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

Archive for the ‘Lyrics contributed by readers’ 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 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 : 3713 Post No. : 14642

Ek kissa hai, Radha ka. There is a tale, of a girl named Radha. She was in her teens, ‘kamsin’ as they say in parlance – young and innocent in years; sporting dark tresses that reached her knees; her supremely fair and flawless skin as if made from milk; her eyes – bright, with a depth enough for a smitten heart to drown itself. She would come to the terrace to hang out the laundry for drying. Iqbal, smitten as he was with the beauty of this young lady, would wait everyday to fill his heart with her moving images. The fascination, the infatuation remained as it is, unexpressed – for he could never muster up enough courage to say or do anything to express his feelings. Fears and apprehensions of many kinds held him back. Radha, remained a puppy love dream – forever. But is sure did make a poet out of that obsessed heart that could not express itself to its beloved.

He penned the following lines, as his initiation into the world of verse writing,

खेंचते हैं अपनी जानिब यार ये गेसू मुझे
आ रही है हर तरफ से प्यार की खुशबू मुझे
एक राधा से हुई है जब से मेरी दोस्ती
सारी दुनिया कह रही है आजकल हिन्दू मुझे

These tresses of my beloved, beckon me
The fragrance of love is diffused all around me
Since my heart has made a friend named radha
All the world is calling me a hindu these days

By his own admission, he would never have taken to pen and paper, if by some God sent blessing, this infatuation would have ripened into a reciprocated affair, and if the two would have been betrothed. The world of letters, and the world of cinema would have been robbed of one of the best romantic poets of the Golden Era of the Hindi film music.

Iqbal Hussain, born on 15th April, 1927 in Jaipur, grew up to be known by his pen name more than anything else – Hasrat. And the city of his origin came in to complete his identity recognition – Jaipuri.

He passed away this day (17th September) in 1999 after a scintillating career of almost five decades as a songwriter. The unsuccessful saga of his first love was in any case immortalized. The famous aria venerating the identity of the romantic messaging device called the ‘प्रेम पत्र’ (love letter), was originally written for his Radha, of the terrace visits. The song it became is – “Ye Mera Prem Patra Padh Kar” (film ‘Sangam, 1964).

It is a temptation to revisit all the great poetry he has written, that has become popular and enduring. But then even this one night, sleepless per force, would be inadequate to do justice. But in any case, that sampling may just be a reprise for all the dear melodies that I am sure all readers and lovers of this music, have stored away in their memories.

And so I just introduce this one song today. This wonderful melody, for the longest of the time, I was under the impression that this one is already posted here. But today I discovered that it is still in waiting. The film is ‘Badnaam’ from 1952. The music director is Basant Prakash (brother of Khemchand Prakash). The baritone rich singing voice is that of Shankar Dasgupta. The verses, of course, are from the pen of Hasrat Jaipuri.

The first sub line of this poem imitates the well known starting words of the famous she’er – “Ye Ishq Nahin Asaan, Bas Itna Samajh Lijey. . .” from a ghazal by the maestro Jigar Moradabadi. But after that it goes on to take a powerful identity of its own with lines like “. . .zakhmon mein chhupa lena, tasveer e mohabbat ko. . .” and “. . .khud lut ke sikha dena, duniya ko wafa karna. . .”.

An immense ghazal – words, composition, rendition – all are superlative. With memories of Hasrat Sb, enjoy this wonderful creation.

[Author’s Note: The episode of the poet’s first love is adapted from the definitive article on Hasrat Jaipuri, from the book ‘Hindi Filmon Ke Geetkar’ by Anil Bhargav.]

Song – Ye Ishq Nahin Aasaan, Kaanton Pe Jiya Karna (Badnaam) (1952) Singer – Shankar Dasgupta, Lyrics – Hasrat Jaipuri, MD – Basant Prakash

Lyrics

ye ishq nahin aasaan
kaanton pe
kaanton pe jiya karna
kaanton pe jiya karna

ye ishq nahin aasaan
kaanton pe jiya karna
kaanton pe jiya karna
ashqon ka zehar hardam
khush ho ke piya karna
kaanton pe jiya karna

kehte hain jise ulfat
ye khel hai sholon ka
kehte hain jise ulfat
ye khel hai sholon ka
chupchaap hi jal jaana
hargiz na gila karna
kaanton pe jiya karna

zakhmon mein chhupa lena
tasveer e mohabbat ko
tasveer e mohabbat ko
zakhmon mein chhupa lena
tasveer e mohabbat ko
tasveer e mohabbat ko
khud lut ke sikha dena
duniya ko wafa karna
kaanton pe jiya karna

aise to kai toofaan
raahon mein sataayenge
aise to kai toofaan
raahon mein sataayenge
ghabra ken a darr jaana
manzil pe badha karna
kaanton pe jiya karna
ye ishq nahin aasaan
kaanton pe jiya karna
kaanton pe jiya karna

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

ये इश्क़ नहीं आसान
काँटों पे
काँटों पे जिया करना
काँटों पे जिया करना

ये इश्क़ नहीं आसान
काँटों पे जिया करना
काँटों पे जिया करना
अशकों का ज़हर हरदम
खुश हो के पिया करना
काँटों पे जिया करना

कहते हैं जिसे उलफत
ये खेल है शोलों का
कहते हैं जिसे उलफत
ये खेल है शोलों का
चुपचाप ही जल जाना
हरगिज़ ना गिला करना
काँटों पे जिया करना

ज़ख़्मों में छुपा लेना
तस्वीर ए मोहब्बत को
तस्वीर ए मोहब्बत को
ज़ख़्मों में छुपा लेना
तस्वीर ए मोहब्बत को
तस्वीर ए मोहब्बत को
खुद लुट के सीखा देना
दुनिया को वफा करना
काँटों पे जिया करना

ऐसे तो कई तूफान
राहों में सताएंगे
ऐसे तो कई तूफान
राहों में सताएंगे
घबरा के न डर जाना
मंज़िल पे बढ़ा करना
काँटों पे जिया करना
ये इश्क़ नहीं आसान
काँटों पे जिया करना
काँटों पे जिया करना

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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 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 : 3713 Post No. : 14640

# Superstar Child Artist – Jr. Mehmood # 4
————————————————–
(Rafi Sings for Jr. Mehmood # 3)
————————————-
Greetings to all for the ongoing ‘Ganesh Festival’…!!!

I have many fond memories of ‘Ganpati Utsav’ being held in our colony premises and the ‘various cultural programs’ held during the ‘ten-day’ festival.

For us children then, the main attractions were ‘Orchestras’, ‘Dramas’ and a ‘movie’ if at all it could be arranged and screened in open ground and where we used to watch it from either side of the screen.:)

Among the other programs like ‘orchestra’ and ‘drama’ which would be performed by artists coming from different locations there was also a ‘drama’ and ‘cultural program’ by artists from our colony and students from schools. I was always a part of the ‘drama’ team of juniors as a ‘performer’ and also was a part of the ‘seniors’ for ‘prompting’ behind the stage if some artist forgot the ‘dialogues’. My voice was suitable for that purpose at that time. 🙂

That reminds me of one of my friends who used to do mimicry of Mehmood and Junior Mehmood on stage during such programs. And that also reminds me of ‘the musical nights being held that time with some special star also performing therein’. But, since such programs would be held at the city about 25/30 kms from the place we were staying then, it was not possible for us children to attend such programs.

Junior Mehmood was among the ‘star performer’ in those years and that reminder bring us to this fourth article in the series of articles covering songs performed by or picturized on Junior Mehmood and lip synced by him on screen in Hindi Movies.

Initially I started this series discussing the songs sung by Rafi Saab for Junior Mehmood and the following two songs sung by Rafi Saab for Junior Mehmood have been discussed earlier;

1) Lagey koi lottery koi jackpot lagey (Rivaaz)(1972)

2) Na Koi Paisa Na Ilm Banaao Bambai Mein Film (Bansi Birju) (1972)

Thereafter we extended this series to cover the songs sung by other singers (mainly female singers, I think so 🙂 ) for Junior Mehmood. And those songs which are yet to be discussed on the blog.

Thus, we have the following song as the third post in this series which was posted on 15th November, 2017;

3) Mera Naam Hai Mehmood.

Today’s song is from the movie ‘Tanhaai-1972’.

‘Tanhaai-1972’ was ‘S.B. Films’ presentation, directed by Jagdish Nirula for ‘Chitrashala, Bombay’. This film was produced by S.I. Shivadasani.

It had Rehana Sultan, Anil Dhawan, Shatrughan Sinha, Jagdev, Lakshmi Chhaya, Iftekhar, Poornima, Dulia, Randhir, Baby Chintu, Lalita Kumari, Jankidas, Moolchand, Arpana, Master Shahid, Jagdish Raj, Kirti, Madhu, Jery, Bhola
And Mehmood Junior.

The movie introduced Ashok Khanna.

Story & Screenplay of this film was by Sadhram Sapru. Its dialogues were written by Qamar Jalalabadi. Editing for this movie was done by Govind Dalwadi.

Its music was composed by Usha Khanna and the four songs of this film were penned by Asad Bhopali – three songs and Amanullah Khan Aman – one song.

The film had three solo songs- two by Asha Bhonsle, one by Kishore Kumar which has already been discussed here, and one song sung by Mohd Rafi, Usha Khanna (and Junior Mehmood (as per HFGK), however the titles of this movie did not mention the name of Junior Mehmood under ‘Playback’.

The film was passed by Censor Board on 23rd October’1972.

As per the filmography of Jr. Mehmood available on various sources on the internet he acted in many movies since his first release to this movie “Tanhaai-1972”.
However, these sources where his filmography has been mentioned does not mention the name of this movie ‘Tanhaai-1972’ in their list. (So, the complete list of his movies/filmography needs to checked and authenticated to have accurate number of movies if we need to discuss them year wise.)

Also, till the release of this movie “Tanhaai-1972” Junior Mehmood was a part of many movies which were successful at the box office and he was seen in many Rajesh Khanna movies like ‘Do Raaste-1969’, ‘Aan Milo Sajna-1970’, ‘Kati Patang-1970’, ‘Haathi Mere Saathi-1971’, ‘Chhoti Bahu-1971’, ‘Dil Daulat Duniya-1972’ and other movies.

I had mentioned in my earlier post and many of us are aware of that Junior Mehmood shot to fame from the ‘1968 movie – Brahmachari’ where he performed on Mehmood’s famous ‘ham kaale hain to kya huaa dilwaale hain’ from ‘Gumnaam-1965’’.

He repeats once again performing on Mehmood’s famous ‘mehbooba mehbooba bana leo mujhe dulha’ from ‘Saadhu Aur Shaitaan-1968’ in the movie ‘Johar Mehmood in Hong Kong-1971’ where on screen he performs in the presence of his guru Mehmood and I.S.Johar. (Peevesie’s Mom ji have recently discussed this song from ‘Saadhu Aur Shaitaan-1968’ on the blog).

Mehmood Fans and moviegoers are well aware of Mehmood’s – ‘Kapoor’s three generation act- Prithviraj, Raj and Randhir, in the song ‘Ye kaisa aayaa zamaanaa…’, in the movie ‘Hamjoli-1970’.

