsss आssssss
माने ना माने
ना
माने ना माने
ना
माने ना माने ना॰॰आ॰॰आ॰॰आss


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

Atul ji’s 10K Song Milestone Celebrations – 5
——————————————————————–

Lata’s Songs NOT YET covered on our Blog – 19
————————————————————————-

First, let me congratulate our leader of this Blog for the unsurpassed feat of posting so many songs in one Blog.  I had the rare opportunity to meet him personally in our ‘MumbAtulite’ meet.  My impression is that he does not speak much but when he does, he speaks straight and to the point. (You cricketers use the phrase ‘with the straight bat’, right?)  He is also ‘famous’, or rather ‘infamous’ (pardon me for using the word, but I am using it without any negative shade to it), for not attending most of the Atulite meets.  We all very well know that he plans very much to attend, but his work schedule does not allow him to do so and has to cancel at the last moment.

My selection of today’s song, according to me, is the wish of all us Atulites represented by the first line (asthaayi) of this song by Lata ji, that Atul bhai is most welcome even as a surprise visit.

chaahe chori chori aao
chaahe chhup chhup aao
par ham ko ATUL ji jaroor milna
ho jaroor milna

“Baansariya” (1949) is a Nigaristaan Films Production movie.  It is directed by Ram Narayan Dave. The movie had Ram Singh, Geeta Bali, Om Prakash, Randhir, Kuldip, Sofia, Gulab, Uma Dutt, Shanti Madhok etc in it.

Mulkraj Bhakri is the lyricist. Music is composed by the dual MDs, Husnlal Bhagatram.

Since I do not have HFGK handy here in US, I am unable to state how many songs this film had but according to ‘Lata Samagra’, there were at least four Lata’s solos and all of them are yet to be discussed on our musical Blog, and this is the first one out of them.
[Ed Note: As per Geet Kosh, there are 8 songs in this film; 4 are Lata ji solos, 2 are solos by Geeta Roy, one solo by Rafi Sb and one solo by SD Batish.]

Only the audio of this song is available and so it is difficult to say how and on whom this song is picturised.  I request our knowledgeable readers to throw light on the picturisation of this song. The tune will remind many of so many other songs by the same MDs.  I am also sure that our own Nitinbhai will comment certainly about their recognizable stereo type style.

Now we look forward to the next 10K from Atul ji.


Song – Chaahe Chori Chori Aao Chaahe Chhup Chhup Aao (Baansariya) (1949) Singer – Lata Mangeshkar, Lyrics – Mulkhraj Bhakri, MD – Huanlal Bhagatram

Lyrics

chaahe chori chori aao
chaahe chhup chhup aao
par ham ko piyaa ji jaroor milna
ho jaroor milna
chaahe chori chori aao
chaahe chhup chhup aao
par ham ko piyaa ji jaroor milna
ho jaroor milna
 
jaadoo bhare nainon mein
main piyaji hoon kho gayee
sara jag chhod ke main ek teri ho gayee
ek teri ho gayee
jaadoo bhare nainon mein
main piyaji hoon kho gayee
sara jag chhod ke main ek teri ho gayee
ek teri ho gayee
duniya ki nazaron se door milna
par ham ko piyaaji jaroor milna
ho jaroor milana
chaahe chori chori aao
chaahe chhup chhup aao
par ham ko piyaa ji jaroor milna
ho jaroor milna
 
haal tumhe aaj apne dil ka sunana hai
aana dekhbhaal ke bedard zamana
bedard zamana hai
haal tumhe aaj apne dil ka sunana hai
aana dekhbhaal ke bedard zamana
bedard zamana hai
duniya ki nazaron se door milna
par ham ko piyaaji jaroor milana
ho jaroor milana
chaahe chori chori aao
chaahe chhup chhup aao
par ham ko piyaa ji jaroor milna
ho jaroor milna

———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–

चाहे चोरी चोरी आओ
चाहे छुप छुप आओ
पर हमको पिया जी जरूर मिलना
हो जरूर मिलना
चाहे चोरी चोरी आओ
चाहे छुप छुप आओ
पर हमको पिया जी जरूर मिलना
हो जरूर मिलना

जादू भरे नैनों में
मैं पीया जी हूँ खो गई
सारा जग छोड़ के मैं एक तेरी हो गई
एक तेरी हो गई
जादू भरे नैनों में
मैं पीया जी हूँ खो गई
सारा जग छोड़ के मैं एक तेरी हो गई
एक तेरी हो गई
दुनिया की नज़रों से दूर मिलना
पर हमको पिया जी जरूर मिलना
हो जरूर मिलना
चाहे चोरी चोरी आओ
चाहे छुप छुप आओ
पर हमको पिया जी जरूर मिलना
हो जरूर मिलना

हाल तुम्हें आज अपने दिल का सुनाना है
आना देखभाल के बेदर्द ज़माना है
बेदर्द ज़माना है
हाल तुम्हें आज अपने दिल का सुनाना है
आना देखभाल के बेदर्द ज़माना है
बेदर्द ज़माना है
दुनिया की नज़रों से दूर मिलना
पर हमको पिया जी जरूर मिलना
हो जरूर मिलना
चाहे चोरी चोरी आओ
चाहे छुप छुप आओ
पर हमको पिया जी जरूर मिलना
हो जरूर मिलना


This article is written by Srinivas Ganti, a fellow enthusiast of Hindi movie music and a new 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.

Atul ji’s 10K Song Milestone Celebrations – 2
——————————————————————–

mann panchhi albela
taaron ki nagri mein jaaye

If we replace the word ‘taaron’ with the word ‘gaanon’, it would be apt for this blog. Don’t we all freely wander in this cyber world of songs, lyrics and the stories behind them, as we browse the pages on Atul-Song-A-Day.

Coming to the song itself, this is one of the three Lata gems from ‘Mad Bhare Nain’ (1955). The other two are the romantic numbers “Aa Palkon Mein Aa” and the bhajan “Mo Se Saanchi Kaho Banwaari”.
Read more on this topic…


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.

When I switch on the computer and open the blog in the morning, I have two things in mind. First, I need to find a song that would YIPPEE a movie, and second, a song that would cause a movie to make its debut in the blog.
Read more on this topic…


Advertisements

Important Announcement

(© 2008 - 2017) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

What is this blog all about

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

This is a labour of love, where "new" songs are added every day, and that has been the case for more than eight years. This blog has over 13200 song posts by now.

This blog is active and online for over 3150 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13273

Number of movies covered in the blog

Movies with all their songs covered =1003 Total Number of movies covered =3703

Total visits so far

  • 9,322,859 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 2,067 other followers

Bookmark

Bookmark and Share

Category of songs

Archives

Current Visitors

visitors whereabouts

blogcatalog

Music Blogs - BlogCatalog Blog Directory

blogadda

Stumble

Historical dates

Blog Start date: 19 july 2008 Active for 3000 days.
%d bloggers like this: