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

Archive for the ‘Lyricist-MD’ Category


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

Blog Day : 4028 Post No. : 15144

Today, 29th July, is the 66 birthday for Anoop Jalota, the renowned singer of classical and semi-classical music. Known as the Bhajan Samrat, his forte is in the arena of religious bhajans and devotional songs. Here is wishing him many many happy returns of this day.

Anoop was born this day in 1953, in Nainital. His late father, Purushottam Das Jalota has also been a renowned singer of devotional songs himself. Anoop got his initial education in classical music at the Bhatkhande Music Institute in Lucknow. He started his singing career as a chorus singer at All India Radio. Over the years, he has sung popular sugam sangeet and ghazals also. But he has not been as famous and successful in that area. He started singing devotional songs and for that, he has become very popular. He was honored with the award of Padam Shri in 2012.

His songs in Hindi films are quite limited, although I do find two songs by him already on our blog. Today’s song is from the 1977 film ‘Shirdi Ke Sai Baba’. This song is written by Pandurang Dixit and its music is also composed by him. On screen, this song is performed by Manmohan Krishan.

The film is produced by the Sarla Charities Trust, and is directed by Ashok V Bhushan. It is a screen adaptation of the biographical book on Sai Baba by the late Shri Govindrao Dhabolkar. The cast of actors includes Sudhir Dalvi in the title role, Manmohan Krishan, Raj Mehra, B M Vyas, Usha Chauhan, Beerbal, Nazeer Kashmiri, C S Dubey, Gurbachan Singh, Jyotsana Kirpekar, Preetam Balley, Vatsala Deshmukh, Ratanmala Pandit, Bhawna, Master Teeto, and Master Raju. The film has many special and guest appearances, viz., Rajendra Kumar, Hema Malini, Shatrughan Sinha, Premnath, Manoj Kumar, Madan Puri, Sachin, Dhiraj Kumar, Paintal, Krishan Dhawan, Satish, and Kuljeet.

Geet Kosh lists 9 songs for this film. Some are traditional, and the remaining are penned by Dev Krishan, Manoj Kumar and Pandurang Dixit. The latter is also the music director  for this film. One song of this film is already showcased here on our blog.

In this song, the on screen performer is Manmohan Krishan. He is leading a few others, including some police personnel and taking them to the place where Sai Baba resides.

This song was recorded in 1977, when Anoop would have been just 24 years of age. One can make out the difference in the quality of the voice – in this song and his singing 40 years hence, in the current period.

The Bhajan itself is written and composed very beautifully. Exhorting the listener to meditate on the universality of the message of brotherhood, and the underlying unity and commonalities of all the religions and beliefs. That is the message of Sai Baba – ‘Sab Ka Maalik Ek’ – that the Supreme One is the One and same for all people.

Song – Sumar Manwa. . . Sumar Re Panchtatva Suvichaar  (Shirdi Ke Sai Baba) (1977) Singer – Anup Jalota, Lyrics – Pandurang Dixit, MD – Pandurang Dixit
Chorus

Lyrics (Provided by Avinash Scrapwala)

sumar manwaa aa aa aa aa aa
sumar manwaa aa aa aa aa aa
sumar manwaa

sumar manwaa
sumar manwaa
sumar re panch tatva suvichaar

sumar manwaa
sumar manwaa
sumar re panch tatva suvichaar
ghat ghat bheetar jag mein nirantar
naad brahma saakar
sunlo pranav ki divya pukaar
sumar manwaa
sumar manwaa
sumar re panch tatva suvichaar

mera mera
kuchh nahin tera
chhod do ahankaar
paalo shaashwat soukhya apaar
sumar manwaa
sumar manwaa
sumar re panch tatva suvichaar

taaran aur phal
karm bhaagya ka
smar lo baaram baar
sunlo dharm chakra jhankaar
sumar manwaa
sumar manwaa
sumar re panch tatva suvichaar

chandra kor ka achal sahaara
kare sitaara ek aadhaar
maano shradhha ka ye saar
sumar manwaa
sumar manwaa
sumar re panch tatva suvichaar

aao jalaado
yagya agni mein
ye katu vishay vikaar
karlo daivi saakshaatkaar
sumar manwaa
sumar manwaa
sumar re panch tatva suvichaar
sumar manwaa
sumar manwaa
sumar re panch tatva suvichaar

ye stup aikya ka
prem dharm ka
satya shaanti ka dwaar
sandesh bhavya de
mantra divya de
sainaath avtaar
jai jai sainaath avtaar
jai jai sainaath avtaar

jai jai sainaath avtaar
jai jai sainaath avtaar
jai jai sainaath avtaar
jai jai sainaath avtaar
jai jai sainaath avtaar
jai jai sainaath avtaar
jai jai sainaath avtaar

———————————————————-
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————-
सुमर मनवा आ आ आ आ आ
सुमर मनवा आ आ आ आ आ
सुमर मनवा

सुमर मनवा
सुमर मनवा
सुमर रे पञ्च तत्व सुविचार

सुमर मनवा
सुमर मनवा
सुमर रे पञ्च तत्व सुविचार
घट घट भीतर जग में निरंतर
नाद ब्रह्म साकार
सुन लो प्रणव की दिव्य पुकार
सुमर मनवा
सुमर मनवा
सुमर रे पञ्च तत्व सुविचार

मेरा मेरा
कुछ नहीं तेरा
छोड़ दो अहंकार
पा लो शाश्वत सौख्य अपार
सुमर मनवा
सुमर मनवा
सुमर रे पञ्च तत्व सुविचार

तारण और फल
कर्म भाग्य का
स्मर लो बारं बार
सुन लो धर्म चक्र झंकार
सुमर मनवा
सुमर मनवा
सुमर रे पञ्च तत्त्व सुविचार

चन्द्र कोर का चल सहारा
करे सितारा एक आधार
मानो श्रद्धा का ये सार
सुमर मनवा
सुमर मनवा
सुमर रे पञ्च तत्त्व सुविचार

आओ जला दो
यज्ञ अग्नि में
ये कटु विषय विकार
कर लो दैवी साक्षात्कार
सुमर मनवा
सुमर मनवा
सुमर रे पञ्च तत्त्व सुविचार
सुमर मनवा
सुमर मनवा
सुमर रे पञ्च तत्त्व सुविचार

ये स्तूप ऐक्य का
प्रेम धर्म का
सत्य शान्ति का द्वार
सन्देश भव्य दे
मंत्र दिव्य दे
साईनाथ अवतार
जय जय साईनाथ अवतार
जय जय साईनाथ अवतार

जय जय साईनाथ अवतार
जय जय साईनाथ अवतार
जय जय साईनाथ अवतार
जय जय साईनाथ अवतार
जय जय साईनाथ अवतार
जय जय साईनाथ अवतार
जय जय साईनाथ अवतार



This article is written jointly by Atul and Sudhir. 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 15000th song post in the blog.

Blog Day :

3929 Post No. : 15000

= = = = = = = = = = = = = = = = = = = = = = = =
Atul Song-A-Day 15K Song Milestone Celebrations – 10
– – – – – – – – – – – – – – – – – – – – – – – – – – – – –

Writeup by Atul
————————–

This writeup marks a very special occasion for the blog. It is the 15000th writeup for the blog !

5000th and 10000th posts in the blog were major landmarks for us. The preparations, celebrations and enthusiasm for those posts were quite grand and memorable.

For instance, preparation for the 5000th post had begun in right earnest some more than 150 posts prior to the big event. The song was identified well in advance. That was a legendary song, created by rather unknown artists. So that post was meant to honour lesser known HFM artists.

When the song was identified, I thought that the lesser known music director of the song should also get appreciation. So it was planned to make this 5000th post of the blog to coincide with 100th post of the music director. That was not easy because the music director only had 20 odd of his songs in the blog at that time. So lots and lots of his compositions were covered in the blog during the run up to the 5000th post in the blog.

And that 5000th writeup was a joint collaboration of three of us viz. Raja, followed by me and then Sudhir ji. It was such a long article that a few of our regulars gave up reading the article midway. 🙂 It was over 8000 words long article (including lyrics) !

The date was 13 november 2011. It was a sunday and the post was published at 12:29 PM. It was the sixth and final song posted on that day in the blog.

I was based at Nagpur, Maharashtra, at that time. Amazingly, the journey from post number 4001 to post number 5000 took only five months and one day (153 days) at a strike rate of 6.5 songs every day !

The 10000th post in the blog should have appeared earlier that it finally did. Going by the then strike rate of one century every 16 days (give or take a few days), the 10000th post should have come up by April or may 2014. But I found myself getting busy in other matters. My guess is that my family (wife , daughter, three pets) had joined me- (I was at Bilaspur then), and so I was finding it difficult to post at the usual rate. There were several dot days after post number 9990. There were as many as six dot days. Even on the days when I posted articles, I only managed to post one or two articles in a day. So finally, I decided (and some other regulars also arrived at the same view), that the 10000th post needed to be coincided by the blog birthday which fell on 19 july 2014 .

The idea of how to celebrate the event was thought about when I and Sudhir Ji had visited AK ji (of songsofyore)in his office in Delhi. While discussing lots and lots of HFM related matters, we discussed the forthcoming 10000th post in the blog. AK ji suggested that every regular needed to write an article and a brief introduction of that regular needed to be given. We expanded the idea and decided that the introduction of the regular would be a full fledged and separate article and would precede the guest article.

The run up to the big event began on 7 july 2014. It was planned that all regular contributors would be introduced by another regular familiar with the person being introduced. That article would be followed by an article penned by the person who was introduced in the earlier article. So, we had nearly 30 regulars “formally” introduced by other regulars.

The idea was a great hit and it was well received and appreciated. Regulars introducing other regulars- it was made possible because many of us had already forged friendships with each other not only through online interactions but also through personal visits. We all got to know lots and lots of interesting details about the regulars of the blog. For instance, we came to know that our seniormost (in age) contributor was 80 plus, whereas the youngest contributor (regarded as an expert in vintage songs of 1930s and 1940s) was only 15 at the time when he first contributed his articles in the blog !

Some very interesting details were revealed about our regulars. For instance, we had someone who used to write a columm in a local newspaper when he was a school kid ! That the ladies among the regulars were all amazingly versatile. One was “thhodi padhi likhi” (means she was BSc in maths), while another had a “cosmopolically interesting” background, another with an accidental filmy parentage was a voracious reader of books, among several passions. We had someone who aspired to be a lyricist in Film industry, but finally realised that studying well and doing his own business was a better idea. 🙂 I found that the world was a small place. AKji turned out to be my senior from the same alma mater !

It also turned out that we had struck friendships with some HFM related individuals as well- for instance Ms Manju Das, Daughter of K Amarnath.

The 10000th song finally got posted one day late than was planned. It was posted on 20 july 2014 in the evening. It was a sunday. It was the eighth post of the day. Every time a post would appear, eager regulars would comment something like- “post number 9995th done, five more to go”. During those pre whatsapp days, lots of e mail messages were doing the rounds among regulars wondering when the 10000th post would appear and what song would be discussed as the 10000th song. THat song of course rewrote history. It was believed till then that the oldest HF song was from 1932. The 10000th song that was covered in the blog was a song of 1931, the very first year for Hindi movies.

The first 5000 songs in the blog took 1213 days viz three years and four months at a rate of 4.4 songs per day. Next 5000 songs took only 980 days viz two years and eight months at a rate of 5.1 songs per day. This third set of 5000 songs has taken 1735 day , about four years and nine months! A rather sedate rate of 2.9 songs per day !

Lots of things have changed between 2014 and 2019. Whatsapp was a new concept at that time and only very few savvy ones among us knew what it was. Now even the less mobile savvy among us too have smart phones and now we have a whatsapp group. People who were clueless about smartphones in 2014 are now the most active participants.

Five years have passed. One of the youngest regulars has since acquired a job as well as a spouse. Son of another regular, had once hijacked his mother’s computer when she was not looking and posted comments like-this song is not good, it is boring. 🙂 . Imagine the kid making such comments about a Rafi song, when his mom is a diehard Rafi fan. 🙂 He has grown up and he is now a medical college student.

Today, I am based in another -Pur. This post appears while I am based at Gorakhpur, UP. Like the 5000th post and 10000th post, this 15000th post too is being posted on a sunday !

There are other similarities (or near similarities) as well. When I had gone to Delhi and met Sudhir Ji and AK ji there in may 2014 and discussed plans of 10000sup celebrations, Indian Parliamentary elections were going on. Five years later, we are in the midst of Parliament elections once again.:)

There are differences as well. Six songs were covered in a day while discussing 5000th song. Eight songs were covered in a day while covering 10000th song. Today, when 15000th song is being covered, it is the only the second song of the day. So the blog is living upto its name- song a day, while earlier it used to be songs a day. 🙂

Some times, I am asked about statistics related to the blog. For instance, Sudhir Ji, while preparing a “blog ten year challenge” post noticed that as many as 12 songs were covered in one day viz. on 10 march 2009. Sudhir Ji asked me whether it was the record for the highest number of songs in a day. I did not have a readymade reply to that. Today I have. I can put it on record that the record for the blog is 13 songs in a day. This feat was achieved twice- on 25 october 2011 and on 6 september 2012. Today, when we struggle to post one or two songs in a day, I wonder how I was able to achieve such a feat ! It is not that those two days were isolated cases. Posting big number of songs in a day used to be fairly common those days. For instance, the blog had seen 12 songs in a day on six occasions, once in 2009 and 2012, and four times in 2011. Eleven posts in one day was achieved once (16 august 2012) whereas there have been 18 occasions when ten songs were posted in one day. Nine songs in a day were acjieved on 42 occasions. Eight songs in a day were covered on 133 occasions, the last such occasions being in 2016.

Now a days, we are going at such slow pace that even six songs a day, which was a routine affair in the past has become uncommon. In the year 2019, there has been only one day when six songs were covered. In contrast 2009 saw as many as 166 days when 6 songs were covered in one day.

Another statistics that I was asked recently was regarding the number of visitors in a day. It has been mentioned in an earlier article that the blog clocked 1000 plus visitors in a day for the first time on 23 january 2009. Here are these first time details

Number of visitors per day First time date in the blog (visitors that day)
1000 23 january 2009 (1145)
2000 29 august 2009 (2071)
3000 15 july 2011 (3060)
4000 15 august 2011 (4184)
5000 7 october 2011 (5379)
6000 9 october 2011 (6082)
7000 10 october 2011 (7561)
9000 12 october 2011 (9824)
10000 19 october 2011 (10630)

As one can see from above, october 2011 was a breakthrough month for the blog. From an average visit of 3000 plus visitors till then, we suddenly found the average shooting up to stratosphere. One can notice that after 7000 plus visits, we directly jumped to 9000 plus visits in a day, bypassing 8000 plus visits mark. ! As many as 10630 visitors visited on 19 october 2011, which remains a record till this date. More than 8000 visitors per day arrived at the blog on 13 days of october 2011 !

So one can notice that the blog was at its peak, number of daily posts wise as well as number of daily visitors wise during second half of 2011, and it continued till end of 2012.

By now, we have settled back to a more relaxed 3500 visits per day routine.

Now, in 2019, I really wonder how I used to be able to post so many songs in one day. I cannot say that I had too much of time at my disposal then and that I am too busy now a days. That is hardly the case. In fact it should be the other way round. Those days, I would often find myself having to go on meetings or other official works quite frequently. I can only conclude that I was highly passionate and motivated during those days. Of course I was younger and more energetic those days. 🙂

In an earlier writeup, Mr Sadanand Kamath has arrived at the right conclusion that background work has increased a great deal, now that we have amassed such a goldmine of information about HFM. I actually find myself devoting more time in such background work than in writing articles. And these data, when properly analysed often reveal hitherto unknown and unnoticed bits of information that actually may have been missed by music lovers.

To cite an example of background work, our beloved Khyati Bhatt once analysed all movies of 1960s and their songs and prepared an excel sheet. That served as a homework for Sudhir Jee. He used this excel sheet to post songs from more than one hundred movies of 1960s that were not represented in the blog till then. Then our two senior contributors, Mr Arunkumar Deshmukh and Mr Sadanand Kamath have been doing the same for movies from 1930s and 1940s. Personally even I have introduced several movies from 1940s and 1950s into the blog.

As a result of these exercises, which need considerable research and background work, we are at a stage when over 4200 movies (4206 at last count) were represented in the blog. Less than 75 movies of 1960s and just over 100 movies of 1950s remain to be covered in the blog. Just over 200 movies of 1940s remain to be covered. Most of these remaining movies are rare movies and their songs are not easy to locate. So naturally this exercise takes considerable time and effort.

Another much cherished exercise, viz YIPPEE exercise has slowed down, but still we have managed to YIPPEE as many as 1167 movies (adding upto around 8000 songs) which is no mean feat.

Bit by bit, we are building up complete and accurate filmography of several artists. I often like to use these filmographies whenever these artists reach their important milestones (typically centuries of their songs in the blog).

It must be said that the blog has become an integral part of not only my life, but also for several regulars. We all have grown as a result. Speaking for myself, I know that I have grown and learnt a lot, not just about HFM, but about life in general. It has helped me become a more “mature” person. 🙂

The contents of some of these posts over the years gave me considerable satisfaction. Some of the articles that I am proud of deal with myriad subjects like transfers, road travel, pets, fellow human beings, economics, theory of music etc.

For instance, writing about a pet, that turned out to be a wolf, is an article that gave me great satisfaction. The comments on this article were equally heart warming and this appreciation meant a lot to me.

I have some other fields of interest that I may not have touched till now. 🙂

Unlike the songs to be posted as 5000th and 10000th song, I am in the dark about the 15000th song. 🙂 . Sudhir Jee has taken it upon himself to upload a rare (not yet available online) rare song for this occasion. So the song link as well as lyrics of the song, plus introduction of the song will be by him. He had wanted it to be a writeup by me, but seeing that it is he who is uploading this special song and is providing necessary details on the song and the artist, it is only fair that this writeup should be considered a joint write up, just like what was the case during 5000th and 10000th writeups.

Writeup by Sudhir
————————–

As usual, the wait is intensely anticipatory, and the delay appears to be customary. Of course, as last time, the final moment has been hanging on account of yours truly – 🙂 . And the reason is that we have had a difficult time getting to zero in on the song we would like to place at this important milestone today.

Completing 15 centuries (and that too, without a plan) is superlative indeed. Atul ji and I have been in communication to finalize which song to present at this juncture. We checked many different options and criteria, but somehow all of them seemed to be weighing lesser in comparison to the importance of this milestone. The historic discovery that was showcased at the 10K milestone, actually set a benchmark, which is near impossible to match, even though we now have access to a lot more material at hand. But no, this song at 15K surely does not match the spectacular-ity of its 10K counterpart.

We had tried many things again this time. We tried to search for historically important unpublished songs. We tried to trace the significant wanted songs of key artists. We tried our hand at getting multiple combinations together. We had shortlisted some films and songs, which are unheard of. As in, there is no mention of these films in GK or in other similar compilations, but these films, unreleased of course, were actually under production and their songs were recorded. Some of these songs have survived and are available with collectors, albeit not in public domain as yet. That would make them rare, very rare quality. But then we also argued that just because an unreleased film is unknown in public domain, how does that add to its historical significance. So this option was also pulled down in priority. I have access to some of these songs and will bring them out shortly.

For a longest time, both Atul ji and I were in a mood of despair, as we were not able to decide on the song for this occasion. The email exchange then turned towards artists, and the idea of showcasing the creation of a significant historical figure in the Hindi film music arena started to gain strength. The idea developed was to bring into limelight, an important artist whose contributions to Hindi film music has so far gone unsung. As we thought more about it, the idea seemed to get better. We would highlight an artist whom the people have heard about, but probably not much ‘information about’ is not in circulation.

We exchanged notes about some such names, and then we agreed to bring on board, the doyen of Hindi film music directors – Ustad Jhande Khan, as the artist to highlight at this important junction.

Ustad Jhande Khan – the artist whom the other famous luminaries of Hindi film music like Naushad, Ghulam Mohammed, Anil Biswas, Begum Akhtar, Hemant Kumar, Shyam Sunder, Master Nisar – have acknowledged to be their teacher and guru. This teacher of other reputed music directors and singers is himself now a forgotten name. Very little, if any, biographical information is available with any source. As I tried to search for information, I could finally locate only two bio sketches – a filmographic detail available in ‘Dhunon Ki Yatra’ by Pankaj Raag, and a brief biography compiled by our friend Javed Hamid, as a chapter in his book on Hindi film music directors – ‘Hindi Filmon Ke Sadabahaar Sangeetkar’. As per Javed Bhai, he was able to procure an article in Urdu on this artist, from a friend in Pakistan. The article appeared in a certain film magazine there, many decades ago.

Not much is known about Ustad Sb’s family background and his early years. He was born in Gujranwala (now in Pakistan). The circumstances by which he came to Bombay are not known. But it is known that he came to Bombay at a young age. He was already exposed to classical music and was adept at playing many instruments like saarangi and harmonium. In Bombay, he learnt more and polished his skills at the feet of masters like Ustad Chhajju Khan, Naazir Khan and Khadim Hussain Khan Sahib.

His first foray into creating music was theatre. He was associated with Agha Hashr Kashmiri for a long time. In days prior to talkie films, theatre was a popular and a powerful medium. The major theatre establishments would employ full time music directors and musicians for creating and performing music for stage dramas. That music has been such an important ingredient of the life and culture of this subcontinent, can be gauged from this fact that the popular theatre movements across the nation mostly depended on musicals and song enriched dramas. Ustad Sb was associated with Jubilee Theatre, Alfred Theatre and Parsi Alfred Theatre. It was a time when the dialogues and songs of stage dramas were released on gramophone records. Quite a few such record sets are still available with collectors. Special mention to be made of the stage drama ‘Mahabharat’. The dialogue and song record set of this drama became very popular. The music was composed by Ustad Sb. Then, in the famous stage play ‘Dilfarosh’, a song composed by Ustad Sb – “Dil e Nadaan Ko Hum Samjhaaye Jaayenge” became very popular with the theatre going public. And here, we are not yet in the era of talkie films.

With the advent of talkies, Ustad Sb made a natural transition to films and film music. He joined Ranjeet Studios, and became their premier music director. The 1931 film ‘Devi Devyani’ was the first film for which Ustad Sb composed 17 songs. In 1932, Ranjeet produced a very successful comedy film ‘Chaar Chakram’, starring E Billimoria, Ishwar Lal, Keki Adajania, Miss Shanta, Miss Kamla and the comedy team of Ghori and Dixit. Ustad Sb composed 7 songs for this film, which all became very popular.

Ustad Sb composed music for about fourteen films for Ranjeet Studios between 1931 and 1936. In 1935, he also started working independently for other production houses like Ajanta Cinetone, Daryani Productions, Amrit Films etc. His complete body of work would be less than 25 films. Sadly, majority of his creations are lost or are untraceable at present.

His most famous and popular film is considered to be Kedar Sharma’s ‘Chitralekha’ from 1941. Based on the novel by Bhagwati Charan Verma, the film has 10 songs. The song “Tum Jaao Bade Bhagwan Baney, Insan Bano To Jaanen” became very popular in its time. When Kedar Sharma recreated this film in 1964, this song served as the inspiration for the popular Lata song “Sansaar Se Bhaage Phirte Ho Bhagwaan Ko Tum Kyaa Paaoge”. A very interesting small anecdote about the music of this 1941 film. after completing the composition of all the songs, one day in the morning, Ustad Sb went to see his friend ZA Bukhari, who was a director at All India Radio, Bombay at that time. Excited and nervous like a small child, he conveyed to his friend – that a peculiar thing has inadvertently happened, and that he has not done it on purpose, and did not realize that it was so. His friend inquired as to what has happened. Ustad Sb sheepishly confessed that all the songs of the film have gotten composed in a single Raag; and requested ZA Bukhari to accompany him to the studio. Together they came to the studio and Ustad Sb played the different songs for his friend. It was a wonder that all the songs had become amenable to composition in Raag Bhairavi.

Ustad Sb continued to work into the mid 1940s. In 1943 came the film ‘Shahenshah Akbar’ for which he had composed 14 songs. In the same period he also composed 12 songs for a film titled ‘Jeevan Ka Saaz’. Unfortunately this latter film remained incomplete.

When the partition of India occurred in 1947, Ustad Sb made a choice to migrate to Pakistan, against the advise of his colleagues and friends in the industry. He went back and settled down in his home town – Gujranwala. He would travel often to Lahore to meet the industry people and friends. He also tried to get associated with the radio service in Pakistan, but that did not work out too well. Not a very long time after his migration, he passed away in Gujranwala, on 7th January, 1952.

Ustad Sb was a very reserved personality, so much so that he avoided even being photographed in company of his friends and co-workers. No images of this person have survived, except one photograph that I am able to acquire with the help from my friend, Javed Hamid. This is the photo that I have used in creating the online video file for this song.

Now, coming to this song. This song has two very peculiar and interesting characteristics. Based so far on the information that I have, this song is written by, and composed by and sung by Ustad Jhande Khan himself. Geet Kosh does not have the singer information. I got the name of the singer from another dear friend, Shri KL Pandey, who has done the monumental work of analyzing the classical raag basis of Hindi film songs. However, there is a little doubt, and another name has also been suggested by my other friend who provided me with the mp3 file of this song. I am awaiting confirmation from two other sources. Meanwhile, in this post I am using the singer name as suggested by KL Pandey ji. If there is a different update confirmed, I will inform the readers and make amends to this post.

Update 22Apr2019: Yes, we do have amendments as far as singer name is concerned. I have inputs from three different collectors. All have informed that the name of the singer is Krishna Rao Chonkar. Now this singer is supposed to have sung other songs in this film also. I specifically asked, and was informed that the name of the singer is not no the gramophone record. So the information is from a different source. That three people concur on this can also mean that all of them are possibly referring to the same source.

The second very interesting thing about this song is also informed by Shri KL Pandey. Of the 17,000+ Hindi film songs that he has analyzed, he has discovered only two songs which are based on Raag Deepak. Raag Deepak is a classical composition that is considered very difficult to render. The interesting thing that Pandey ji has shared is that the so called ‘deepak‘ songs in the the films ‘Tansen’ (1943) – “Diya Jalaao Jagmag Jagmag“, and ‘Sangeet Samrat Tansen’ (1962) – “Deepak Jalaao Jyoti Jagaao“, both these songs are NOT based on Raag Deepak, but are based on Raag Bhoopali.

Update 22Apr2019: The second Hindi film song based on Deepak Raag is “Deepak Kathan Karat. . .” from the film ‘Gaj Gaamini’ from 2000. The song is written by Maya Govind,  music composition is Bhupen Hazaarika, and the singer is Shankar Mahadevan.

So this song being presented today is one of the only two songs so far discovered, which are based on pure Raag Deepak. Listening to this song I am sure you will be able to appreciate the level of difficulty in the rendering of this creation.

And well, yes, Congratulations are due to all, for making to this momentous milestone. I will be following up with another post sharing more about that.

Happy listening and happy journey to all readers and friends on this blog. 🙂

[Ed Note: There a some words that have not been correctly deciphered in the singing. I request other readers and friends to suggest updates to the lyrics. And yes, also to the extended sargam, where I may have made an error in recording it correctly.]

 

Song – Deepak Jo Gaaye So Paaye Gyaan Dhyaan (Shahenshah Akbar) (1943) Singer – Ustad Jhande Khan Krishna Rao Chonkar, Lyrics – Ustad Jhande Khan, MD – Ustad Jhande Khan

Lyrics

deepak jo gaaye
so paaye
gyaan dhyaan sab bhed suran ka
deepak jo gaaye
so paaye
gyaan dhyaan sab bhed suran ka

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

sa ga pa ma ga ma dha pa
dha pa ma ga ma pa sa
dha pa ma ga ma pa sa
deepak jo gaaye
so paaye
gyaan dhyaan sab bhed suran ka

jaanat hain re sagre log
deepak hai raag ?? ka
jaanat hain re sagre log
deepak hai raag ?? ka
deepak na gaaye sab duniya naa
ye kaam nahin
hai sab ka
deepak jo gaaye
so paaye
gyaan dhyaan sab bhed suran ka

anginati ko ginati jaan
ginati
aa ginati maane na bhed bhaav
bhed na jaane
agyaan bhajta
deepak jo gaaye
so paaye
gyaan dhyaan sab bhed suran ka

jaane ?? anjaane ??
vaani ?? vaa se paaye
bhed aarohan avrohan deepak ka
jaane ?? anjaane ??
vaani ?? vaa se paaye
bhed aarohan avrohan deepak ka
deepak jo gaaye
so paaye
gyaan dhyaan sab bhed suran ka

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

sa ga ma pa
deepak jo gaaye
so paaye
gyaan dhyaan sab bhed suran ka

deepak jo gaaye
so paaye
gyaan dhyaan sab bhed . . .
bhed suran ka paaye
deepak gaaye
deepak jo gaaye
bhed suran ka paaye
deepak gaaye
bhed suran ka paaye
deepak gaaye
deep. . .

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

दीपक जो गाये
सो पाये
ज्ञान ध्यान सब भेद सुरन का
दीपक जो गाये
सो पाये
ज्ञान ध्यान सब भेद सुरन का

स ग म प ध नि स
स प ध प ग रे स

स ग प न ग म ध प
ध प म ग म प स
ध प म ग म प स
दीपक जो गाये
सो पाये
ज्ञान ध्यान सब भेद सुरन का

जानत हैं रे सगरे लोक
दीपक है राग ?? का
जानत हैं रे सगरे लोक
दीपक है राग ?? का
दीपक न गाये सब दुनिया ना
ये काम नहीं
है सब का
दीपक जो गाये
सो पाये
ज्ञान ध्यान सब भेद सुरन का

अनगिनत को गिनती(??) जान
गिनती(??)
आ गिनती माने ना भेद भाव
भेद ना जाने
अज्ञान भजता
दीपक जो गाये
सो पाये
ज्ञान ध्यान सब भेद सुरन का

जाने ?? अंजाने ??
वाणी ?? वा से पाये
भेद आरोहण अवरोहण दीपक का
जाने ?? अंजाने ??
वाणी ?? वा से पाये
भेद आरोहण अवरोहण दीपक का
दीपक जो गाये
सो पाये
ज्ञान ध्यान सब भेद सुरन का

स स स नि रे स
स ग स ग म प ध म प ध
म प ग म प ध
स ध रे नि स
प ध प ग म प
ग म प स
ध प म म ग ग स म ध प
ध प म ग ग
ध म प ग रे
स ग ग म ग रे स ध प
ध प म ग ग म म ग रे स
स ग म प ध
स ग ग म ग रे स ध प
ध प म ग ग म म ग रे स
स ग म प ध
प प प प म म ग ग
ध म प म ग
ध म प प
स प प
ध म म
म ग ग
ग रे स
स प प
ध म म
म ग ग
ग रे स

स ग म प
दीपक जो गाये
सो पाये
ज्ञान ध्यान सब भेद सुरन का

दीपक जो गाये
सो पाये
ज्ञान ध्यान सब भेद॰ ॰ ॰
भेद सुरन का पाये
दीपक गाये
भेद सुरन का पाये
दीपक गाये
दीप॰ ॰ ॰


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

Blog Day : 3912 Post No. : 14971

———————————————–
Blog 10-Year Challenge (2009-19) – Song No. 26
————————————————

Ten years ago, this day – the score card was six films, and six songs. The songs posted on that day are listed below.

 

Naino Me Pyaar Dole Sheroo 1957
Kaare Kaare Baadraa Bhaabhi 1957
Jab Baadal Lahraaya Chhoo Mantar 1956
Dil Pukaare Aare Aare Jewel Thief 1967
Tumhaari Nazar Kyun Khafa Ho Gayi Do Kaliyaan 1968
Har Haseen Cheez Ka Main Talabgaar Hoon Saudaagar 1973

 

Out of the six films, five films have since been Yippeee’d on the blog. I notice this interesting push for completing songs of a film. It seems that the preference is always to complete songs of films from 1950s and 1960s. Most of the time, when we are searching for a suitable selection for this Ten Years Challenge series, the films with songs pending are most likely to be not from 1950s and 1960s. I think it is a combination of preference for the melody and music of those two decades, plus the availability. On these two counts, the films from 1950s and 1960s would score the highest, and hence their quicker movement towards Yippeee status.

The film from this list, which still has songs remaining to be posted, belongs to 1973 – ‘Saudaagar’. When this film appeared in the theatres, the one surprising element was the lead pair – Amitabh Bachchan and Nutan, plus Padma Khanna of course. Once one got to know the storyline though, the choice would be rationalized. But at first sight, Nutan – a fairly senior lead actress by that time, paired opposite to an almost rank new comer, Amitabh Bachchan, at first raised some eyebrows. Nutan, having made her transition from child role (‘Hamaari Beti’, 1950) to lead actress roles with ‘Hum Log’ and ‘Nagina’ in 1951, had over two decades of career behind her. Amitabh, on the other hand, was just into the fifth year of his career. Having made a debut with the 1969 film ‘Saat Hindustani’, he was still seen as the Babu Moshai (‘Anand’, 1970), an actor in second lead type roles. No doubt, ‘Zanjeer’ also happened in 1973, and that put him on a fast track as an action hero. But when ‘Saudaagar’, and of course ‘Zanjeer’ were planned and were under production, the phenomenal succcess of the latter film was still into the future. At such a time, the casting of ‘Saudaagar’ surely surprised critics and audiences alike.

The film’s story is a sensitive portrayal of a love triangle, in which one side of the triangle is actually a pretense, nay a fraud, mounted by the male protagonist, for a vested interest, which is to finance his betrothal to his real love interest. It is a plain case of a dishonorable deception, which goes way beyond cheating and defrauding for money – it is a devious fraud on the heart and emotions of gullible and vulnerable widow. Moti (Amitabh) is a young trader in gur (jaggery made from the juice of date palms). Majubee (Nutan) is a relatively older widow, expert in making the jaggery from the date juice. The two have business relations, in that Moti collects the juices from the date palms, brings to Majubee, who makes jaggery from it, and Moti sells it in the market.

Phool Banu appears on the scene, and Moti falls head over heels for her. His efforts to gain a bride are thwarted by Phool Banu’s father, who demands a handsome meher amount for the marriage. Unable to procure the hefty amount demanded, Moti hatches a plan in his mind – he decides to get married to Majubee, and save money on the production process of gur, because he would not have to pay Majubee, once he becomes her husband. Majubee is shocked and surprised by the proposal, refuses at first, but then slowly gives in to the cajoling and pursuance by Moti. They get married. At the end of one season of gur making, Moti saves enough to pay the meher for his desired bride. He divorces Majubee, and immediately marries Phool Banu. Majubee is devastated, and completely broken, at being used such by this devious man, who has used her and defrauded her of her vulnerable honor in life.

But the story does not end here. As it turns out, Phool Banu has no inkling of the gur making proces. Her main interests in life are “Sajna Hai Mujhe Sajna Ke Liye“. Moti, unable to now supply good quality gur in the market, loses his reputation, and his business. The affluence is gone, the reputation is gone, and so is the dream of a happily-ever-after life with his beloved. And the story moves further. . . to be dealt with in another post later. 🙂

The film is produced by the house of Rajshree – Rajshree Pictures Pvt Ltd, Bombay. It is directed by Sudhendu Roy. Besides the three important stars already named, the impressive cast of actors includes Trilok Kapoor, Murad, Dev Kishan, V Gopal, CS Dubey, Pardesi, Narbada Shankar, Santosh Ghosh, Nadira, Ras Raj, Paritosh Choudhary, Ashok Mitra, Samar Rai, Jugnu, Chandu Allahabadi, Ramesh Verma, Shriram Shastri, Chaturvedi, Bihari, Leela Mishra, Paro, Habeeba, Salma, Sitara, Suraiya, Master Saka, Master Firdaus, and Baby Shamina.

Geet Kosh lists seven songs for the film. All the songs are created by the lyricist – MD Ravindra Jain. This song is sung by Lata Mangeshkar. On screen, it is performed by Padma Khanna, as she is walking back home from the river banks, after having crossed it on a boat. Amitabh has seen her, and is following her from the boat itself. Of course Padma Khanna, i.e. Phool Banu, is very much aware that she is being followed by this lanky and handsome young man. So she is playing the siren’s role to the hilt. Introduces herself in the song, she tells her pursuer about herself and her youth, and clearly communicates that she is verily enjoying the attention she is getting from him. In a couple of close shots, Amitabh looks very much like a provoked predator, as he eyes this willing beauty dancing for his benefit.

