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

Archive for the ‘Lord Krishna related songs’ Category


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

Blog Day :

4792 Post No. : 16552

Hullo Atuldom

Today’s song is from the 1982 release “Raaste Pyaar Ke”. It was directed and produced by V B Rajendra Prasad; essentially meaning it was a South Indian production house. It was a remake of a Telugu hit of the ’70s. It had music by Laxmi-Pyare and songs were written by Anand Bakshi. Lata Mangeshkar, Asha Bhonsle, Usha Mangeshkar, Anuradha Paudwal, SP Balasubramanyam, Kishore Kumar were the singers used.

The movie had six songs of which the folllowing two are on the blog:

Song Date of posting
Ye waqt na kho jaaye 4 June 2012
Tedhe medhe oonche neeche lambe laambe raaste pyaar ke 10 October 2020

The cast had Shabana Azmi-Rekha-Jeetendra as the main protagonists and Utpal Dutt, Shaukat Kaifi (mother of Shyama- Shabana Azmi), Parikshit Sahni, Ashalata (bhaiyya and bhabhi to Mohan- Jeetendra), Dr. Shreeram Lagoo, Nadira (uncle and aunt of Mohan and Sohan). Then we had Om Puri (playing a good friend to Gauri- Rekha), Yunus Parvez, Mazhar Khan, Baby Khusboo (niece to Mohan) also in the movie. The post by Nahmji gives a general idea about the film’s story.

The festival season has begun with the arrival of the months of Aashaada, Shraavan and Bhadrapada. We had Raksha Bandhan, Nariyal Purnima and a few other festivals last weekend. This week it is Gokulashtami/ Krishnashtami/ Janmashtami; call it by any name but we are celebrating the birth of Lord Krishna who is said to have been born on the night of Ashtami (eighth day) after the full moon.

Lord Krishna was born when his parents were held captive by his uncle in Mathura. But at the particular hour, when the Lord was born, the guards, miraculously, were fast asleep. This gave time to Vasudev (the lord’s father) time to transport the new-born across the river Yamuna to Gokul to foster parents Nanda and Yashoda. It was raining heavily that night. He is said to have been transported in a wicker basket with the multiheaded serpent- Vasuki shielding the baby from the rain. So the next day after Janmashtami can be described as Gokulashtami. There are many legends of the lord which are related with great relish by generations of devotees. Stories about how he loved to play pranks on the Gopikas of Brindavan and played Raas-Leela with them, ate freshly churned butter with relish, his friendship with Sudama etc. and many more were bed-time stories that grandparents told their grandkids.

Coming back to the celebrations associated with the festival, different regions of the country celebrate it differently. Even the prasad (offerings to the lord) differs region to region. But the offerings will definitely have preparations of Poha (beaten rice), butter and curds. It is said that these three are most loved by the lord. Then there are devotees who keep whole night vigil praying and singing bhajans and distribute prasad around midnight. They bathe and decorate their idols of the lord, dress him up and put the Balgopal in tiny cradles and pull the cradles with ropes of flower garland.

Today’s multi-singer (Asha- Usha- Kishore) song has Mohan playing a KRISHNA with Shyama, Gauri and their friends; there are ropes of flower garland, flute, mor-mukkut etc. That is the reason for me presenting this song today where the words are for lord Krishna and sung for Mohan the bachpan ka friend (childhood friend) of Shyama and Gauri.


Song-Gokul ki galiyon ka gwaalaa (Raaste Pyaar Ke)(1982) Singers-Asha Bhonsle, Usha Mangeshkar, Kishore Kumar, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Asha Bhonsle + Usha Mangeshkar

Lyrics

gokul ki galiyon ka gwaala aaa
natkhat bada nand lala aaa
gore se ho gaya kaala
gokul ki galiyon ka gwaala aa
natkhat bada nand laala aa
gore se ho gaya kaala

kaale ne sab ko ang lagaake
kaale rang mein rang dala aa aa

gokul ki galiyon ka gwala aaa
natkhat bada nand lala aa
gore se ho gaya kala

lo chandan ka tika lagaa do o o
lo chandan ka tika lagaa do
mohan ko manmohan bana..aa..do
mor mukut iss ko pehna do
haathon mein murli pakda do
murli bana loon
munh se lagaa loon
aa tohe o brij ba..aa..ala aa

gokul ki galiyon ka gwala
natkhat bada nand lala
gore se ho gaya kala

jamna kinaare apna thhikaana
jamna kinaare apna thhikaana
paniya bharan tu pangat pe aana
ghunghat mein phir yeh

ooi
mukhdha chhupaana
ooi
chhedega tujhko saara zamaana
dhamkee deta hai
bilkul/font>
deta hai dhamkee
todke matki
maakhan churaane waala aa
gokul ki galiyon ka gwaala aa
natkhat bada nand laala aa
gore se ho gaya kaala

pakda gaya chhaliya sab dekhe ae ae
bhaagega kaise ye ab dekhen
ho pakda gaya chhaliya sab dekhen
bhaagega kaise ye ab dekhen
mera dhang mera sab dekhen
aaj tamasha sab dekhen
kisi jatan se
nahin kisi ke
haath mein aane wa..aa..la aa

gokol ki galiyon ka gwala
natkhat bada nand laala
gore se ho gaya kaala

hey kaale ne sab ko ang lagaake
kaale rang mein rang daala aa

gokol ki galiyon ka gwaala aa
natkhat bada nand laala aa
gore se ho gaya kaala



This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws

Blog Day :

4734 Post No. : 16455

Blog 10-Year Challenge (2011-2021) – Song No.29
——————————————————————-

This day 10 years ago, viz 4 july 2011 was a monday. That day saw the blog adding as many as seven songs to its tally. Here are the details of the seven songs that were covered on this day seven years ago:-

Blog post number Song Movie (Year) Remarks
4123 Raadhe Raani de daaro na bansari mori re Pooran Bhagat(1933) 6 songs covered so far out of 20
4124 Itne door hain huzoor Pyaar Ki Jeet(1948) All 8 songs covered. Movie YIPPEED
4125 Bewafa duniya ki hamne bewafaayi dekh li Grihasthhi(1948) 6 songs covered so far out of 8
4126 Wo to baans Bareilly se aayaa Dahej(1950) All 10 songs covered. Movie YIPPEED
4127 Dil par huaa aisaa jaadoo Mr and Mrs 55(1955) All 8 songs covered. Movie YIPPEED
4128 Maanjhi meri qismat ke Ham Hindustani(1960) 6 songs covered out of 9
4129 Koyi nahin hai phir bhi hai mujhko Patthar Ke sanam(1967) All 7 songs covered. Movie YIPPEED

One can see that four movies ho songs got covered ten years ago have since been YIPPEED. So only three movies, whose songs got covered that day are eligible for Blog Ten Year Challenge today, ten year later.

“Ham Hindustani”(1960) is one of those movies. “Ham Hidustani”(1960) was produced by S Mukherjee and directed by Ram Mukherjee for Filmalay, Bombay. This patriotic movie, seeking to inspire Indians to make India great again through deeds and not by rhetoric, had Sunil Dutt, Asha Parekh, Joy Mukherjee,Helen , Jageerdaar, Agha, Leela, Chitnis, Mubarak, Vijaya Chaudhary, Malika, Sheela Rao, Mirza Musharraf, Rav Avtaar, Moni, Chatterjee, Hari Shivdasani, Yogendra, Bob, B K Mukherjee, Sarita, Saibi, Sitaram, < Baby Nasreen, Caeser, Shyam Chatterjee etc in it.

The movie had nine songs in it that were penned by five lyricists.

Six songs have been covered so far.

As Blog ten year challenge, here is another song from the movie. This song is sung by Lata Mangeshkar. Bharat Vyas is the lyricist. Music is composed by Usha Khanna.

This movie has some well knon songs in it, but the song under discussion is not among them. I heard this song from the first time only today ! What a fantastic semi classical song sung by Lata Mangeshkar. This song should be considered among her masterclass songs. Sadly this song has been forgotten.

The song is picturised as a Lord Krishn related stage dance song, as one can guess from the lyrics. A very young Asha Parekh plays Radha and lip syncs this song. Malika (sister of Mumtaz) plays Lord Krishn. Sheela Rao is also seen in the picturisation.

Lyrics of this song were sent to me by Prakashchandra.

video link:

audio link:

Song-Chhedo na mohey kaanhaa jaa (Hum Hindustani)(1960) Singer-Lata, Lyrics-Bharat Vyas, MD-Usha Khanna

Lyrics(Provided by Prakashchandra)

chhedo na mohey kaanhaa
jaa aa aa
jaa jaa
chhedo na mohey kaanhaa jaa aa aa
binti karat main to
haar gayee rey ae ae
binnti karat main to
haar gayee rey ae
chhedo na mohey kaanhaa jaa aa aa
jaa jaa
chhedo na mohey kaanhaa jaa aa aa

hatt natkhat
panghat na gher
ghoonghat na chhed
jhat jaaney do dheethh
mohey bhayee rey der
nirakhat samaaj
tohey aaye na laaj
tu hai dagaabaaj
dagaabaaj
dhakk dhakk dhakk dhakk dhak dhadkey jiyaa
tharr tharr tharr tharr tharr kaanpey jiyaa
morey pathh se piyaa
hatt jaa hatt jaa hatt jaa

sooni dagariyaa hai bijuriyaa chamkey
soonee dagariyaa hai bijuriyaa chamkey
chhed karo na mori
jhanjhar jhamkey ae
chhed karo na mori
jhanjhar jhamkey
gokul ke chor na sataa aa aa aa aa aa
chhedo na mohey kaanhaa jaa aa
jaa jaa
chhedo na mohey kaanhaa jaa aa aaa

gori gori gori gori kanwal kishori
chanchal chakori
ek gaaon ki chhori
main hoon naval naveli
albeli naar
samjhaaye sakhi
tohey baar baar
main chhuyee muyee
chhuyee muyee
karoon kaun jatan
chootey hi haath
kumhalaaye badan
mera tann muraari
mat chhoo mat chhoo mat chhoo

dekh kanhaiyyaa moree chunariyaa sarkey
dekh kanhaiyyaa mori chunariyaa sarkey ae
haayye kalaiyyaa mein chhooriyaan karke
haayye kalaiyyaa mein chhooriyaan karke
brij ke kishore naa sataa aaa aa aaa aa aaa
chhedo na mohey kaanhaa jaa aa
jaa jaa
chhedo na mohey kaanhaa jaa aa aa jaa aa aa aaa
chhedo na mohey kaanhaa
chhedo na mohey kaanhaa
chhedo na mohey kanhaa jaa aa


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

This is the 1400th post by Sudhir.

Blog Day :

4693 Post No. : 16378

 

The Many Colors of Love #31 – Love Divine
– – – – – – – – – – – – – – – – – – – – – – –

And so wrote the scribe

खाक को बुत, और बुत को देवता करता है
इन्तहा ये है के बंदे को खुदा करता है इश्क़

Khaak Ko But, Aur But Ko Devta Karta Hai
Inteha Ye Hai Ke Bande Ko Khuda Karta Hai Ishq

Such a profound statement with a hugely significant implication – words are written by Sahir. Whether you read them in the flow of the entire set of lyrics, or just these two phrases, the import of these words cannot be diminished. And a more grand effect is achieved in rendition. Roshan Sb has put this to a melody that one cannot pulls oneself away from the flow, as line after line is being rendered by Rafi Sb. And finally, the effect of the rendition itself, as the continuous flow of singing gains momentum, the crescendo is rising, and Rafi Sb takes these two line progressively higher from octave to octave – to the most important message in this entire qawwali – “बंदे को खुदा करता है इश्क़ ” – “That Love Elevates Man to the Degrees of God”. This phrase is the ultimate climax – in all aspects – the rising crescendo of the music, the heightening pitch of the singer’s voice, the increasingly fervent clapping of the accompaniment singers, and the magnificent declaration about Love and God – all converging on the heights wherefrom one cannot go any further. For the message delivered is the ultimate statement to be made in this creation, in this existence – that Love Elevates.

All faiths, all beliefs, all creeds – have one thing in common. They all acknowledge something superior, a higher power that be – because none can otherwise explain the existence of these universes and the presence of the self on this planet. It is Voltaire who has said – “If God did not exist, it would be necessary to invent Him”. Yes, there is so much that we do not understand and so much that cannot be explained by the intellect, that finally even the non-believers cannot extract themselves out of the argument to explain existence.

Where is the story of creation? Every creed has its own, and in every such story there is a higher power that be, which is acknowledged as the authority responsible. The Humans being a visibly cognizant entity (चेतन) in this creation which is so manifestly non-cognizant (जड़) – this question indeed arises in the curious awareness of the self – why am I here? And the answer given by every system of belief is a variation of – “Man Must Return to His Maker”.
I remember another famous qawwali –

रस्ते अलग अलग हैं ठिकाना तो एक है
मंज़िल हरेक शख्स को पाना तो एक है

Raste Alag Alag Hain Thikaana To Ek Hai
Manzil Har Ek Shakhs Ko Paana To Ek Hai

“That paths may be many, yet the destination is the same.”
“And to the Divine must we return”

Theological systems have a life and existence of their own. Most people will follow one or the other that already exists. Once in a while, in a millennium, will come a person or a thought that will bring forth a new theology. Over the ages and across the history of mankind, one after another, newer and different belief systems have appeared, and each has its own existence, its own history, its thoughts, teachers and following.

And then, there is love. No, not as simply as it is just said. An emotional enigma, an anonymous obscurity, supposedly an inscrutable element that forms a significant constituent of what this larger conundrum of ‘creation’ is. An element yes, the basic, most primeval foundational piece. Tagore, in all his wisdom, was moved to write thus – “Love is an enduring mystery because it has nothing else to explain it“.

We can write and express it in a multitude ways, and indeed that has been done across the history. And yet, it remains universally undefined, and there always is yet another expression that attempts to. Through the history of mankind, this attempt has been made many millions of times. And as many millions of times poets, philosophers, lovers, thinkers, believers, and yes, the disbelievers too, have talked about it. And yet, in every age, in every culture, in every generation, every individual mind still continues to ask this question. The same minds continue to discover new definitions and new flavors. Adam and Eve wondered about it, as they looked upon the tree of the forbidden fruit. Brahma, the creator of the universe, was so enamored by his own creation of the feminine form, that he forsook his lotus seat as the creator God, and ran after Her. Lord Shiva was so captivated with the Mohini incarnation of Lord Vishnu, that he too left his abode in Kailash, and in pursuit of that vision. The renowned Sufi poet, Rumi thus wrote “Love is the astrolabe of God’s mysteries”.

Some say God is Love. Some others say Love is the link from Man to God. Yet others say Man who has realized Love, has realized God. Philosophers have written that Love is the basis of this Creation. Others have surmised that Love is the sustenance of this Creation. Another thought is that Love is the path to God. Such a multitude of concepts, ideologies and aesthetics thinkers have thought about and postulated. Some others say Love is an axiom. In the process of philosophical or logical differentiation, an axiom is a self evident truth that stands by itself. It cannot be further simplified or partitioned, or be established from more basic and elemental concepts. An axiom always just is. I recall the cover page of one of the most popular worldwide English editions of the Bible. The cover page simply says “The Greatest Is Love”. No other words, not even the word ‘Bible’ is printed on the cover page. It simply says “The Greatest Is Love“, and that’s it.

This is surely an axiom. A summary outcome of years and aeons of distillation of the human thought that has examined the emotions and expressions to bare bones, and then from the remnants of all that is stirred in the crucibles of the collective human psyche comes this extraction so short, so sweet and so sublime. And from this emerge some very stunning implications, the most significant of them being that Love is greater than God. And suddenly one has to pause, pull the brakes on this whirling carousel of thoughts and expressions and stare in wonder and amazement at this startling conclusion – “The Greatest Is Love, Even Greater Than God Himself”.

There is this play of Love that permeates every thought, every event, every concept, and everything that populates this universe at the physical as well as the non physical and the metaphysical levels of existence. The cycles of existence of the universe – the cause, the sustenance and the eventual assimilation – each one of these is an act of love. The cause of creation occurs when the alone Supreme Soul has a desire to share. That sharing is an expression of Love. The sustenance of the universe is the desire to maintain and keep well the creation – once again it is an act of Love. And the eventual assimilation – no, not the destruction, but more a dissolution of this game of universe, and the assimilation of all the souls back into the primal super soul. Once again, an act of love – an embrace that outweighs any level of proximity – the ultimate sharing of love. The ultimate conversation of love is the tête-à-tête of the souls – as they say, Soulmates. In our bhakti discourses, it is the ‘आत्म निवेदनम्’ (‘atma nivedanam’), the ultimate propinquity of love, the highest stage of meeting of the souls.

Love and God – the ultimate triumphs of realization in this mystery of existence, the magnum opus of individual endeavor and accomplishments. After propounding all the values of human existence, and teaching about all the good and bad in life, every faith, every religion finally talks about Love, about Love and God, about Love Divine, about the Divinity of Love.

This Divine Love is expressed and manifest in countless episodes that are scattered across the length and breadth of the scriptures of our Sanatan Dharm. In the Varaha Avatar – manifestation of Vishnu in the form of a tusked Boar, Vishnu battles with Hiranyaksh and vanquishes him. Then he dives into the waters of the Cosmic Ocean, into which Hiranyaksh had hidden Bhoodevi (Goddess Earth). He picks Her up on his tusks, and brings her out of the waters of the netherworld. In this episode there are brief shlokas wherein Vishnu in the form of Varaha tells Bhoodevi – “My Dear, it has been such a long time that you have cuddled as such in my arms, and I have carried you”.

During the episode of Sagar Manthan, Goddess Lakshmi appears as one of the outcomes of the churning of the Cosmic Ocean. There is an argument as to who would she belong to. Short of a battle, good sense prevails and all agree that Lakshmi should herself select her consort. And Lakshmi puts the flower garland on Vishnu.

In this same episode, Vishnu also appears as Mohini, the incarnation as a beautiful woman. And Shiva who is also present, is so enamored by Her beauty that He immediately has a charming attraction for Her and pursues Her. This affiliation recurs many more times as different episodes are narrated in different books.

When Vishnu appears in the avatar of Narsimhadev, and vanquishes Hiranyakashipu, His demeanor is so frightful, and He is so angry even as the inanimate body of Hiranyakashipu is lying in his lap, that none of the Gods and Sages present have the courage to approach Him. Not even Sage Narad who has the liberty to approach Vishnu whenever and wherever. Not even Goddess Lakshmi, His wife. Then Brahma and Narad request the child Prahlad to approach Narsimhadev. With his childlike innocence, Prahlad presents himself to the infuriated and ferocious half lion manifestation. And lo, in a moment, the anger of Narsimhadev evaporates and is immediately replaced by effusive love for his Bhakt.

Episodes and encounters of love are numerously present in the narration of Vishnu’s avatars as Ram and Krishna. The beauty of Ram is so divine that numerous Sages and village belles express their desire to serve Him as His wife. He declines, for in this avatar as Ram, He has a vow to be the husband of just one, and that is Seeta. But then He gives a boon to all such seekers that in his future incarnation as Krishna, He would accept their desires and betroth them. Therein lies the reason behind the Sixteen Thousand One Hundred and Eight wives of Krishna, as well as the occurrence of the phenomenal and Divine Raas Leela.

In the pageantry of the Sanatan Dharm theology, two entities are identified as beyond creation. They are Shiva and Vishnu. These are the only two for whom no stories of origin can be found, no details of parentage have ever been documented. In every episode, in every tale, the description of their physical appearance is always the same. There is no ageing across time. There is no dissolution at the time of Pralaya or Maha Pralaya. On the occasion of Maha Pralaya even Brahma completes his existence of 100 years (Brahma years, vastly different from the concept of earth years) and dissolves back, awaiting the next cycle of creation.

Vishnu and Shiva exist beyond the time and space, beyond the nothing and anything of this created universe. Their abodes are beyond time and they remain even when everything else disappears at the end of creation. It is nearly impossible for the human mind to even imagine what would be beyond the infinity of time and space as we comprehend it. In a manner of speaking, They represent the two basic forces, the two fundamental concepts that are the source of everything of any kind of nature that is, was, or will be, but They Themselves are apart from this creation. It is interesting to note that this concept of two basic forces pervades many other civilizations and many other theologies. The philosophies of further east have this representation as Yin and Yang, the two fundamental forces that are the basis of all creation. The Buddhist philosophy has the concept of Purush and Prakriti, and that everything else exists or is created through the interactions of these two. Even the scientists pursuing research on the theories of Modern Physics are making efforts towards what they call as the Grand Unified Theory of Physics, in which they propose that there exist only two basic forces in this physical universe and everything else in this visible measurable universe can be computed and extracted from the interplay of the equations of these two basic forces.

The scriptures of Sanatan Dharm abound with narrations of many flavors which describe the interplay between these two fundamental identities, and everything else that comes from them. There are narrations where Parvati, the Consort of Lord Shiva is represented as an incarnation of Vishnu. Then we have other narration where Radha ji is represented as an incarnation of Shiva.

The Ardhnaarishvar manifestation of Shiva, in which the left side of His being transforms into the female form, and He is blessed with being male and female form together in one presence. As per the narrations, Shiva got so smitten with the beauty of Mohini swaroop of Vishnu, that he continuously meditated on that beautiful form. As a result He earned the boon from Vishnu that Mohini would co-exist in the same physical body with Him. That is how the Ardhnaarishvar manifestation of Shiva came about.