Surprisingly this song is yet to be posted on the blog. (may be Mehmood fans in the group are aware and want to give us a surprise 🙂 )

Junior Mehmood tried to repeat a similar act in the song ‘birhaa ki rain’ which is being presented here today.

Taking inspiration from the above song from ‘Hamjoli-1970’ and continuing his ‘genius’ further, and in fact going a step further of his Guru Mehmood, Junior Mehmood did this ‘four roles’ (additionally enacting a female artist, Aruna Irani, I guess…) act in today’s song.

Initially I had planned this song post to be shared in Oct’15 and it was then that the first draft of this article was prepared, however later it got delayed and the song from the movie ‘Baalak-1969’ was posted.

I have not watched this movie ‘Tanhaai-1972’, however our beloved Raja Saab had mentioned of watching this movie in his post presenting the first song from this movie – ‘saawan mein kahin aag na lag jaaye chaman ko’ on the blog.

Let us now enjoy today’s song …

Video

Audio

Song-Birha ki rain sooni sooni sejariya (Tanhaai)(1972) Singers-Rafi, Usha Khanna, Jr Mehmood, Lyrics-Asad Bhopali, MD-Usha Khanna
Rafi + Usha Khanna
Chorus

Lyrics

Aa aa
Aa aa aa aa aa aa aa
Aa aa aa aa aa
Aa aa aa aa aa aa aa
Aa aa aa aa aa aa aa

Birhaa ki rain
Sooni sooni sejariya
Birhaa ki rain
Sooni sooni sejariya
Birhaa ki rain

Raama ghazab dhaaye
Mori baali umariya aa aa
Birhaa ki rain
Sooni sooni sejariya aa aa
Birhaa ki rain

Pa ma ga ma paa paa paa
Pa ma ga ma paa paa paa
Aa aa aa aa aa aa aa
Aa aa aa aa aa
Birhaa ki rain
Birhaa ki rain
Birhaa ki rain

O my god
Grandfather
Tum gaata hai ke rota hai
Idhar ko headache hota hai
Sister, come on!!
One two three four

Paa paa
Du daa daa du
Dada dada aa
Du daa daa du
Paa paa
Du daa daa du
Dada dada aa
Du daa daa du
La laa
la la la laa
La la la la la laa
La la la la la laa

Tum hai seedha saadaa
Tum kya jaano new age ki bhaasha aa

Tum hai seedha saadaa
Tum kya jaano new age ki bhasha
Aaj kal ke
Gora gori
Gora gori
Chori chori
Kyun gaate hain gaana aa
Laa laa aa
Laa laa aa
Laa laa

la la la laa aa
la la la laa aa

Arey muniya
Arey Munna
Chup karo re
Chup karo
Chup

Sharm tum ko na aataai
Hungaamaa kyon machaatai
Dilaa kaaikon jalaatai
Bazurgaa ko sataatai
Sharm tum ko na aatai
Hungaamaa kyon machaatai
Dilaa haiku jalaatai
Bazurgaa ko sataatai
Nako buri baataan
Nako buri baata
Nako buri baata
nako o

Gaao na baba
Phir se gaao na
gaao na

O sister
Ye grandfather todta hai music ka taang
Ham log gaayenga beautiful song

Tum par ab aaj
Aaj hai apna raaj
Tum par ab aaj
Aaj hai apna raaj

Chhodo kal ka raag puraana
Father ye hai nayaa zamaana
Dekho dekho
Naach dekho
Dekho dekho
Naach dekho
Dekho dekho
Naach dekho
Dekho dekho
Naach dekho

Arre muniya
chup kar ja
Munne
chup kar ja
Arrey
Arrey
Achchha achchha
Gaa lo
Pet bhar ke gaa lo
Main jaata hoon
Jaata hoon
Jaata hoon

————————————————
Devnagri Script lyrics(Provided by Avinash Scrapwala)
———————————————–
आ आ
आ आ आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ आ आ
आ आ आ आ आ आ आ

बिरहा की रैन
सूनी सूनी सेजरिया
बिरहा की रैन
सूनी सूनी सेजरिया
बिरहा की रैन

रामा गज़ब ढाए
मोरी बाली उमरिया आ आ
बिरहा की रैन
सूनी सूनी सेजरिया आ आ
बिरहा की रैन

प् म ग म पा पा पा
प् म ग म पा पा पा
आ आ आ आ आ आ आ
आ आ आ आ आ

बिरहा की रैन
बिरहा की रैन
बिरहा की रैन

ओ माय गॉड
ग्रैंडफादर
तुम गाता है के रोता है
इधर को हेड़ेक होता है
सिस्टर, कम ऑन
वन टू थ्री फोर

पा पा
दु दादा दु
दादा
दु दादा दु
पा पा
दु दादा दु
दादा
दु दादा दु
ल ल ल ल ल ला
ल ल ल ल ल ला
ल ल ल ल ल ला
ल ल ल ल ल ला

तुम है सीधा सादा
तुम क्या जानो न्यू ऐज की भाषा आ

तुम है सीधा सादा
तुम क्या जानो न्यू ऐज की भाषा आ
आज कल के
गोरा गोरी
गोरा गोरी
चोरी चोरी
क्यूँ गाते है गाना आ
ला ला आ
ला ला आ
ला ला
ल ल ल ला आ
ल ल ल ला आ

अरे मुनिया
अरे मुन्ना
चुप करो रे
चुप करो
चुप

शर्म तुम को न आताई
हंगामा क्यों मचाताई
दिला कैको जलाताई
बुज़ुर्गा को सताताई
शर्म तुम को न आताई
हंगामा क्यों मचाताई
दिला कैको जलाताई
बुज़ुर्गा को सताताई

नको बुरी बाता
नको बुरी बाता
नको बुरी बाता नको ओ

गाओ न बाबा
फिर से गाओ न
गाओ न

ओ सिस्टर
ये ग्रैंडफादर तोड़ता है म्यूजिक का टांग
हम लोग गायेगा ब्यूटीफुल सॉंग

तुम पर अब आज
आज है अपना राज
तुम पर अब आज
आज है अपना राज

छोडो कल का राग पुराना
फादर ये है नया ज़माना
देखो देखो
नाच देखो
देखो देखो
नाच देखो
देखो देखो
नाच देखो
देखो देखो
नाच देखो

अरे मुनिया
चुप कर जा
मुन्ने
चुप कर जा
अरे
अरे
अच्छा अच्छा
गा लो
पेट भर के गा लो
मैं जाता हूँ
जाता हूँ
जाता हूँ


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 Peevesie’s Mom, 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 : 3704 Post No. : 14629

Hullo Atuldom

“Darmiyaan” (1997) was a movie set in the Bombay (before being rechristened Mumbai) of 1946. It starred Kiron Kher, Tabu, (established actors of that time) with Rita Ganguly (renowned Hindustani vocalist), Rupal Patel, Hilla Sethna, Sayaji Shinde, Shahbaz Khan playing supporting roles. Arif Zakaria made his debut in this movie in the difficult character of a eunuch.

Kiron Kher plays a dancer or tawaif who is also a beautiful starlet who becomes very successful in the movies. She is initially in denial that she has sired a eunuch. She attains fame, has an affair with one of her co actors who later ditches her for a younger actress etc. She is disappointed / disillusioned and becomes addicted to all vices possible to the point of losing everything she possesses including her family (which deserts her), wealth home etc. Her child, who has grown up to become Arif Zakaria, tries his best to keep her afloat in her professional and personal life. He has his own identity problems to solve. Towards the end it is shown that Arif (Immi is the name of the character) finds an abandoned child, tries to look after it with his mother’s help but societal attitude towards a transgender force him to give the child away to Tabu and he ends his and his mother’s life as he feels that is the only solution to their problems.

There was another movie “Tamanna” which released in 1998 which was produced by Pooja Bhatt and directed by Mahesh Bhatt. The story of that movie seems to take off from where Kalpana Lajmi’s Immi gives up on his adopted baby. This is the next movie on my to-be-seen list. I don’t remember why I didn’t see these movies at the time of their release, but I am sure I would not have been able to find company or relish it back then. And I am glad that these movies are there on YouTube. Now I don’t know whose life story inspired Kalpana Lajmi to make this movie. I sat through the movie in the course of writing this post and found it fairly engrossing. (A sheer coincidence that there is Supreme Court verdict today (on 7th September, 2018) that says history owes transgenders an apology).

Kalpana Lajmi is the daughter of painter Lalita Lajmi and niece of yesteryear actor / filmmaker Guru Dutt. She began her career assisting Shyam Benegal who also happened to be her uncle. She has been making movies since 1978 starting with short films and graduating to films like ‘Ek Pal’ with Naseerudin Shah and Shabana Azmi in the lead, ‘Rudaali’ with Dimple Kapadia and Raj Babbar etc., her last directed film being ‘Chingaari’ with Sushmita Sen and Mithun Chakravarty in the lead roles.

Dr. Bhupen Hazarika – born on 8th September 1926 in Assam- is the music director of this movie. He has sung a song and all the background score too, specially in the scenes that show the anguish of the central characters, his baritone voice adds to the poignancy of the scenes. Probably the first time I became aware of Bhupen Hazarika, the singer / music composer was when I heard the songs of ‘Rudaali’ and was floored by the sound of “Dil Hoom Hoom Kare” but a National award and Sahitya Academy award winner doesn’t need a certificate from a layperson like me. His Padma awards Dadasaheb Phalke awards are testimony to his greatness.

The song with this post is written by Jaaved Akhtar and sung by Asha Bhonsle. Initially I began to see the movie to see if any portion of the song is present in any other part as the video available is very short. In fact, most of the songs end abruptly in the movie except the Bhupen Hazarika song which is there in 3 parts through the movie.

And no, I have not forgotten that 8th September is also my all-time favourite singer’s birthday too. How can I forget. I adore her so much. And I am sure every one would have guessed why I chose an Asha Bhonsle song to go with this post 🙂 . And we have so much information all around about Asha Bhonsle that I am controlling myself from writing anything here.

Remembering Dr. Bhupen Hazarika (a doctorate on his thesis “Proposals for Preparing India’s Basic Education to use Audio-Visual Techniques in Adult Education”) on his birth anniversary – he would have been 92 and wishing Asha Bhonsle too on her birthday.

(Video – Partial)

(Audio – Complete)

Song – Nadiya Pe Lehren, Lehron Pe Naiyya (Darmiyaan) (1997) Singer – Asha Bhosle, Lyrics – Javed Akhtar, MD – Bhupen Hazarika

Lyrics

aaaaa aaaaa
oooo ooooo
ooooooooo

nadiya pe leheren
leheron pe naiyya
naiyya mein patwaar
phir tum kyun us paar ae saajan
aur main hoon is paar
o jee main tadpoon is paar
o jee main tarsoon is paar
nadiya pe leheren
leheron pe naiyya
naiyya mein patwaar
phir tum kyun us paar ae saajan
aur main hoon is paar
o jee main tadpoon is paar
o jee main tarsoon is paar
aaaaa aaaaa
oooohh ooooohhh
ooooooooo

nadiya kinaare ek gaon hai
gaon mein ambuva ki chhaon hai
chhaon mein rah ek yogi jaise
mann mein rahe sajana
jogi bajaaye bansuri
bansuri dard se hai bhari
dard bhari is taan se
goonje re mera angnaa
nadiya pe leheren
leheron pe naiyya
naiyya mein patwaar
phir tum kyun us paar ae saajan
aur main hoon is paar
o jee main tadpoon is paar
o jee main tarsoon is paar
aaaaa aaaaa
oooohh ooooohhh
ooooooooo

bekali mein hai ye mann
mann mein hai lagi agan
oo oo bekali mein hai ye mann
mann mein hai lagi agan
tu aa ke bujha de sajan
nagri mein gali jaise
bagiya men kali jaise
kaliyon mein sajna jaise khushboo
sapnon mein hai tu
nadiya pe leheren
leheron pe naiyya
naiyya mein patwaar
phir tum kyun us paar ae saajan
aur main hoon is paar
o jee main tadpoon is paar
o jee main tarsoon is paar
aaaaa aaaaa
oooohh ooooohhh
ooooooooo

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
आsssss आsssss
ओsss ओssss
ओssssssss

नदीया पे लहरें
लहरों पे नैय्या
नैय्या में पतवार
फिर तुम क्यों उस पार ए साजन
और मैं हूँ इस पार
ओ जी मैं तड़पूँ इस पार
ओ जी मैं तरसूँ इस पार
नदीया पे लहरें
लहरों पे नैय्या
नैय्या में पतवार
फिर तुम क्यों उस पार ए साजन
और मैं हूँ इस पार
ओ जी मैं तड़पूँ इस पार
ओ जी मैं तरसूँ इस पार
आsssss आsssss
ओsss ओssss
ओssssssss

नदिया किनारे एक गाँव है
गाँव में अंबुवा की छांव है
छाँव में रह इक जोगी जैसे
मन में रहे सजना
जोगी बजाए बांसुरी
बांसुरी दर्द से है भरी
दर्द भरी इस तान से
गूँजे रे मेरा अंगना
नदीया पे लहरें
लहरों पे नैय्या
नैय्या में पतवार
फिर तुम क्यों उस पार ए साजन
और मैं हूँ इस पार
ओ जी मैं तड़पूँ इस पार
ओ जी मैं तरसूँ इस पार
आsssss आsssss
ओsss ओssss
ओssssssss

बेकली में है ये मन
मन में है लगी अगन
ओ ओ बेकली में है ये मन
मन में है लगी अगन
तू आ के बुझा दे साजन
नगरी में गली जैसे
बगिया में कली जैसे
कलियों में सजना जैसे खुशबू
सपनों में है तू
नदीया पे लहरें
लहरों पे नैय्या
नैय्या में पतवार
फिर तुम क्यों उस पार ए साजन
और मैं हूँ इस पार
ओ जी मैं तड़पूँ इस पार
ओ जी मैं तरसूँ इस पार
आsssss आsssss
ओsss ओssss
ओssssssss


This article is written by Peevesie’s Mom, 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 : 3702 Post No. : 14624

Hullo Atuldom

‘Aangan Ki Kali’ was a movie directed by Harsh Kohli. One song from this movie has been posted earlier – “Sainyya Bina Ghar Soona” . Prakashchandra ji has given the story of the movie in the comments to that post. After reading it I feel nice that I missed seeing the movie when it released but I have a feeling that I might have seen it on Doordarshan at some point of time. But as Atulji has said in that post, the songs of that movie are still there in my memory.

So when I was thinking what song to send across to post on the occasion of Rakesh Roshan turning a year older (he turns 69) I remembered this lovely father’s love for daughter song. It is just that I was surprised that Bappi Lahiri was the music director and it was penned by Shaily Shailendra.

Rakesh Roshan the actor, producer, director made his acting debut in 1970 with ‘Ghar Ghar Ki Kahani’ opposite to Bharathi. Most of his single hero roles were in movies where the heroine was of central importance. But then he was more successful as a film maker beginning with ‘Aap Ke Deewane’ (1980).

Almost all his movies were successful as a director too – his first directorial being ‘Khudgarz’ (1987). He has an industry full of well-wishers and friends and most of them did walk-in appearances in the movies he made- Jeetendra in ‘Aap Ke Deewane’ and Rishi Kapoor in ‘Khudgarz’. He is one of the directors whose movies begin with the alphabet ‘K’- ‘Khudgarz’, ‘Khel (1992), ‘Karan Arjun’ (1995), ‘Kaho Na Pyar Hai’ (2000), ‘Koi Mil Gaya’ (2003), ‘Krissh’ (2006) etc.

So here is wishing Rakesh Roshan a very Happy Birthday.

Song – Na Rona Munni Na Tu Ro (Aangan Ki Kali) (1979) Singer – Kishore Kumar, Lyrics – Shaily Shailendra, MD – Bappi Lahiri

Lyrics

na rona
munni na tu ro oo
nanhe nanhe moti yun na kho

na rona
munni na tu ro
nanhe nanhe moti yun na kho
papa tujhpe jaan dete hain
mummy ki tu pyari hai na ro..oo
na rona
munni na tu ro
nanhe nanhe moti yun na kho

kali muskaaye to dekho
khil ke wo phool bane aee
chanda jo hanse raaton mein
door hon andhere ghane
aise hi
hamesha
tum bhi hanso
hanso hanso
na rona
munni na tu ro
nanhe nanhe moti yun na kho

badon ki baaton ka munni meri
kabhi bura maano nahin
bholi bhali soorat pyaari
lambi lambi taano nahin
rootho na
dekho na
ab to hanso
hans bhi do
na rona
munni na tu ro
nanhe nanhe moti yun na kho
papa tujhpe jaan dete hai
mummy ki tu pyari hai na ro
na rona
munni na tu ro
nanhe nanhe moti yu na kho

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
ना रोना
मुन्नी ना तू रो
नन्हें नन्हें मोती यूं ना खो

ना रोना
मुन्नी ना तू रो
नन्हें नन्हें मोती यूं ना खो
पापा तुझपे जान देते हैं
मम्मी की तू प्यारी है ना रो॰॰ओ
ना रोना
मुन्नी ना तू रो
नन्हें नन्हें मोती यूं ना खो

कली मुस्काए तो
खिल के फूल बने॰॰ए
चंदा जो हँसे रातों में
दूर हों अंधेरे घने
ऐसे ही
हमेशा
तुम भी हंसो
हंसो हंसो
ना रोना
मुन्नी ना तू रो
नन्हें नन्हें मोती यूं ना खो

बड़ों की बातों का मुन्नी मेरी
कभी बुरा मानो नहीं
भोली भाली सूरत प्यारी
लंबी लंबी तानो नहीं
रूठो ना
देखो ना
अब तो हंसो
हंस भी दो
ना रोना
मुन्नी ना तू रो
नन्हें नन्हें मोती यूं ना खो
पापा तुझपे जान देते हैं
मम्मी की तू प्यारी है ना रो
ना रोना
मुन्नी ना तू रो
नन्हें नन्हें मोती यूं ना खो


This article is written by Peevesie’s Mom, 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 : 3701 Post No. : 14623

Hullo to all in Atuldom

The song with this post is the perfect candidate for the “how did I forget to post this song earlier?” category.

As of today (at the time of writing this) the blog is 3699 days young and 14618 posts strong. And we still keep finding songs popular during their time and afterwards too and say with surprise – Yeh gaana baaki hai? But then in the ocean of Bollywood songs & movies there are close to 1000 movies released each year with an average of about 4-5 songs in each of them. And in the 105-year history of Indian movies (all languages put together) Bollywood might account for just about 105000 and at the average of 4-5 songs per film we are seeing an ocean of 52500 songs only. All figures are approximate, not accurate at all. Given the kind of selection we have at our disposal there are bound to be songs which we would have previously thought that it is already present on the blog. So as has been said in many posts before this we are still at the bottom of the barrel that we need to fill or our bucket is still in the top rung of an ever-overflowing bottomless- well. So that should explain why this song is making its appearance only now! 🙂

Now, this movie (‘Khel Khel Mein’) had five songs, all fairly popular at that time and two or three of them still rule the air waves across TV and Radio but surprise (seems to be no end to surprises as far as songs of this movie are concerned) I couldn’t find even one out of the five on that years’ Binaca Geetmala list. This was the era when whatever RD Burman composed went straight into the heart and mind of the listener. Whatever Kishore Kumar sang was lapped up by the audience. And young and upcoming actors and strugglers and established stars yearned for this combo to create songs for their movies.

One such actor was Rishi Kapoor. He had made a debut into movies in the year 1970 as an adolescent in love with his teacher in ‘Mera Naam Joker’; not to forget the brief walk in the rain, that he undertook in the company of his older siblings in his father’s ‘Shri 420’ in 1955, when he must have been about 2 years old. His first role as an adult was in the 1973 hit – ‘Bobby’. In that movie where Laxmikant Pyarelal scored music, Shailendra Singh was his playback voice. But subsequent films saw Laxmi-Pyare mostly use Mohd. Rafi for Rishi Kapoor and RD Burman favouring Kishore Kumar. And this association of Kishore Kumar or Mohd Rafi for Rishi went on till the two singers passed away but by then Chintu, as Rishi is addressed fondly, had made a place for himself on the Bollywood firmament.

Now coming to todays’ song, its from a movie which has a story attached to it in my personal life which I have related in a post to another song from this movie – “Hamne Tumko Dekha, Tumne Hum Ko Dekha“. The movie had a thriller or mystery or whodunit kind of story. It featured a set of college students who love to play pranks on unsuspecting people. They play such a prank on a stingy, wealthy jeweller (Jankidas) by sending him a typewritten ransom note. They find from the newspapers the next day that the wealthy Seth has been murdered and they could be the prime suspects as the police find the ransom note on the dead man.  Then the all-fun-n-frolic movie turns into a thriller where one of their fellow students and prankster – Rakesh Roshan – is also murdered followed by his girl friend and bar dancer Aruna Irani. As a child I found the movie gripping and find it cute even now. The movie was directed by Ravi Tandon, Gulshan Bawra was the lyricist and RD Burman the composer. The playback singers for this song are Kishore Kumar and Asha Bhonsle pictured on a drunk couple – Neetu Singh and Rishi Kapoor.

So, with this song I would like to wish the cutely handsome Rishi Kapoor a very Happy Birthday (4th September). He is only 66 this year and still has looks that make any girl miss a heartbeat. Saw him recently in the company of another of my favourite actor – Amitabh Bachchan- in ‘102 Not Out’ (2018) and fell in love with this actor all over again. Must admit here that I have a weakness for any movie featuring these two together and ‘102 Not Out’ is no exception.