A catchy song, and enticing words. . . both characters are hunters, laying veritable traps for each other. 🙂

 

Song – Champa Nahin, Chameli Nahin, Main Genda Nahin Gulaab Nahin  (Saudaagar) (1973) Singer – Lata Mangeshkar, Lyrics – Ravindra Jain, MD – Ravindra Jain

Lyrics

champa nahin chameli nahin
main genda nahin gulaab nahin
phir bhi jo dekhe wo boley
tera koi jawaab nahin
main kaa karoon ke main hoon phool baano
ji main hoon phool baano
ho main kaa karoon ke main hoon phool baano
ji main hoon phool baano

champa nahin chameli nahin
main genda nahin gulaab nahin
phir bhi jo dekhe wo boley
tera koi jawaab nahin
main kaa karoon ke main hoon phool baano
ji main hoon phool baano
ho main kaa karoon ke main hoon phool baano
ji main hoon phool baano

saara gaaon
mera naam le ke aahen bhare
jo bhi dekhe meri surat
haaye haaye karey
saara gaaon mera naam le ke aahen bhare
jo bhi dekhe meri surat
haaye haaye karey
jo bhi dekhe meri surat
haaye haaye karey
koel nahin papiha nahin
main geeton bhari kitaab nahin
phir bhi jo dekhe wo boley
tera koi jawaab nahin
main kaa karoon ke main hoon phool baano
ji main hoon phool baano
haaye main kaa karoon ke main hoon phool baano
ji main hoon phool baano

kyun jamaana
hai deewaana mera
mujhe kya pata
main haseen hoon
main jawaan hoon
is mein meri kya khata
kyun jamaana hai deewaana mera
mujhe kya pata
main haseen hoon main jawaan hoon
is mein meri kya khata
main haseen hoon main jawaan hoon
is mein meri kya khata
saari umar lagey na nazar
mera aisa to shabaab nahin
phir bhi jo dekhe wo boley
tera koi jawaab nahin
main kaa karoon ke main hoon phool baano
ji main hoon phool baano
haaye main kaa karoon ke main hoon phool baano
ji main hoon phool baano

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

चम्पा नहीं चमेली नहीं
मैं गेंदा नहीं गुलाब नहीं
फिर भी जो देखे वो बोले
तेरा कोई जवाब नहीं
मैं का करूँ के मैं हूँ फूल बानो
जी मैं हूँ फूल बानो
हो मैं का करूँ के मैं हूँ फूल बानो
जी मैं हूँ फूल बानो

चम्पा नहीं चमेली नहीं
मैं गेंदा नहीं गुलाब नहीं
फिर भी जो देखे वो बोले
तेरा कोई जवाब नहीं
मैं का करूँ के मैं हूँ फूल बानो
जी मैं हूँ फूल बानो
हो मैं का करूँ के मैं हूँ फूल बानो
जी मैं हूँ फूल बानो

सारा गाँव
मेरा नाम ले के आहें भरे
जो भी देखे मेरी सूरत
हाए हाय करे
सारा गाँव मेरा नाम ले के आहें भरे
जो भी देखे मेरी सूरत
हाए हाय करे
कोयल नहीं पपीहा नहीं
मैं गीतों भरी किताब नहीं
फिर भी जो देखे वो बोले
तेरा कोई जवाब नहीं
मैं का करूँ के मैं हूँ फूल बानो
जी मैं हूँ फूल बानो
हाए मैं का करूँ के मैं हूँ फूल बानो
जी मैं हूँ फूल बानो

क्यों ज़माना
है दीवाना मेरा
मुझे क्या पता
मैं हसीं हूँ
मैं जवाँ हूँ
इस में मेरी क्या खता
क्यों ज़माना है दीवाना मेरा
मुझे क्या पता
मैं हसीं हूँ मैं जवाँ हूँ
इस में मेरी क्या खता
मैं हसीं हूँ मैं जवाँ हूँ
इस में मेरी क्या खता
सारी उमर लगे ना नज़र
ऐसा मेरा शबाब नहीं
फिर भी जो देखे वो बोले
तेरा कोई जवाब नहीं
मैं का करूँ के मैं हूँ फूल बानो
जी मैं हूँ फूल बानो
हाए मैं का करूँ के मैं हूँ फूल बानो
जी मैं हूँ फूल बानो


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

Blog Day :

3839 Post No. : 14850 Movie Count :

4061

Missing Films of 1960s – 92
– – – – – – – – – – – – – – –

For today’s episode of this series, I present this sensuous song from the 1970 film ‘Veer Abhimanyu’.  As the name suggests, this is a mythological film, which based on the historical narrative from the epic Mahabharat. It covers the part of history of Abhimanyu, the son of Arjun. I give a brief summary below.

Abhimanyu is the son of Arjun and Subhadra. As Subhadra is the younger sister of Krishna and Balram, that makes Krishna and Balram uncles (mamma) of Abhimanyu. Being the son and nephew of the three best stalwarts of this epic, Abhimanyu is groomed to become one of the bravest and best warriors amongst the entire Kuru clan (i.e. both the Kaurav and Pandav lineages).

There is a short episode in Mahabharat, where it is narrated how Abhimanyu learnt the art of piercing and entering the Chakravyuh formation on a battlefield. A Chakravyuh is a formidable and impenetrable discus shaped formation of soldiers. The main purpose of this formation is to keep safe the generals and the battle leaders from the enemy warriors. It is a complex structure of intertwined ring formations of soldiers, and is almost impossible to penetrate. When Subhadra was pregnant, carrying Abhimanyu in her womb, one night Arjun was describing the complex structure of this formation, the trick to penetrate and enter it, then how to destroy it from the inside and then exit from the ruins of this formation. It is stated that Abhimanyu learnt this warfare strategy, in his mother’s womb, while Arjun was describing it. As the narrative tells us, after listening to about half of this description, Subhadra drifted into sleep. And so, Abhimanyu could imbibe only the first half of this strategy, i.e. penetrating and entering this formation, but could not get the remaining description on how to exit from it. This partial learning had a very telling consequence on battlefield of Kurukshetra.

As the Mahabharat war started, Abhimanyu was one of the primary architects of the roster of daily victories for the Pandavs. He was just sixteen years old at that time. On the first day of warfare, Abhimanyu engaged Bhisma, his great grandfather, in one-on-one battle. By the end of the day, Bhishma is not able to overcome Abhmanyu, rather by end of the day, Abhimanyu breaks the bow in the hands of Bhishma. And the day ends. On the second day, Abhimanyu attacks Ashwathama, son of Dronacharya, the seer who has taught the Kauravs and Pandavs in the skills and art of waepons and warfare. On hearing that Abhimanyu has attacked Ashwathama, Drona immediately comes to his son’s assistance. Another day long duel happens, and Drona is finally at the mercy of Abhimanyu. And the day ends.

For the third day, Drona devises a deceptive strategy. A part of Kaurav army would engage and draw away Arjun, and Krishna along with him, to a far point from the main battlefield. Then another part of the Kaurav army would form the Chakravyuh, and engage the remaining warriors of the Pandav army, which would expectedly be led by Abhimanyu. To everyone’s knowledge, only two people know the stratagem of how to break the Chakravyuh formation – Arjun and Krishna. And both of them are lured away on a deceptive trail elsewhere. The purpose is to engage and defeat Abhimanyu, without exposing the main warriors of the Kaurav side. To everyone’s surprise, Abhmanyu, instead of being daunted in the face of the Chakravyuh takes on the challenge, breaks it and enters. The Kaurav battle leaders are frightened – that this boy knows the secrets of this strategy. But in fact, Abhimanyu knows only half the strategy, as described above. He nonetheless enters the Chakravyuh. There is a long list of names of warriors on Kaurav side given in the narrative – the ones who are defeated and killed by Abhimanyu on that day. But in the end, being unable to make progress outwards from the Chakravyuh, Abhimanyu is surrounded by the Kaurav warriors, who engage him one-to-many.

Abhimanyu fights till the end. The horses of his chariot are killed, Kripacharya kills his chariot drivers, his chariot is destroyed, his bow is broken by an arrow from behind him, fired by Karna. He takes to fight with sword and shield, then takes on a chariot wheel to stave off his opponents. When the chariot wheel also is broken, he is engaged in gada-yudh (fighting using the mace) by son of Dushaasan. In the end, he is killed by a blow of mace from the behind.

In this episode, the stalwarts of the Kaurav army broke so many rules of warfare engagements, that were conventionally agreed upon by the two armies. There would only be one-on-one battle between warriors; an injured warrior would not be attacked; a warrior not having any weapons or arms would not be attacked; the chariot horses and chariot drivers would not be attacked; no warrior would be attacked from behind. Such was the prowess and the fighting ability of this young warrior, and such was the fear he generated when he penetrated the Chakravyuh that the entire Kaurav army on that day, including Bhishma, Drona, Kripacharya, Karna, Duryodhan, Dushaasan, and many others, put together their strength, and broke umpteen rules of engagement, in their endeavor to take out Abhimanyu from the battle equation.

The amorous side of this narrative is the marriage of Abhimanyu with Uttara.

Abhimanyu’s wife is Uttara, the daughter of King Viraat. Their coming together is also an interesting narrative. When the Pandavs have been exiled, they are supposed to spend twelve years away from from Hastinapur, and after that they have to spend one year in agyaat-vaas – incognito anonymous exile. If by any chance, their whereabouts become known during this last one year, the term of their exile would be extended by another twelve years. During this period of agyaat-vaas, Pandavs take refuge in the kingdom of King Viraat, all being disguised into different roles concealing their real identities.

As part of this masquerade, Arjun takes on the role of Brihannala, an eunuch who teaches music and dance to the children of King Viraat. Later, when their identities are revealed at the end of this period, King Viraat is gratuitous and happy, and proposes to offer his daughter Uttara in marriage to Arjun. Arjun declines the proposal saying that since Uttara is his student, he cannot think of a matrimonial relationship with her. He, in turn proposes to accept her as his daughter-in-law, much to the delight of King Viraat and the entire Pandav family. The Pandav family is rejoicing because, unknown to Arjun, but known to Yudhishtar and Draupadi, Abhimanyu and Uttara have already met and are in love.

When the sad end comes for Abhimanyu in the battlefield, Uttara is carrying his child – Parikshit. Parikshit goes on to inherit the throne of Hasitnapur, as the sole surviving heir of the entire Kuru clan. After the demise of all other male members of the two families in the great war, and after the departure of Pandavas alongwith Draupdi to the Himalayas, Pariskshit becomes the King of this land. His reign also signals the advent of the Kali-yug on this earth.

The song that is presented today, depicts the yearning of Uttara for Abhimanyu. The two have already met, are in love, and the lady is pining for his company. On screen, the role of Uttara is played by Kanchana. The lady who accompanies her is Krishna Kumari, an actress from Tamil / Telugu films. [Thanks to Prakash ji for the identification.]
She is accompanied by another lady friend, who I am not able to identify. I request other knowledgeable readers to please help identify this actress.

