Archive for the ‘Devnagri script lyrics by Sudhir’ Category
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This article is written by Mahesh Mamadapur, 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.
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Blog Day : |
5185 | Post No. : | 17164 |
28th Sept 2022 marks the first birthday of Lata Mangeshkar without her physical presence in this world. Due to old age and couple of hospitalizations at the fag end of her life, her passing away on that fateful day of 06th Feb 2022 was not really shocking so to say.
But then, an emptiness befell upon music lovers all over the world. It was as if a part of our lives was lost forever. It was a different kind of mourning; one of helplessness and the bare truth that such a soul would never be born again. And such is a gargantuan legacy of work left behind that one can only sit back and wonder how an individual could achieve so much in a single life. It is not about the span-life of her singing or the number of songs that she has sung, but of the utmost dedication, sincerity to her career and the love of the masses that she received.
Calling her the greatest singer ever would arguably be an understatement. Love for her voice knows no religion, caste, creed or man made international boundaries. For her voice touched the innermost recesses of human souls. The voice that she has left behind has amalgamated with the atmosphere and will continue to regale music lovers for generations to come.
Adjectives, honorific titles, awards are altogether too, a pale shadow compared to what she has achieved and left behind. Her work and career encompassed the entire gamut of technology from shellac records to the present cloud technology.
Blessed are we for breathing the same air, sharing an epoch and a planet with Lata Mangeshkar.
There have been many biographical posts, anecdotes, series etc. on Lata Mangeshkar on this blog. In fact, in the recently concluded long series concluded by Atul ji covers her entire singing career from first to her last song sung in HFM. Also, her wiki page is quite elaborate if one has to understand the entire spectrum of her life and career in acting, singing, composing, production etc.
There were two aspects that I wanted to include in this post, and I have to profusely apologize to readers that I could manage neither due to other priorities and paucity of time.
One was to put forth a table listing her very first one or two dozen songs irrespective of whether she sang for Hindi / Marathi or for herself / playback. There are many blogs, articles, interviews and information out there on the net containing these facts, but to have it on a well-prepared table with her songs in chronological order and then get it vetted by veterans in the field was what I was looking for.
The second was to present my interest and limited knowledge and on her association with various composers and singers. There is so much that I wish to keep on writing about her Hindi film songs. Her pronunciation of the word “hum” in the title song of ‘Barsaat’ (1949) and again the finest way she sings the word “chaar” in the duet with Shankar Dasgupta in ‘Girls’s School’ (1949) amazes me to no end. That she could so effortlessly empathize with the situation of the song on screen in her voice modulation in 1940’s itself speaks volumes as to where she was headed in her career.
Why she has a solitary song for Gyan Dutt? Why Kishore Kumar used her sparingly in his compositions? Will the solo song from the film ’26 January’ (1956) ever be heard by music lovers are some of the points that I wanted to touch upon. Let me see, how soon, I can put these thoughts on the blog.
Her association with the many composers, singers, lyricists, actors etc. can be discussed with no end. Naming a few will be a gross injustice to the many others that she sang for. I shall hence stop myself from even attempting to do so.
Coming to the song to be posted for today’s occasion and considering that most of her songs in the golden period have already been covered on the blog, I made a rather strange request to the editors to kindly offer me a good song for the occasion. I know there are many more songs yet to be covered, but then again due to time constraints, I thought, I will make this new request. 🙂
A sad, solo from late 40’s or early 50’s was what I requested for.
And guess what?
Sudhir ji promptly sent me a gem of a sad solo from 1949. My goodness! Of all the years, 1949, the year Lata Mangeshkar stamped herself as the undisputed queen of playback. Music lovers know the importance of the year 1949 and the abundant flow of melody in that particular year.
Thank you, Sudhir ji and Atul ji. I could not have asked for anything better.
So here is the gem from 1949 film ‘Rakhi’ in the mellifluous voice of one and only Lata Mangeshkar.
Wishing her a very happy birthday, I am sure the heavens and the Gods are more blessed to have Hema Hardikar aka Lata Mangeshkar amongst their midst.
Song – O Rooth Jaane Waale, Mera Qasoor Kya Hai (Rakhi) (1949) Singer – Lata Mangeshkar, Lyrics – Saarshaar Sailaani, MD – Husnlal Bhagatram
Lyrics (Provided by Sudhir)
o rooth jaane waale
o rooth jaane waale
mera qasoor kya hai
kyon pher leen nigaahen
kyon pher leen nigaahen
kyon mujhko gham diya hai
o rooth jaane waale
mera qasoor kya hai
fariyaad kar rahi hai
sehmi hui jawaani
kisko sunaaun ae dil
dukh dard ki kahaani
apne nahin jab apne
gairon se kya gila hai
o rooth jaane waale
o rooth jaane waale
mera qasoor kya hai
beete huye dinon ki
baaton ko yaad kar ke
guzri hui suhaani
raaton ko yaad kar ke
main dil ko ro rahi hoon
dil mujhko ro raha hai
o rooth jaane waale
o rooth jaane waale
mera qasoor kya hai
din raat kha raha hai
gham teri berukhi ka
nazdeek aa raha hai
anjaam zindagi ka
tu hi bata ke aise
jeene mein kya maza hai. . .
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Hindi script lyrics (Provided by Sudhir Kapur)
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ओ रूठ जाने वाले
ओ रूठ जाने वाले
मेरा कसूर क्या है
क्यों फेर लीं निगाहें
क्यों फेर लीं निगाहें
क्यों मुझको ग़म दिया है
ओ रूठ जाने वाले
मेरा कसूर क्या है
फरियाद कर रही है
सहमी हुई जवानी
किसको सुनाऊँ ए दिल
दुख दर्द की कहानी
अपने नहीं जब अपने
ग़ैरों से क्या गिला है
ओ रूठ जाने वाले
ओ रूठ जाने वाले
मेरा कसूर क्या है
बीते हुये दिनों की
बातों को याद कर के
गुज़री हुई सुहानी
रातों को याद कर के
मैं दिल को रो रही हूँ
दिल मुझको रो रहा है
ओ रूठ जाने वाले
ओ रूठ जाने वाले
मेरा कसूर क्या है
दिन रात खा रहा है
ग़म तेरी बेरुखी का
नज़दीक आ रहा है
अञ्जाम ज़िंदगी का
तू ही बता के ऐसे
जीने में क्या मज़ा है॰ ॰ ॰
- In: Babul (MD) Songs as a Singer | Devnagri script lyrics by Sudhir | Guest posts | Khurshid Bawra Songs | Lyrics by Sudhir | Lyrics contributed by readers | MD-Singer Song | Meera Shiraz Songs | Post by Arunkumar Deshmukh | qawwali | Songs of 1950s (1951 to 1960) | Songs of 1959 | Uma Devi songs | Yearwise breakup of songs
- 2 Comments
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5178 | Post No. : | 17154 |
Today’s song is from the costume/stunt film ‘Jungle King’ (1959). The film was made by Artists United, Bombay (the name reminds me of the famous Hollywood company ‘United Artists’). It was produced by a group calling itself ‘Four X’ (for reasons best known to them) composed of Morris, Akbar, Asghar and Haider. The director was Masood and the music was by the pair of Bipin-Babul. The cast was very interesting. It consisted of Shaaga, Haaydu (what strange names! Never heard them !!), Sheila Ramani, Anwar, Majnu, Kamal Mehra, Heera Sawant, Tun Tun, Kabban Mirza, Dambe, Doud, Badshah, Rampuri Mehmood, Elephant Laxmi and many others.
I have never heard such strange names of actors in any film. Shaaga, Haaydu, Dambe, Rampuri Mehmood ? Where did they get these people with such names ? That way, earlier also I have come across some queer names in stunt films, like Bajarbattoo, Chemist, Dhondu, Babu Fatty, Gareeb Nawab etc. Few years back, Dr. Surjit Singh ji had downloaded 7,000 names of actors who acted in Hindi films from 1931 to 2000, from an internet site, which is extinct now. He had put it on the RMIM forum from where I downloaded the list. But in the intervening times, with me changing my Laptop several times till today, the list was lost in transit from one Laptop to the next one. The point is there were many funnier names of actors in that list.
Old time artistes had no means of publicity like today. With TV, Social Media, WA, Fb, newspapers, glossy magazines etc, publicity is easier for modern actors. Old time actors were forgotten as soon as they stopped appearing in films. Today’s film ‘Jungle King’ (1959) is a special film because in its cast are 2 old time actors who were forgotten totally with the times. One was a heroine of the then leading heroes, who fell on bad times and accepted whatever films came her way. But wisely she got married and spent a rich and comfortable retired life. The other one was an occasional singer, who held an honorable post in All India Radio and his songs became a choice of critics in those days. Let us know more about them.
One was actress Sheila Ramani, a forgotten name today, but most of us will remember her in Navketan’s ‘Taxi Driver’ (1954) where she was cast as Anglo-Indian club dancer – Sylvie. I also remember her as the leading lady in ‘Funtoosh’ (1956), also from the banner of Navketan. Sheila was born on 2-4-1931, in Karachi. She was selected as Miss Mussoorie in 1948 and judged ‘Miss Simla’ in 1950. She made her debut as Champa, the femme fatale of ‘Badnam’ (1952), and revealed herself as a danseuse of charm in ‘Anand Math’ (1952). She was one of the few Sindhi actresses besides Sadhana, who made it big in Bollywood. She was mostly seen as an upper class mod girl in the 50s, a role she enacted to perfection all through that swinging era in films like V Shantaram’s ‘Teen Batti Char Raasta’ (1953), Sheikh Mukhtar’s ‘Mangu’ (1954), ‘Meenar’ (1954), ‘Railway Platform’ (1955), and ‘Funtoosh’ (1956).
Her uncle Sheikh Latif alias Lachchu was a famous Pakistani producer who produced films like ‘Pathan’ (1955), ‘Khizan Kai Baad’ (1955), ‘Darbar-e-Habib’ (1956) etc. Sheila visited Karachi – Pakistan on the request of her uncle, to play the lead role in Pakistani film ‘Anokhi’ (1956). The film was based on Hollywood’s ‘Fabulous Senorita’ (1952). “Gari Ko Chalana Babu, Zara Halkey Halkey Halkey, Zara Dil Ka Jaam Na Chhalkey” sung by Zubeda Khanum was the popular song from the film which did modestly good business in Pakistan. The movie’s great music was composed jointly by Timir Baran (a Bengali who came from India for this purpose) and Hassan Latif. Sheila went back to India and remained as a middle-of-the-range performer in Bombay films. In the later part of her career, she was reduced to obscure films with titles that sounded like ‘Jungle King’ (1959), and ‘The Return of Superman’ (1960) – one of the last films composed by Anil Biswas. In all, she acted in 24 films. Her last film was ‘Awaara Ladki’ (1967).
Sheila was very fond of sports, especially football and swimming. Ballroom dancing was a virtual addiction for her and she used to go out dancing as often as she could. Sheila was 5 feet four inches tall, and was so fastidious that any dress she would wear won’t be repeated for six months to come at least.
According to her son Rahul Cowasji, she retired from acting in 1962 and married Jal Edi Cowasji on 31st March 1963. Part of her family that remained in Pakistan converted to Islam. She was a Hindu. She used to live in Mumbai with her husband Jal Cowasji (President of Bombay Dyeing) till 1981. They moved to Khartoum for 3 years and then to Sri Lanka for 3 years. After her husband’s death in 1984 she migrated to Australia on her own in the late 80’s and lived in Sydney and Surfers Paradise until health problems required her to return to India in the new millennium. She used to live in her husband’s ancestral home in Mhow, near Indore (MP). She was frail and bed ridden for a few years before her death on 15-7- 2015.
Her favorite Hindi film of her career was ‘Taxi Driver’ (1954). Sheila was also the leading lady of India’s first Sindhi film after partition – ‘Abana’ (1958), in which young Baby Sadhna played her younger sister’s role. [Thanks to Cineplot for some of the information in this Biosketch].
The other one was an AIR announcer and an anchor. He was also a singer and an actor for a few films. His name was Kabban Mirza. Kabban Mirza’s name is known to very few people. He is one of those people who appeared like a comet and disappeared like a lightning. In his short stint with Hindi films, he acted in 2 films – ‘Jungle King’ (1959) (he was also the Assistant Director for this film) and ‘Murad’ (1961). He sang 1 song in the film ‘Captain Azad’ (1964) and 2 songs in the film ‘Razia Sultan’ (1983). He claimed to have sung a song “Is Pyar Ki Basti Mein” in a film called ‘Sheeba’, without getting credited. No film with the name ‘Sheeba’ is traceable, but a song with the same mukhda is found in the film ‘Jungle King’ (1959), credited to Suman Kalyanpur and Babul with chorus. We don’t find a third voice in this song. It is possible that the film ‘Sheeba’ was left incomplete and the same song was used in the film ‘Jungle King’ (1959) with Babul as the male singer.
The question is why Kabban Mirza is remembered with such a meager contribution to film acting and singing ? The answer is because of his deep voice. Mirza who briefly flirted with the film world, left a lasting impression with his songs for producer-director Kamal Amrohi’s epic, ‘Razia Sultan’.
The songs — “Aayee Zanzeer Ki Jhankar Khuda Khair Kare” and “Tera Hijr Mera Naseeb Hai” — rendered in Mirza’s deep voice, were filmed on the slave-warrior character of Yaqut played by Dharmendra in the film.
Mirza was picked out after Amrohi auditioned dozens of singers in his search for a unique voice to suit the character of the slave-warrior. The film’s music director, Khayyam, reminisces: ‘‘Kamal Saab was a perfectionist. He called over 50 singers for a voice test, but remained unconvinced. Then someone suggested Kabban Mirza who was also a popular nauhaa khan (one who sings elegy for Imam Hussain’s martyrdom during Muharram). Kamal Saab’s search ended with Mirza.’’
Overnight his popularity soared. Mirza got a few more singing offers, including for BR Chopra’s ‘Nikaah’ (1982), but his preoccupation with radio came in the way. ‘‘His voice had a unique bass, unheard of in the industry,’’ says poet-lyricist Nida Fazli who penned a song for Razia Sultan.
Kabban Mirza was born in 1937 in Hapur, Uttar Pradesh. He belonged to the Siddi community. This is a community that migrated from Central Asia/North Africa, during the time when India was ruled by Muslim dynasties. These people were brought in as slaves in the courts of the rulers of Delhi, Lucknow and other kingdoms in North India. They are also known as ‘Habshi’. It is curiously incidental that Yaqut, the slave in the court of Razia Sultan, also belonged to this ‘Habsh’ community. It sounds almost providentially ordained that the two people, separated by more than seven centuries – the original persona, and the singer who would sing for that historical character in a film, belong to the same original ethnic community. (Another very well known personality of Indian cinema belongs to this community – His real name was SYED HASSAN ALI ZAIDI. His family used to call him MIJJAN Miyan and screen name was Kumar, the actor who played the role of the sculptor in the film ‘Mughal e Azam’ (1960)).
The child in Kabban took to music and singing very early. He was drawn to the ‘nauhaa’ style of singing – the traditional ‘marsiaa’ and ‘taaziadaari’ singing on the solemn occasion of Muharram. It is noted that the child Kabban used to practice his singing with his head inserted inside a ‘matka’ (earthen pot).
As he grew up, he was recognized as a very impressive and inspiring ‘nauha-rubaan’ – a singer of traditional Muharram renderings. His voice caught the attention, and he got his break with All India Radio, in the music department. This phase of his life is not well documented, no details are available about his training in classical music and who his teachers were. But his depth of knowledge about the detailed nuances of classical ragas is well acknowledged in his presentations of the radio program ‘Sangeet Sarita’. He anchored this program for many years. He would play select film songs based on Hindustani classical music, and then described in great detail the classical basis, the raag and its variations, the sur, the taal, and their interplay. He garnered a good measure of fan following for this program.
He had joined AIR in Lucknow, but he was soon transferred to Bombay station, where he would take on the anchor role for such noteworthy programs as ‘Hawa Mahal’, ‘Sangeet Sarita’ and ‘Chhaaya Geet’, for many years. There is some mention that he was approached to sing for music director Ravi in BR Chopra’s ‘Nikaah’ (1982), but apparently his association with AIR and his popularity as the anchor of mainline radio programs, came in the way of his further association with the world of films.
The two songs of ‘Razia Sultan’ became very popular in their time – the record sales were impressive. But as destiny would have it, this rise in popularity was accompanied by the most unfortunate health news for Kabban Mirza. He was detected with cancer of the larynx. This was a stroke of extreme bad luck from which he could never recover. His voice and his throat were his vital and essential assets. And that is where fate struck its most unkind blow. He went into prolonged treatment, but eventually he had to be operated upon. The year was 1993. He recovered from surgery and returned home. Thankfully, the malady seemed to be in remission, but then never got to use his voice for any serious and significant assignments.
Mirza, who was admitted to Jaslok Hospital on May 9 after he complained of cough and neck pain, came back home minus his once-famous voice. The tracheotomy tube inserted in his windpipe allows him to breathe, not speak. ‘‘He was diagnosed with throat cancer and treated 10 years ago also. But its relapse has shattered us. He won his bread and our happiness through his voice. Now he has lost that very voice,’’ bemoans Rifat, Mirza’s daughter.
The respite from the physical predicament lasted for a decade. The problem reared its painful head once again, and in May/June 2003, he had to undergo another surgery that resulted in the removal of a significant part of his larynx, leaving him practically with no sound in his throat. His vocal communications were reduced to very limited rasping utterances at the best. This regrettable fate for someone who had once been honored with the Golden Voice Award by the AIR. He reportedly died in June 2006.
[Based on information collated from the articles by Mohd. Wajihuddin in Indian Express dt. 24-6-2003, Ganesh Vancheeswaran in scroll.in, and Sudhir ji in Blog ASAD, muVyz, HFGK and my notes, with thanks to all.]
Song- Dil Thaame Huye Baithe Hain Bechain Nazar Hai (Jungle King) (1959) Singers – Babul, Uma Devi, Meera Shiraz, Lyricist – Anjum Jaipuri, MD- Bipin Babul
Babul + Khurshid Bawra
All Chorus
Lyrics (Provided by Sudhir)
dil tha..aame huye. . .
baithe hain. . .
haaye
bechain nazar hai
dil thaame huye
dil thaame huye baithe hain
bechain nazar hai
kehte hain muhabbat jise
kuchh tumko khabar hai
dil thaame huye baithe hain
bechain nazar hai
dil thaamne ke laakh sabab hote hain nadaan
ey ey ey hey
beemar hai
eeekhiy
beemar hai khud
haan
beemar hai khud
ya hai koi dost pareshan
ya phir kisi mehmaan ke aane ki khabar hai
ya phir kisi mehmaan ke aane ki khabar hai
ey ey ey
dil thaame huye baithe hain
bechain nazar hai
kehte hain muhabbat jise
kuchh tumko khabar hai
aati hain muhabbat mein kabhi aisi bhi raaten
neend aati nahin hoti hain taaron hi se baaten
ae ji taaron hi se baaten
ho ji taaron hi se baaten
jis dil mein mohabbat ho ye usko hi khabar hai
jis dil mein mohabbat ho ye usko hi khabar hai
dil thaame huye baithe hain
bechain nazar hai
kehte hain muhabbat jise
kuchh tumko khabar hai
ho (??) pe insaan to kabhi neend naa aaye
kaanton pe bhi so jaaye jo maa lori sunaaye
hmmm hmmm hmmm
maa baap ke kadmon mein muhabbat ka nagar hai
maa baap ke kadmon mein muhabbat ka nagar hai
dil thaame huye baithe hain
bechain nazar hai
kehte hain muhabbat jise
kuchh tumko khabar hai
raste hain alag pyaar ki manzil hai magar ek
laakhon hain tamannaayen to kya khush hai magar ek
laakhon hain tamannaayen to kya khush hai magar ek
hanste huye chalna ye muhabbat ka safar hai
hanste huye chalna ye muhabbat ka safar hai
dil thaame huye baithe hain
bechain nazar hai
kehte hain muhabbat jise
hum sab ko khabar hai
dil thaame huye baithe hain
bechain nazar hai
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Hindi script lyrics (Provided by Sudhir Kapur)
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दिल थामे हुये
बैठे हैं
हाए
बेचैन नज़र है
दिल थामे हुये
दिल थामे हुये बैठे हैं
बेचैन नज़र है
कहते हैं मोहब्बत जिसे
कुछ तुमको खबर है
दिल थामे हुये बैठे हैं
बेचैन नज़र है
दिल थामने के लाख सबब होते हैं नादां
ए ए हे
बीमार है
ईखी॰ ॰ ॰
बीमार है खुद
हाँ
बीमार है खुद
या है कोई दोस्त परेशां
या फिर किसी मेहमान के आने की खबर है
या फिर किसी मेहमान के आने की खबर है
ए ए ए
दिल थामे हुये बैठे हैं
बेचैन नज़र है
कहते हैं मोहब्बत जिसे
कुछ तुमको खबर है
आती हैं मोहब्बत में कभी ऐसी भी रातें
नींद आती नहीं होती हैं तारों ही से बातें
ए जी तारों ही से बातें
हो जी तारों ही से बातें
जिस दिल में मोहब्बत हो
ये उसको ही खबर है
जिस दिल में मोहब्बत हो
ये उसको ही खबर है
दिल थामे हुये बैठे हैं
बेचैन नज़र है
कहते हैं मोहब्बत जिसे
कुछ तुमको खबर है
हो (??) पे इनसां तो कभी नींद ना आए
काँटों पे भी सो जाये जो माँ लोरी सुनाये
हम्मम हम्मम हम्मम
माँ बाप के कदमों में मोहब्बत का नगर है
माँ बाप के कदमों में मोहब्बत का नगर है
दिल थामे हुये बैठे हैं
बेचैन नज़र है
कहते हैं मोहब्बत जिसे
कुछ तुमको खबर है
रस्ते हैं अलग प्यार की मंज़िल है मगर एक
लाखों हैं तमन्नायेँ तो क्या खुश है मगर एक
लाखों हैं तमन्नायेँ तो क्या खुश है मगर एक
हँसते हुये चलना ये मोहब्बत का सफर है
हँसते हुये चलना ये मोहब्बत का सफर है
दिल थामे हुये बैठे हैं
बेचैन नज़र है
कहते हैं मोहब्बत जिसे
हम सब को खबर है
दिल थामे हुये बैठे हैं
बेचैन नज़र है
Neele gagan per laali chhaayee
Posted on: September 9, 2022
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5166 | Post No. : | 17133 |
Today’s song is a melodious song from a less known film on a well known historical name – ‘Panna Dai’ (1945). The film was made by Pradeep Pictures, Bombay. Directed by Ram Daryani, its MD was Gyan Dutt and the songs were written by Dina Nath Madhok. It had a very sparkling star cast of Durga Khote, Chandra Mohan, Meenakshi, Mubarak, M Ismail, Master Vithal, Gope, Gulab, Leela Mishra, Nana Saheb Phatak, Azuri, Baby Nalini, Ratan Piya and many others in a long list suitable for such a historical movie.
When silent films started in India in the first decade of the previous century, by the time the films became an All India attraction in subsequent years, people were attracted to this new medium of entertainment. The Radio had also started during this period – around 1923 or so – first in Bombay, then Calcutta and finally in Madras in 1924. The organised broadcasting started on 23-7-1927. However it was only audio entertainment and available only in bigger towns and with wealthy people. Films gave the visual satisfaction and from 1931 films became ‘talkie’, providing audio and visual pleasures. No wonder this medium became popular more quickly. With portable equipment, films reached nooks and corners of the entire country.
As the talkie films started, well known artistes in different fields like literature, singing, music performers and stage actors wanted to join this industry. This applied to even the most respected and well known people. The industry was also keen to get such well known artistes and hence some such people did join the industry- albeit for a short period.
Initially, Bombay being the major center for films, the local famous artistes from the Marathi community represented a sizable number in this industry. No wonder then that the famous and well known authors, stage actors, singers and musicians contributed their share in films. Famous stage actors like Bal Gandharva, Bapurao Pendharkar, Hirabai Badodekar, Sureshbabu Mane, Govindrao Tembe, PL Deshpande, GN Joshi etc. sang, gave music and acted. Writers like VS Khandekar, NS Phadke, PK Atre, HN Apte etc. wrote stories, songs and screenplays in Marathi and Hindi films.
It was not only the Marathi bigwigs from stage and literature but even from the Hindi and Urdu famous artistes came to films to give their bits. People like Narayan Prasad Betab, Pt Sudarshan, Agha Hashra Kashmiri, Pt Narottam Vyas, Amritlal Nagar, Kanhaiyalal Munshi, Safdar Aah Sitapuri, Kazi Nazrul Islam, Jigar Muradabadi etc. did some work in films.
From Gujarat too such contributors like Master Vasant, Raghunath Bramhabhatt etc. came and from Bengal a host of writers and stage actors flooded the film industry. (Names of all language artistes are only indicative and not exhaustive).
All these ‘outsiders’ contributed, enriched the films and left for their own respective fields again. One such highly respected and well known stage actor from Marathi dramas was Nana Saheb Phatak. He acted only in 4 Hindi films including today’s film ‘Panna Dai’ (1945). (Bal Gandharva did only 2 Hindi films). Here is a short bio data of Nana Saheb Phatak. it is very difficult to get such information.
‘Nana Saheb’ Phatak was a great actor in Marathi theater who left a memorable impression with his deep voice and powerful dialogue interpretation. Born Gopal Govind Phatak on June 24, 1899, he was drawn to the stage at a very young age. He is believed to have been initiated into Marathi theatre through the play ‘Raksha Bandhan’, in which he played the role of Giridhar. One of his earliest performances was in Yashwant Tipnis’s ‘Matsyagandha’ in 1919 as the old king Shantanu.