Narrations abound in our scriptures of the purity of relationships of Love between Radha and Krishna, between Seeta and Ram, between Parvati and Shiva. However, in the most basic terms, it is all the interplay of the two basic forces of Vishnu and Shiva. And now I will touch upon one more aspect of Divine Love – the Love of Gopis of Vrindavan for the Child Krishna.

I have mentioned little earlier in this article, about the rationale behind the episode of Raas Lila during the appearance of Krishna on this earth, about the boon many learned Sages and women folk of villages received from Ram, when they approached Him with their desires to serve Him as His wives. Close to the end of Dwaapar Yug, when Krishna appeared on this land, these blessed souls all incarnated in Brij as Gopis, the milkmaids. The propensity of their earlier attraction to Ram, transformed in this life into an attachment of devotion to Child Krishna.

There are numerous narrations from many scriptures about the pastimes of Krishna in Gokul, Nandgaon and Vrindavan. Many of these episodes, including the Divine Raas Leela, are played out as interactions between Gopis and Child Krishna. The tales are endless. About Gopis craving for a view of Krishna, His pranks to trouble them as they go about their daily chores, about stealing butter and curd from their homes, about breaking the earthen pots (matkis) containing milk and butter, about the Gopis making Krishna dance just for getting some buttermilk and curd from them, even getting His face embellished with bits of cow dung to get more butter from them, and many many more.

There is a very interesting thread that weaves through all these episodes and pastimes, all the way up to the Raas Leela. And that thread is the flute that Krishna always carries with him, no matter what. This flute, made from a small stick of bamboo, is inseparable from Krishna. It is his eternal partner during the manifestation of all his pastimes while in Brij.

Krishna’s flute playing is remarkably Divine. At will, He can call for all the cows, or all the peacocks, or all the monkeys, or all his playmates and friends. And yes, when He plays the flute for that purpose, it is also to call all the Gopis. The ones so beckoned, are mesmerized by the music of the flute and as if a piece of iron is pulled by a magnet, so will the called ones respond to the call of the flute and in a trance just come to Him.

Gopis are attracted by His flute playing. Their attachment and their affectionate loyalty to Child Krishna is such that they would immediately give up whatever it is that they are doing, answer this call of devotion and converge wherever Krishna is. But when the music is over and the spell dissipates, they are also upset and annoyed that He has such power over them, that He will call them over whenever. There are small episodes of narration of such quarrels between Gopis and Krishna, and also complaints by Gopis to Yashoda.

Taking this narration further, we are also told that the Gopis are also cross with the flute itself. Just a small piece of bamboo and it has such a mesmerizing power over them. They even complain to the flute itself. Sometimes they slyly steal the flute and hide it. Then the little Kanhaiya is distraught, and he pleads with the Gopis to return it. There are some very beautiful bhajans and descriptions that depict this back and forth exchange between Kanha and the Gopis. And then, another step, the Gopis will go to Nand Baba’s home and lodge complaints with Yashoda. This exchange to is covered in many bhajans and episodes that are cute and heartening.

So what or Who is this flute? Some readers may know. Yes, as per narration given in some scriptures, this flute is none other than an incarnation of Shiva Himself. All I can say is that these matters are of the Divine, and are beyond our logic and comprehension. They need to be read and heard in wonder, and then to savor the multitude of sentimental flavors that are enmeshed in all this Grand Design. The more that we think and say about it, the more there remains to be thought and said about it.

The bhajan being introduced today is bringing up yet another flavor of the scores of sentiments that make up this wondrous pageantry. Gopis are even envious of the flute. And they begrudge it, that it always remains close to Kanha, and He so lovingly takes care of it, and He carries it everywhere with Him, even when He is asleep, it is with Him, and then He touches it by His lips, and creates the magic that disturbs their peace and comfort. After all the jealous complaints, they eventually end up praising the fortune of the flute. And they ask of it in wonder – Oh so what all penance and self-flagellation has it gone through, to be rewarded such a position of eminence, with the One that they all adore and covet.  And the words are

ए री बांस की बांसुरिया, तूने कौन कौन तप किन्हो री

Ae Ri Baans Ki Baansuria, Tu Ne Kaun Kaun Tap Kino Ri

Translations

bansi
bansi naam hai, kaahu dhareo sareer
taan taan ki dor su, khinchat hai mann mein

ari kshama kar muraliyaa, padi hain tere paayen
aur sukhi sun hot hain, maha dukhi hum hain

O Eminent Flute
Your name is ‘bansi
O why did you have to exist
With the power of the tones that emanate from you
The insides of our heart are pulled and wrenched

O please, please forgive us,
We fall at your feet in reverence
Others who may listen, may get pleasure from this music
But us. . . ?
Your sound makes us so unhappy and disturbed

 

tu hai brij ki muraliyaa
hum hain brij ki naar
teen lok mein gaayi’e
bansi aur brij naar

O Eminent Flute of Brij
You are the One who is so dear to Him
And we are the simple milkmaids of Brij
May these stories be sung in the three worlds
The tales of the flute and the milkmaids

There is a small personal incident associated with this bhajan that I would like to share. A senior patriarch (not in this world now) in the extended family was a very spiritual and learned person and I have had the good fortune of sitting and listening from him one on one, many times. Once I took this bhajan with me to play it for him. He had never heard this one before. As the play reached the second stanza and the words came “bansi aur brij naar “, he uttered the words “Jai Ho” three times, and I looked at him and his eyes were streaming. A little later I asked him about it, and he replied – “Bansi Aur Brij Naar – there is nothing higher than this in Krishna Bhakti”.

This is a non film bhajan that was recorded way back in 1961. That is all the information that I have been able to gather. No names are listed for the songwriter and the composer of this bhajan. The 78 rpm record is Columbia label GE 39008.

I have heard this song from the days of radio listening while still at school. But now this bhajan seems to have been forgotten by the radio waves. I tried searching for this on line and was really amazed to locate pages where netizens are waiting for this song to be located and uploaded.

A very rare song now, uploaded today. Listen to this baritone sound of CH Atma’s voice from sixty years ago.

[Author’s Note: This series – ‘The Many Colors of Love’ got initiated 20th May, 2013, eight years and 4 days ago. It continued on through 2013, 14 and 15, and 29 episodes were published, the 29th coming online on 9th March, 2015. And then there was complete silence on this topic. Six years – that is too long a gap by any standards. There was a rare blip in 2019 when the 30th episode of this series got published on 20th March, 2019. However, that post, although very much within the theme of this series, came about more towards getting the songs of film ‘Bobby’ completed and getting that film Yippeee’d. And then again, another long silence.

Readers and friends have probably come to the conclusion that the series was more or less complete. But the truth is far from that. In the sequence in which I had laid out the ‘Colors of Love’, after having done the 29th episode, the next topic I come to on the list is ‘Love Divine’. Telling you all the truth, it is this topic that tied up my grey cells in a bind and dried up the juices of creativity. Whenever I used to think to start writing this episode, my mind would just sputter and stop working, not knowing where to make a start. The article that you are reading today is probably the 4th revamped and revised version that I have attempted over the years. And another truth from the heart, I am still not fully satisfied with what I have written. There are many branch avenues that I wanted to explore and write about, but all are not coming together at once. And of course, the length of the article itself has become somewhat daunting.

The series still has three or four more songs to go, more like closing remarks on the ‘Colors of Love’. But yes, this post is the one that has taken the most energy. In a way I am glad that I am finally ahead of this milestone. But as I said before, getting this version of this episode completed still leaves me with a discontentment – that there is more to it. Well, maybe some other posts and other songs that may help fill the gaps within my mind, in the days to come.

So yes, we move forward, and hopefully conclude soon the list of flavors that I had originally planned.]

 

Song – Ae Ri Baans Ki Baansuriya (NFS – CH Atma) (1961) Singer – CH Atma, Lyrics – [Unattributed], MD – [Unattributed]

Lyrics

ae ri baans ki bansuriyaa

ae ri baans ki bansuriyaa
tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri
ae ri baans ki bansuriyaa
tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri

bansi
bansi naam hai
kaahu dhareo sareer
taan taan ki dor su
khinchat hai mann mein
ari kshama kar muraliyaa
padi hain tere paayen
aur sukhi sun hot hain
maha dukhi hum hain
tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri

ae ri baans ki bansuriyaa

tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri

tu hai brij ki muraliyaa
hum hain brij ki naar
teen lok mein gaayi’e
bansi aur brij naar
tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri

ae ri baans ki bansuriyaa

tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri

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

ए री बांस की बांसुरिया

ए री बांस की बांसुरिया
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री
अए री बांस की बांसुरिया
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री

बंसी
बंसी नाम है
काहू धरेयो सरीर
तान तान की डोर सूं
खींचत है मन में
अरी क्षमा कर मुरलिया
पड़ी हैं तेरे पाएँ
और सुखी सुन होत हैं
महा दुखी हम हा॰॰एं
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री

ए री बांस की बांसुरिया
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री

तू है ब्रिज की मुरलिया
हम हैं ब्रिज की नार
तीन लोक में गाइए
बंसी और ब्रिज नार
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री

ए री बांस की बांसुरिया
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4637 Post No. : 16293

Yearwise discussion of Lata Mangeshkar songs in HFM: Part XXVII: Year 1973
———————————————————————————————————

In this episode, we discuss Lata Mangeshkar songs that she sang in Hindi movies released in 1973.

In 1973, 129 Hindi movies containing 702 songs were released. Lata Mangeshkar got to sing in 60 of these movies and she sang 138 songs in these movies. So Lata Mangeshkar’s voice was heard in 46.5 % of the movies released in 1971. Her voice was heard in 19.6 % of the songs appearing in the movies of 1973.