The film is produced under the banner of Shri Rajlakshmi Pictures, Madras, and is directed by V Madhusudan Rao. Quite possibly, this is a Hindi remake of the original Tamil or Telugu version. The star cast is listed as NT Ramarao, Shobhan Babu, Pehalwan Kantarao, Padmanabhan, Kanchana, and G Varalakshmi. Six songs are listed for this film, all are written by Prem Dhawan, and the music is also composed by him.

We have had some recent discussion on sensuous and suggestive songs in the early decades, some of which were ordered to be cut from the film by the Censor Board. This song is quite high in that category of being sensuous and suggestive. And yet, in 1970, this song was allowed by the Censor Board. The social and moral norms change so much over the decades.

However, apart from the visuals, I liked this song for the quality of its verses, the music, and its rendition. A very well created song in my opinion.

Song – Kisne Chhoo Liya Naazuk Tan Haaye Ram  (Veer Abhimanyu) (1970) Singer – Asha Bhosle, Lyrics – Prem Dhawan, MD – Prem Dhawan

Lyrics

kis ne chhoo liya
mmmm mmm mmm mmm
ang ang doley
mmmm mmm mmm mmm

kis ne chhoo liya naazuk tan haaye ram
ang ang doley ka karoon laagey hai sharam
kis ne chhoo liya naazuk tan haaye ram
ang ang doley ka karoon laagey hai sharam

piya jo aaye waari jaaun waari jaaun
laaj sharam se bal-khaaun bal-khaaun
piya jo aaye waari jaaun waari jaaun
laaj sharam se bal-khaaun bal-khaaun
un se chori muskaaun muskaaun
un se chori muskaaun muskaaun
ghunghroo chhanke chhanke
paayal chhann chhann
kis ne chhoo liya naazuk tan haaye ram
ang ang doley ka karoon laagey hai sharam

sapne ko apna kehte nahin
apne ho sainyyan ya ho sapna koi
sapne ko apna kehte nahin
apne ho sainyyan ya ho sapna koi
ek tak dekha hum kho gaye
jaane kyon hum to tumhaare ho gaye
jaane kyon hum to tumhaare ho gaye
kis ne chhoo liya naazuk tan haaye ram
ang ang doley ka karoon laagey hai sharam

jiya kaahe machle kaahe tadpun
jaane kyon tan yun haale doley
jiya kaahe machle kaahe tadpun
jaane kyon tan yun haale doley
hai koi jaadu tu ne kiya
khaaye jo ye manwa hichkole
khaaye jo ye manwa hichkole
kis ne chhoo liya naazuk tan haaye ram
ang ang doley ka karoon laagey hai sharam

kis ne chhoo liya naazuk tan haaye ram. . .

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

किसने छू लिया
म्ममम म्मम म्मम म्मम
अंग अंग डोले
म्ममम म्मम म्मम म्मम

किसने छू लिया नाज़ुक तन हाए राम
अंग अंग डोले का करूँ लागे है शरम
किसने छू लिया नाज़ुक तन हाए राम
अंग अंग डोले का करूँ लागे है शरम

पिया जो आए वारी जाऊँ वारी जाऊँ
लाज शरम से बलखाऊँ बलखाऊँ
पिया जो आए वारी जाऊँ वारी जाऊँ
लाज शरम से बलखाऊँ बलखाऊँ
उन से चोरी चोरी मुसकाऊँ मुसकाऊँ
उन से चोरी चोरी मुसकाऊँ मुसकाऊँ
घुँघरू छनके छनके
पायल छन्न छन्न
किसने छू लिया नाज़ुक तन हाए राम
अंग अंग डोले का करूँ लागे है शरम

सपने को अपना कहते नहीं
अपने हो सैंय्याँ या हो सपना कोई
सपने को अपना कहते नहीं
अपने हो सैंय्याँ या हो सपना कोई
एकटक देखा हम खो गए
जाने क्यों हम तो तुम्हारे हो गए
जाने क्यों हम तो तुम्हारे हो गए
किसने छू लिया नाज़ुक तन हाए राम
अंग अंग डोले का करूँ लागे है शरम

जिया काहे मचले काहे तड़पूँ
जाने क्यों तन यूं हाले डोले
जिया काहे मचले काहे तड़पूँ
जाने क्यों तन यूं हाले डोले
हाए कोई जादू तूने किया
खाये जो ये मनवा हिचकोले
खाये जो ये मनवा हिचकोले
किसने छू लिया नाज़ुक तन हाए राम
अंग अंग डोले का करूँ लागे है शरम

किसने छू लिया नाज़ुक तन हाए राम॰ ॰ ॰


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

Blog Day :

3742 Post No. : 14698 Movie Count :

4018

Missing Films of 1960s – 82
– – – – – – – – – – – – – – –

Our journey of missing 1960s films continues. Coming to the next film – this one is ‘Veer Amar Singh Rathaur’ from 1970.

This film is from the banner of Sudarshan Chitra, Bombay, and is directed by Radhakant. The cast of actors listed for this film are Dev Kumar, Kumkum, Zeb Rehman, Tiwari, Jeevan, Kamal Kapoor, Johnny Whisky, and Jeevankala amongst others.

A film by this title was also made in 1957 – a slight variation in name – it was titled ‘Amar Singh Rathaur’. The earlier film had Jairaj and Nirupa Roy in lead roles. And it had 12 songs written by Bharat Vyas and composed by Sanmukh Babu Upadhyay. The 1970 reprisal has Dev Kumar and Kum Kum in lead roles. And this version has 14 songs all written and composed by Prem Dhawan.

There is possibly another film by this name, released later than 1980, but I am not very certain.

Prem Dhawan, who is known much better as a songwriter, has also worked as a music director for about 15 to 18 films during is career, about 5 of which are Punjabi films. He has mostly worked as a composer for films for which he also has written the songs. In one film, he has composed songs written by Kavi Pradeep (for ‘Kisaan Aur Bhagwa’, 1974) and for one more film, he has composed songs written by Ali Sardar Jafri (for ‘Naxalites’, 1980).

Only the audio of this song is available, but from listening to it, one can surmise that this song is a twin dance song. The singing voices in this all female duet are of Asha Bhosle and Usha Mangeshkar. I request other readers and friends who may have seen this film, to please add more information about this song, and the film.

A very peppy dance song, that talks about the ill effects of falling in love, and also of the sweet emotions. Listen and enjoy.

Song – Akhiyan Mila Ke Akhiyan  (Veer Amar Singh Rathaur) (1970) Singer – Asha Bhosle, Usha Mangeshkar, Lyrics – Prem Dhawan, MD – Prem Dhawan
Asha Bhosle + Usha Mangeshkar

Lyrics

ho akhiyaan mila ke akhiyan
haaye re akhiyaan mila ke akhiyan
ho main to baaz aai
ho main to pachhtaai
ke jaagun ab saari saari ratiyaan
haaye re akhiyaan mila ke akhiyan
haaye re akhiyaan mila ke akhiyan

jab se dekha hai dharti ka chaand
tab se dekha na chanda gagan ka
udd gai ab to aankhon ki neend
hosh kis ko hai ab tan badan ka
ke dagar bhool chali
haaye
ke nagar bhool chali

haaye
bhooli jaati hain bachpan ki sakhiyaan

haaye re akhiyaan mila ke akhiyan
haaye re akhiyaan mila ke akhiyan

haaye ye meethi meethi jalan
pyaar kehta hai jis ko zamaana
ab to jitna tadapta hai dil
dard lagta hai utna suhaana
unhin ki baat sochun
haaye
yahi din raat sochun

haaye
kaise un se kahun dil ki batiyaan

haaye re akhiyaan mila ke akhiyan
haaye re akhiyaan mila ke akhiyan

koi leta hai jab unka naam
mann hi mann jhoom leti hoon main to
jaane kyon dekh ke aainaa
apna munh choom leti hoon main to
ke khud hi likhti rahoon
haaye
ke khud hi padhti rahoon
oy
jaane kitni hi pyaar bhari patiyaan
haaye re akhiyaan mila ke akhiyan
haaye re akhiyaan mila ke akhiyan

o main to baaz aai
o main to pachhtaai
ke jaagun ab saari saari ratiyaan
haaye re akhiyaan mila ke akhiyan
haaye re akhiyaan mila ke akhiyan

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

हो अखियाँ मिला के अखियाँ
हाए रे अखियाँ मिला के अखियाँ
हो मैं तो बाज़ आई
हो मैं तो पछताई
के जागूँ अब सारी सारी रतियाँ
हाए रे अखियाँ मिला के अखियाँ
हाए रे अखियाँ मिला के अखियाँ

जब से देखा है धरती का चाँद
तब से देखा ना चंदा गगन का
उड़ गई अब तो आँखों की नींद
होश किसको है तन बदन का
के डगर भूल चली
हाए
के नगर भूल चली
हाए
भूली जाती हूँ बचपन की सखियाँ
हाए रे अखियाँ मिला के अखियाँ
हाए रे अखियाँ मिला के अखियाँ

हाए ये मीठी मीठी जलन
प्यार कहता है जिसको ज़माना
अब तो जितना तड़पता है दिल
दर्द लगता है उतना सुहाना
उन्हीं की बात सोचूँ
हाए
यही दिन रात सोचूँ
हाए
कैसे उनसे कहूँ दिल की बतियाँ
हाए रे अखियाँ मिला के अखियाँ
हाए रे अखियाँ मिला के अखियाँ

कोई लेता है जब उनका नाम
मन ही मन झूम लेती हूँ मैं तो
जाने क्यों देख के आईना
अपना मुंह चूम लेती हूँ मैं तो
के खुद ही लिखती रहूँ
हाए
के खुद ही पढ़ती रहूँ
ओय
जाने कितनी ही प्यार भरी पतियाँ
हाए रे अखियाँ मिला के अखियाँ
हाए रे अखियाँ मिला के अखियाँ

ओ मैं तो बाज़ आई
ओ मैं तो पछताई
के जागूँ अब सारी सारी रतियाँ
हाए रे अखियाँ मिला के अखियाँ
हाए रे अखियाँ मिला के अखियाँ


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

Blog Day : 3709 Post No. : 14636

Today, we are celebrating an eternal birth anniversary – anniversary of the One who is the First Worshipped on all occasions.