With the help of his guru, Shri Ganpatrao Joshi, a veteran actor popularly known as ‘The Garrick of Maharashtra’, Phatak reached the height of his career during his time with the Lalitkaladarsha Natak Mandali – from 1921 to 1936. The Lalitkaladarsha Natak Mandali was founded by veteran singer-actor Sangeet Surya Keshavrao Bhosale. On September 20, 1913, the mandali (troupe) premiered a new play, ‘Rakshasi Mahatvakanksha’ (‘Demonic Ambition’), written by the highly respected playwright Veer Vamanrao Gopal Joshi, at the Bombay theater. The play established Lalitkaladarsha Natak Mandali as a reputed company in the industry, and prominent playwrights began to hand over their plays to be staged by the troupe. Keshavrao Bhosle also pioneered the use of red velvet curtains in Marathi theater. During his tenure with the mandali, Phatak gained tremendous popularity performing in plays including ‘Rakshasi Mahatvakanksha’ in 1914, Warerkar’s ‘Sanyasyacha Sansar’ (‘Sanyasi’s Life’) in 1919, and ‘Sonyacha Kalash’ (‘Golden Spire’) in 1932.
Phatak also performed in films, and his major screen credits include the silent movie ‘Bajirao-Mastani’ in 1925, his role as the evil Kamsa in ‘Akashvani’ in 1934, the hero Mansingh in ‘Rajput Ramani’ in 1936, the rival poet in ‘Pratibha’ in 1937, in ‘Panna Dai’ and Shivaji in ‘Thoratanchi Kamala’ in 1941. (Only Marathi)
In 1945, he played the role of Sudhakar, the drunkard in Gadkari’s ‘Ekach Pyala’, which set a new standard for other Marathi theater performers. Phatak played this role for over 15 years. His ability to embody a variety of characters led him to perform across genres in drama, ranging from historical to mythological and social to Shakespearean. In 1954, the eminent Marathi writer Vishnu Vaman Shirwadkar, popularly known by his pen name Kusumagraj, adapted Shakespeare’s ‘Macbeth’ for the Mumbai Marathi Sahitya Sangh as ‘Rajmukut’ in Marathi. The play was directed by Herbert Marshall, a British director, and starred Nana Saheb Phatak as Macbeth and Durga Khote as Lady Macbeth. Despite stellar performances by these veteran actors, the production did not go well. Art and theater critic Dhyaneshwar Nadkarni would later attribute this failure to ‘the Indianising of Macbeth’.
Phatak continued to be interested in Shakespeare. Shirwadkar said that Phatak once asked him to write a play to suit old-school actors, so he adapted Shakespeare’s ‘King Lear’ as ‘Natasamrat’ (‘The Actor-Emperor’) in 1970 with Phatak in mind. Unfortunately, Phatak could not act in it.
Nana Saheb Phatak remained a dominant figure on the Marathi stage for over 35 years. He was bestowed with the Akademi Award for Marathi Stage Acting in 1959. He passed away 15 years later on April 8, 1974.
[Thanks to articles from map.sahpedia.org, http://www.marathifilmdata.com, and Natya kalawant from Rasrang.]
Panna Dai’s name is famous in Indian History for her personal sacrifice. She substituted her own son to save the life of the heir of the Kingdom. Her son was killed before her eyes mistaking him for the heir. Here is some information about her.
Panna Dai was a 16th century nursemaid to Udai Singh II, the fourth son of Rana Sanga. She was a Khinchi Chauhan Rajput.
In Hindi, Panna means ’emerald’ and Dai means ‘nurse’. Udai Singh was left in care of Panna, after Rani Karnavati committed Jauhar in 1535. When Udai was attacked by his uncle Banvir, Panna Dai sacrificed her own son’s life to save him.Panna Dai was the nurse of Rani Karnavati, who was the wife of Rana Sanga. In 1531, Vikramaditya, the second son of Rana Sanga, succeeded the throne after his brother Rana Ratan Singh II. He was known for being insolent and arrogant. In 1535, Chittor was attacked by Bahadur Shah, causing Karnavati to call nobles and ordinary soldiers to defend Chittor. Those who were forced to leave Mewar or were disgruntled, joined. Unfortunately, the battle was lost, leaving Chittor sacked. However, Rajputs occupied the fort as soon as Bahadur Shah left. With the fort back in Rajput control, Vikramaditya came back from Bundi to rule again.
After the defeat, Vikramaditya’s temperament didn’t improve, causing him to physically abuse a respected chieftain at the court. In this situation, Banvir (Rana Sanga’s nephew), who was the son of a non Rajput concubine of Prithviraj, joined the court. Banvir was ambitious and in 1536, he assassinated Vikramaditya. To remove all obstacles of his claim to the throne, Banvir attempted to assassinate Udai Singh. However, Panna was alerted of the situation, and she was assisted by a woman of Bari caste, who smuggled out Udai Singh from Chittor, carrying him in a basket, while Panna placed her own son, Chandan, in Udai’s place. Banvir came soon after, asking for Udai. Panna pointed at the bed, now occupied by her son, and watched as he was murdered. Banvir arranged a meeting of the court and informed the chiefs that both the heirs were deceased. He then claimed his right to the throne and appointed himself king of Mewar. Panna and Udai fled to Kumbhalgarh, where the governor was a Maheshwari Mahajan, Asa Depura, who agreed to grant Udai protection. Udai Singh was nearly 15 years of age then.
When the rumours of Udai Singh being alive reached Banvir, he called him impostor, but since Udai Singh was around 15 years of age and his maternal relatives from Bundi could recognize him, Udai Singh started getting more and more support. In 1540, Udai and a considerable force from Mewar, marched into Chittor to reclaim his throne. Banvir sent out an army to repel the attack, but he was defeated. Udai Singh was crowned the 12th Rana of the Sisodia Dynasty. His eldest son and successor Maharana Pratap was born in the same year.
[Adapted from ‘History of Rajputana’ by Raja Rajwade and wikipedia, with thanks.]
This film was the last film for Master Vithal. After this film, he retired from Hindi films (which he regretted later) and settled in Kolhapur till his death.
Let us now enjoy the second song from this film on this Blog.
Song- Neele gagan par laali chhaayee (Panna Dai)(1945) Singer- Raj Kumari, Lyricist- Deena Nath Madhok, MD- Gyan Dutt
Chorus
Lyrics
neele gagan par laali chhaayee
holi ka din aaya hai
neele gagan par laali chhaayee
holi ka din aaya hai
satiyaan tilak laga len
sooraj thhaal mein kesar laaya hai
thhaal mein kesar laaya hai
satiyaan tilak laga le
sooraj thhaal mein kesar laaya hai
thhaal mein kesar laaya hai
neele gagan par laali chhaayee
holi ka din aaya hai
neele gagan par laali chhaayee
holi ka din aaya hai
maa bete ko choom rahi hai
kaan mein uske kahti hain
maa bete ko choom rahi hai
kaan mein uske kehti hain
bhoomi ka dena kab denge
bhoomi ka dena kab denge
aaj wo shubh din aaya hai
neele gagan par laali chhaayee
holi ka din aaya hai
neele gagan par laali chhaayee
holi ka din aaya hai
tod rahi hain jag se naata
nirmal jal ki dhaara mein
tod rahi hain jag se naata
nirmal jal ki dhaara mein
bahte paani mein satiyon ne
bahte paani mein satiyon ne
man ka moh bahaaya hai
neele gagan par laali chhaayee
holi ka din aaya hai
neele gagan par laali chhaayee
holi ka din aaya hai
ek sotk se hain parwaane ae ae ae ae
ek saath jal jaayenge haan
ek saath jal jaayenge haan
ek saath jal jaayenge haan
ab tak inhi patangon ne
ab tak inhi patangon ne
jyoti ko amar banaaya hai
neele gagan par laali chhaayee
holi ka din aaya hai
neele gagan par laali chhaayee
holi ka din aaya hai
satiyaan tilak laga len
sooraj thhal mein kesar laaya hai
thhaal mein kesar laaya hai
neele gagan par laali chhaayee
holi ka din aaya hai
neele gagan par laali chhaayee
holi ka din aaya hai
————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
नीले गगन पर लाली छाई
होली का दिन आया है
नीले गगन पर लाली छाई
होली का दिन आया है
सतियाँ तिलक लगा लें
सूरज थाल में केसर लाया है
थाल में केसर लाया है
सतियाँ तिलक लगा लें
सूरज थाल में केसर लाया है
थाल में केसर लाया है
नीले गगन पर लाली छाई
होली का दिन आया है
नीले गगन पर लाली छाई
होली का दिन आया है
माँ बेटे को चूम रही है
कान में उसके कहती है
माँ बेटे को चूम रही है
कान में उसके कहती है
भूमि का देना कब देंगे
भूमि का देना कब देंगे
आज वो शुभ दिन आया है
नीले गगन पर लाली छाई
होली का दिन आया है
नीले गगन पर लाली छाई
होली का दिन आया है
तोड़ रही हैं जग से नाता
निर्मल जल की धारा में
तोड़ रही हैं जग से नाता
निर्मल जल की धारा में
बहते पानी में सतियों ने
बहते पानी में सतियों ने
मन का मोह बहाया है
नीले गगन पर लाली छाई
होली का दिन आया है
नीले गगन पर लाली छाई
होली का दिन आया है
एक सोत्क से हैं परवाने ए ए
एक साथ जल जाएंगे हाँ
एक साथ जल जाएंगे हाँ
एक साथ जल जाएंगे हाँ
अब तक इन्हीं पतंगों ने
अब तक इन्हीं पतंगों ने
ज्योति को अमर बनाया है
नीले गगन पर लाली छाई
होली का दिन आया है
नीले गगन पर लाली छाई
होली का दिन आया है
सतियाँ तिलक लगा लें
सूरज थाल में केसर लाया है
थाल में केसर लाया है
नीले गगन पर लाली छाई
होली का दिन आया है
नीले गगन पर लाली छाई
होली का दिन आया है
- In: "tasweer" song | Asha Bhonsle songs | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | Lyrics contributed by readers | Post by nahm | Rafi songs | Rafi-Asha Bhonsle duet | Songs of 1950s (1951 to 1960) | Songs of 1960 | Yearwise breakup of songs
- Leave a Comment
This article is written by nahm, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5165 | Post No. : | 17130 |
8th September – Birthday of Asha Bhonsle
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There are 25 songs tagged as ‘Tasweer’ (https://atulsongaday.me/category/tasweer-song/) song in the blog. Some of the stellar songs have missed the tag and have given a miss to the tag of ‘Tasweer’. I have listed a few such songs which I can refer to off-hand:
Tasweer Banaata Hoon Tasweer Nahin Banti
I feel as if some more significant songs are missing from my list above as well as the tagged page. So, the list is incomplete.