Here are the details of songs sung by Lata Mangeshkar in Hindi movies released in 1973 :-

S N Movie Music director Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Lyricists
1 Aa Gale Lag Jaa R D Burman 1 1 0 1 0 0 Sahir Ludhianvi
2 Abhimaan S D Burman 6 6 3 3 0 0 Majrooh Sultanpuri
3 Agni Rekha Kalyanji Anandji 1 4 2 1 0 1 Kavi Pradeep
4 Anamika R D Burman 1 1 1 0 0 0 Majrooh Sultanpuri
5 Anhonee Laxmikant Pyarelal 1 1 1 0 0 0 Verma Malik
6 Anokhi Ada Laxmikant Pyarelal 1 1 0 1 0 0 Majrooh Sultanpuri
7 Archana Shankar Jaikishan 1 2 2 0 0 0 Neeraj (1) Hasrat Jaipuri (1)
8 Banarasi baabu Kalyanji Anandji 2 3 3 0 0 0 Rajinder Krishan
9 Bandhe Haath R D Burman 3 3 3 0 0 0 Majrooh Sultanpuri
10 Barkha Bahaar Laxmikant Pyarelal 1 3 2 1 0 0 Majrooh Sultanpuri
11 Blackmail Kalyanji Anandji 3 3 2 1 0 0 Rajinder Krishan
12 Bobby Laxmikant Pyarelal 5 5 2 3 0 0 Vitthal Bhai Patel (1) Anand Bakshi(4)
13 Chhaliya R D Burman 1 1 1 0 0 0 Rajinder Krishan
14 Chhupa Rustam S D Burman 0 1 1 0 0 0 Neeraj
15 Daag Laxmikant Pyarelal 5 5 2 2 1 0 Sahir Ludhianvi
16 Daaman Aur Aag Shankar Jaikishan 0 2 1 0 1 0 Hasrat Jaipuri
17 Dil Ki Raahen Madan Mohan 2 2 2 0 0 0 Naqsh Llayalpuri
18 Do Phool R D Burman 0 1 0 1 0 0 Majrooh Sultanpuri
19 Gaai Aur Gauri Laxmikant Pyarelal 1 2 2 0 0 0 Anand Bakshi
20 Gaddaar Laxmikant Pyarelal 1 2 2 0 0 0 Anand Bakshi
21 Gehri Chaal Laxmikant Pyarelal 0 1 1 0 0 0 Rajinder Krishan
22 Ghulam Begam Baadshah Kalyanji Anandji 0 1 1 0 0 0 Rajinder Krishan
23 Hanste Zakhm Madan Mohan 2 2 2 0 0 0 Kaifi Azmi
24 Heera Kalyanji Anandji 4 4 3 1 0 0 Indeevar
25 Heera Panna R D Burman 2 2 0 2 0 0 Anand Bakshi
26 Hindustan Ki Kasam Madan Mohan 2 2 2 0 0 0 Kaifi Azmi
27 Insaaf Laxmikant Pyarelal 0 3 1 2 0 0 Anand Bakshi
28 Intezaar Chitragupta 2 2 2 0 0 0 Verma Malik
29 Jaise Ko Taisa R D Burman 1 2 1 1 0 0 Anand Bakshi
30 Jalte Badan Laxmikant Pyarelal 1 4 2 1 0 1 Maya Govind
31 Jheel Ke Us Paar R D Burman 3 4 4 0 0 0 Anand Bakshi
32 Joshila R D Burman 3 3 2 1 0 0 Sahir Ludhianvi
33 Jugnu S D Burman 4 4 3 1 0 0 Anand Bakshi
34 Jwaar Bhaata Laxmikant Pyarelal 2 2 1 1 0 0 Rajinder Krishan
35 Kachche Dhaage Laxmikant Pyarelal 2 5 4 0 1 0 Anand Bakshi
36 Kahaani Ham Sab Ki Laxmikant Pyarelal 1 1 0 1 0 0 Verma Malik
37 Kashmkash Kalyanji Anandji 0 1 1 0 0 0 Indeevar
38 Kunwaara Badan Ghanshyam 1 1 1 0 0 0 Rajinder Krishan
39 Loafer Laxmikant Pyarelal 1 1 1 0 0 0 Anand Bakshi
40 Manchali Laxmikant Pyarelal 1 1 1 0 0 0 Anand Bakshi
41 Mr Romeo R D Burman 1 2 1 1 0 0 Anand Bakshi
42 Naya Nasha Sapan Chakravorty 1 1 1 0 0 0 Anand Bakshi
43 Paanch Dushman R D Burman 0 1 0 1 0 0 Majrooh Sultanpuri
44 Phaagun R D Burman 2 2 2 0 0 0 Majrooh Sultanpuri
45 Pinjra Ram Kadam 1 7 3 4 0 0 Bharat Vyas
46 Prabhat Madan Mohan 3 3 3 0 0 0 Naqsh Llayalpuri
47 Prem Parbat Jaidev 3 3 3 0 0 0 Padma Sachdev (2) Jaan Nisaar Akhtar (1)
48 Qeemat Laxmikant Pyarelal 1 2 1 1 0 0 Anand Bakshi
49 Raja Kaka Kalyanji Anandji 0 1 1 0 0 0 Anjaan
50 Raja Rani R D Burman 2 6 4 1 0 1 Anand Bakshi
51 Rickshawaala R D Burman 0 1 0 1 0 0 Anand Bakshi
52 Samjhauta Kalyanji Anandji 1 1 1 0 0 0 Indeevar
53 Saudaagar Ravindra Jain 2 2 2 0 0 0 Ravindra Jain
54 Shareef Badmaash R D Burman 1 1 1 0 0 0 Anand Bakshi
55 Sonal Manna Dey 0 2 2 0 0 0 Yogesh
56 Suraj aur Chanda Laxmikant Pyarelal 2 2 1 1 0 0 Anand Bakshi
57 Sweekaar Laxmikant Pyarelal 1 1 1 0 0 0 Anand Bakshi
58 Teen Chor Sonik Omi 0 2 1 1 0 0 Rajinder Krishan
59 Yaadon Ki Baaraat R D Burman 1 1 0 0 0 1 Majrooh Sultanpuri
60 Zanjeer Kalyanji Anandji 2 2 1 1 0 0 Gulshan Baawra
Total 60 movies 14 MDs 92 138 94 37 3 4 20 lyricists

Lata Mangeshkar worked with 14 music directors and 20 lyricists in these 60 movies released in 1973. Shankar Jaikishan with 432 songs in the voice of Lata Mangeshkar were the leading music directors for her followed by Laxmikant Pyarelal with 345 songs. C Ramchandra was in third position with 274 songs. Other top music directors for Lata Mangeshkar were Chitragupta (235), Kalyanji Anandji (220), Madan Mohan (185), S D Burman (164), Roshan (144), Naushad (128), Hemant Kumar (127), R D Burman (125), Anil Biswas (120), Husnlal Bhagatram (108) and Vasant Desai (104). Together these fourteen music directors composed 2711 songs out of 3798 songs that Lata Mangeshkar had sung in Hindi movies till end of 1973. The top nine lyricists till end of 1972 for Lata Mangeshkar were Rajinder Krishan (535), Shailendra (361), Anand Bakshi (320), Majrooh Sultanpuri (297), Hasrat Jaipuri (290), Prem Dhawan (201), Shakeel Badayuni (189), Bharat Vyas (187) and Sahir Ludhianvi (130). These nine lyricists had penned 2510 songs sung by Lata Mangeshkar till that time.

Lata Mangeshkar collaborated with music directors Ghanshyam, Ram Kadam, Ravindra Jain and Sapan Chakrabortyany for the first time in movies of this year. Lyricists Mya Govind, Padma Sachdev, Ravindra Jain and Vitthal Bhai Patel got to collaborate with Lata Mangeshkar for the first time in movies released this year.

Here is the summary of Lata Mangeshkar’s playback career in Hindi movies till end of 1973 :

Year Movie count Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Remarks
1946 3 movies 4 4 4 0 0 0
1947 3 movies 5 5 3 1 0 1
1948 16 movies 50 50 37 6 4 3
1949 38 movies 134 157 103 35 12 7
1950 36 movies 114 143 93 32 14 4
1951 49 movies 189 223 158 52 10 3
1952 43 movies 149 177 138 31 4 4
1953 45 movies 170 195 149 35 5 6
1954 43 movies 140 172 144 23 4 1
1955 50 movies 165 218 177 30 10 1
1956 49 movies 168 204 153 35 13 3
1957 47 movies 129 160 110 38 7 5
1958 35 movies 102 132 95 25 10 1
1959 58 movies 188 211 130 68 12 1
1960 48 movies 139 166 102 50 12 1
1961 44 movies 125 152 88 55 5 4
1962 40 movies 118 129 84 40 5 0
1963 37 movies 103 111 62 38 8 3
1964 46 movies 122 133 91 31 8 3
1965 42 movies 83 91 71 17 1 2
1966 49 movies 104 133 110 14 8 1
1967 44 movies 92 106 67 38 8 3
1968 33 movies 83 84 59 19 5 1
1969 43 movies 77 97 67 27 2 1
1970 54 movies 86 130 84 39 3 4
1971 52 movies 105 126 71 52 3 0
1972 62 movies 96 151 86 60 3 2
1973 60 movies 92 138 94 37 3 4
Total upto 1973 1169 movies 3149 3798 2640 928 179 69

It can be seen from the table of 1973 that Lata Mangeshkar sang 138 songs in 60 movies released in 1973.

92 songs sung by Lata Mangeshkar in movies to 1973 have been covered in the blog. That leaves us with 46 songs that are yet to be covered.

All Lata Mangeshkar songs from 34 movies of 1973 are already covered in the blog. So 46 Lata Mangeshkar songs from 26 movies of 1973 are still available to be discussed.

Alphabetically the first movie of 1973 that offers us Lata Mangeshkar songs to be discussed is “Agni Rekha”(1973).

“Agni Rekha”(1973) was directed by Mahesh Kaul for Mel Kaul Films, Bombay. The movie had Sanjeev Kumar, Shadra, Bindu, Durga Khote, Helen, Asrani, Sajjan, Aarti, Lalita Kumari, Janki Das, Chandrima Bhaduri, Smita, Dinesh Sharma, Yashodhara Katju, K S Sengar, Afzal Khan, Radheshyam, Surendra Kaul, Pal Mahendra, Bunty, Kumud Tripathi, Harindranath Chattopadhyay etc, ith special appearances by Chaand Usmani and Suresh Chatwal in it.

The movie had five songs in it. One song has been covered in the blog so far. Lata Mangeshkar has sung in four of these songs. One song from the movie (which had Lata Mangeshkar’s voice in it) has been covered in the past.

Here is a Lata Mangeshkar solo from “Agni Rekha”(1973). This song is penned by Kavi Pradeep. Music is composed by Kalyanji Anandji.

The song is picturised as a stage dance song on a lady who could be the leading lady of the movie, viz Sharda. I request our knowledgeable readers to help identify her. One can see Sanjeebv Kumar among the audience.

This is a song that I had heard during its days ithout being aware of its details. The song subsequently got forgotten ith time. This song is undoubtedly a forgotten gem.


Song-Tumhaari prem gagariya hai bhaari main kaise uthhaaun banwaari(Agni Rekha)(1973) Singer-Lata, Lyrics-Kavi Pradeep, MD-Kalyanji Anandji

Lyrics

Tumhaari prem gagariya hai bhaari
main kaise uthhaun banwaari
ho o o
Tumhaari prem gagariya hai bhaari
main kaise uthhaun banwaari
tum to ho brij desh ke raja
tum to ho brij desh ke raja
main ik durbal naari
Tumhaari prem gagariya hai bhaari
main kaise uthhaun banwaari

halki phulki preet ki matki
ho to vo main uthhaa loon
jis gaagar mein prem ka saagar
us ko kaise sambhaaloon
dhoondh lo jaa ke ae
ho o
dhoondh lo jaa ke kisi panghat par
aur koi panihaari ee
Tumhaari prem gagariya hai bhaari
main kaise uthhaun banwaari
ho o
Tumhaari prem gagariya hai bhaari
main kaise uthhaun banwaari


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

Blog Day :

4612 Post No. : 16245

——————————————
Sahir Ludhianvi & His Music Directors-10 – (more than ‘ten-movies collaboration’)
————————————————————————–

Welcome all to this post, where we discuss the last collaboration of ‘Sahir and His Music Directors’. I will not conclude this series with today’s post, though. I will conclude this series in my next post where I will provide updated details of Sahir’s filmography.