Happy Birthday Chintu ji 😊

Song – Khullam Khulla Pyaar Karenge Hum Dono (Khel Khel Mein) (1975) Singer – Asha Bhosle, Kishore Kumar, Lyrics – Gulshan Baawra, MD – RD Burman
Asha Bhosle + Kishore Kumar
RD Burman

Lyrics

arre dekh rahe hain
to dekhne do
jal bhi rahe hain
arre to jal ne do
khuli sadak hai baba
to ya hua bhai
haa to ho jaaye
ho jaaye

khullam khulla pyar karenge hum dono
khullam khulla pyar karenge hum dono
iss duniya se nahi darenge hum dono
aaa pyar hum karte hai chori nahi
mil gaye dil jora jori nahi
ham wo karenge jo dil kahe
hamko zamaane se kya
koo koo
khullam khulla pyar karenge hum dono
is duniya se nahi darenge hum dono
aaa pyar hum karte hai chori nahi
mil gaye dil jora jori nahi
ham wo karenge jo dil kahe
hamko zamaane se kya
khullam khulla pyar karenge hum dono
iss duniya se nahi darenge hum dono

ae
dekh wo
ishq chhup chhup ke farma rahe hai
hai
kya mazaa
dil hi dil me to ghabra rahe hai
ae
dekh wo 
ishq chup chup ke farma rahe hai
hai
kya mazaa
dil hi dil me to ghabra rahe hai
lagta hai dono padosi hai wo
rishta hi aisa hai jaane bhi do
hum wo karenge dil jo kahe
hamko zamaane se kya
khullam khulla pyar karenge hum dono
is duniya se nahi darenge hum dono

he
sun zara
yeh bhi jodi hai kaisi niraali
hai
saath kya
peeche lala chale aage laali
ae
sun zara
ye bhi jodi hai kaisi niraali
hai saath kya
peeche lala chale aage laali
dono me shaayad banti na ho
apni tarah in mein chhanti na ho
hum wo karenge dil jo kahe
hamko zamaane se kya
arre dhat
khullam khulla pyar karenge hum dono
iss duniya se nahi darenge hum dono

ae
bolo na
pyar ka hai ye dushman zamaana
arrey sun
haan bata
sabko milta nahi ye khazaana
ae
bolo na
pyar ka hai ye dushman zamaana
arrey sun
haan bata
sabko milta nahi ye khazaana
jinko aji ye khazaana mile
dekh dekh unko ye duniya jale
hum wo karenge dil jo kahe
hamko zamaane se kya
huu. . .
khullam khulla pyar karenge hum dono
iss duniya se nahi darenge hum dono
pyar hum karte hai chori nahi
mil gaye dil jora jori nahi
ham wo karenge jo dil kahe
hamko zamaane se kya
khullam khulla pyar karenge hum dono
is duniya se nahi darenge hum dono

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

अरे देख रहे हैं
तो देखने दो
जल भी रहे हैं
तो जलने दो
खुली सड़क है बाबा
तो क्या हुआ पह्ई
हाँ तो हो जाये
हो जाये

खुल्लम खुल्ला प्यार करेंगे हम दोनों’
खुल्लम खुल्ला प्यार करेंगे हम दोनों’
इस दुनिया से नहीं डरेंगे हम दोनों
आ॰॰ प्यार हम करते हैं चोरी नहीं
मिल गए दिल जोरा जोरी नहीं
हम वो करेंगे दिल जो कहे
हमको जमाने से क्या
कू कू
खुल्लम खुल्ला प्यार करेंगे हम दोनों’
इस दुनिया से नहीं डरेंगे हम दोनों
आ॰॰ प्यार हम करते हैं चोरी नहीं
मिल गए दिल जोरा जोरी नहीं
हम वो करेंगे दिल जो कहे
हमको जमाने से क्या
खुल्लम खुल्ला प्यार करेंगे हम दोनों’
इस दुनिया से नहीं डरेंगे हम दोनों


देख वो
इश्क़ छुप छुप के फर्मा रहे हैं
है
क्या मज़ा
दिल ही दिल में तो घबरा रहे हैं

देख वो
इश्क़ छुप छुप के फर्मा रहे हैं
है
क्या मज़ा
दिल ही दिल में तो घबरा रहे हैं
लगता है दोनों पड़ोसी हैं वो
रिश्ता ही ऐसा है जाने भी दो
हम वो करेंगे दिल जो कहे
हमको जमाने से क्या
खुल्लम खुल्ला प्यार करेंगे हम दोनों’
इस दुनिया से नहीं डरेंगे हम दोनों

हे
सुन ज़रा
यह भी जोड़ी है कैसी निराली
है
साथ क्या
पीछे लाला चले आगे लाली
हे
सुन ज़रा
यह भी जोड़ी है कैसी निराली
है
साथ क्या
पीछे लाला चले आगे लाली
दोनों में शायद बनती ना हो
अपनी तरह इन में छनती ना हो
हम वो करेंगे दिल जो कहे
हमको जमाने से क्या
अर्रे धत्त
खुल्लम खुल्ला प्यार करेंगे हम दोनों’
इस दुनिया से नहीं डरेंगे हम दोनों


बोलो ना
प्यार का है दुश्मन ज़माना
अरे सुन
हाँ बता
सबको मिलता नहीं ये खज़ाना

बोलो ना
प्यार का है दुश्मन ज़माना
अरे सुन
हाँ बता
सबको मिलता नहीं ये खज़ाना
जिनको अजी ये खज़ाना मिले
देख देख उनको ये दुनिया जले
हम वो करेंगे दिल जो कहे
हमको जमाने से क्या
हू
खुल्लम खुल्ला प्यार करेंगे हम दोनों’
इस दुनिया से नहीं डरेंगे हम दोनों
प्यार हम करते हैं चोरी नहीं
मिल गए दिल जोरा जोरी नहीं
हम वो करेंगे दिल जो कहे
हमको जमाने से क्या
खुल्लम खुल्ला प्यार करेंगे हम दोनों’
इस दुनिया से नहीं डरेंगे हम दोनों


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 : 3700 Post No. : 14620

HFM Songs Statistics by Year – 5
————————————————–
Year 1936
—————–

Aha, the delay in posting caught the celebration. Today we are onto the 3700th day of this blog’s existence. Just having crossed the ten year mark recently, here is one more celebration today – 37th century of number of days of this blog. Congratulations and congratulations to all. 🙂

Coming back to this series after a haitus of, oh my goodness, almost three years. I can’t believe that the last episode of this series was published way back on 25th November, 2015. Wo. . .

OK, getting back into gear again. The year in 1936. It has been five years since the films found their voice.  And twenty five years since the moving pictures made their first entry into India. Ah yes, 1936 – we are now on to the silver jubilee year of motion pictures in India.

These were the heady and formative years of the talkie cinema in India. After cautious and suspicious view of the fate of the Hindi film songs in their first two years, i.e. 1931 and 1932, the film producers started to take initiative and ventured out to start recording more and more songs on gramophone records. The propensity of the viewing public to appreciate the film music enough, to start singing these songs in real life, and also an expressed demand to listen to these songs once again – these two factors led the producers to start delivering the film song on gramophone records. Of course, the additional revenue stream was a prime attraction for them. But as a result, what got initiated is an inadvertent effort to preserve this music. The numbers may not have been much, but it was a great beginning. 1934 and 1935 saw more and more of film songs getting published on shellac records.

This had a significant transformative impact on the Hindi film music. The industry was coming to realize the importance and the impact of the film song and music. And hence, we progressively see a greater effort being devoted to the music and song department. In the mid 1930s, we see two very significant directions in which the music progressed. The first was the simplification of the music itself. Coming in from the theatre mode and into the cinema, the music was very strongly rooted in the classical mold. However, as we see the rise of the Hindi film song, and its popularity amongst the viewing, and also, listening public, we see a basic transformation in the music itself – a move towards simplifying the music, and making it more accessible to as well as acceptable by the general public. Music started being recognized as something not just to be listened to and appreciated in ‘mehfils’ and ‘gaayans’ by a select coterie of connoisseurs. That the music would be popular with and will be appreciated by the general public, was a recognition with the coming of the Hindi film song. And so, the composers and music directors started to simplify the music such that it would make inroads into the hearts of the general public, and on to the lips from the hearts.

In many film and music reviews that we read from yesteryears, we find a phrase or its variation – “फलां फिल्म के गाने गली गली में सुने जाने लगे” – “the songs of such-and-such film could be heard in every street and alley”. That, I think, is the success of the composers to bring the music from its pure classical plane to a level where it would appeal to the person on the road. No, I am not at all saying that the music was made pedestrian. It was actually a very qualitative change in creating this music. It became what was later to be termed as ‘सुगम संगीत’- music for easy listening. And of course, it won a million hearts, and continues to capture the fancy of oncoming generations. Just the fact that the music from those decades still has an attraction to hold a person’s interest and appreciation – tells us volumes about the effort the song creators put into this endeavor, to ensure that the listening public would be smitten. And smitten we are – even to this day and this era.

The second aspect was a dictate of the technology. The accepted standard of the 78 rpm record could hold approximated three and a half minutes of recording. As more and more producers and production houses made decisions to release their music on records, this duration (or in some cases, its multiple) became an accepted length of the film song. And so, the challenge that the song creators had was to express what had to be expressed, convey what had to be conveyed, and meet a standard of longevity and retention in memory in just three and a half minutes. And the measure of their success – I am sure beyond their own wildest dreams – is that their creations continue to be loved and revered even after close to a century later. They were the wizards that created this lasting magic settled into the hearts of innumerable listeners.

The era of the song artists – song writers, composers and singers – getting established as institutions, was still some years off. But we do see the rise of the singer-actor icon – KL Saigal, who had already made his singing debut back in 1932. ‘Devdas’ had already happened in the previous year (1935). That iconic film once and forever transformed the image of the romantic hero, that lasts to this day. And it was the first film of its kind in which the music and songs played such a significant role in a romantic relationship. Still continuing to work at New Theatres in Calcutta (now Kolkata), the star of Saigal was rising as the first song artist being recognized as an institution.

The voice of Saigal Sb appeared in two movies this year – ‘Pujaarin’ (MD – Timir Baran) and ‘Krorepati’ (MD – Pankaj Mullick), both from New Theatres. Besides these two, New Theatres had two more releases – ‘Manzil’ and ‘Maaya’ (MDs – Pankaj Mullick and RC Boral).

Bombay Talkies released the iconic ‘Achoot Kanya’ with music by Saraswati Devi. The song “Main Ban Ki Chidiya. . .” was that type of song that was heard in “गली गली”. But wait, before we talk about this film, we must talk about another film (released somewhat earlier in the year, also by Bombay Talkie) – ‘Jeevan Naiya’. This latter film was the debut film of an unwilling actor – Ashok Kumar. Working as a lab technician in Bombay Talkies, this young man was forced into acting roles, but then he took to this career like fish to water. And he sang – in his debut film – a song to be remembered forever – “Koi Humdum Na Raha, Koi Sahaara Na Raha”. And very interestingly, the later to be renowned SN Tripathi, made his debut as a singer in this film under the baton of Saraswati Devi.