A ‘tasveer’ is something which tells a story. Be it a still image, a painting, a motion picture or mural. Imaginary or factual, reflection in reverse or converse. Not always needing a camera to capture it, just a glance is indelible sometimes. Moments captured in memory forever.
Some old timers in the film industry refer to movie as a ‘Tasveer’. I have forever called movies as ‘picture’. We never went to see film or movie, it was always ‘picture’. Some convent educated friends referred to them as ‘movie’ and some Kendriya Vidayala aluminis called them films. This is my own experiences, not a comment on anyone word preferences. In Urdu print, it is ‘film’ and in Hindi it is called ‘chal chitra’ translated as moving picture. So, the films moved and talked and told stories. But to tell a story, sometimes a still image is also enough. Technically, film is a roll on which the reflections are captured. What we watch on the screen is a projection of images captured on film rolls.
On the other hand, sometimes the story a ‘tasveer’ tells is incomplete for being one dimensional. The scene, the background, lighting, the capturer’s intentions, all have an impact on the story it tells. Even a panoramic photo fails capture the photographer. So, the millennials invented ‘selfies’ so that they can capture their own stories.
In our times, we have seen numerous such photos which have made history, given cause to monumental events, made unknown non-entities of the world into famous people. Also, photos which captured the events for posterity, stills which make us wonder at the creativity and unfathomable and unrecordable capability of creator of such beauty, and fabulous natural phenomena. Over the decades, there have been photos of apathy of humans around the world, which made humanity hang its heads in shame. Glory, shame, pain, ecstasy, wonder, happiness, surprise, loss and victory and many more emotions and expressions are recorded.
The camera is mechanical equipment after all. It has no feelings, so no sympathy with the subject it is capturing. It also reveals things, the subject wants to hide sometimes. I must grant it, it is a capable equipment, it captures the expression in the eyes of the subject. Mischief, despair, jealousy, pain, love, gaiety, you name it, the camera has seen it all.
I am glad to report that sometimes in gathering of friends, we forget to take selfies or pics… then we lament it on whatsapp that we didn’t click any. Better leave somethings for the mind and heart to capture. Is there a hard disk which can store as much as a human mind?
The ‘tasveer’ category song being presented here is from the film “Basant” (1960). The following 11 songs of this film are already posted in the blog.
| Song | Date of post |
|---|---|
| Peechhe hat hat hat babu chhed naa | 4 September 2009 |
| Mere dil pe lagaake darling apne naam ki chit | 20 August 2010 |
| Raaste mein ik haseen | 4 June 2012 |
| Chori chori ik ishaara ho gaya hai | 3 October 2012 |
| Baaje waala Patiyaale waala | 31 December 2012 |
| Nainon mein sooraj ki kirnen | 14 August 2013 |
| Ukkad dukkad bamba | 15 July 2014 |
| Hamne unke saamne pehle to khanzar rakh diya | 2 July 2015 |
| Mere lahange mein ghunghroo lagaa de | 11 March 2017 |
| Duniya pakki four twenty | 28 April 2017 |
| O madam Nancy you are my fancy | 16 January 2022 |
Out of 14 songs of this film, 11 are Rafi-Asha duets and trio with SD Batish. Remaining 3 are solos by Asha Bhonsle. Incidentally, I have noticed that in the blog we spell the surname of Asha as ‘Bhonsle’, where as every where else that I can see it is Bhosle. Eleven duets in a film is a record, second such record is in the film ‘Halla Gulla’ (1954), where this same pair is singing all 9 songs.
Here is the song to celebrate the 89th Birthday of Asha Bhonsle, penned by Shewan Rizvi and composed by OP Nayyar.
Song-Jee chaahta hai khench loon tasweer aap ki (Basant)(1960) Singers-Asha Bhonsle, Mohammed Rafi, Lyrics-Shewan Rizvi, MD-O P Nayyar
Lyrics
aa aaa aaaha
hmmm mmmm mmmmm hmm hmm
aa aaa aaaha
hmmm mmmm mmmmm
aa aa aaaa aaaaaaa aaaa
mmmmmm
a aa aa aaa
kitni badal gayi hai
zara chaal dekhiye
iss dillagi mein
aap ka yeh haal dekhiye
mukhde ka rang haathh ka
roomaal dekhiye
jee chaahtaa hai
khainch loon tasveer aap ki
jee chaahataa hai
khainch loon tasveer aap ki
phoolon ki tarah
aap ka chehra khilaa huaa
aa aaa aaaa aaaa
aaaa aaaa aaaaaaa
phoolon ki tarah
aap ka chehra khilaa huaa
aur uss pe kaali zulf ka
baadal ghiraa huaa
aur uss pe kaali zulf ka
baadal ghiraa huaa
parde mein chaand
husn ka aadha chhupa huaa
jee chaahataa hai
khainch loon tasveer aap ki
jee chaahataa hai
khainch loon tasveer aap ki
bikhre huye yeh baal
garebaan khulaa huaa
gardan mein ek reshmi
muffler padaa huaa
saare jahaan ka ishq
nazar mein chhupa huaa
jee chaahataa hai
khainch loon tasveer aap ki
jee chaahataa hai
khainch loon tasveer aap ki
kitni haseen hai zara
aawaaz dekhiye
aa aaa aaaa aaaa
aaaa aaaa aaaaaaa
kitni haseen hai zara
aawaaz dekhiye
aawaaz se bhi badh ke
haseen saaz dekhiye
aawaaz se bhi badh ke
haseen saaz dekhiye
sharma ke munh phiraane ka
andaaz dekhiye
jee chaahataa hai
khainch loon tasveer aap ki
jee chaahataa hai
khainch loon tasveer aap ki
aa aaa aaaha
hmmm mmmm mmmmm
aa aaa aaaha
hmmm mmmm mmmmm
aa aa aaaa aaaaaaa aaaa
————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
आ आss आहा
हम्म म्मम म्ममम ह्म्म ह्म्म
आ आss आहा
हम्म म्मम म्ममम
आ आ आsss आssssss आsss
म्ममममम
आ आ आ आss
कितनी बदल गई है
ज़रा चाल देखिये
इस दिल्लगी में आपका
ये हाल देखिये
मुखड़े का रंग
हाथ का रूमाल देखिये
जी चाहता है खींच लूँ तस्वीर आपकी
जी चाहता है खींच लूँ तस्वीर आपकी
फूलों की तरह आपका चेहरा खिला हुआ
आ आss आsss आsss
आsss आsss आssssss
फूलों की तरह आपका चेहरा खिला हुआ
और उसपे काली ज़ुल्फ का
बादल घिरा हुआ
पर्दे में चाँद हुस्न का आधा छिपा हुआ
जी चाहता है खींच लूँ तस्वीर आपकी
जी चाहता है खींच लूँ तस्वीर आपकी
बिखरे हुये ये बाल
गरेबाँ खुला हुआ
गर्दन में एक रेशमी मफ़लर पड़ा हुआ
सारे जहां का इश्क़ नज़र में छुपा हुआ
जी चाहता है खींच लूँ तस्वीर आपकी
जी चाहता है खींच लूँ तस्वीर आपकी
कितनी हसीन है ज़रा आवाज़ देखिये
आ आss आsss आsss
आsss आsss आssssss
कितनी हसीन है ज़रा आवाज़ देखिये
आवाज़ से भी बढ़ कर हसीन साज़ देखिये
शर्मा के मुंह फिराने का अंदाज़ देखिये
जी चाहता है खींच लूँ तस्वीर आपकी
जी चाहता है खींच लूँ तस्वीर आपकी
आ आss आहा
हम्म म्मम म्ममम ह्म्म ह्म्म
आ आss आहा
हम्म म्मम म्ममम
आ आ आsss आssssss आsss
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5161 | Post No. : | 17126 |
Hullo Atuldom
‘Prem Rog’ (1982) was a film produced by Raj Kapoor’s RK Film’s and directed by Raj Kapoor himself. It had Rishi Kapoor and Shammi Kapoor from the Kapoor clan heading the cast with Padmini Kolhapure, Nanda, Kulbhushan Kharbanda, Raza Murad, Leela Mishra, Sushma Seth, Bindu, Om Prakash, Kiran Vairale featuring in prominent roles/characters. Vijendra Ghatge, Rajendranath, Tanuja, Asha Sachdev, Monty Nath, Dulari and Dina Pathak featured in either special or guest appearances.