Today’s music director with Sahir is Ravi.

The names of Sahir and Ravi immediately brings to our mind a long list of immortal, memorable, unforgettable and iconic songs.
If we want to list them here that would require a lot of space, instead, we take a look on the list of the movies of this great collaboration ;

S.no Movie Year Songs of lyricist in the blog Song penned by lyricist in movie as per HFGK Song penned by lyricist in movie as per the book -The People’s Poet
1 Aaj Aur Kal 1963 9 8 9
2 Gumraah 1963 7 8 8
3 Pyaar Ka Bandhan 1963 Ravi 5 5 5
4 Bahu Beti 1965 7 7 7
5 Kaajal 1965 Ravi 11 11 13
6 Waqt 1965 8 8 8
7 Humraaz 1967 5 5 5
8 Aaankhein 1968 6 6 6
9 Do Kaliyaan 1968 8 8 8
10 Neel Kamal 1968 7 7 8
11 Aadmi Aur Insaan 1969 9 9 10
12 Paisaa Ya Pyaar 1969 4 5 5
13 Samaaj Ko Badal Daalo 1970 6 8 9
14 Ganga Tera Paani Amrit 1971 4 4 4
15 Dhundh 1973 4 3 3
16 Mehmaan 1973 4 6 6
17 Ek Mahal Ho Sapnon Ka 1975 7 5 8
18 Amaanat 1977 8 8 7
19 Chingaari 1989 4 7 7
Total 123 128 136

I am sure the above list will bring back fond memories for many people.

Today’s song reminds us of the famous “Kaajal”(1965) bhajan ‘tora man darpan kahlaaye’.

Today’s song is sung by Asha Bhonsle and Usha Mangeshkar. It is from the movie ‘Chingaari-1971/1989’ (released in 1989). Leena Chandavarkar and Durga Khote are seen lip syncing this song.

Let us now listen to this beautiful bhajan …

Song-Meri baari re kaahe ko bhoole banwaari(Chingaari)(1989) Singers-Asha Bhonsle, Usha Mangeshkar, Lyrics-Sahir Ludhianvi, MD-Ravi
Both

Lyrics

banwaari ee ee
o o o o o o o o of
meri baari re ae ae
kaahe ko bhoole banwaari
meri baari re ae ae
kaahe ko bhoole banwaari
jab jab bheed padi dukhiyan par
tumhi ne ae vipadaa taari re are
meri baari re ae ae ae
kaahe ko bhoole banwaari
meri baari re ae ae
kaahe ko bhoole banwaari ee

? ka jyoti
janam ke paapan
par purshan ki pyaari ee

par purshan ki pyaari ee
dharm karam ke nikat na aayi
paap kiye atibhaari

paap kiye atibhaari
ik tote ke rom ratan se
toone paar utaari re
meri baari re ae ae
kaahe ko bhoole banwaari
meri baari re ae
kaahe ko bhoole banwaari ee

drupad sutaa pandav ki naari
juaa khel kar haari ee ee

juaa khel kar haari ee
bhari sabhaa mein dusht dushaasan
khenchan lagaa saari ee

khenchan lagaa saari ee
lut’ti laaj bachaayi
jab wo
dukhiya tumhe pukaari re

meri baari re ae ae
kaahe ko bhoole banwaari ee
meri baari re ae ae
kaahe ko bhoole banwaari ee

meera tere pyaar ke kaaran
lok laaj sab haari ee

lok laaj sab haari ee
nirlaj kah raana ne usko
bheji naag pitaari

bheji naag pitaari
naag phool
vish amrut ban gayaa
teri leelaa nyaari re

meri baari re ae ae
kaahe ko bhoole banwaari
meri baari re ae ae
kaahe ko bhoole banwaari
jab jab bheer padi dukhiyan par
tumhi ne vipadaa taari re
meri baari re ae ae ae
kaahe ko bhoole banwaari
meri baari re ae ae
kaahe ko bhoole ae banwaari ee


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4609 Post No. : 16240

Yearwise discussion of Lata Mangeshkar songs in HFM: Part XXIII: Year 1969
———————————————————————————————————

In this episode, we discuss Lata Mangeshkar songs that she sang in Hindi movies released in 1969.

In 1969, 98 Hindi movies containing 785 songs were released. Lata Mangeshkar got to sing in 43 of these movies and she sang 97 songs in these movies. So Lata Mangeshkar’s voice was heard in 43.9 % of the movies released in 1969. Her voice was heard in 12.3 % of the songs appearing in the movies of 1969.

Here are the details of songs sung by Lata Mangeshkar in Hindi movies released in 1969 :-

S N Movie Music director Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Lyricists
1 Aaraadhna S D Burman 3 3 1 2 0 0 Anand Bakshi
2 Aaya Saawan Jhoom Ke Laxmikant Pyarelal 3 3 1 2 0 0 Anand Bakshi
3 Anjaana Laxmikant Pyarelal 3 3 1 2 0 0 Anand Bakshi
4 Bank Robbery Chitragupta 1 1 1 0 0 0 Prem Dhawan
5 Beti Sonik Omi 0 3 3 0 0 0 Shakeel Badayuni
6 Chiraag Madan Mohan 4 4 4 0 0 0 Majrooh Sultanpuri
7 Dharti Kahe Pukaar Ke Laxmikant Pyarelal 2 2 2 0 0 0 Majrooh Sultanpuri
8 Do Raaste Laxmikant Pyarelal 3 3 2 1 0 0 Anand Bakshi
9 Ek Shrimaan Ek Shrimati Kalyanji Anandji 1 1 0 1 0 0 Rajinder Krishan
10 Gunda G S Kohli 0 1 1 0 0 0 Shadab
11 Hum Ek Hain Usha Khanna 1 1 1 0 0 0 Indeewar
12 Inteqaam Laxmikant Pyarelal 5 5 4 1 0 0 Rajinder Krishan
13 Jahaan Pyaar Miley Shankar Jaikishan 1 1 1 0 0 0 Farooque Kaiser
14 Jeene Ki Raah Laxmikant Pyarelal 2 2 1 1 0 0 Anand Bakshi
15 Jigri Dost Laxmikant Pyarelal 3 3 1 2 0 0 Anand Bakshi
16 Jyoti S D Burman 3 3 1 1 1 0 Anand Bakshi
17 Khamoshi Hemant Kumar 1 1 1 0 0 0 Gulzar
18 Madhavi Laxmikant Pyarelal 1 3 2 0 1 0 Anand Bakshi
19 Mahal Kalyanji Anandji 1 1 1 0 0 0 Anand Bakshi
20 Mera Dost Laxmikant Pyarelal 0 2 1 1 0 0 Anand Bakshi
21 Meri Bhaabhi Laxmikant Pyarelal 2 4 3 1 0 0 Majrooh Sultanpuri
22 Nai Zindagi Chitragupta 1 4 4 0 0 0 Prem Dhawan
23 Nanha Farishta Kalyanji Anandji 1 1 1 0 0 0 Sahir Ludhianvi
24 Prarthana Hridaynath Mangeshkar 0 1 1 0 0 0 Majrooh Sultanpuri
25 Prince Shankar Jaikishan 3 3 2 0 0 1 Farooque Kaiser (1) Hasrat Jaipuri (2)
26 Pyaar Ka Mausam R D Burman 6 6 4 2 0 0 Majrooh Sultanpuri
27 Pyaar Ka Sapna Chitragupta 1 2 1 1 0 0 Rajinder Krishan
28 Pyaasi Shaam Laxmikant Pyarelal 2 2 1 1 0 0 Majrooh Sultanpuri
29 Raat Ke Andhere Mein Prem Dhawan 2 2 2 0 0 0 Prem Dhawan
30 Raahgeer Hemant Kumar 1 2 2 0 0 0 Gulzar
31 Raja Saab Kalyanji Anandji 2 2 1 1 0 0 Anand Bakshi
32 Saajan Laxmikant Pyarelal 3 4 3 1 0 0 Anand Bakshi
33 Sapna Jaidev 1 1 1 0 0 0 V N Mangal
34 Satyakaam Laxmikant Pyarelal 2 2 2 0 0 0 Kaifi Azmi
35 Shart Laxmikant Pyarelal 0 1 1 0 0 0 Anand Bakshi
36 Shatranj Shankar Jaikishan 1 2 2 0 0 0 Hasrat Jaipuri
37 Talaash S D Burman 4 4 2 2 0 0 Majrooh Sultanpuri
38 Tamanna Kalyanji Anandji 0 1 1 0 0 0 Anand Bakshi
39 Tumse Achcha Kaun Hai Shankar Jaikishan 2 2 1 1 0 0 Hasrat Jaipuri
40 Vishwaas Kalyanji Anandji 1 1 1 0 0 0 Gulshan Bawra
41 Waapas Laxmikant Pyarelal 1 1 0 1 0 0 Majrooh Sultanpuri
42 Waaris R D Burman 2 2 0 2 0 0 Rajinder Krishan
43 Yakeen Shankar Jaikishan 1 1 1 0 0 0 Hasrat Jaipuri
Total 43 movies 14 MDs 77 97 67 27 2 1 14 lyricists

Lata Mangeshkar worked with 14 music directors and 14 lyricists in these 43 movies released in 1969. Shankar Jaikishan with 391 songs in the voice of Lata Mangeshkar were the leading music directors for her followed by C Ramchandra with 274 songs. Other top music directors for Lata Mangeshkar were Chitragupta (223), Laxmikant Pyarelal (171), Madan Mohan (166), Roshan (144), Kalyanji Anandji (133), Naushad (126), S D Burman (126), Hemant Kumar (124), Anil Biswas (120), Husnlal Bhagatram (108) and Vasant Desai (104). Together these thirteen music directors composed 2210 songs out of 3253 songs that Lata Mangeshkar had sung in Hindi movies till end of 1969. The top nine lyricists till end of 1969 for Lata Mangeshkar were Rajinder Krishan (477), Shailendra (360), Hasrat Jaipuri (266), Majrooh Sultanpuri (25), Prem Dhawan (194), Shakeel Badayuni (189), Bharat Vyas (180), Anand Bakshi (123) and Sahir Ludhianvi (108). These eight lyricists had penned 2123 songs sung by Lata Mangeshkar till that time.