V Shantaram and Prabhat Studios released ‘Amar Jyoti’ this year. A film that told the story of Saudamini, a female pirate captain – was decades ahead of its times, in the manner in which it dealt with the subject matter and the technological aspects. The film represented India at the Venice Film Festival that year. Prabaht and V Shantaram released another film this year, which added a new term to the Indian cinematic reporting – ‘golden jubilee’. ‘Sant Tukaram’ goes on record as the first Indian film to play continuously for more than 50 weeks. The popularity of this film is legendary. There are stories about people and groups of people who would travel tens or hundreds of miles from their villages, sometimes on foot, to go see this film in the nearest town with a cinema. It is reported that ordinary people would say prayers and offer flowers to the posters of this film depicting Vishnupant Pagnis in the title role. Also sent to the Venice Film Festival, this film was applauded as one the best three films of the year, at the festival.

Singer actor Surendra Nath made his debut this year in the film ‘Deccan Queen’. His rendition of “Yaad Na Kar Dil e Hajeen Bhooli Hui Kahaaniyaan…” is a song that has lasted in history. Music directors Dhamman Khan, SN Tripathi and Ashok Ghosh made their entry into film music direction this year.

This was a time when the literary writers started gravitating towards cinema. Scholarly and established poets and authors like Zia Sarhadi, Asghar Husain ‘Shor’, Aarzoo Lakhnawi made their debuts in songwriting in Hindi films. Jaddanbai, who had made her debut as a music director in the previous year (1935) made her entry in the realm of song writing, when she penned the songs for ‘Madam Fashion’ this year.

Other important films of this year are

  • ‘Sunehra Sansaar’ from East India Company, directed by Debaki Bose
  • ‘Deccan Queen’ and ‘Manmohan’ from Sagar Movietone, both directed by Mehboob
  • ‘Jai Bharat’ from Wadia Movietone starring Sardar Mansoor and Husn Bano
  • ‘Passing Show’ from Prakash Films starring Jayant and Padma Devi
  • ‘Saeed e Hawas’ from Minerva Movietone directed by Sohrab Modi
  • ‘Maa’, produced and directed by Prafulla Ghosh; the song “Vande Maatram” appeared for the first time in cinema
  • ‘Gareeb Parwar’ or ‘Daya Ki Devi’ was finally allowed to be released this year. Originally made as ‘The Mill’ in 1934 by Ajanta Movietone, Bombay, this film was banned for public release by the British govt, as it was critical of the foreign rule under strong pressure from the powerful Mill Owners Association. This is one the first film that is based on a literary work by the famous Hindi author, Munshi Premchand.
    [Ed Note: The above corrections are based on inputs from dear Arun ji. Please see the comments below.]

A very interesting aside related to music. Wadia Movietone started a very refreshing endeavour. They started making short films on the famous and important classical music stalwarts. These films were shown without any extra charge, prior to the main feature. In that age and time, this was a great service that was rendered by the house of Wadia, both towards cinema and classical music.

Another interesting aside. We see a couple of instances where an earlier very popular film song had been copied. The first instance is the song “Birha Ki Aag Lagi Morey Mann Mein”, sung by Surendra under the baton of Pransukh Nayak. This song was an imitation of the famous “Baalam Aaye Baso Morey Mann Mein” sung by Saigal Sb for ‘Devdas’ in the previous year. Then again, we hear this song in the film ‘Miss Frontier Mail’ – “Gaawo Gaawo Ae Mere Sadhu Sabhi Bhulaawo Gham” – presented as a parody of the famous KC Dey rendition of ‘Jaao Jaao Ae Mere Saadhu Raho Guru Ke Sang”. Possibly the very first parody song of another film song in Hindi cinema.

Other snippets, ‘Seeta Vivaah’ was released as the first film in Oriya. The film ‘Shokh Dilruba’ gained a dubious distinction – with 150 kissing scenes. And IMPPA (Indian Motion Picture Producers Association) was established.

Now for some numbers for this year. As per the Geet Kosh, number of Hindi films that were censored and released is 134. From the available data and song lists, a total of 1,212 songs were created for these films. Once again, as per the information available in Geet Kosh, 136 songs from 34 of these films have been traced as having been published on gramophone records.

  1. Achhoot Kanya
  2. Amar Jyoti
  3. Amar Prem
  4. Baaghi Sipahi
  5. Bhakt Cheta
  6. Chhaaya
  7. Deccan Queen
  8. Do Deewaane
  9. Faulaadi Mukka
  10. Gol Nishan
  11. Jai Bharat
  12. Janambhoomi
  13. Jeevan Lata
  14. Jeevan Naiya
  15. Khyber Pass
  16. Krorepati
  17. Lagna Bandhan
  18. Maa
  19. Maa Ki Mamta
  20. Maaya
  21. Manmohan
  22. Manzil
  23. Miss Frontier Mail
  24. Naseeb Ka Chakkar
  25. Pahaadi Kanya
  26. Piya Ki Jogan
  27. Prem Ki Aag
  28. Pujaarin
  29. Rajput Ramani
  30. Romantic India
  31. Snehlata
  32. Sunehra Sansaar
  33. Tope Ka Gola
  34. Village Girl

In addition to the above films, based on information exchanged between the circle of collectors of this music, we have songs available from 9 more films. These are,

  1. Kimiagar
  2. Sipahsalaar
  3. Struggle
  4. Aakhri Galti
  5. Aseer e Hawas
  6. Bandits of the Air
  7. Gunehgaar
  8. Laylo Nihaar
  9. Noor e Wahdut

The song being presented with this post is from the 1936 film ‘Bandit Of The Air’ aka ‘Hawaai Daaku’.

This film has an important distinction – that it is the only one film of actor KN Singh, in which he appeared as the hero opposite to Ram Pyaari. On 1st September, just three days ago, was the birth anniversary of this ‘baddie’ cum character actor in Hindi films, with a long innings of over five decades, with more than 250 appearances on the silver screen to his credit.

A top hat, thick and bushy eyebrows – raised in a sinister question, a smoking pipe, and large menacing eyes – a hallmark appearance of this villain that lasted through many decades. His entry into the screen frame always prepared the viewers that someone is going to be bashed, or something evil is going to happen. In an interview, KN Singh recalls the following incident. AR Kardar’s ‘Baaghbaan’ (1938) had been released and KN Singh’s role as a villain had impressed one and all. KN Singh was now working on the sets of a film titled ‘Kaun Kisi Ka’ (1939). Yakub, who was then working with Sagar Movietone and was also a known villain actor, happened to come by to the same studio. Seeing KN Singh, he greeted him as “Hello King”. KN Singh responded to his greeting and said that his name is ‘Singh’ and not ‘King’. Yakub replied, “हम तो तुम्हें किंग ही कहेंगे। हम तो बस यही कहने आए हैं कि हमने अब विलेन का काम करना छोड़ देना है। अब तो गोप के साथ कामेडी किया करेंगे। क्योंकि तुम्हारी तरह हम चल नहीं सकते। तुम्हारे चल के आने में ऐसा लगता है के मुसीबत आ रही है।” (“I will call you as King only. I just came by to say that I am now giving up playing villain roles, and will join Gope and do comedy. Because I can’t even walk like you. When you walk into a scene, it seems as if some calamity is arriving”).

KN Singh was the eldest of five siblings, children of Chandi Prasad Singh, a well known advocate in Dehradun. When he was born on 1st September, 1909, his parents first named him ‘Niranjan’. Then, Chandi Prasad’s guru ji came home to bless the child, and he said – “Krishn has come to your home”. So then the complete name of child became Krishn Niranjan Singh – later to be abbreviated as KN Singh. He studied at La Martenier and Cambridge Schools in Dehradun. His father wanted to send him to London to study law, because he wanted his son to follow in his footsteps. But then a certain event happened that changed the course of life for KN Singh. A murder case came to his father. The accused was a well known rich man of Dehradun. It was a crime of passion, and a lady had been put to death. Chandi Prasad Singh was successful in getting the accused acquitted, by producing some fake train tickets to establish that the accused was not in Dehradun when the crime was committed. This falsification effected KN Singh so much that he prayed his father to relieve him of the promise of becoming a lawyer, because he would never be a party to such lying and deceit. There was a falling out and he left home and Dehradun.

With a friend he travelled to Lahore, and then to Gujranwala. There he setup a cloth printing workshop, that put prints on khadi cloth. The work was good and he soon set up another print workshop in Lahore. Then, in collaboration with another friend, he established a coaching school for students in Roorkee – K&D Tutorial Institute. In 1930, he was asked to return to Dehradun, and his parents got him married. This first marriage did not last long, as his wife unfortunately passed away in 1932. KN Singh stayed on in Dehradun.

In 1935, he went to Calcutta to visit his sister, who had shifted to Calcutta after her marriage. Now, in Dehradun, KN Singh was friends with Nityanand Khanna, a person who turns out to be a cousin of Prithviraj Kapoor. This was the time that Prithviraj was working with New Theatres in Calcutta. So KN Singh met Prithviraj and they became good friends. At Prithviraj’s residence, one day KN Singh happened to meet Debaki Bose. Debaki Bose suggested to him to become an actor. KN Singh, at first, tried to let it go as an exchange in lighter mood. He returned to Dehradun. But that suggestion kept sitting as a worm at the back of his mind. Sure enough, after a short while, he was back in Calcutta. With the help of Prithviraj, Debaki Bose cast him in the role of a doctor in the film ‘Sunehra Sansaar’ (1936). The film journey of KN Singh had started.

Very soon, the word got around the Calcutta film circles about this handsome young man from Dehradun, who could speak Urdu very well. Modern India Talkies were looking for a new face to be the hero in their next venture – ‘Bandit Of The Air’ aka ‘Hawaai Daaku’. With the promise that he would not be required to sing or jump around the trees, KN Singh agreed to take on that role. That film was also released in 1936. Meanwhile New Theatres again offered him a role in their film ‘Anaath Ashram’ (1937). This role was once again a villain’s role. Next came ‘Vidyapati’ and then ‘Milap’, both in 1937. Incidentally, ‘Milap’ was a production from Moti Mahal Theatres in Calcutta, and was produced and directed by AR Kardar himself.

His second marriage happened in 1937. He merrily describes the episode. The shooting for ‘Vidyapati’ was in progress, and he was summoned to Dehradun for getting married. In the midst of the shooting schedule, he asked for a two days reprieve, went home, got married and promptly returned to the studios, as the sets were still in place and some scenes were waiting for his return. With good humor he explains, there is a scene in the film in which he is shown about to enter the royal court of Prithviraj Kapoor. After this scene is shot, he takes leave to go home for his marriage. Then returns after two days and completes the rest of the shot of the royal court. As he explains, just before entering the ‘darbaar’  he is an unmarried person, but in the very next scene as he is inside the ‘darbaar’ and present in front of Prithviraj Kapoor, he is a married man. None in the industry would have had such a swift wedding affair, he laughs.

His presence in the film industry was being noticed seriously. AR Kardar invited him to come over to Bombay, and take on the villain’s role in his upcoming ‘Baagbaan’ (1938). After the release and success of ‘Baagbaan’ – there really was no looking back. The film went on to celebrate a golden jubilee, and KN Singh was typecast as a villain forever.

After KN Singh moved to Bombay in 1938, slowly the exodus started from Calcutta in general, and New Theatres in particular. Majority of the film artists and film music makers also migrated slowly to Bombay. Impacted by the great famine in Bengal, the closing years of the world war II, contributed to a general slowdown of the economy, and the film industry in Calcutta.

After coming to Bombay, KN Singh settled into his career as a villain cum character actor in the Bombay world of cinema. After the golden jubilee success of ‘Baaghbaan’, Ezra Mir cast him in ‘Sitaara’ (1939). Arriving in Bombay, he worked himself into the top bracket of the highest paid character actors in the industry. And with the coming of most of his old friends from Calcutta, he felt quite at home now in his flourishing career.

In Calcutta, while at New Theatres, KN Singh also became very good friends with KL Saigal. In an interview he once refreshed his old memories of the days when most of the cream of Bombay industry used to stay within a 20 to 30 minutes walking distance from each other in Central Bombay. The camaraderie within this group consisting of Prithviraj Kapoor, Shyam, Om Prakash, KN Singh, Bhagwan, Jairaj, Nargis, Kidar Sharma, KL Saigal, Madan Puri, Jagdish Sethi, Manmohan Krishan, PN Arora, Robin Chatterjee, Sitara Devi, Jayant, Anil Biswas, Dronacharya, Manna Dey, Phani Mazumdar, Brijrani, Dwarka Khosla, PN Khanna (these are the names he himself has mentioned in the interview) was of a very fond friendship. There would be frequent get-togethers and picnics, and friends would drop in unannounced, into each other homes, as well as at work in studios. He cites specifically the scene from ‘Awaara’ (1951), which is the final confrontation between Raj Kapoor and KN Singh, and in which the latter dies at the end of the scene. KN Singh is brandishing a knife, and it is supposed to fall out of his hands and come in Raj Kapoor’s possession. While the action steps were being discussed, Bhagwan Dada dropped in unannounced into the studio. Having been a stunt master earlier, he got involved into the discussion, and suggested how the scene should be executed. Raj Kapoor took that suggestion very sportingly and the scene was shot as suggested by Bhagwan Dada.

Another interesting anecdote he tells is about the film ‘Ishaara’ (1943). The lead pair was Prithviraj and Suraiya, and KN Singh was playing the role of the hero’s father. Now Prithviraj was three years elder to KN Singh. So, says KN Singh, that he formally asked for permission from Prithviraj to take on that role, because in this role he would be scolding and berating his elder cast member. The times, yes, they were different in that era.

Close to end of 1946, an ailing KL Saigal left Bombay for the last time, proceeding to his hometown Jalandhar for treatment and recuperation. He was not destined to return. It is significantly noted in many articles and information pieces – there were only two people to see him off a the Bombay station – one was his driver and the second person was KN Singh. The film ‘Parwaana’ (1947) was still under production and both Saigal Sb and KN Singh were working in it. Providentially, KN Singh is the last person of the film industry who would see Saigal Sb alive.

KN Singh’s inning in the film industry lasted well into the early nineties, a great run of more than five and half decades. The last released movie in which he appears is most likely, ‘Ajooba’ from 1991. He has worked with most actors – starting with Mazhar Khan, Prithviraj and KL Saigal, all the way upto Dharmendra, Amitabh, Rajesh Khanna, Jeetendra and Shashi Kapoor. In his later years he was troubled with failing eyesight, and was quite a bit on his own, alone and forgotten. Most of his old friends were gone by then. He passed away on 31st January, 2000.

A gentleman villain, as opposed to the angry gangster boss, his enduring image is that of a white collared villain, dressed in a fine suit and bow tie, smoking a pipe, with a menacing glance and a calm cold delivery. He was a stickler for discipline and punctuality. It is said in the industry that in his later years, like 1970s and 1980s, producers would cast him in cameo roles, just so that other members of the cast would come to the studio on time, knowing that KN Singh is also part of the team.

Time to come to the song – 🙂 . This song is the only song that is traceable in public domain, for the film ‘Bandit Of The Air’ – ‘Hawaai Daku’; the only one film in which KN Singh made an appearance as a hero, on the promise that he will not be required to sing or dance. 🙂

This film was produced under the banner of Modern India Talkies, Calcutta, and was directed by AR Chaudhry. The story of the film was written by AR Chaudhry himself. The star cast listed for this film is Ram Pyari, KN Singh, Mazhar Khan, Hashmat, Manzari, Adhar Singh, Tila Mohammad, OP Sharma, MC Kazi, Faiz Mohammad, Bachu, Poornima, Pratibha, and Master Vilayatu.

For this film, 11 songs are listed in the Geet Kosh. Music director is Motilal Nayak. The names of songwriters and singers are not identified. I request other knowledgeable readers and friends to please add more information about this song and this film.

A rare song that was created more than eight decades ago. It has been uploaded by Shalin Bhatt ji.
Listen and enjoy.

[Ed Note: This rather longish article which has been in preparation for many months now. KN Singh’s birth anniversary drove it to completion. 🙂 I have adapted material from the following sources for this article.

  • Articles on KN Singh – three print articles provided by dear friend Shri Harish Raghuvanshi ji, from Filmfare, Jansatta, and one more publication.
  • ‘Hindi Cinema – Sadi Ka Safar’ (Hindi Cinema – Journey of a Hundred Years); written by Shri Anil Bhargav
  • ‘Seventy Five Years of Indian Cinema’; by Shri Feroze Rangoonwala
  • ‘Hindi Film Sangeet – 75 Varshon Ka Safar’ (Hindi Film Music – Journey of 75 Years); written by Shri Anil Bhargav
  • Information on songs availability, supplied by Shri Girdhari Lal ji Vshwakarma, (Jodhpur) and Zafar Bhai (Delhi).
  • Hindi Film Geet Kosh Vol. 1 (1931-1940); compiled and annotated by Shri Harmandir Singh ‘Hamraaz’

]


Song – Sona Lene Piya Gaye Soona Kar Gaye Des (Bandits Of The Air) (1936) Singer – [Unknown Female Voice] , Lyrics – [Unattributed] , MD – Motilal Nayak

Lyrics

sona laane piya gaye
soona kar gaye des
sona laane piya gaye
soona kar gaye des
sona mila na piya miley
sona mila na piya miley
roopa bhayo kes
sona laane piya gaye
soona kar gaye des

main birhan ab kab tak tadpoon
tooti mann ki aas
praan pakheru kaise udd kar
pahunchen pee ke paas
pahunchen pee ke paas
loot liya mujhe is maaya ne
haaye badal ke bhes
sona laane piya gaye
soona kar gaye des

aankh se aansoo hardam barsen
jaise ho barsaat
kathin hui hai mujh birhan par
dukh ki kaali raat
koi sunaa de unko jaa kar
koi sunaa de unko jaa kar
mera ye sandes
soona kar gaye des

hardam naina neer bahaayen
dil se nikle haaye
praan sahejun piyu ko apne (??)
mann mein rahun chhupaaye
mann mein rahun chhupaaye
un bin tadpun main dukhiyari
lagi hai mann ko thes
un bin tadpun main dukhiyari
lagi hai mann ko thes
sona laane piya gaye
soona kar gaye des
soona kar gaye des

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

सोना लाने पिया गए
सूना कर गए देस
सोना लेने पिया गए
सूना कर गए देस
सोना मिला न पिया मिले
सोना मिला न पिया मिले
रूपा भयो केस
सोना लेने पिया गए
सूना कर गए देस

मैं बिरहन अब कब तक तड़पूँ
टूटी मन की आस
प्राण पखेरू कैसे उड़ कर
पहुँचें पी के पास
पहुँचें पी के पास
लूट लिया मुझे इस माया ने
हाए बदल के भेस
सोना लेने पिया गए
सूना कर गए देस

आँख से आँसू हरदम बरसें
जैसे हो बरसात
कठिन हुई है मुझ बिरहन पर
दुख की काली रात
कोई सुना दे उनको जाकर
कोई सुना दे उनको जाकर
मेरा ये सन्देस
सूना कर गए देस

हरदम नैना नीर बहाएँ
दिल से निकले हाए
प्राण सहेजूँ पिया को अपने (??)
मन में रहूँ छुपाए
मन में रहूँ छुपाए
उन बिन तड़पूँ मैं दुखियारी
लागि मन को ठेस
उन बिन तड़पूँ मैं दुखियारी
लागि मन को ठेस
सोना लेने पिया गए
सूना कर गए देस
सूना कर गए देस


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 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 : 3699 Post No. : 14618

#the Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # 72 #
#Shor Mach Gayaa Shor… Dekho Aaya Maakhanchor#
———————————————————————-

Here is wishing all a very Happy Janmashtami Festival and May god shower his love and blessings for all …

As I had said in one of my earlier articles that Seasons and Festivals also trigger some musical memories, and we already have many songs for such occasions.

Songs that bring back memories…

I have very fond memories of celebrations of Janmashtami in our colony we were staying then when I was growing.

I remember that bhajans/songs would be played on loud speakers since morning and among the many topical (Hindi/Marathi)songs played, the following songs associated with this festival got permanently engraved in my mind:-

Kanhaiyya kanhaiyaa tujhe aana padega (Maalik- 1972)
Shor march gayaa shor dekho aaya maakhan chor (Badlaa-1974)
Krishna Krishna bolo Krishna (Naya Din Nayi Raat-1974)
Govind bolo hari Gopal bolo (chhup chhup Meera roye…- Johny Mera Naam-1970)

Songs/bhajans would start since morning. That would be regularly interrupted by announcements about timings of ‘Pooja’ and ‘Prasad’ so that nobody missed them. 🙂

Then people would also be informed about the ‘Dahi Handi’ programme to be held near the Temple Complex which was an important part of this festival.

We children would eagerly wait to watch the ‘matki-phod’ and enjoy the excitement and also arranging similar ‘dahi handis’ on a ‘smaller’ or ‘very smaller’ 🙂 (if we compared it now) scale around our quarters.

And, of course, for us children the other main attraction was the ‘gopal kaala’ (Prasad specially prepared on the occasion of Janmashtami.

It was very exciting and thrilling experience to watch the seniors participating in the ‘Dahi Handi’ then. The excitement and thrill is still there even today when the programmes are held around every Janmashtami or watching the happenings in news or live on TV nowadays.

(And so when I get connected with this blog I had shared all these songs in 2012 itself, except the one from ‘Johny Mera Naam-1970’ which was already there posted on 30.06.2012.

The song from ‘Naya Din Nayi Raat-1974’ was posted on 05.09.2015, and I hope to present the remaining one from ‘Maalik-1972’ too on the blog, in future…

As I said may be there were other filmy/non-filmy songs and bhajans. But the above songs continue to grow with me and are pure nostalgia for me.
Today’s song that I am presenting herewith is full of this excitement and captures the joy and thrill in right spirit of the ‘Dahi handi’ or ‘matki fod’ during the celebration of ‘Janmashtami’ …

This song is from the 1974 movie ‘Badlaa’.

‘Badlaa-1974’ was produced by R.C. Kumar for ‘Century Films, Bombay’. It was directed by Vijay, who also wrote the Story of this movie. It had Shatrughan Sinha, Moushumi Chatterjee, Ajit, Johny Walker, supported by Padma Khanna, Alka, Shetty, Mohan Choti, Maruti, Bhagwan, Keshav Rana, Ram Mohan, Sabina, Mohan Sherry, Kamal Deep, Mac Mohan, V. Gopal, Johny Bakshi, Desh, C.S. Dubey and Mehmood.