The story was based on the issue of widow remarriage which I am sure is never a dated topic. There is a very poignant dialogue which Shammi Kapoor (as Bade Raja Thakur) says towards the end of the film which meant that “we (The Thakurs) lay down rules for the public to follow and move on in life but in reality we are ourselves bound by age-old customs.” (The original dialogue, as written by Jainendra Jain is “हम लोग दोहरी ज़िंदगी जीते हैं, दूसरों के लिए और, अपने लिए कुछ और। ये सब दिखावा है। मगर हमारे यहाँ विधवा की दूसरी शादी नहीं हुआ करती।”). The story was written by Smt. Kamna Chandra. Pandit Narendra Sharma and Santosh Anand were the lyricists and Laxmikant Pyarelal were the music directors. Sudha Malhotra, Lata Mangeshkar, Suresh Wadkar and Anwar were the playback singers used.
An interesting titbit on the film is that it was the first time that Shammi Kapoor acted in a RK Film, almost 30 years after Raj Kapoor established the banner. Although they had appeared together in ‘Char Dil Char Rahen’ in 1959 and also appeared in a guest appearance in a song of Manmohan Desai’s 1981 release ‘Naseeb’. Raj Kapoor had cast Shashi Kapoor in his ‘Satyam Shivam Sundaram’ (SSS) (1978) and a few of the earlier films of RK Banner.
‘SSS’ had Padmini Kolhapure play the childhood of Zeenat Aman and ‘Prem Rog’ (after four years since “SSS”) saw Padmini play one of her first adult roles. (Nasir Hussain’s ‘Zamaane Ko Dikhana Hai’ also had Padmini play an adult role and that released before ‘Prem Rog’) Padmini went on to win the Filmfare award for Best Actress in that year.
We have four songs from film on the blog. Today we are revisiting the film on the occasion of Rishi Kapoor’s birth anniversary- he would have turned 70. He had some different types of roles post 2000 with films like ‘Raju Chacha’, ‘Kuchh Khatti Kuchh Meethi’, ‘Agneepath’ etc and he tasted a different success. The highlight of this period of his career was his on-screen reunion with Amitabh Bachchan in “102 Not Out” when both played old-aged father-son duo.
He was nominated in the Best Supporting actor and Best Actor in a Comic role for playing a 90-year-old grandfather whose heart-attack is instrumental in bringing his dysfunctional family together for a ‘final family photo’ which will be captioned “Kapoor & Sons, since 1921” (that was also the title of the movie). Chintu a.k.a Rishi Kapoor won the Filmfare for this role. Other than this he was an National Award winner for ‘Mera Naam Joker’ (1970), Filmfare award winner for ‘Bobby’ (1973).
With today’s song we shall also wish (belatedly) Pyarelal Sharma of the Laxmi-Pyare duo on turning a year younger on 3rd September. He has given us so many lovely, melodious moments since the early 60s in the company of Laxmikant Kudalkar after having started as assistants to the big-names of Bollywood music. In all 174 songs composed by the duo appeared in the Finals of Binaca Geetmala. The stats page of the blog says they have composed 2900 songs, in about 635 films, of which the blog has 942 i.e. we are not even halfway in covering the songs composed by Laxmi-Pyare. The first film of the duo came in 1963 and the last film on which they worked together was in 1998. Pyarelal has been seen on Television in recent times as special judge on many musical shows. Wishing him good health.
Here is the song in the voice of Suresh Wadkar that comes at the start of the movie. It shows Rishi Kapoor dressed simply in a shirt devoid of the blazers, jerseys and mufflers that he was famous for. The song is written by Santosh Anand.
Video
Audio (Longer)
Song-Main hoon prem rogi meri dawa to karaao (Prem Rog)(1982) Singer-Suresh Wadkar, Lyrics-Santosh Anand, MD-Laxmikant Pyarelal
Female chorus
Male chorus
All Chorus
Lyrics
(Based on Audio Clip)
ho o o
are kuchh nahin een
kuchh nahin een
are kuchh nahin een
kuch nahin een
phir kuchh nahin hai bhaata
jab rog ye lag jaata
main hoon prem rogi
haan main hoon prem rogi meri dawa to karaao
main hoon prem rogi meri dawa to karaao
jaao jaao jaao kisi vaid ko bulaao
main hoon prem rogi
phir kuchh nahin hai bhaata
jab rog ye lag jaata
main hoon prem rogi meri dawa to karaao
main hoon prem rogi
kuchh samjha aur kuchh samajh na paaya
kuchh samjha aur kuchh samajh na paaya
dil waale ka dil bhar aaya
aur kabhi socha jaayega
kya kuchh khoya
kya kuchh paaya
ja tan laage vo tan jaane
ja tan laage vo tan jaane
aisi hai is rog ki maaya
meri is halaat ko
haan meri is haalat ko najar na lagaao
meri is haalat ko nazar na lagaao
o jaao jaao kisi vaid ko bulaao
main hoon prem rogi
ho o
ho o o
ho ho ho
ho ho ho
ho ho ho ho ho ho
ho ho ho
ho ho ho
ho ho ho ho ho ho
aa aa aa aa aa
(ho ho ho)
aa aa aa aa aa
(ho ho ho)
aa aa aa aa aa
(ho ho ho ho ho ho)
aa aa aa aa aa
ho o o
ho o o
ho o o
ho o o
soch raha hoon jag kya hota
soch raha hoon jag kya hota
ismein agar ye pyaar na hota
mausam ka ehsaas na hota
gul gulshan gulzaar na hota
hone ko kuchh bhi hota par
hone ko kuchh bhi hota par
ye sundar sansaar na hota
mere in khayaalon mein
mere in khayaalon mein tum bhi doob jaao
mere in khayalon mein tum bhi doob jaao
jaao jaao jaao kisi vaid ko bulaao
main hoon prem rogi
yaaro hai wo kismat waala
prem rog jise lag jaata hai
sukh-dukh ka usey hosh nahin hai
apni lau main ram jaata hai
har pal khud hi khud hansta hai
har pal khud hi khud rota hai
ye rog laa-ilaaj sahi
phir bhi kuchh karaao
o jaao jaao jaao
are jaao jaao jaao
mere vaid ko bulaao
mera ilaaj karaao
aur nahin koi toh mere yaar ko bulaao
o jaao jaao jaao mere dildaar ko bulaao
o jaao jaao jaao mere yaar ko bulaao
main hu prem rogi
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
हो ओ ओ
अरे कुछ नहीं
कुछ नहीं
अरे कुछ नहीं
कुछ नहीं
फिर कुछ नहीं है भाता
जब रोग ये लग जाता
मैं हूँ प्रेम रोगी
हाँ’ मैं हूँ प्रेम रोगी मेरी दवा तो कराओ
जाओ जाओ जाओ किसी वैद को बुलाओ
मैं हूँ प्रेम रोगी
फिर कुछ नहीं है भाता
जब रोग ये लग जाता
मैं हूँ प्रेम रोगी मेरी दवा तो कराओ
मैं हूँ प्रेम रोगी
कुछ समझा और कुछ समझ ना पाया
कुछ समझा और कुछ समझ ना पाया
दिल वाले का दिल भर आया
और कभी सोचा जाएगा
क्या कुछ खोया
क्या कुछ पाया
जा तन लागे वो तन जाने
जा तन लागे वो तन जाने
ऐसी है इस रोग की माया
मेरी इस हालत को
हाँ मेरी इस हालत को को नज़र ना लगाओ
मेरी इस हालत को को नज़र ना लगाओ
ओ जाओ जाओ जाओ किसी वैद को बुलाओ
मैं हूँ प्रेम रोगी
हो ओ
हो ओ ओ
हो हो हो
हो हो हो
हो हो हो हो हो हो
हो हो हो
हो हो हो
हो हो हो हो हो हो
आ आ आ आ आ
(हो हो हो)
आ आ आ आ आ
(हो हो हो)
आ आ आ आ आ
(हो हो हो हो हो हो)
आ आ आ आ आ
हो ओ ओ
हो ओ ओ
हो ओ ओ
हो ओ ओ
सोच रहा हूँ जग क्या होता
सोच रहा हूँ जग क्या होता
इस में अगर ये प्यार न होता
मौसम का एहसास ना होता
गुल गुलशन गुलज़ार ना होता
होने को कुछ भी होता पर
होने को कुछ भी होता पर
ये सुंदर संसार ना होता
मेरे इन ख़यालों में
मेरे इन ख़यालों में तुम भी डूब जाओ
मेरे इन ख़यालों में तुम भी डूब जाओ
जाओ जाओ जाओ किसी वैद को बुलाओ
मैं हूँ प्रेम रोगी
यारो है वो किस्मत वाला
प्रेम रोग जिसे लग जाता है
सुख दुख का उसे होश नहीं है
अपनी लौ में राम जाता है
हर पल खुद ही खुद हँसता है
हर पल खुद ही खुद रोता है
ये रोग ला-इलाज सही
फिर भी कुछ कराओ
ओ जाओ जाओ जाओ
अरे जाओ जाओ जाओ
मेरे वैद को बुलाओ
मेरा इलाज कराओ
और नहीं कोई तो मेरे यार को बुलाओ
ओ जाओ जाओ जाओ मेरे दिलदार को बुलाओ
ओ जाओ जाओ जाओ मेरे यार को बुलाओ
मैं हूँ प्रेम रोगी’
आ आ आ आ
आ आ आ आ
आ आ आ आ
आ आ आ आ
आ आ आ आ
आ आ आ आ
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5161 | Post No. : | 17125 |
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Blog 10-Year Challenge (2012-2022) – Song No. 87
————————————————————————————–
This date ten years ago (viz 4 September 2012) saw six songs from six different movies getting covered in the blog.
Here are the details:-
| Blog post number | Song | Movie (Year) | Remarks |
|---|---|---|---|
| 6575 | O pardesi ghar aa jaa | Apna Paraaya (1942) | 2 songs covered out of 11 by now |
| 6576 | Chali aaj gori piya ki nagariya | Godaan (1963) | Movie YIPPEEE’D by now |
| 6577 | Abke na saawan barse | Kinaara (1977) | Movie YIPPEEE’D by now |
| 6578 | Justju jiski thhi usko to na paaya hamne | Umraao Jaan (1981) | Movie YIPPEEE’D by now |
| 6579 | Chhuk chhuk chhak chhak Bombay se Baroda tak | Rafoo Chakkar (1975) | 5 songs covered out of 6 by now |
| 6579 | Dard e dil dard e jigar dil mein jagaaya aap ne | Karz (1980) | Movie YIPPEEE’D by now |
We can see from the above table that four movies (out of six) whose songs were covered on this date ten years ago have since been YIPPEEE’D. That leaves us with two movies that are eligible for Blog Ten Year Challenge today (4 September 2022).
‘Rafoo Chakkar’ (1975) is one of the two eligible movies.
‘Rafoo Chakkar’ was produced by IA Nadiandwala and directed by Narinder Bedi for House of Nadiadwala, Bombay. The movie had Rishi Kapoor, Neetu Singh, Rajendranath, Faryal, Asrani, Master Chikkoo, with Paintal, Madan Puri, Anwar Hussain, Sulochana Latkar, Mumtaz Begum, Shetty, Viju Khote, Shamim, Surender Shetty, KN Singh, Sudhir, Bhagwan, Mac Mohan, Man mohan, Habib, Jankidas, M Rajan, Mohan Sherry, Hiralal, Goga, Dalpat, Sapru, Kamran, Bachan Singh, Lalita Kumari, Uma Dutt, DK Sapru, Rajan Haksar, Ramayan Tiwari, Bhushan Tiwari etc. in it.
“Rafoo Chakkar”(1975) had six songs in it. Five songs have been covered so far. Here are their details:-
| Blog post number | song | Date of post | Singer (s) |
|---|---|---|---|
| 6579 | Chhuk chhuk chhak chhak Bombay se Baroda tak | 4 September 2012 | Asha Bhonsle, Usha Mangeshkar, Mahesh Kumar |
| 8574 | Dil lena buri bala hai | 22 August 2013 | Kanchan, Usha Mangeshkar |
| 9331 | Tumko mere dil ne pukaara hai | 21 January 2014 | Shailendra Singh, Kanchan |
| 15694 | Bhajan bina chain na aaye raam | 30 June 2020 | Aziz Naazaan, Kanchan |
| 16944 | Kisi pe dil agar aa jaaye to kya hota hai | 30 April 2022 | Shailendra Singh, Asha Bhonsle |
As blog ten year challenge, here is the sixth and final song from ‘Rafoo Chakkar’ to appear in the blog. The song is sung by Kanchan. Gulshan Baawra is the lyricist. Music is composed by Kalyanji Anandji.
The song is picturised on Neetu Singh as a villain’s den song cum singing under duress song. Maqsood (the guy who plays raja in first stanza), Oscar Unger (dancer who rises from pool), Faryal, Tyron Aviet aka Bulbul (dancer), Viju Khote, Surender Shetty, Rishi Kapoor, Paintal, Jankidas, Habib, Anwar Hussain, Madan Puri, DK Sapru are also present in the picturisation.
Lyrics of the song and other details were sent to me by Prakashchandra.
With this song, all the six songs of the movie are covered. The movie ‘Rafoo Chakkar’ (1975) thus joins the list of movies that have been YIPPEEE’D in the blog.
Audio link:
video link:
Song-Ae zamaane tu kar le sitam pe sitam (Rafoo Chakkar)(1975) Singer-Kanchan, Lyrics-Gulshan Baawra, MD-Kalyanji Anandji
Lyrics(Provided by Prakashchandra)
ae zamaaney aey ae aey ae ae ae
ae zamaaney ae ae
ae zamaaney tu kar le sitam pe sitam
jinn ko milnaa hai woh milke rahengey ae
jinn ko milnaa hai woh milke rahengey ae
hum deewaaney karein kyun bahaaron ka gham
pyaar ke phool khilke rahengey ae ae
jinn ko milnaa hai woh milke rahengey
ae zamaaney aey ae ae ae ae ae
ae zamaaney
pyaar kartey hain jo
nahin dartey hain woh
na khudaa se hi aur
na kisee se ae ae
na khudaa se hi aur
na kisee se ae ae
jaan ley ye jahaan
jo hai naa meharbaan
jaan de denge hum to
khushee se aey ae ae
jaan de denge hum to khushee se ae
pyaar mein har sitam
hai gawaaraa hamein
har sitam hum to hans ke sahenge
jinn ko milnaa hai woh milke rahengey
aei zamaaney aey ae ae ae ae ae
aei zamaaney ae
hongey jitney sitam
aur nikhrengey hum
yehee gham hai wafaa ki nishaani ee
yehee gham hai wafaa ki nishaani ee
sab chaley jaayenge
ye jahaan chhod ke
pyaar kee bas rehegi nishaani ee
pyaar ki bas rahegi nishaani ee
yaad unko karegaa
ye zamaanaa sadaa
log jinkaa fasaanaa kahengey
jin ko milnaa hai woh milke rahengey
aei zamaaney tu kar ley sitam pe sitam
jin ko milnaa hai woh milke rahengey ae
jin ko milnaa hai woh milke rahengey
ae zamaaney aey ae ae ae ae ae
aei zamaaney ae aen
————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
ए ज़माने ए ए ए ए
ए ज़माने ए ए
ए ज़माने तू कर ले सितम पे सितम
जिन को मिलना है वो मिलके रहेंगे
जिन को मिलना है वो मिलके रहेंगे
हम दीवाने करें क्या बहारों का ग़म
प्यार के फूल खिल के रहेंगे
जिन को मिलना है वो मिलके रहेंगे
ए ज़माने ए ए ए ए
ए ज़माने ए ए
प्यार करते हैं जो
नहीं डरते हैं वो
ना खुदा से ही ना किसी से ए
ना खुदा से ही ना किसी से ए
जान ले ये जहां
जो है ना मेहरबान
जान दे देंगे हम तो खुशी से
जान दे देंगे हम तो खुशी से
प्यार में हर सितम
है गवारा हमें
हर सितम हम तो हंस के सहेंगे
जिन को मिलना है वो मिलके रहेंगे
ए ज़माने ए ए ए ए
ए ज़माने ए ए
होंगे जितने सितम
और निखरेंगे हम
यही ग़म है वफा की निशानी
यही ग़म है वफा की निशानी
सब चले जाएँगे
ये जहां छोड़ कर
प्यार की बस रहेगी निशानी
प्यार की बस रहेगी निशानी
याद उनको करेगा
ज़माना सदा
लोग जिनका फसाना कहेंगे
जिन को मिलना है वो मिलके रहेंगे
ए ज़माने तू कर ले सितम पे सितम
जिन को मिलना है वो मिलके रहेंगे
जिन को मिलना है वो मिलके रहेंगे
ए ज़माने ए ए ए ए
ए ज़माने ए ए
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5160 | Post No. : | 17124 |
Hullo Atuldom
A special birthday. A landmark birthday. Don’t know what it is called in other parts of the country or world; but I know it as ‘Saptadi‘ meaning 70th birthday. And this post is to wish the concerned celebrity-entertainer who is an all rounder as far as emoting is concerned. He can be a repentant son (as in ‘Jaisi Karni Waisi Bharni’ (1989)), cute and lovable father (as in ‘Jis Desh Mein Ganga Rehta Hai’ (2000)), mean police officer (remember Inspector Laxman Bhide of ‘Insaaf’ (1987)) and the most lovable characters of Nandu to Raja Babu & Crime-Master Go-Go. These are just a few of the varied roles he has enacted in his 47 years in the film industry. I am sure the readers would have guessed that today is the 70th birth date of Shakti Kapoor.