Lata Mangeshkar collaborated with her kid brother Hridaynath Mangeshkar as a music director in a Hindi movie for the first time this year. Shadab and V N Mangal were two lyricists who got to collaborate with Lata Mangeshkar for the first time in movies released this year.

Here is the summary of Lata Mangeshkar’s playback career in Hindi movies till end of 1969 :

Year Movie count Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Remarks
1946 3 movies 4 4 4 0 0 0
1947 3 movies 5 5 3 1 0 1
1948 16 movies 50 50 37 6 4 3
1949 38 movies 134 157 103 35 12 7
1950 36 movies 114 143 93 32 14 4
1951 49 movies 189 223 158 52 10 3
1952 43 movies 149 177 138 31 4 4
1953 45 movies 170 195 149 35 5 6
1954 43 movies 140 172 144 23 4 1
1955 50 movies 165 218 177 30 10 1
1956 49 movies 168 204 153 35 13 3
1957 47 movies 129 160 110 38 7 5
1958 35 movies 102 132 95 25 10 1
1959 58 movies 188 211 130 68 12 1
1960 48 movies 139 166 102 50 12 1
1961 44 movies 125 152 88 55 5 4
1962 40 movies 118 129 84 40 5 0
1963 37 movies 103 111 62 38 8 3
1964 46 movies 122 133 91 31 8 3
1965 42 movies 83 91 71 17 1 2
1966 49 movies 104 133 110 14 8 1
1967 44 movies 92 106 67 38 8 3
1968 33 movies 83 84 59 19 5 1
1969 43 movies 77 97 67 27 2 1
Total upto 1969 941 movies 2770 3253 2295 740 167 59

It can be seen from the table of 1969 that Lata Mangeshkar sang 97 songs in 43 movies released in 1969. 77 of these songs are already covered in the blog.

All Lata Mangeshkar songs from 30 movies of 1969 are already covered in the blog. So 20 Lata Mangeshkar songs from 13 movies of 1969 still remain to be discussed.

Alphabetically the first movie of 1969 that offeres us Lata Mangeshkar songs to be discussed is “Beti”(1969).

“Beti”(1969) was produced by K P S Singh and N P singh and directed by Harmesh Malhotra for K P S Films Production, Bombay. The movie had Sanjay Khan, Nanda, Rajendra Nath, Asit Sen,, Madhumati, Shyama ,Sulochana Latkar, Kamini Kaushal, Raj Mehra, Ram Mohan, Shabanam, Sheela.R aka Sheila Ramchandra, Kishore Sahu, Randhir, Mirza Musharraf, Dulari, Jankidass, Lalita Kumari, Sujata, Niranjan Sharma, Narbada Shankar, Baby Sarika, Rajeev,Chinnoo, Master Rippee etc in it.

The movie had eight songs in it. Three songs have been covered so far. Lata Mangeshkar had sung three songs in it. None of these songs has been represented in the blog so far.

Here is a Lata Mangeshkar song from “Beti”(1969). Shakeel Badayuni is the lyricist. Music is composed by Sonik Omi.

Only the audio of the song appears to be available. The song is a bhajan. I request our knowledgeable readers to throw light on the picturisation of the song.


Song-Shyam dhun laagi (Beti)(1969) Singer-Lata, Lyrics-Shakeel Badayuni, MD-Sonik Omi

Lyrics

chhod ke tera daar main giridhar
jau ab kit oar
kis’se kahoon on dukh dard
bandhi jab tujhse ae ae ae
preet ki dor

shyaam dhun laagi
hari naam dhun laagi
ho o
shyaam dhun laagi
hari naam dhun laagi
mere man mein base nand laala
ho o
mere man mein base nand laala
ho o
shyam dhun laagi
hari nam dhun laagi re

aanchal mein jo toone bhare dukh
mere liye sab taare hain
aanchal mein jo toone bhare dukh
mere liye sab taare hain
tere haath se kaante milenjo
wo bhi mujhko pyaare hain
bana de mujhe chaahe
mita de mujhe chaahe
bana de mujhe chaahe
mita de mujhe chaahe
tere naam ki japti hoon maala
ho o o
shyam dhun laagi
hari naam dhun laagi re

giridhar tu hai daya ka saagar
tere charan ki main daasi
giridhar tu hai daya ka saagar
tere charan ki main daasi
vyaakul man ki pyaas bujha de
aaj to gokul ke waasi
jaloon main din raina
na aaye mohe chaina
jaloon main din raina
na aaye mohe chaina
mera biraha se pad gaya paala
ho o
shyam dhun laagi
hari naam dhun laagi
mere man mein base nandlaala
ho o
shyam dhun laagi
hari naam dhun laagi re


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

This article is 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today’s song is from a totally obscure and unknown film – Draupadi-1944. It was a Mythological story set in Mahabharat times, underlining the ills of Gambling. This film was made by Baburao Pendharkar, under his own banner- New Huns Pictures Ltd. Bombay (Huns Pictures was owned by Master Vinayak. After it closed down, this was floated.) The first film of this banner was Nagad Narayan-1943 and after this second film, the company was closed.

The director was Baburao Patel and the film’s story, dialogues and screenplay was written by its Heroine Susheela Rani herself. 9 songs- all sung by Susheela Rani, were composed by Pt. Hanuman Prasad. Pt. Indra wrote the lyrics. The cast of the film was Susheela Rani, Badri Prasad, Mazhar Khan, Chandra Mohan, Anant marathe, Surekha, Kanhaiyalal,Leela Mishra and a host of small artistes.

Cut to 11-2-2014 Evening, Bandra-Mumbai

On this day, there was a function in a Hall, to release the book ” Sagar Movietone”, written by shri Biren kothari ji. The chief guest was Amir khan. I was invited to this function. Since I knew Biren ji earlier, I went to this function. Many stars like Amir khan, Anil kapoor, Vidhu Vinod Chopra and others from the film world had come. Among the honourable guests was a 95 year old singer/dancer/actress of yesteryears- Susheela rani was also present.I had an opportunity to meet her and spend about 15 minutes talking to her about our Blog and the ” History Recording Work” that we do here. She looked appropriately impressed. During that function, I also met Urvish kothari, Chandrashekhar Vaidya, Shishir krishna Sharma and also Nalin Shah for the first time.(He was of course with his trade mark white Fur Cap – a la V.Shantaram style). It was a memorable function, in which I added one more celebrity of films in my list having met so far. Sadly, within 6 months of this function, Susheela Rani left this world.

Susheela Rani was one of the very few highly educated film personalities in that era. More than a singer actress, she was first into film journalism and later into teaching music and dance for the rest of her life.

Sushila Rani Patel (1918–2014) was a classical singer, actress, vocalist, Lawyer, and journalist. She established Shiv Sangeetanjali, a school for classical music. She was born on 20-10-1918 at Madras. Her father- Madhav Rao Tombat, a Chitrapur Saraswat Brahmin from Karwar – was an advocate in Madras High Court. She did her M.A. and came to Bombay to become a journalist. Here she met Baburao Patel through a friend. He offered her a Sub Editor’s post in his Film India magazine.

In those days, Baburao Patel was involved with actress Padma Devi. When Susheela Rani became close to Baburao, she slowly ensured that Padma Devi made an exit from Baburao’s life.

Sushila Rani Patel began her singing career in 1942 when she signed a recording contract with HMV music company. In the early years of her career, she was helped by Baburao Patel. In 1944 she acted in film Draupadi and in 1946 in film Gwalan, playing the lead actor and singer. Both films fared poorly at the box-office. They were directed by Baburao Patel whom she later married.

Continuing with her singing career, Rani trained with renowned classical singers like Mogubai Kurdikar and later with Sundarabai Jadhav. In 1961 Rani and her husband Baburao Patel set up Shiv Sangeetanjali, a school for classical music. It was established to encourage classical music and also discover new talent. Some of her students were Pradeep Barot, Ronu Majumdar, Sadanand Nayampilli, Dhanashree Pandit Rai and Nityanand Haldipur. Shiv Sangeetanjali was later amalgamated into the Sushilarani Baburao Patel Trust.

Rani and her husband also ran a film business-related magazine called Filmindia, later to evolve into the more political Mother India. Rani and Baburao Patel wrote under the pseudonyms “Judas” and “Hyacinth”. Their column was called Bombay Calling. Almost the entire content of the magazine was produced by them. Rani would personally conduct interviews with film personalities. She was close to actress Madhubala, who had started acting at a young age, and taught her to speak, read, and write English. At the age of 45 years, Susheela Rani did her LL.B. and LL.M. from Bombay University and registered her name as a Lawyer in the High Court.

After Baburao’s death in 1982, she managed the magazine till 1985 and then it was closed.

In her later years, Rani was involved in a property dispute with the children and grandchildren of her late husband’s second wife over the ownership of their House. Rani continued to run her classical music school until her death on 24-7- 2014 at the age of 96.

Rani received the Maharashtra Rajya Sanskrutik Puraskar, and in 2002 the Sangeet Natak Akademi award. (Partly based on information from wiki, with thanks and my own notes.)

When you talk of Susheela Rani, you can’t ignore Baburao Patel. She was his third wife. Contrary to his wife, Baburao had not even passed his matriculation, but he was a highly learned man in various subjects on his own efforts. The name of Baburao Patel is known to every old film lover, but as a political commentator and a Member of Parliament, he is known to others. From the mid 30s to the 80s he was a name synonymous with daredevil journalism, superb quality English writing and an active Lifestyle. Add to it several marriages and countless children by legitimate and otherwise relationships.

Baburao Pandurang Patil ( he mas a ‘ Marathi Manoos’ and not a Gujarati) was born on 4-4-1904 ( a strange confluence of numbers, the total of all these digits also add up to prime number 4 only), in Masvan village, about 100 kms from Bombay, in Palghar district, in a Vanzara ( Banjara) community. When he was 4 year old, mother died, father remarried and family shifted to Bombay. He was put in an English school. However he did not complete his Matriculation. Lack of formal education always pinched him in life and he always respected highly educated people. He compensated by avidly reading books on Philosophy, Religion, Politics and Medicine. This gave him excellent command over spoken and written English language.

After doing many petty jobs. He joined ” Cinema Samachar ‘ a film magazine in Hindi, English and Urdu languages, in 1926. He never knew when he entered the Film world becoming a script writer and a director. He established his own banner ‘ Gandharva Cinetone ‘ and made 5 films as a Director- Kismat-31 (silent film), Sati Mahananda-33, Maharani-34, Baala Joban-34 and Pardesi Sainya-35. Later in life, he directed 2 more films- with (future wife) Susheela Rani Patel as Heroine- Draupadi-44 and Gwalan-46.