Nirupa Roy, Arun Irani, Anwar Hussain, Paintal, Sujit Kumar, Shyama, Madan Puri, Harindranath Chattopadhyay, Iftikhar, Sudhir, Raj Mehra, Randhir, Jayshree T, Meena T, Shefali and Kajal make a guest appearance in this movie.

Screenplay for this movie was written by Jagdish Kanwal and Vijay. Jagdish Kanwal also wrote the dialogues of this movie. Editing for this movie was done by S. Chakravarty who was assisted by Herman Topno.

This movie had five songs penned by Anand Bakshi and composed by Laxmikant-Pyarelal. Asha Bhonsle, Kishore Kumar and Minoo Puroshottam gave their voices to the songs in this movie.

This movie was released with restricted viewing (A certificate) and passed by Censor Board on 07.03.1974.

I had not watched this movie so cannot say much about this movie and its performance at the box office then. I would request knowledgeable readers to throw more light on the movie and its songs.

The picturization of this today’s song seems to be inspired by the picturization of the ‘iconic govinda song’ ‘Govinda aala re aala …zara matki sambhaal brijbaalaa’.

This song was shot by Director Manmohan Desai on the streets of Bombay. This very popular song was at rank 31 in the annual ‘Binaca Geetmala’ of that year in 1963.

The next Janmashtmi song that was created after the song under discussion was from ‘Khuddaar’ in 1982 – ‘mach gayaa shor saari nagri re’ sung by Kishore Kumar and Lata Mangeshkar. Though it was popular that time it didn’t make to the annual list of ‘Binaca Geetmala’. However two other songs from the same movie were there in the annual list of ‘Binaca Geetmala’ and one of them ‘angrezi mein kehte hain ke’ was at number one.
I was under the impression that this song ‘mach gayaa shor saari nagri re’ has already been posted on the blog, however this is yet to be posted.

That brings us to the today’s song which stood at 22 in the annual list of ‘Binaca Geetmala’ of that year in 1974.

The instrumental musical interludes played in between this song will remind listeners the other song composed by Laxmikant-Pyarelal – ‘shaadi banaane ko Keshto chalaa’ from ‘Chaacha Bhatija -1977’

Let us now enjoy this wonderful song (may be forgotten now) and celebrate ‘Janmashtami’ reminding ourselves of the many aspects of Lord Krishna …

[Editor’s note-Lyrics of this song was sent by Prakashchandra as well long long ago]


Song-Shor mach gaya shor (Badlaa)(1974) Singer-Kishore Kumar, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Chorus

Lyrics(Provided by Prakashchandra)

Ho ek do teen chaar
Raju dada ke chele hoshiyaar
Ho ek do teen chaar
Raju dada ke chele hoshiyaar

Ho ek do teen chaar
Raju dada ke chele hoshiyaar

Shor mach gayaa shor
Dekho aayaa maakhanchor
Ho ho hoye
Shor mach gayaa shor
Dekho aayaa maakhanchor

Gokul ki galiyon ki oar
Chalaa niklaa maakhanchor
Nand kishore
Shor mach gayaa shor
Dekho aayaa maakhanchor

Ho ho hoye
Shor mach gayaa shor
Dekho aayaa maakhanchor

Dekhi jo gwaalon ki tolee
Tolee
Koi gujariyaa boli
Boli
Hey Dekhi jo gwaalon ki tolee
Koi gujariyaa boli
Kiski baaraat hai ye
Kiski hai doli
Doli doli
Jamunaa ke tat ki oar
Chalaa niklaa
Ho chalaa
Ho chalaa
Ho chalaa
Chalaa
Chalaa
Chalaa
Chalaa
Niklaa maakhanchor
Nand kishore
Shor mach gayaa shor
Dekho
Ho dekho
Aayaa maakhanchor
Shor mach gayaa shor
Dekho aayaa maakhanchor

Gwaalan ke peechhe daude
Daude
Kankar se matki phhode
Phhode
Hey Gwaalan ke peechhe daude
Kankar se matki phhode
Maare yashoda maa
Chori na chhode
Chhode Na chhode
Teekhe nazar ki dor
Chalaa niklaa maakhanchor
Nand Kishore
Shor mach gayaa shor
Dekho

Ho Dekho
Ho Dekho Dekho Dekho
Oye
Aaya makhanchor
Bloor Bloor
Shor mach gayaa shor
Dekho aayaa maakhanchor

Ek ke upar ek
He
Dekh tamaashaa dekh
He
Ek ke upar ek
He
Dekh tamaashaa dekh
He
Are tod matki tod
Tod
Aur oonchaa aur
Aur
Aur
Ha ha ha ha

Ek do teen chaar
Raju badaa hoshiyaar
Ek do teen chaar
Raju badaa hoshiyaar
Hoshiyaar
Hoshiyaar
Gir naa jaanaa mere yaar
Hoshiyaar
Hoshiyaar

Khabardaar

Ek ke upar ek
He
Dekh tamaashaa dekh
He
Ek ke upar ek
He
Dekh tamaashaa dekh
He
Tod matki tod
Tod
Aur oonchaa aur
Aur
Aur
aur
aur
aur
Hurr Hurr Hurr
Aur Aur aur aur
Hurr Hurr Hurr
He

——————————————–
Lyrics in Devnagri Script (Provided by Avinash Scrapwala)
——————————————

हो एक दो तीन चार
राजू दादा के चेले होशियार
हो एक दो तीन चार
राजू दादा के चेले होशियार

हो एक दो तीन चार
राजू दादा के चेले होशियार

शोर मच गया शोर
देखो आया माखनचोर
हो हो होए
शोर मच गया शोर
देखो आया माखनचोर

गोकुल की गलियों की ओर
चला निकला माखनचोर
नन्द किशोर
शोर मच गया शोर
देखो आया माखनचोर

हो हो होए
शोर मच गया शोर
देखो आया माखनचोर

देखी जो ग्वालों की टोली
टोली
कोई गुजरिया बोली
बोली
हे ए देखी जो ग्वालों की टोली ई
कोई गुजरिया बोली ई
किसकी बारात है ये ए
किसकी है डोली
डोली
डोली

जमुना के तट की ओर
चला निकला
हो चला हो चला
हो चला
चला
चला
चला
चला
निकला माखनचोर
नन्द किशोर
शोर मच गया शोर
देखो ओ
आया माखनचोर
शोर मच गया शोर
देखो आया माखनचोर

ग्वालन के पीछे दौड़े
दौड़े
कंकर से मटकी फोड़े
फोड़े
हे ग्वालन के पीछे दौड़े ए
कंकर से मटकी फोड़े
मारे यशोदा माँ आ
चोरी न छोड़े
छोड़े न छोड़े
तीखे नज़र की डोर
चला निकला माखनचोर
नन्द किशोर
शोर मच गया शोर
देखो

हो देखो
हो देखो देखो देखो
ओये
आया माखनचोर
ब्रुर्र र र र अ
शोर मच गया शोर
देखो आया माखनचोर

एक के ऊपर एक
हे
देख तमाशा देख
हे
एक के ऊपर एक
हे
देख तमाशा देख
हे
अरे तोड़ मटकी तोड़
तोड़
और ऊँचा और
और
और
ओ हा हा हा हा

एक दो तीन चार
राजू बड़ा होशियार
एक दो तीन चार
राजू बड़ा होशियार
होशियार
होशियार
गिर ना जाना मेरे यार
होशियार
होशियार …
ख़बरदार !

एक के ऊपर एक
एक
देख तमाशा देख
देख
एक के ऊपर एक
एक
देख तमाशा देख
देख
तोड़ मटकी तोड़
तोड़
और ऊंचा और
और
और और और और
हुर्र हुर्र हुर्र हुर्र
हे ए


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

Blog Day : 3697 Post No. : 14614

In the early 1930s, New Theatres (NT) of Calcutta (Kolkata) had become the ‘sanctuary’ for Hindi film artists from Bombay (Mumbai), Lahore and for upcoming artists for better prospects. Some of the prominent Hindi film artists who had joined NT were K L Saigal, Prithviraj Kapoor, Durga Khote, Mazhar Khan, M Kumar, Jagdish Sethi, Kidar Sharma, Aarzoo Lucknowi, K N Singh, Bikram Kapoor Hiralal, Sitara Devi among many others.

Between the end of the 1930s and the beginning of 1940s, almost all of the above mentioned artists left NT to join the Bombay film industry. At the outset, it would appear that they had shifted to Mumbai for better opportunity and prospects in their filmy careers as the number of Hindi films produced in Mumbai far exceeded that from Kolkata. However, there was one more reason for the artists leaving NT and it had something to do with the way the system of film making in NT worked.

Most of the films produced in NT were simultaneously made in Bengali and Hindi based mostly on the Bengali stories. So the film was shot scene by scene first in Bengali with actors for Hindi version being asked to copy the way the Bengali actors acted and delivered dialogues. There was not much of creative freedom for Hindi actors. The same was true for the screen-play and dialogue writers for Hindi version as they only had to provide verbatim translation from the Bengali version.

Kidar Sharma who worked with NT as screen-play and dialogue writer in addition to writing lyrics for the Hindi versions, left NT sometime in 1939 due to creative differences with director Debaki Bose. Also he had an ambition to become a director which was not possible in NT as they preferred directors well versed in Bengali literature for the reason that most of their films were based on Bengali stories. After directing films ‘Aulad’ (1939) and ‘Chitralekha’ (1941) for Film Corporation of India, Kolkata, Kidar Sharma joined Ranjit Movietone on 3/10/1941.

‘Armaan’ (1942) was first film of Kidar Sharma for Ranjit Movietone. Apart from directing the film, Kidar Sharma also wrote the story, screen-play, dialogues and lyrics. The star cast included Motilal and Shamim Bano in the lead roles supported by Nagendra Majumdar, Meera, Bhagwandas, A Shah Shikarpuri, Nazir Bedi, Reva Shankar, Rajendra Singh etc.

There are a couple of interesting trivia while selecting the lead actors for the film. Kidar Sharma wanted to cast Motilal as the lead actor who was not attached to any studios. But he used to work in Ranjit Movietone’s films with an understanding that he would choose the director. Motilal agreed to work with Kidar Sharma on three conditions. First, he would work with a fixed schedule from 9.00 A.M. to 6.00 PM. Second, he would not work on Sundays. And lastly, he would not attend rehearsals. Since Kidar Sharma had fixation about Motilal for his natural acting, he agreed with all his three conditions. However, during the shooting of the film, Motilal himself broke two of his three conditions, rehearsing the scenes and working beyond 6.00 p.m.

When Kidar Sharma selected Shamim Bano (niece of Khurshid Bano, the top actress of Ranjit Movietone) as the lead actress for the film, Chandulal Shah, the boss of Ranjit Movietone had warned him that Khursheed Bano would never work with him as she was jealous of her niece. However, Kidar Sharma not only went ahead with his choice of heroine for the film, he also directed Khursheed Bano in one of his Ranjit Movietone’s films ‘Mumtaz Mahal’ (1944). These are anecdotes which have been mentioned in Kidar Sharma’s autobiography ‘The One and Lonely Kidar Sharma’ (2002).

The gist of the story of ‘Armaan’ (1942) based on the review of the film appeared in October 1942 issue of ‘Filmindia’ is as under:

Prince Kanwal (Motilal) the son of a big zamindar of Ballabhgadh travels to a nearby village to commission the renovation of old paintings to village artist Vyas (Nagendra Mazumdar) who lives with his only daughter, Meera (Shamim). Meera who has seen the Prince in the village with his big car, falls in love with him but Prince is not aware of it. The prince has also given Vyas the task of decorating his palace hall with murals.

Prince has a scientific bend of mind and is doing research in his laboratory of a magical ray that registers the feelings of pains and pleasure. One day during his experimentation of rays, Prince becomes blind. In the meanwhile, Vyas, the artist and his daughter, Meera visit Ballabhgadh for commencing the work of decorating palace with murals. Meera accidentally meets Prince in his palace garden and enters into conversation with him without realising that the Prince has become blind. When she come to know about his blindness, she becomes romantically close to him which Prince reciprocate.

The romance progresses to the dislike of Prince’s uncle (Bhagwandas) who is also the Diwan of Ballabhgadh. He pressurises the King to separate the two by sending Prince out of Ballabhgadh on some pretext. Meera is heart-broken. Meera’s conditions make Vyas worrisome and one day in the fit of depression, he commits suicide. Meera is now orphan. She decides to devote her entire life to the service of God.

One day, Meera meets a Sadhu whose asceticism is shattered after seeing Meera. Very soon, Sadhu starts making some indecent advances. Hearing the story of the blindness of Prince, Sadhu promises Meera that his medicine would restore the eye sight of Prince. But Meera has to pay the cost (in terms of her submission to him). She agrees provided the eye-sight is restored. When the medicine is ready, Meera kills Sadhu and runs away with the medicine to the palace only to find that Prince has become the King after the death of his father.

Meera is not allowed to enter the palace. However, she is compelled to hand over the medicine to one of the dancing girl so that if successful in restoring the eye sight of Prince, Diwan can claim credit for the same. Prince’s eye sight is restored only to see Meera being brought to the palace as a killer of Sadhu. All evidences are against Meera. However, when Meera reveals to the King all the background, Prince recognises the voice and the lovers are united.

The film was released on 22nd August 1942 at Royal Opera House but had to be withdrawn within one day due to communal disturbances. It was once again released after a few weeks at Royal Opera House. The film was regarded as a box office success bringing Shamim Bano into the mainstream cinema.

‘Armaan’ (1942) had 9 songs, all written by Kidar Sharma and set to music by Gyan Dutt. I am presenting the first song ‘Laao To Zara Dil Ko Isey Dil Mein Chhupaaun’ sung by Shamim Bano who was paired with Motilal in the lead role.

From the wordings of the lyrics, it appears that this song was picturised in the palace garden where Shamim meets Motilal without realising that he had become blind. When Shamim comes to know about his blindness, she says ‘Let your heart be with my heart. Let my eyes become your eyes to see the whole world’.


Song – Laao To Zara Dil Ko Isey Dil Mein Chhupa Loon (Armaan) (1942) Singer – Shamim Bano, Lyrics – Kidar Sharma, MD – Gyan Dutt

Lyrics

laao to jara dil ko
isey dil mein chhupaaun
isey dil mein chhupaaun
laao to jara dil ko
isey dil mein chhupaaun
isey dil mein chhupaaun
baitho meri aankhon mein
baitho meri aankhon mein
tumhen duniya dikhhaaun
tumhen duniya dikhhaaun
baitho meri aankhon mein
tumhen duniya dikhhaaun
tumhen duniya dikhhaaun
 
kasturi hai in mein
jinhen khud soongh rahen hain
kasturi hai in mein
jinhen khud soongh rahen hain
un jhopdon mein dekho
diye oongh rahe hain
diye oongh rahe hain
un jhopdon mein dekho
diye oongh rahe hain
diye oongh rahe hain

seedhe hain ke sadhe se lagey
door khade hain
seedhe hain ke sadhe se lagey
door khade hain

aur jugnu hari jhaadion mein heere jade hain
aur jugnu hari jhaadion mein heere jade hain

aakash ke kuchch taaren hain
wo  jhaank rahe hain
aakash ke kuchch taaren hain
wo  jhaank rahe hain

aur jal mein bechaare hain jo wo
jal mein bechaare hain jo wo
kaanp rahe hain

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

लाओ तो ज़रा दिल को
इसे दिल में छुपाऊँ
इसे दिल में छुपाऊँ
लाओ तो ज़रा दिल को
इसे दिल में छुपाऊँ
इसे दिल में छुपाऊँ
बैठो मेरी आँखों में
तुम्हें दुनिया दिखाऊँ
तुम्हें दुनिया दिखाऊँ
बैठो मेरी आँखों में
तुम्हें दुनिया दिखाऊँ
तुम्हें दुनिया दिखाऊँ

कस्तूरी है इन में
जिन्हें कुछ सूंघ रहे हैं
कस्तूरी है इन में
जिन्हें कुछ सूंघ रहे हैं
उन झोपड़ों में देखो
दिये ऊंघ रहे हैं
दिये ऊंघ रहे हैं
उन झोपड़ों में देखो
दिये ऊंघ रहे हैं
दिये ऊंघ रहे हैं

सीधे हैं के सधे से लगे
दूर खड़े हैं
सीधे हैं के सधे से लगे
दूर खड़े हैं

और जुगनू हरी झाड़िओं में हीरे जड़े हैं
और जुगनू हरी झाड़िओं में हीरे जड़े हैं

आकाश से कुछ तारे हैं
वो झांक रहे हैं
आकाश से कुछ तारे हैं
वो झांक रहे हैं

और जल में बेचारे हैं जो वो
जल में बेचारे हैं जो वो
काँप रहे हैं


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

Blog Day : 3695 Post No. : 14612

Month of August is full of so many National memories. Whenever we celebrate 9th August or 15th August, there will be invariably references of martyrs who dedicate their lives for the nation. We fought one war with China and four with Pakistan, and our loss of ‘shaheeds‘ was substantial.

Jaidev ji composed these Pt Narendra Sharma’s expressive lyrics in the voice of Lata ji. He recorded the same song with the voice of Asha ji and even that is equally popular.

(After the China war Lata and Asha had practised with a song of Pradeep ji, composed by C Ramchandra. But when Lata ji sang it ALONE on 26th January function at New Delhi, it became a much discussed controversy, as everybody will recall.)

The lyrics are so impressive and expressive, that there is no need for longer explanation. I am sure that the listeners of the song will become totally emotional.


Song: Jo Samar Mein Ho Gaye Amar (Patriotic NFS)(1962) Singers: Lata Mangeshkar, Lyrics: Pt Narendra Sharma, Music: Jaidev

Lyrics

jo samar mein ho gaye amar
main un ki yaad mein
gaa rahii huun aaj shradhdhaa-geet
dhanyavaad mein
jo samar mein ho gaye amar
main un ki yaad mein
gaa rahii huun aaj shradhdhaa-geet
dhanyavaad mein
jo samar mein ho gaye amar
 
laut kar na aayenge
vijay dilaane waale veer
mere geet anjali mein
un ke liye nayan-neer
laut kar na aayenge
vijay dilaane waale veer
mere geet anjali mein
un ke liye nayan-neer
sang phool-paan ke
rang hai nishaan ke
shoorveer aan ke
jo samar mein ho gaye amar
main un ki yaad mein
gaa rahii huun aaj shradhdhaa-geet
dhanyavaad mein
jo samar mein ho gaye amar

vijay ke phool khil rahe hain
phool adh-khile jhare
unke khoon se hamaare
khet baag ban harey
vijay ke phool khil rahe hain
phool adh-khile jhare
unke khoon se hamaare
khet baag ban harey
dhruva hain kraanti-gaan ke
surya nava-vihaan ke
shoorveer aan ke
jo samar mein ho gaye amar
main un ki yaad mein
gaa rahii huun aaj shradhdhaa-geet
dhanyavaad mein
jo samar mein ho gaye amar
 
wo gaye ke reh sakey
swatantrata swadesh ki
vishwa bhar mein maanyataa ho
mukti ke sandesh ki
wo gaye ke reh sakey
swatantrata swadesh ki
vishwa bhar mein maanyataa ho
mukti ke sandesh ki
praan desh-praan ke
moorti swaabhimaan ke
shoorveer aan ke
jo samar mein ho gaye amar
main un ki yaad mein
gaa rahii huun aaj shradhdhaa-geet
dhanyavaad mein
jo samar mein ho gaye amar
main un ki yaad mein
gaa rahii huun aaj shradhdhaa-geet
dhanyavaad mein
jo samar mein ho gaye amar

——————————————————
Hindi script lyrics (Provided by Bharat Upadhyay)
——————————————————

जो समर में हो गए अमर
मैं उनकी याद में
गा रही हूँ आज श्रद्धा गीत
धन्यवाद में
जो समर में हो गए अमर
मैं उनकी याद में
गा रही हूँ आज श्रद्धा गीत
धन्यवाद में
जो समर में हो गए अमर …

लौट कर न आएंगे
विजय दिलाने वाले वीर
मेरे गीत अंजली में
उनके लिए नयन-नीर
लौट कर न आएंगे
विजय दिलाने वाले वीर
मेरे गीत अंजली में
उनके लिए नयन-नीर
संग फूल-पान के
रँग हैं निशान के
शूर वीर आन के
जो समर में हो गए अमर
मैं उनकी याद में
गा रही हूँ आज श्रद्धा गीत
धन्यवाद में
जो समर में हो गए अमर …

विजय के फूल खिल रहे हैं
फूल अध-खिले झरे
उनके खून से हमारे
खेत बाग बन हरे
विजय के फूल खिल रहे हैं
फूल अध-खिले झरे
उनके खून से हमारे
खेत बाग बन हरे
ध्रुव हैं क्राँति-गान के
सूर्य नव-विहान के
शूर वीर आन के
जो समर में हो गए अमर
मैं उनकी याद में
गा रही हूँ आज श्रद्धा गीत
धन्यवाद में
जो समर में हो गए अमर …

वो गए कि रह सके
स्वतंत्रता स्वदेश की
विश्व भर में मान्यता हो
मुक्ति के संदेश की
वो गए कि रह सके
स्वतंत्रता स्वदेश की
विश्व भर में मान्यता हो
मुक्ति के संदेश की
प्राण देश-प्राण के
मूर्ति स्वाभिमान के
शूर वीर आन के
जो समर में हो गए अमर
मैं उनकी याद में
गा रही हूँ आज श्रद्धा गीत
धन्यवाद में
जो समर में हो गए अमर
मैं उनकी याद में
गा रही हूँ आज श्रद्धा गीत
धन्यवाद में
जो समर में हो गए अमर …


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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 TEN years. This blog has over 14600 song posts by now.

This blog is active and online for over 3700 days since its beginning on 19 july 2008.

Total number of songs posts discussed

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Movies with all their songs covered =1147
Total Number of movies covered =3997

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