Shakti Kapoor (birth name Sunil Sikanderlal Kapoor) is married to Shivangi Kolhapure which makes him jija of Padmini Kolhapure and Tejaswini (both are actors). He is father to Shraddha Kapoor (she made her Bollywood debut in 2010) and Siddhanth Kapoor (he debuted in 2013 as an actor prior to which he was assistant to director Priyadarshan). As we can see Shakti Kapoor has passed on his passion of acting to his children too. He is an actor who is fairly good at dancing. He made a great team with Kader Khan and Asrani in the films of the 80s and 90s. For the amount of time that he has been in the public sphere there will be many of his roles, scenes, even songs filmed on him that trigger memories.
Today’s song is one such song-dance sequence which I have dug out from memory. It is from the 1987 film ‘Dance Dance’, produced and directed by B Subhash. It hads Shakti Kapoor playing friend and troupe member with upcoming singers/siblings that Mithun and Smita Patil played. He falls in love with the sister (Smita Patil) and also marries her.
The plot has Resham (Shatki Kapoor) going a little wayward after the marriage viz. having extra-marital affairs, ill-treating the pregnant wife etc. Smita Patil dies and towards the climax, Resham reforms and saves Mithun from being shot by Amrish Puri & dies.
‘Dance Dance’ had songs that were essentially dance numbers (what else, the title is a giveaway) written by Anjaan and composed by Bappi Lahiri who was also the playback singer along with Vijay Benedict and Alisha Chinai. The blog already has the song “Everybody Dance With Pa Pa Pa” from this film.
With this song we also remember Lalji Pandey who passed away this date in 1997. He started his journey in Bollywood in 1953, wrote a lot of good songs through the 60s till the 90s. Many of the songs he wrote are still popular viz. “Bina Badraa Ke Bijuriya Kaise Chamke“; “Aapke Haseen Rukh Pe Aaj Naya Noor Hai“; “Aap Ki Inaayaten Aapke Karam“; “Luk Chhip Luk Chhip Jaao Na“; “Jis Ka Koi Nahin Uska To Khuda Hai Yaaro“. If I mention “Jis Ka Mujhe Tha Intezaar” and “Khaike Paan Banaras Waala” the readers will realize that Lalji Pandey is famous as Anjaan.
He was a lyricist who worked with composers from Datta Dawjekar to OP Nayyar, RD Burman, Laxmi-Pyare, Anu Malik, Chitragupta, and all music directors of his time
Wishing Crime-Master Go-Go a very Happy Birthday and thank you Anjaan ji for this song.
Song-Super dancer aaye hain aaye hain (Dance Dance)(1987) Singers-Bappi Lahiri, Alisha Chinai, Lyrics-Anjaan, MD-Bappi Lahiri
Chorus
Lyrics
super dancer
aaye hain aaye hain
super dancer
naachenge naachenge
super dancer
gaayenge gaayenge
super
dancer
super
dancer
super dancer
aaye hain aaye hain
super dancer
naachenge naachenge
super dancer
gaayenge gaayenge
super
dancer
super
dancer
ye dance yaaron
aisi kala hai
jo har kala se juda hai
dil mein khushi ka jab josh aaye
ye tan badan jhoomta hai
naachoon
aise
tujhpe zamaana fida ho
hey hey
ke josh ye hausla ho
tera sada
hey
har dil deewaana tera ho
ho ho
saare jahaan se juda ho
teri ada
hey
super dancer
aaye hain aaye hain
super dancer
naachenge naachenge
super dancer
gaayenge gaayenge
super
dancer
super
dancer
dance
jo karte yahaan hain
wo dil
rehte jawaan hain
hain hain hain hain
dance yahaan bachchon ke
dilon ko bhi jawaan karta hai
badon ke dilon mein naya josh naya rang
bharta hai
ho o
dance
come on
please dance
yeah
dance
hey hey
dance
masti ke dhun pe hum naachen
aise har dil mein halchal machaayen
jab tak hamaari
saansen chalen
ye
wo pyaar ke geet gaayen
naachoon
aise
dil na jise bhool paaye
aaha
naachoon aise dil na jise bhool paaye
aha
ek din wahi geet gaaye
saara jahaan
hey ae
humko jo khud pe yaqeen hai
aha
kuch bhi to muskil nahin hai
phir yahaan
super dancer
aaye hain aaye hain
super dancer
nachenge nachenge
super dancer
gayenge gayenge
super
dancer
super
dancer
super dancer
super dancer
super dancer
super dancer
————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
सुपर डांसर
आए हैं आए हैं
सुपर डांसर
नाचेंगे नाचेंगे
सुपर डांसर
गाएँगे गायेंगे
सुपर
डांसर
सुपर
डांसर
सुपर डांसर
आए हैं आए हैं
सुपर डांसर
नाचेंगे नाचेंगे
सुपर डांसर
गाएँगे गायेंगे
सुपर
डांसर
सुपर
डांसर
ये डांस यारो
ऐसी कला है
जो हर कला से जुदा है
दिल में खुशी का जब जोश आए
ये तन बदन झूमता है
नाचूँ
ऐसे
तुझपे ज़माना फिदा हो
हे हे
के जोश ये हौसला हो
तेरा सदा
हे
हर दिल तेरा दीवाना हो
हो हो
सारे जहां से जुदा हो
तेरी अदा
हे
सुपर डांसर
आए हैं आए हैं
सुपर डांसर
नाचेंगे नाचेंगे
सुपर डांसर
गाएँगे गायेंगे
सुपर
डांसर
सुपर
डांसर
डांस जो करते यहाँ हैं
वो दिल रहते जवां हैं
हैं हैं हैं हैं
डांस यहाँ बच्चों के भी
दिलों को जवान करता है
बड़ों के दिलों में नया रंग नया जोश
भरता है
हो ओ
डांस
कम ऑन प्लीज डांस
हे हे
डांस
मस्ती की धुन पे हम नाचें
ऐसे हर दिल में हलचल मचाएँ
जब तक हमारी सांसें चलें
ये
वो प्यार के गीत गायें
नाचूँ
ऐसे
दिल ना जिसे भूल पाये
आहा
नाचूँ ऐसे दिल ना जिसे भूल पाये
आहा
एक दिन वही गीत गाये
सारा जहां
हे ए
हमको जो खुद पे यकीन है
आहा
कुछ भी मुश्किल नहीं है
फिर यहाँ
सुपर डांसर
आए हैं आए हैं
सुपर डांसर
नाचेंगे नाचेंगे
सुपर डांसर
गाएँगे गायेंगे
सुपर
डांसर
सुपर
डांसर
सुपर डांसर
सुपर डांसर
सुपर डांसर
सुपर डांसर
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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