There are many tales and variations, that tell of the origins of Lord Ganesh. The telling, as per the Shiv Puraan goes like this. A time was when Lord Shiv went into meditation for a very long period of time. On one occasion, Nandi, the chief of the Ganas of Lord Shiv was not on Mount Kailash. Goddess Parvati started preparing for her bathing rituals. Nandi was not present at the abode, and the Lord Himself was in deep meditation. Wondering and waiting as to who would guard the doorways while she took her bath, Goddess Parvati fashioned a form of a boy child from the turmeric paste that she had applied on to herself. As the form took shape, she then breathed life force into him. A child, as yet un-named, was brought to life. Goddess Parvati instructed him that he is Her son, and that he would obey only her commands. She further instructed him to guard the doorways of the abode, while she was taking her bath. The newborn young child took the instructions to heart and stood vigilant at the doorways.

While Goddess Parvati was still taking her bath, Lord Shiv completed his meditation and arose. He came towards the abode, only to find a fine young child guarding the doorways. Now, the child was not familiar with who this fatherly figure was, as he had not yet been so instructed by Goddess Parvati. In the absence of that knowledge, for him, the prime duty was the last instructions he had received, to guard the doorway and not allow anyone to enter. He pleaded politely with the Lord, to wait. But of course, the Lord was only returning to his own abode an could not understand why he was being prohibited to enter his own abode. The exchange between the Lord and the child took toll of the patience of the Lord, and in a fit of piqued annoyance, threw his trishul (trident) at the child in a manner that the child was beheaded.

He entered his abode. Goddess Parvati had completed her ablutions by then and was ready. When she saw her Lord in the abode, she was happy, and made preparations to offer him something to eat. She served the items in two platters. The Lord asked her, for whom was the second platter. Then Goddess narrated the tale of how she had created a boy child from the turmeric paste from her own body, and left him to guard the doorways while she took bath. And she enquired that the Lord must have met the child as he enter the abode. The Lord now realized what had happened, and then narrated the events as they had transpired outside the doorway.

On hearing the episode of the demise of her just newborn or newly created child, Goddess was overcome with grief. Since she also is the Mother of all creation, her going to this state of grief coupled with fury, of course did not bode well for the creation. All the ferocious manifestations of the Mother Goddess started to appear, threatening destruction of everything. There was an outcry of panic and alarm amongst all living creatures in the universe. The lesser Gods went to Lord Brahma and prayed for his protection.

Lord Brahma came to Mount Kailash and pleaded with the Mother Goddess and Lord Shiv to somehow placate the extreme situation, and avoid the destruction of the universe. Goddess Parvati agreed, on the condition that the child that had been beheaded be brought back to life. In the exchange that occurred between the child and Lord Shiv, the impact of the trishul was such that the head of the child could not be seen anywhere. Lord Shiv then instructed all his adherent disciples to go and search for a head for this child. The instruction was to bring back the head of the first dead entity they encountered, who would be lying prone with its head towards the north. In this search, the first such being encountered was an elephant. And so, its head was brought back to the abode. Lord Shiva placed this head of the elephant on the headless body of the boy child, and breathed life force once again into him. The child was revived and the imminent destruction of the universe was avoided.

The child was named Ganesh, combining two words – gan + eesh. Gan is the word for the closest adherent disciples of Lord Shiv, and eesh is the word that indicates primary or the first lead – meaning the first and the most preferred and honoured amongst all the adherent disciples of the Lord. He is also known by the name Gajaanan – one with the face like an elephant (gaj – elephant; aanan – face). In reality, he is known by numerous names, all depicting certain special characteristics of his persona.

There are other events that followed, by which Ganesh also got the boon and blessing that he would be the first one to be worshipped in any auspicious activity of the humans and of the demigods.

For today’s celebration, we present her a song from the 1979 film ‘Marte Dam Tak’. The song is created by Ravindra Jain who is both the writer and the composer for this song. The singing voices are those of Shabbir Kumar, Suresh Wadkar, Hemlata and Mahendra Kapoor. On screen, the song is performed by Govinda, Shakti Kapoor, Farah Naaz and Rajkumar, while we also see Om Puri in the picturization. The lyrics of this song have been sent in by our dear Prakashchandra ji.

Once again, with plentiful greetings to all friends and readers on this occasion – may all the happinesses come your way, and all the obstacles in your paths be removed by the blessings of Lord Ganesh – the first amongst all the followers of Lord Shiv.

Ganpati Baapa Moryaa. . .

 

Song – Muqabila Muqabila Tere Bhakt Janon Ka Muqabila  (Marte Dam Tak) (1987) Singer – Shabbir Kumar, Suresh Wadkar, Hemlata, Mahendra Kapoor, Lyrics – Ravindra Jain, MD – Ravindra Jain
Chorus

Lyrics (Provided by Prakash Chandra)

ganpati bappa morya
moryaa re moryaa
ganpati bappa morya
moryaa re moryaa
mangal moorthi moryaa
moryaa re moryaa
mangal moorthi moryaa
moryaa re moryaa

muqabila muqabila
tere bhakt janon ka muqabila
muqabila muqabila
tere bhakt janon ka muqabila
hho o o kiss mein kitni bhakti hai
kiss mein kitni shakti hai
haan aan aan
kaun ye baazi maarega
kaun khel mein haarega haarega
mauka milaa mauka milaa
badi mushkil se ye mauka mila
mauka milaa mauka milaa
badi mushkil se ye mauka mila
ye mauka nahin chhodenge
aaj pataake phodenge
haan
ho o jaan ke hamne maukaa diyaa
apna waadaa pooraa kiyaa..aaaa…aaa
muqabila muqabila
tere bhakt janon ka muqabila
haan aaan
mauka milaa mauka milaa
badi mushkil se ye mauka mila

hho o o hho o hho o
ahaaaa…aaaaa

vakra tund mahakaaye hai tujh mein
koti soorya ki jyoti
koti soorya ki jyoti
shubh kaamon ke liye
pratham teri hi pooja hoti
teri hi poojaa hoti
pehle pooja kar lein phir hum doojaa kaam karenge ae
doojaa kaam karenge
lekar tera naam prabhu hum kaam tamaam karenge
kaam tamaam karenge
poojaa mein koyee bair nahin
par chhedaa to khaair nahin
kaun ye baazi maaregaa
kaun khel mein haarega haarega
muqabila muqabila
tere bhakt janon ka muqabila
haan aan aan
mauka milaa mauka milaa
badi mushkil se ye mauka mila

burrrrrrrrrr aaahhaaaaa

shankar suvan bhawani ke nandan
bhakton ke rakhwaaley
bhakton ke rakhwaaley
tera haath ho jiss ke sar pe
koyi usey kya maarey
koyi usey kya maarey
arrey jaan booj kar jo agyaani
maut ke moonh mein jaaye ae
maut ke moonh mein jaaye
arrey kaissey usey bachaaye bhagwan
kab tak ussey bachaaye
kab tak ussey bachaaye
kiss mein kitni bhakti hai
kiss mein kitni shakti hai
ae ae kaun ye baazi maarega
kaun khel mein haarega haarega
(hhaa hhaa)
muqabila muqabila
tere bhakt janon ka muqabila
haaan…..aaaaan
mauka milaa mauka milaa
badi mushkil se ye mauka mila

jis raana ke naam ko sun kar
sajda karey zamana
dushman ke ae ghar aa pahuncha wo o o
ganpati kaa deewaana

dost se ho yaa dushman se
hum waada kabhi na bhoole
wo hathiyaar bana hi nahin jo o o
badan hamaara chhoo le

zarrey ki himmat to dekho
parvat se takraaye
parvat se takraaye
apni hasti bhool ke katraa
dariya se hodh lagaaye
dariya se hodh lagaaye
tujh par jinhein  bharosa
nahin kisi se darte
nahin kisi se darte
marte dum tak bhakt tere
tera hi dum bharte
tera hi dum bharte
kitna dum kiss jaani mein
kaun hai kitne paani mein
hum ye baazi maarenge
haarne waaley haarenge haarenge
muqabila muqabila
tere bhakt janon ka muqabila
haan…aaan
mauka milaa mauka milaa
badi mushkil se ye mauka mila

jai ganesh jai ganesh deva
jai ganesh jai ganesh deva
seva kare so paave mewa
jai ganesh jai ganesh deva
ek dant balwant vinaayak
jai ganesh jai ganesh deva
sab dukh haran sakal sukh daayak
jai ganesh jai ganesh deva
tumhri kirpa jis par hoyi
jai ganesh jai ganesh deva
uss ka shatru hai nahin koyi
jai ganesh jai ganesh deva
tu hamko praanon se pyaara
jai ganesh jai ganesh deva
kar pranaam sweekaar hamaara
jai ganesh jai ganesh deva
kar pranaa..aam sweekaa..aar hamaara


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

Blog Day : 3495 Post No. : 14048

The Yippeee film for today is the 1969 ‘Raat Ke Andhere Mein’. Belonging to the B/C grade thriller cum social category, the film is produced under the banner of Ashok Films, Bombay, and is directed by Devraj. The star cast of the film includes Dev Kumar, Sonia Sahni, Shahida, Dev Dutt, Bhagwan, Mohan Choti, Murad, Rajan Haksar amongst others.