He joined D.N.Parkar, who owned New Jack printing press and who was publishing a house magazine ” Prabhat” for Prabhat films. He started his magazine ‘ FILM INDIA’ in April 1935, at a price of 4 annas(annual 3 rupees). From the first issue, it was printed on high quality art paper. The first issue featured a hand painting of actress and Novelist Nalini Tarkhud, from film Chandrasena, on the cover. There were many ads in the magazine, which promised “honest journalism and constructive criticism”, though in later issues his criticism was incisive, insulting and quite daring. The cine industry feared his reviews, but readers adored him.

In all this, Baburao’s surname became Patel instead of Patil. He continued with it. He hurt many of his fellow filmmakers and actors. In one case, Shanta Apte is on record having gone to his office and beaten him with a whip, for his defamatory and derogatory remarks in the magazine. Khwaja Ahmed Abbas joined him and looked after the magazine when Baburao went abroad.

Baburao married 3 times.First marriage was when he was studying. The second was with Shirin and the third was with his ex-secretary Sushila Rani Tombat- a konkani good looking singer and dancer.

Sidharth Bhatia has written a book on ” The Patels of Filmindia”. Noted author Manto also wrote extensively on Baburao. Bhatia says, ‘ Baburao had an eloquence and power of writing. He had a sharp humour,often barbed. There was a tough guy assertiveness with his venomous pen.” Baburao called Kalpana Kartik ” Pigeon busted”, Suraiya- ” Ugly’, and Dev Anand ” effeminate”. Meena kumari was ” like an inverted shuttlecock”.

His magazine celebrated 50 years in 1985. Baburao became an MP from M.P. in 1967 for Jansangh. One good quality of Baburao was that he was very kind to the poor and helpless people. Baburao Patel died on 4-9-1982.

Film Draupadi was a failure, but undeterred, Baburao Patel tried one more time to make Susheela Rani a successful actress, by featuring her in a social film Gvalan-1946. This time he chose well known artistes. She sang 8 out of 10 songs in the film. Alas ! This film also flopped. Good sense prevailed and no more attempts were made again towards this goal !

Susheela Rani was a good singer and I find her songs of Draupadi and Gwalan very good. However that alone was not enough for her films. Let us enjoy this song today.


Song-Bhaiya bhaiyya bhaiyya aao aao Mohan Bhaiyya (Draupadi)(1944) Singer- Susheela Rani, Lyricist-Pt.Indra, MD- Hanuman Prasad

Lyrics

Bhaiyya aa
bhaiyya aa
bhaiyya
aao aao mohan bhaiyya aa aa
aao krishn kanhaiyya aa aa
aao aao mohan bhaiyya

bhari sabha girdhaari
jaaye laaj hamaari
kit gaye ho krishhn kanhaiyya aa aa
bhaiyya
bhaiyya

tum ne kahaan thha aaungaa
poojan ??unga
tum ne kahaan thha aaungaa
poojan ??unga
prabhu kahaan chhupe ho khevaiyyaa aa
bhaiyya aa
bhaiyya

aao aao mohan bhaiyya
bas hai itni vinti karni
aa dekh meri bikhri veni
aa dekh meri bikhri veni
sharmaa re
sharmaa re bansi bajaiyya aa
bhaiyya aa
bhaiyya

ab ant ghadi hai aayi re
ab ant ghadi hai aayi re
ansuvan ki ?? laayi re
ansuvan ki ?? laayi re
tohe bahan pukaare hai bhaiyya aa
bhaiyya aa
bhaiyya aa
tohe bahan pukaare hai bhaiyya aa
bhaiyya
bhaiyya


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4600 Post No. : 16227

Blog Day :

4581 Post No. : 16194

Yearwise discussion of Lata Mangeshkar songs in HFM: Part XIX: Year 1965
———————————————————————————————————

In this episode, we discuss Lata Mangeshkar songs that she sang in Hindi movies released in 1965.

In 1965, 91 Hindi movies containing 653 songs were released. Lata Mangeshkar got to sing in 42 of these movies and she sang 91 songs in these movies. So Lata Mangeshkar’s voice was heard in 46 % of the movies released in 1964. Her voice was heard in 14 % of the songs appearing in the movies of 1965.

Here are the details of songs sung by Lata Mangeshkar in Hindi movies released in 1965 :-

S N Movie Music director Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Lyricists
1 Aadhi Raat Ke Baad Chitragupta 2 2 2 0 0 0 Prem Dhawan (1) Anand Bakshi (1)
2 Aarzoo Shankar Jaikishan 2 2 2 0 0 0 Hasrat Jaipuri
3 Adventures of Robinhood G S Kohli 1 1 0 1 0 0 Anjaan
4 Aakaashdeep Chitragupta 3 3 2 1 0 0 Majrooh Sultanpuri
5 Amarjyoti Vasant Desai 3 5 3 2 0 0 Bharat Vyas
6 Bhakt Prahlad B N Bali 0 1 1 0 0 0 Bharat Vyas
7 Bharat Milaap Vasant Desai 1 1 0 1 0 0 Bharat Vyas
8 Bheegi Raat Roshan 1 1 1 0 0 0 Majrooh Sultanpuri
9 Bhoot Bangla R D Burman 1 1 1 0 0 0 Hasrat Jaipuri
10 Boxer Laxmikant Pyarelal 3 3 3 0 0 0 Asad Bhopali (2) Anand Bakshi (1)
11 Chaand Aur Suraj Salil Chaudhary 2 2 2 0 0 0 Shailendra
12 Chhoti Chhoti Baaten Anil Biswas 2 2 1 1 0 0 Shailendra
13 Do Dil Hemant Kumar 2 2 2 0 0 0 Kaifi Azmi
14 Ek Sapera Ek Lutera Usha Khanna 1 1 1 0 0 0 Asad Bhopali
15 Faislaa Usha Khanna 1 1 1 0 0 0 Asad Bhopali
16 Faraar Hemant Kumar 2 2 2 0 0 0 Kaifi Azmi
17 Guide S D Burman 4 4 3 1 0 0 Shailendra
18 Gumnaam Shankar Jaikishan 2 2 2 0 0 0 Hasrat Jaipuri
19 Ham Sab Ustaad Hain Laxmikant Pyarelal 2 2 2 0 0 0 Asad Bhopali
20 Himaalay Ki God Mein Kalyanji Anandji 4 4 4 0 0 0 Indeewar (2) Anand Bakshi (2)
21 Jaanwar Shankar Jaikishan 1 1 0 0 0 1 Shailendra
22 Jab Jab Phool Khiley Kalyanji Anandj 3 3 3 0 0 0 Anand Bakshi
23 Jahaan Sati Wahaan Bhagwaan Lala Asar Sattar 1 2 2 0 0 0 B D Mishra (1) Unknown (1)
24 Khaandaan Ravi 1 1 1 0 0 0 Rajinder Krishan
25 Luteraa Laxmikant Pyarelal 6 6 6 0 0 0 Anand Bakshi
26 Mahabharat Chitragupta 0 3 2 1 0 0 Bharat Vyas
27 Main Hoon Alladin Usha Khanna 1 2 2 0 0 0 Jawed Anwar
28 Namaste Ji G S Kohli 2 2 1 1 0 0 Anjaan
29 Neela Aakaash Madan Mohan 1 1 1 0 0 0 Raja Mehdi Ali Khan
30 Oonche Log Chitragupta 2 2 1 1 0 0 Majrooh Sultanpuri
31 Poonam Ki Raat Salil Chaudhary 3 3 1 1 0 0 Shailendra
32 Poornima Kalyanji Anandji 2 2 1 1 0 0 Bharat Vyas (1) Gulzar (1)
33 Raaka Dattaram 1 1 1 0 0 0 Asad Bhopali
34 Rishte Naate Madan Mohan 4 4 4 0 0 0 Hasrat Jaipuri
35 Saheli Kalyanji Anandji 4 4 3 1 0 0 Indeewar (2) K L Pardesi (1)
36 Sangraam Lala Asar Sattar 3 3 2 0 1 0 Ash Kanwal
37 Shaheed Prem Dhawan 1 1 1 0 0 0 Prem Dhawan
38 Shrimaan Funtoosh Laxmikant Pyarelal 3 3 2 1 0 0 Anand Bakshi
39 Sikandar e Azam Hansraj Bahl 1 1 1 0 0 0 Rajinder Krishan
40 Tarzan comes to Delhi Dattaram 1 1 1 0 0 0 Anand Bakshi
41 Teen Deviyaan S D Burman 2 2 0 2 0 0 Majrooh Sultanpuri
42 Teesra Kaun R D Burman 1 1 0 1 0 0 Anand Bakshi
Total 42 movies 20 MDs 83 91 71 17 1 2 19 lyricists

Lata Mangeshkar worked with 20 music directors and 19 lyricists in these 46 movies released in 1965. Shankar Jaikishan with 340 songs in the voice of Lata Mangeshkar were the leading music directors for Lata Mangeshkar followed by C Ramchandra with 273 songs. Other top music directors for Lata Mangeshkar were Chitragupta (201), Madan Mohan (142), Roshan (129), Anil Biswas (120), Hemant Kumar (112), S D Burman (112), Naushad (109), Husnlal Bhagatram (108). Together these ten music directors composed 1646 songs out of 2833 songs that Lata Mangeshkar had sung in Hindi movies till end of 1965. The top seven lyricists till end of 1964 for Lata Mangeshkar were Rajinder Krishan (446), Shailendra (338), Hasrat Jaipuri (234), Prem Dhawan (178), Bharat Vyas (173), Shakeel Badayuni (169), Majrooh Sultanpuri (147). These seven lyricists had penned 1685 songs sung by Lata Mangeshkar till that time.

Lata Mangeshkar tied up with music director B N Bali, Lala Asar Sattar and Prem Dhawan for the first time in movies released in 1965. Ash Kanwal, Gulzar, Jawed Anwar were the lyricists with whom she worked for the first time in movies of 1965.

Lata Mangeshkar was singing over 20 duet songs with Rafi every year till then, but in the movies released in 1965, these two singers did not have even a single duet ! Her main male partner in singing duets this year was Mahendra Kapoor with whom she sang 7 duets followed by Mukesh (5 duets).

Here is the summary of Lata Mangeshkar’s playback career in Hindi movies till end of 1965 :

Year Movie count Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Remarks
1946 3 movies 4 4 4 0 0 0
1947 3 movies 5 5 3 1 0 1
1948 16 movies 50 50 37 6 4 3
1949 38 movies 134 157 103 35 12 7
1950 36 movies 114 143 93 32 14 4
1951 49 movies 189 223 158 52 10 3
1952 43 movies 149 177 138 31 4 4
1953 45 movies 170 195 149 35 5 6
1954 43 movies 140 172 144 23 4 1
1955 50 movies 165 218 177 30 10 1
1956 49 movies 168 204 153 35 13 3
1957 47 movies 129 160 110 38 7 5
1958 35 movies 102 132 95 25 10 1
1959 58 movies 188 211 130 68 12 1
1960 48 movies 139 166 102 50 12 1
1961 44 movies 125 152 88 55 5 4
1962 40 movies 118 129 84 40 5 0
1963 37 movies 103 111 62 38 8 3
1964 46 movies 122 133 91 31 8 3
1965 42 movies 83 91 71 17 1 2
Total upto 1965 772 movies 2414 2833 1992 642 144 53

It can be seen from the table of 1965 that Lata Mangeshkar sang 91 songs in movies released in 1965. It was for the first time since 1948 that the number of songs sung by her in a year fell below three figures.

As many as 83 of these 91 songs have already been covered in the blog. Out of 42 movies of 1965 where Lata Mangeshkar sang, all Lata Mangeshkar songs of 37 movies are alreday covered. So we only have 8 Lata songs belonging to 5 movies of 1965 that are not yet covered in the blog.

Alphabetically the first such movie that offers us Lata Mangeshkar songs to discuss is “Amar Jyoti”(1965). This fantasy movie was directed by Raman Desai for Bombay Movietone, Bombay. The movie had L Vijaylaxmi, Mahipal, Ulhas, Kamal Mehra, Sapru, Sarla Devi, Gop Krishn etc in it.

The movie had nine songs in it, including five Lata Mangeshkar songs- three solos and two male duets with Mahendra Kapoor. Four songs from the movie (including three Lata Mangeshkar songs) have been covered in the past.

Here is the fourth Lata Mangeshkar song from “Amar Jyoti”(1965). This song is a duet with Mahendra Kapoor. Female Chorus can also he heard. Bharat Vyas is the lyricist. Music is composed by Vasant Desai.

This lesser known song is a rare song and only its audio seems to be available. I request our knowledgeable readers to throw light on the picturisation of this song.
The audio is not clear and I have not been able to get many words right. I request our readers with keener ears to help fill in the blanks/ suggest corrections in the lyrics wherever applicable.


Song-Jhan jhan jhan jhan baaje paayaliya (Amar Jyoti)(1965) Singers-Lata, Mahendra Kapoor, Lyrics-Bharat Vyas, MD-Vasant Desai
Lata + Mahendra Kapoor
Chorus

jhan jhan jhan jhan jhan

jhan jhan jhan jhan jhan
jhan jhan jhan jhan jhan baaje paayaliya
jhan jhan jhan jhan jhan baaje paayaliya
kaise aaun chhaliyaa
o chhaliyaa
kaise aaun chhaliyaa
o chhaliyaa
jhan jhhan baaje paayaliyaa
baaje paayaliyaa
baaje paayaliyaa
jhan jhan jhan jhan
jhan jhan jhan jhan jhan baaje paayaliya
jhan jhan jhan jhan jhan baaje paayaliya

jamuna kinaare teri murli pukaare ??
jkaise aaun
chamke hazaaron taare soye jag waale
saare
?? jaayen
?? jaaun
jo koi jag jaaye
sharam nahin jaaye
bharam ?? jaaye
jjhan jhan jhan jhan jhan
jhan jhan jhan jhan jhan baaje paayaliya
jhan jhan jhan jhan jhan baaje paayaliya

kajra sajaake
?? bindiya lagaa ke
bani ??

o o o o o
chhupte chhupaate
chaavi madhur basaa ke
dekho kaise chali

jhmm hmm hmm hmm
nain nahin bole
palak nahin khole
??

jjhan jhan jhan jhan jhan
jhan jhan jhan jhan jhan baaje paayaliya
jhan jhan jhan jhan jhan baaje paayaliya

anchra sambhaale re
ghoonghat pat daale
?? haule haule
jhaule haule
dharti ki saadi piya
band kiwaadi jyun hi
nain khole
jnain khole

na lat ??
na lat ??
?? khatke
jhhan jhan jhan jhan jhan
jhan jhan jhan jhan jhan baaje paayaliya
jhan jhan jhan jhan jhan baaje paayaliya
kaise aaun chhaliyaa
o chhaliyaa
kaise aaun chhaliyaa
o chhaliyaa

jhan jhan baaje paayaliya
baaje paayaliya
baaje paayaliya


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4566 Post No. : 16165

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Blog 10-Year Challenge (2011-2021) – Song No. 2
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This day ten year ago (viz 17 January 2011) was a lean day when only one song from “Paayal”(1957) was discussed. This song, Jaago aur jagaao was the second song from the movie to be covered in the blog. The movie had nine songs in it and six of these songs have been covered so far. So the movie is still unYIPPEED and therefore this movie is eligible for Blog Ten Year Challenge today.

“Paayal”(1957) was was produced By Joseph Thomas and directed by Joseph Taliath Jr.for Madras Talkies. The movie had Padmini, Sunil Dutt, David, Baby Naaz, Ragini, Bipin Gupta, Raj Mehra(Guest Artiste), Achla Sachdev, Meenu Mumtaz, Sheoraj(Shivraj),Laxman Rao, Agha,Praveen Paul,Puri,Bhavan etc in it.

The songs covered in the blog so far are:

Song Date of post
Chale chalen se sajan dheere dheere 11 september 2010
Jaago aur jagaao 17 January 2011
Ae meri maut thahar 16 February 2011
Ye duniya rail niraali 5 February 2013
Maidaan mein ham jo aa jaayen 31 August 2014
Piyaa milan ko chali Raadhika 11 September 2020

Here is the seventh song from “Paayal”(1957). This song is sung by Lata Mangeshkar. Rajinder Krishan is the lyricist. Music is composed by Hemant Kumar.

The song is picturised as a dance song on Padmini, with many others also seen watching her dance performance.

Lyrics of this song were sent to me by Prakashchandra.

Audio

Video

Song-Jaa re saanwle salone natkhat banwaari (Paayal)(1957) Singer-Lata, Lyrics-Rajinder Krishan, MD-Hemant Kumar

Lyrics(Provided by Prakashchandra)

jaa rey saanwley saloney
natkhat banwaari
chhodo chhodo ji baiyyan hamaari
jaa rey saanwley saloney
natkhatt banwari
chhodo chhodo ji bainyyan hamaari
ho o chhodo chhodo ji bainyyan hamaari

dekho ji akeli mohey dekh ke sataao naa
dekho ji akeli mohey dekh ke sataao na
kaun hoon tumhaari main
Radhaa sang jaao na
jaao jaao chhaliya
ye ankhiyaan dikhaao na
ye ankhiyaan dikhaao na
jaao jaao chhaliya
ye ankhiyaan dikhaao na
ye ankhiyaan dikhaao
mori baat jo na maani
to main doongi tohey gaari
chhodo chhodo ji bahiyyan hamaari
jaa rey saanwley saloney
natkhat banwari
chhodo chhodo ji bainyyan hamaari
ho o chhodo chhodo ji bainyyan hamaari

achchi nahin joraajori
chhod do kalaayee jee
achchi nahin joraajori
chhod do kalaayee jee
saaraa jag jaan lega doongi jo duhaayee ji
ghar ghar hongi phir batiyaan kanhaayi ji
bathiyaan kanhaayi ji
ghar ghar hongi phir batiyaan kanhaayi ji
bathiyaan kanhaayi
hato hato ji hattiley
main to roye roye haari
chhodo chhodo ji bainyyan hamaari
jaa rey saanwley saloney
nattkhatt banwari
chhodo chhodo ji bainyyan hamaari
ho o o chhodo chhodo ji bainyyan hamaari


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

Blog Day :

4557 Post No. : 16150

#The Decade of Seventies – 1971 – 1980 #
————————————————————————
# Bhoole-Bisre Geet # 118 # (A tribute to Singer Krishna Kalle)
——————————————-————————————————————

‘Sapne Suhaane-1974’ was a ‘social movie’ directed by A.K. Chalukya for ‘Kalpit Chitra, Poona’. It had Kalpit, Soni, Sharma, Arvind, Shefali, Mohan Jery, Mohan Shery, Sundar, Firoza, Lakiram, Master Kalpit, and Padma Chavan (in guest appearance). This movie introduced Anil, Rawal, Suresh, Bina, Suryakant, Gaekwad and Lalsingh Chouhan.

‘Sapne Suhaane-1974’ had three songs. All ere written by Hasrat Jaipuri. Music was composed by Shamji Ghanshamji.

This movie was passed by Censor Board on 05.11.1974.

One song from this movie was posted on the blog on 23.07.2013. Our inhouse encyclopedia Shri Arunkumar Deshmukh Sir provided the following information in comments section;

SAPNE SUHANE-1974 was truly an obscure movie.
It was produced by Kalpit Chitra Poona, directed by A.K. Chalukya and the music was by Shyam ji Ghanashyamji (One person-not a jodi), for the lyrics by Hasrat Jaipuri. There were only 3 songs in it.
The cast was full of newcomers (all probably debutants or one film actors), like Kalpit, Soni, Sharma, Arvind, Shefali, Firoza, Luckyram, Anil, Raval, Suresh Beena, Suryakant etc.
The story was of a Motor mechanic who dreams of becoming a film actor. He tells his beloved, who is working as a maid with a seth ji, that he will go to Bombay and return only after becoming an actor. Soon he realises the valley between Sapne suhane and the reality

Today we are presenting the second song from this movie which is sung by Krishna Kalle.

Krishna Kalle (18.12.1940 – 15.03.2015) was a known name in Kannada and Marathi Film Music, in addition to Hindi Film Music.

Let us now listen to today’s song …

Audio

Song-Ae bansi bajaiyya (Sapne Suhaane)(1974) Singer-Krishna Kalle, Lyrics-Hasrat Jaipuri, MD-Shamji Ghanshamji

Lyrics

ae bansi bajaiyyaa aa aa aa
aa aa aa
ae bansi bajaiyyaa aa

ae bansi bajaiyyaa
kya tujhe iski khabar hai
dukhiya tere charnon mein hai
aur tujhpe nazar hai
ae bansi bajaiyyaa aa aa aa aa

main saans ki maalaa pe
tera naam japoon hoon
main saans ki maalaa pe
tera naam japoon hoon
jis haal mein rakkhe mujhe
us haal mein khush hoon oon oon
mujh par bhi nazar daal
tera dhyaan kidhar hai
dukhiya tere charnon mein ae hai
aur tujhpe nazar hai
ae bansi bajaiyyaa aa aa aa aa

tujhse koi shikwaa naa
ye fariyaad hai sun le ae
tujhse koi shikwaa naa
ye fariyaad hai sun le
qismat meri barbaad thhi
barbaad hai sun le ae ae ae
jab tu hai mere saath to
kis baat ka darr hai
dukhiya tere charnon mein hai
aur tujhpe nazar hai
ae bansi bajaiyyaa aa aa aa aa


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over THIRTEEN years. This blog has over 16500 song posts by now.

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

Important Announcement

(© 2008 - 2021) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

16569

Number of movies covered in the blog

Movies with all their songs covered =1280
Total Number of movies covered=4510

Total visits so far

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Active for more than 4000 days.

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