The film is a variation on the traditional lost-and-found theme. The variation in this case is that a child is lost; later on he grows up to be a criminal and then found by the parents. The story line is summarized as follows,

Dev Kumar is a bad character, and is on the run from the police. He is the long lost son of Murad and Mridula Rani, who have been searching for him for years, based on the description of a locket that the child was wearing when he got separated from his parents. The child has grown up into a criminal, and actually he knows he is the son of Murad. But because he is a criminal, he refuses to go back to his parents, for the fear of bringing bad name to them. Murad and his family also suspect this to be true, but are not certain.

To reach his son, Murad plans a way to trap him, with the help of police. The criminal son is in love with Sonia Sahni. Murad arranges a stage show in which he brings Sonia Sahni to perform a dance. The plan is put in place, with the expectation that Dev Kumar will find some way or the other come to the program to watch his beloved. The expected happens. Dev Kumar enters the theatre in disguise, but then removes it once he is inside. The police inspector Rajan Haksar is watching the audience and he locates Dev Kumar. By the time the performance comes to an end, he is enters the box section where Dev Kumar is sitting, and takes him into custody. The film moves towards a happy-ending as Rajan Haksar takes the criminal Dev Kumar, not to the police station but to Murad’s residence. After all is sorted out and everybody is happy, the inspector then takes the criminal with him, saying that he will try for a pardon or a light sentence for him.

The film has five songs listed, one of which is a multi version song that appears two times in the film, once as a solo in Rafi Sb’s voice and the second time as a solo in Lata Mangeshkar’s voice. The 4+1 songs already posted on the blog are listed as under,

Apne Naam Ke Kareeb Mera Bhi Naam Likh Lo 3712 30-Mar-11 Mohammed Rafi
Agar Bewafa Tujhko Pehchaan Jaate 5935 7-May-12 Mohammed Rafi
Agar Bewafa Tujhko Pehchaan Jaate 5935 7-May-12 Lata Mangeshkar
Na Jaane Peer Dil Ki Bepeer Baalma 9905 14-Jun-14 Lata Mangeshkar
Raat Ke Andhere Mein 14039 09-Feb-28 Asha Bhosle

In the Geet Kosh listing, it is indicated as if some more songs may be in the film. However, Atul ji, while posting the penultimate song of this film, had done a fast-forward review of the film, and confirms that the 5+1 songs listed in the Geet Kosh are the only songs in the film, and no more.

This is one of the very few films that Prem Dhawan has written the songs, as well as composed the music for. I have written about this in the two earlier posts of the songs of this film, listed at number 1 and number 4 above.

The songs of this film are a veritable treat for the aficionados. Almost all the songs became very popular in their time and were frequently heard on the radio waves. “Apne Naame Ke Kareeb. . .”, the two versions of “Agar Bewafa Tujhko Pehchan Jaate” and the stage dance song “Na Jaane Peer Dil Ki. . .” have been some the all time favorites of the listeners.

Today’s song is a duet, or maybe a so-called duet, in the voices of Rafi Sb and Usha Timothy. I say ‘so-called’, because in the song, most of the singing is done by Rafi Sb, and Usha Timothy just gets to add the words “thoda thoda” once in each refrain. So literally speaking, it is “thoda thoda” contribution by her to this song. On screen, the song is picturized on Dev Dutt and Shahida.

This song too, is a delightful offering, maybe lesser known in comparison to its more popular siblings in this film. But still a pleasure to listen to. Enjoy.

And plus let us celebrate the film ‘Raat Ke Andhere Mein’ joining the list of films with all songs posted, on the blog. Cheers.

 

Song – Hothon Pe Inkaar Thoda Thoda  (Raat Ke Andhere Mein) (1969) Singer – Mohammed Rafi, Usha Timothy, Lyrics – Prem Dhawan, MD – Prem Dhawan

Lyrics

oo

oo oo

o sangdil haseena
maathe pe kyon paseena
pathar bhi pighalte hai
dekha tha ye kabhi na

ke hothon pe inkaar
thoda thoda
aankhon mein iqraar
thoda thoda
tu maane na maane
tujhe bhi to hum se hai pyaar
thoda thoda
haan
hothon pe inkaar
thoda thoda
aankhon mein iqraar
thoda thoda
tu maane na maane
tujhe bhi to hum se hai pyaar
thoda thoda

itne burey hum nahin
ke aankhen churaao
katra ke yun na chalo
na daaman bachaao
ik din kisi pe to aayega dil
ik din koi le ke jaayega dil
kar lo hameen pe aitbaar
thoda thoda
haan
hothon pe inkaar
thoda thoda
aankhon mein iqraar
thoda thoda
tu maane na maane
tujhe bhi to hum se hai pyaar
thoda thoda

hota na hum se jo pyaar
to kyon sharmaate
chhup chhup ke yun meri jaan
tum milne na aate
mil ke nazar yun hi jhukti nahin
ye wo lagi hai jo chhupti nahin
tera bhi dil hai beqaraar
thoda thoda
haan
hothon pe inkaar
thoda thoda
aankhon mein iqraar
thoda thoda
tu maane na maane
tujhe bhi to hum se hai pyaar
thoda thoda

milne ki hai aarzoo
to kaisi ye doori
teri meri dastaan
rahe na adhoori
kab tak akele mera dil jaley
tadpaane waale aa lag ja galey
mil jaaye hum ko qaraar
hahn thoda thoda
haahan
hothon pe inkaar
thoda thoda
aankhon mein iqraar
thoda thoda
tu maane na maane
tujhe bhi to hum se hai pyaar
thoda thoda

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

ओ ओ

ओ संगदिल हसीना
माथे पे क्यों पसीना
पत्थर भी पिघलते हैं
देखा था ये कभी ना

के होठों पे इंकार
थोड़ा थोड़ा
आँखों में इक़रार
थोड़ा थोड़ा
तू माने ना माने
तुझे भी तो हमसे है प्यार
थोड़ा थोड़ा
हाँ
होठों पे इंकार
थोड़ा थोड़ा
आँखों में इक़रार
थोड़ा थोड़ा
तू माने ना माने
तुझे भी तो हमसे है प्यार
थोड़ा थोड़ा

इतने बुरे हम नहीं
का आँखें चुराओ
कतरा के यूं ना चलो
ना दामन बचाओ
इक दिन किसी पे तो आएगा दिल
इक दिन कोई लेके जाएगा दिल
कर लो हमीं पे एतबार
थोड़ा थोड़ा
हाँ
होठों पे इंकार
थोड़ा थोड़ा
आँखों में इक़रार
थोड़ा थोड़ा
तू माने ना माने
तुझे भी तो हमसे है प्यार
थोड़ा थोड़ा

होता ना हमसे जो प्यार
तो क्यों शर्माते
छुप छुप के यूं मेरी जान
तुम मिलने ना आते
मिल के नज़र यूं ही झुकती नहीं
ये वो लगी है जो छुपती नहीं
तेरा भी दिल है बेक़रार
थोड़ा थोड़ा
हाँ
होठों पे इंकार
थोड़ा थोड़ा
आँखों में इक़रार
थोड़ा थोड़ा
तू माने ना माने
तुझे भी तो हमसे है प्यार
थोड़ा थोड़ा

मिलने की है आरज़ू
तो कैसी ये दूरी
तेरी मेरी दास्तान
रहे ना अधूरी
कब तक अकेले मेरा दिल जले
तड़पाने वाले आ लग जा गले
मिल जाये हमको क़रार
हाहं थोड़ा थोड़ा
हाहाँ
होठों पे इंकार
थोड़ा थोड़ा
आँखों में इक़रार
थोड़ा थोड़ा
तू माने ना माने
तुझे भी तो हमसे है प्यार
थोड़ा थोड़ा


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.

“Nadiya Ke Paar”(1982) was a Rajshree Productions movie. It was produced by Tarachand Barjatya and directed by Govind Moonis. The movie had Sachin, Sadhana Singh, Inder Thakur, Mitali, Savita Bajaj, Sheela David, Leela Mishra, Soni Rathod etc in it.
Read more on this topic…


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.

Missing Films of 1960s – 1
– – – – – – – – – – – – – –

Let me explain the title and the intent of this new series.  This series is an outcome of the project that our dear Katie Ben from ‘saat samundar paar se’ has undertaken, after she got hold of the Geet Kosh volumes.  She zeroed in on volume 4, and she set about identifying all the films of the 1960s, that have yet to find a representation on the blog.  Specifically, the period covered is 1961 to 1970.  So she has very zealously pored through the fourth volume, page by page, film by film, and simultaneously kept on checking with the data on the blog.  The outcome of her effort is summarized as follows.
Read more on this topic…


Important Announcement

(© 2008 - 2019) 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 over ELEVEN years. This blog has more than 15300 song posts by now.

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

Total number of songs posts discussed

15301

Number of movies covered in the blog

Movies with all their songs covered =1180
Total Number of movies covered =4215

Total visits so far

  • 12,607,372 hits

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

Join 1,798 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Archives

Stumble

visitors whereabouts

blogcatalog

Music Blogs - BlogCatalog Blog Directory

blogadda

Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

%d bloggers like this: