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

Archive for the ‘Manna Dey songs’ Category


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

Blog Day :

4314 Post No. : 15593 Movie Count :

4293

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Hindi songs in Bangla Films: 27
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One of the many Bangla films in which Uttam Kumar paired with Supriya Devi was ‘Bilambita Loy’ (1970). The film was directed by Agragami. The star cast included Uttam Kumar, Supriya Devi, Nirmal Kumar, Deepa Chatterjee, Asit Baran, Tarun Kumar, Bimal Mitra etc. I have watched the film with English sub-titles on an OTT platform.  The film’s English sub-titles are not as good as they ought to be. They are also not properly synchronized with the scenes. Within these limitations, I could make out the story of the film as under:

Mriganka (Uttam Kumar), an upcoming painter, falls in love with Aditi (Supriya Devi), the singer during their college days. After the completion of college, they decide to get married. Aditi belongs to Christian family with a good financial status in the society whereas Mriganka belongs to an orthodox Hindu middle class family. There is opposition from both the families due to different religious and social status. Both of them get married against the wishes of their respective family. However, Aditi’s father gives some initial financial support to set up the house and also send with them Judith (Deepa Chatterjee), an orphan who has been staying with Aditi’s family since childhood, to support the newly married couple in household work.

With the help of the initial financial support from Aditi’s father, Mriganka gets a large house at a very high rent. He also furnishes the house by buying costly furniture and fixtures. In a short period of their marriage, Mriganka has spent all the money his father-in-law has given to his daughter. He has no income as he is yet to establish himself as a painter of repute. Hence his paintings remain unsold in the exhibitions. Soon, there is a financial crisis for the newly married couple.

Both Mriganka and Aditi meet their common friend Subroto (Nirmal Kumar) to get his guidance as to how to come out of their financial mess. Based on his advice, they move to a smaller house to reduce the rent outgo. Aditi who has been trained in Hindustani classical music decides to take singing as a career and becomes the radio singer. She earns her fees but not enough to run the house. Mriganka is not able to sell his paintings. So, Subroto helps him getting a job in the office. However, being a painter at heart, office work does not interest him. Within short time, he leaves the office job.

In the meanwhile, Aditi has become a famous singer. The gramophone records of her songs are sold like hot cake. She becomes very busy in her singing assignments. She has now become a celebrity. Both are now comfortable on their financial front. However, Mriganka is not able to sell any of his paintings despite getting favourable critical reviews of his paintings. He is not prepared to compromise on the subject of his paintings by which the art lovers can be enticed. Out of frustration, there is constant frictions between Mriganka and Aditi on trivial issues. Mriganka who has been a teetotaler and a non-smoker becomes an alcoholic.  The matter reaches a stage when Aditi misunderstands Mriganka in the company of a female model in her house as a muse for his painting. In the background of intense arguments, Mriganka decides to leave the house. Eventually, Mriganka and Aditi get divorce.

While Aditi’s singing career is on the upper trajectory, Mriganka’s luck is not in his favour. He decides to try his luck out of India by participating in the painting exhibitions in Europe. Despite having differences with his father, Mariganka was fortunate that at the time of the death, his father has left him   his share of savings which has come handy now to finance his trip to Europe. However, Mriganka returns to India without any success in Europe. His health has already started deteriorating forcing him to give up painting.

One day, while coming out of the church, Judith sees Mriganka walking on the road looking very sick. She takes him to her house and nurses him for few days until he recovers from his ill health. Even after that Judith visits Mriganka’s house daily to take care of his food and other daily routine. This information gets passed on to Aditi when Subroto meets her. She gets upset over the ‘scandalous’ relations between Judith and Mriganka but dismisses this information as of no concern to her.

Mriganka gets married to Judith and he is back to painting due to her encouragement. But at the back of her mind, Judith feels that she is indirectly responsible for the separation of Aditi and Mriganka as she had given a false testimony to the divorce court that she had affairs with Mriganka in order to hasten the divorce proceedings under instructions from him. Judith suffers a miscarriage and she dies in the hospital. Aditi attends the burial of Judith where Mriganka and his friend Subroto are present.

The film ends with a scene in which Aditi and Mriganka come out of the burial ground. He is about to go his way when Aditi stops him. Mriganka crosses the road with the support of Aditi holding his hand.

This film is one more example in Bangla films of ending scene being indeterminate leaving it to the audience to interpret in their own way. The first interpretation could be that it was a mere courtesy to help Mriganka to cross the road and drop him in his house in her car. Another interpretation could be that by supporting him to cross the road by holding his hand, they are united as a couple. The third interpretation which looks more probable to me is that Aditi has decided to extend her emotional support to Mriganka after the death of Judith and they remain friends.

At the outset, I thought that the story of the film is akin to Hindi film ‘Abhimaan’ (1973) in which the husband and wife who are professional singers get separated because of ego clashes. But at the end, there is an emotional reunion between the two.

In my view, in ‘Bilambita Loy’ (1970), there are no explicit ego clashes between their respective professions or between man and woman.  Even if it is there, the director has kept that at the low key. The friction points between Mriganka and Aditi arise because the former is not able to spend much time with the latter as she is quite busy in her professional work. Aditi has problem with Mriganka because he spends money on things which are not priorities like alcohol when his own earnings are not enough to get two meals a day. Neither Mriganka has problem with Aditi’s professional pursuit nor Aditi is concerned about Mriganka not able to earn income.

In the height of their frictions, it is Mriganka who decides to go for divorce to give Aditi the space in her professional pursuit. He also knows that she will not divorce him. So, he creates an impression that he has affairs with Judith to get the divorce faster. In sums, I feel that the director has handled the subject with delicate balance, avoiding the label of a feminist to Aditi and a male chauvinist to Mriganka.

‘Bilambita Loy’ (1970) has 5 songs of which one is in Hindi. The song which I am presenting is “Mann Kahaan Laago Mora Chain Ganwaayi Diyo Re’ which is a duet sung by Manna Dey and Aarti Mukherjee. The song is written by Gulzar which is set to music by Nachiketa Ghosh.

The situation of the song is that after becoming popular singer in Bangla songs, a new music director has taken Aditi for the first time to sing a Hindi song to test it in the market. His idea is that if successful, he wants her to accompany him to Mumbai to make her popular in Hindi songs which will also benefit the music director in pursuing his career in Mumbai. However, with so much happening with her in personal front, Aditi finally declines to move out of Kolkata. In real life also, Supriya Devi, after working in Mumbai for 3 films – Begaana’ (1963), ‘Aap Ki Parchhaayian’ (1964) and ‘Door Gagan Ki Chhaaon Mein’ (1964), she bid farewell to Bollywood. It is said that she refused Raj Kapoor’s offer to her of a role in ‘Mera Naam Joker’ (1970) which eventually went to Simi.

(Video)

(Audio)

Song – Mann Kahaan Laago Mora Chain Gawaai Diyo Re (Bilambita Loy)(Bangla) (1970) Singer – Manna Dey, Aarti Mukherji, Lyrics – Gulzar, MD – Nachiketa Ghosh
Manna Dey + Aarti Mukherji

Lyrics

taap chadhe to
baid bulaayi ke. . .
tan ke rog utaare
arre mann ka rog na jaaye raama
laakh jatan kar haare

 
mann kahaan laago
aiyyo. . .
arre mann kahaan laago
mora chain ganwaayi diyo re
mann kahaan laago
mora chain ganwaayi diyo re
nain laage
bairi naina
nain laage
bairi naina
raat jagaayi diyo re ae
mann kahaan laago
ho o
arre mann kahaan laago  
mora chain ganwaayi diyo re. . .

kehte naina
sunte naina
preet ki andhi do batiyaan
haan
jhooth si kaari
laagi raama
veham se lambi
ye ratiyaan
kaisa rog lagaayi diyo re. . .
o mann kahaan laago
uyi ammaa
arre mann kahaan laago
mora chain ganwaayi diyo re. . .
ae ae ae ae
man kahaan laago
mora chain ganwaayi diyo re
 
kaahe chhalken
bheegi phalken
rote hanste sapanon mein
rog lage hai
jogan jaisi
do sansaari akhiyon mein
kaun ye paath padhaayi gayo re..
mann kahaan laago
haaye
arre mann kahaan laago
mora chain ganwaayi diyo re. . .
ae ae ae ae ae

mann kahaan laago
mora chain ganwaayi diyo re
nain laage
bairi naina
nain laage
bairi naina
raat jagaayi diyo re ae
man kahaan laago
mora chain ganwaayi diyo re
hey ae ae ae ae
man kahaan laago
mora chain ganwaayi diyo re

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

ताप चढ़े तो
बैद बुलाइ के॰ ॰ ॰
तन के रोग उतारे
अरे मन का रोग ना जाये रामा
लाख जतन कर हारे

मन कहाँ लागो
अइओ॰ ॰ ॰
अरे मन कहाँ लागो
मोरा चैन गँवाई दियो रे
मन कहाँ लागो
मोरा चैन गँवाई दियो रे
नैन लागे
बैरी नैना
नैन लागे
बैरी नैना
रात जगाई दियो रे
हो ओ
अरे मन कहाँ लागो
मोरा चैन गँवाई दियो रे॰ ॰ ॰

कहते नैना
सुनते नैना
प्रीत की अंधी दो बतियाँ
हाँ
झूठ सी कारी
लागि रामा
वहम से लंबी
ये रतियाँ
कैसा रोग लगाई दियो रे॰ ॰ ॰
ओ मन कहाँ लागो
ऊई अम्मा
अरे मन कहाँ लागो
मोरा चैन गँवाई दियो रे॰ ॰ ॰
ए ए ए ए
मन कहाँ लागो
मोरा चैन गँवाई दियो रे

काहे छलकें
भीगी पलकें
रोते हँसते सपनों में
रोग लगे है
जोगन जैसी
दो संसारी अखियों में
कौन ये पाठ पढ़ाई गयो रे॰ ॰ ॰
मन कहाँ लागो
हाए
अरे मन कहाँ लागो
मोरा चैन गँवाई दियो रे॰ ॰ ॰
ए ए ए ए ए

मन कहाँ लागो
मोरा चैन गँवाई दियो रे
नैन लागे
बैरी नैना
नैन लागे
बैरी नैना
रात जगाई दियो रे
मन कहाँ लागो
मोरा चैन गँवाई दियो रे
हे ए ए ए ए ए
मन कहाँ लागो
मोरा चैन गँवाई दियो रे


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

Blog Day :

4305 Post No. : 15576

Imagine, a tall and lanky young man from India, trained to be a wrestler, and a state level sportsman from Bengal, appearing in the Indian contingent at the Olympics in 1936 / 1940 / 1944. Unfortunately (or maybe fortunately) the Olympics of 1940 and 1944 were cancelled due to the ongoing World War II. Had there been peace in the world during those years, maybe the course of history of the Hindi film music may have been different.

Well OK, the previous paragraph is quite speculative. But yes, the fact is that in his younger years, PC Dey was much more inclined towards body building and wrestling. Trained by one Gorobabu, a pehalwan of repute in Bengal, he represented his institution, Vidyasagar College of Calcutta (now Kolkata) at the state level championships and reached the finals in his category. Never mind that his uncle, the renowned KC Dey, would continue to press him to take his music training more seriously. But that was not to be so. Well, for some time at least.

The young Prabodh Chandra developed weakness in his eyesight, which became a handicap in continuing his proposed career as a wrestler. Getting into the wrestling ring with eyeglasses was never a good option. And so, this vision problem coupled with the second World War eventually decided the career path for this young man. And that, to the greater gain and benefit for the music lovers of this country.

Remembering Manna Dey, the stalwart singer of Indian film industry, on the 101st anniversary of his birth today. Born in 1919, we celebrate it today in 2020.

His uncle, KC Dey would goad him, guide him and train him with a vision to for Manna Da to become one of the top singers in the country. In 1942, KC Dey was preparing music for the film ‘Tamanna’. He called upon his nephew to sing a duet with Suraiya – “Jaago Aayee Usha. . .”. With this song, the film career of Manna Dey was launched.

A little time later, Vijay Bhatt and Shankar Rao Vyas approached KC Dey to request him for playback singing in their upcoming film – ‘Ram Rajya’ (1943). Understandably, KC Dey declined the offer, since he would never give playback to any other actor. Providence would have it that the young Manna was also in the room at that time. Vijay Bhatt then directed his attention to the nephew singer. The consent was given and the agreement was in place. Manna Dey would sing for Shankar Rao Vyas in this upcoming film. The song “Tyagmayi Tu Gayi. . .” is the first solo song recorded by Manna Da.

More recordings followed. And then we come to 1950, and the film ‘Mashaal’. The song is “Upar Gagan Vishal“. Manna Dey, and his voice have arrived on to the Hindi film stage.

But then, yes, there is more to his voice than just the film songs. There is a wonderful set of non-film songs that he has recorded during his career. I bring to attention this endearingly beautiful piece, that is written by Madhukar Rajasthani. The music composition is by Manna Da himself. A wondrous song of the first tryst between the lovers. So less words, so short and sweet. And yet, the entire saga of that encounter is ensconced in this brief song of two antaraas. A small pearl from the nose pin of the damsel, gets loose and is lost. And the poet says,

kajraari akhiyaan
reh gayin roti re. . .

Beautiful, simply delightful – that is the softness of this singing voice. Manna Dey – at 101.


Song – Sajni. . . Nathli Se Toota Moti Re (Manna Dey – NFS) (1982) Singer – Manna Dey, Lyrics – Madhukar Rajasthani, MD – Manna Dey

Lyrics

sajni..ee

sajni..ee

nathli se toota moti re
nathli se toota moti re
kajraari akhiyaan
reh gayin roti re
kajraari akhiyaan
reh gayin roti re
nathli se toota moti re
sajni..ee
nathli se toota moti re

roop ki agiya
ang mein laagi
ang mein laagi
kaise chhupaa..aaye
laaj abhaagi
laaj abhaagi
manwa. . .
kehta. . .
bhor kabhi na hoti re
kajraari akhiyaan
reh gayin roti re
nathli se toota moti re

bholi dulhaniya
palken jhukaaye
palken jhukaaye
ghunghatwa mein
sehme lajaaye
sehme lajaaye
balmaa..aa
padhaaye
preet ki pehli pothi re
kajraari akhiyaan
reh gayin roti re
nathli se toota moti re

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

सजनी॰॰ई

सजनी॰॰ई

नथली से टूटा मोती रे
नथली से टूटा मोती रे
कजरारी अखियाँ
रह गईं रोती रे
कजरारी अखियाँ
रह गईं रोती रे
नथली से टूटा मोती रे
सजनी॰॰ई
नथली से टूटा मोती रे

रूप की अगिया
अंग में लागि
अंग में लागि
कैसे छुपा॰॰आए
लाज अभागी
लाज अभागी
मनवा॰ ॰ ॰
कहता॰ ॰ ॰
भोर कभी ना होती रे
कजरारी अखियाँ
रह गईं रोती रे
नथली से टूटा मोती रे

भोली दुलहनीया
पलकें झुकाये
पलकें झुकाये
घूंघटवा में॰ ॰ ॰
सहमे लजाये
सहमे लजाये
बलमा॰॰आ
पढ़ाये
प्रीत की पहली पोथी रे
कजरारी अखियाँ
रह गईं रोती रे
नथली से टूटा मोती रे


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

Blog Day :

4305 Post No. : 15573 Movie Count :

4287

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Hindi songs in Bangla Films: 26
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Mumbai has been the leading Hindi film production centre in India ever since Dadasaheb Phalke produced the first silent film ‘Raja Harishchandra’ in 1913. After the release of India’s first talkie ‘Alam Ara’ in 1931, many more film production companies were set up in Mumbai, some of them owning the studios. The outdoor shootings, if any, in the initial stages of talkie films were done mostly in around Mumbai. It was quite natural that stories of some Hindi films would have Mumbai as the background portraying the many facets of the city. Obviously, in such films, there would be scenes from Mumbai and possibly one ‘Bombay-centric’ song.

The earliest Hindi film in which I found a song with Bombay (now Mumbai) as the theme is Bambai Ko Chalo Bambai Ko from ‘Kirti’ (1942) written by Pandit Phani. The song talks about Boribunder station (now Chatrapati Shivaji Maharaj Terminus), dhuen waali ghaadi (steam engine train), Bambai Ki Sethani, Kalkate ke babu, Marwaad ki rani, Kashi ke sadhu etc. In short, the song gives a glimpse of cosmopolitan character of Mumbai.

In the 1950s, there were two songs which, I feel, are quintessential of Mumbai even now. The first is, Ae Dil Hai Mushkil Jeena Yahaan Ye Hai Bombay Meri Jaan from ‘CID’ (1956) written by Majrooh Sultanpuri. At the outset, song would appear to be a fun song. But a closer look at the lyrics of the song would reveal that behind the fun, there is sarcasm. For example:

kahin building kahin traame, kahin motor, kahin mill
miltaa hai yahaan sab kuchh ik miltaa nahin dil
insaan kaa nahin kahin naam-o-nishaan

[Everything is available in Mumbai except love and humanity.]

Another example of sarcasm in the song:

kahin satta, kahin patta, kahin chori kahin race
kahin daaka, kahin faaka, kahin thokar, kahin thes
bekaaron ke hain kayi kaam yahaan

[There are many works available like gambling, pick-pocketing, burglary, horse racing etc. There is no dearth of employment for unemployed.]

But at the end, the song turns from the sarcasm to the theory of ‘karma’:

buraa duniyaa jo hai kahtaa aisaa bholaa tu na ban
jo hai kartaa wo hai bhartaa ye yahaan kaa hai chalan
dadagiri nahin milne ki yahaan

[By telling that the world is bad, one does not become good. Here, the motto is that one who works get the fruits of his work. Bullying will not fetch anything.]

The second song of 1950s I am referring to is about the flight of the homeless in Mumbai. The song does not have specific reference to Mumbai in its lyrics but the word ‘Boribunder’ in the lyrics is the indication as to which city the song is referring to. It is an iconic song, Cheen O Arab Hamaara Hindustan Hamaara from ‘Phir Subah Hogi’ (1958) which was written by Sahir Ludhianvi. Just three lines from the song sums of the problems of homeless in Mumbai in a sarcastic way:

rehne ko ghar nahin hai
saaraa jahaan hamaara
Hindustan hamaara

There are also songs like Jiska Joota Usi Ka Sar, Dil Hai Chhota Bada Shahar, Wah Re Wah Re Teri Bambai from ‘Guest House’ (1959) written by Prem Dhawan and Ye Bambai Shahar Ka Bada Naam Hai from ‘Kya Ye Bombay Hai’ (1959) written by Noor Devasi. Both the songs describe the life in Mumbai from different perspectives. Then there is a fun song, Ye Haseen Bambai Apne Ko To Jam Gayi from ‘Holiday in Bombay’ (1963) written by Anjaan and “Bambai Hamaari Bambai Ye Rajdulaari Bambai” from ‘Street Singer’ (1966) written by Hasrat Jaipuri.

As we come to 1970s, with the exponential growth of Mumbai as a business and commercial hub of India, Mumbai became one of the major preferred cities for migrant workers. The problems faced by migrants in Mumbai has been beautifully expressed in the song Seene Mein Jalan Aankhon Mein Toofaan Sa Kyon Hai from ‘Gaman’ (1978) written by Shahryar. The problem of finding homes for the middle class people in Mumbai who spent their bachelorhood in staying as paying guests is depicted in the song Do Deewaane Shahar Mein, Raat Mein Ya Dophar Mein, Aab O Daana Dhoondhte Hain Ek Aashiyaanaa Dhoondhte Hain from ‘Gharoanda’ (1977), written by Gulzar.

There are other ‘Bombay-centric’ songs in Hindi films which are mostly fun songs. One of the popular songs under this category is Ee Hai Bambai Nagariya Tu Dekh Babuaa from ‘Don’ (1978) written by Anjaan. I have not checked much about the songs on Mumbai in the 1980s and thereafter. But one song whose lyrics stand true to most of the migrants to Mumbai including those who came here to fulfil their dream of becoming artist in Hindi films is from an ‘off the mainstream’ film ‘Sankat City’ (2009). The apt song is “Mumbai One-Way Nagari Hai”.

All the ‘Bombay-centric’ songs I have enumerated above are from Hindi films. It was a pleasant surprise for me when I found one such Hindi song in Bangla film ‘Dui Bechaara’ (1960). The ‘Bombay’ song is “Karo Na Phere Gali Ke Mere Hanso Na Bolo Ji” sung by Geeta Dutt and Manna Dey. The song is written by Gulzar which is set to music by Bhupen Hazarika.

The film is not available for viewing. So it is difficult to visualise the situation of the song in the film. Probably, it could well be a stage song.

Audio Clip:

Song – Karo Na Phere Gali Ke Mere Hato Na Bolo Jee (Dui Bechaare) (Bangla) (1960) Singers – Geeta Dutt, Manna Dey, Lyrics – Gulzar, MD – Bhupen Hazarika
Both

Lyrics

karo na phere gali ke mere
hato na bolo ji
haay
jigar jalaa ke nazar churaa ke
kahaan chale ho ji

arre karo na phere gali ke mere
hato na bolo ji
aji jigar jalaa ke nazar churaa ke
kahaan chale ho ji

bahaane lagaaye toone
dekhi na Bambai teri
bahaane lagaaye toone
dekhi na Bambai teri
bura hai bigadna hamse
chalo aise roothho na
chalo dikhaa doon tumhen ghumaa doon
badaa shahar Bambai

puraana hai Boribunder
adda chor uchakkon kaa
puraana hai Boribundar
adda chor uchakkon kaa

badaa naam chori chakkar
rela dhool aur dhakkon kaa
badaa naam chori chakkar
rela dhool aur dhakkon kaa
aji chalo dikhaa doon
tumhen ghumaa doon
badaa shahar Bambai

o o o
anokhe tamaashe iske
kaisi ye Bambai teri
chalo dikhaa doon
tumhen ghumaa doon
badaa shahar Bambai

kinaare pe chaupati ke filmy pariyaan ghoomen
kinaare pe chaupati ke filmy pariyaan ghoomen
kahaan ko chale tum itni pahan ke oonchi patloonen
kahaan ko chale tum itni pahan ke oonchi patloonen
aji chalo dikhaa doon
tumhen ghumaa doon
badaa shahar Bambai

o o o o
anokhe tamaashe iske
kaisi ye Bambai teri
chalo dikhaa doon
tumhen ghumaa doon
badaa shahar Bambai

sharam bhi yahaan sharmaaye phere maari maari
sharam bhi yahaan sharmaaye phere maari maari

samundar mein dooben jaake maari baari baari
samundar mein dooben jaake maari baari baari
chalo main haari nakal hai saari
ajab shahar Bambai
ajji kaha thhaa hamne suna na tumne
chalo chhodo Bambai

chalo chalo chhodo Bambai
chalo chalo chhodo Bambai
chalo chalo chhodo Bambai


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

Blog Day :

4305 Post No. : 15572 Movie Count :

4286

“Gopichand”(1958) was produced by Ishwarlal and Prabhudas K Tanna and directed by Ishwarlal for Vasundhara Chitra, Bombay. This mythological movie had Shahu Modak, Shyama, B M Vyas, Prem Adib, Paro, Sundar, Malay Sarkar, Kesari, Salvi, Durga Khote etc in it.

This obscure movie had eight obscure songs in it.

Today (1 may 2020) is the 101st birth anniversary of Manna Dey (1 May 1919 – 24 October 2013). On this occasion, here is a song from “Gopichand”(1958). This song is sung by Manna Dey. Bharat Vyas is the lyricist. Music is composed by Avinash Vyas.

Only the audio of this philosophical song is available. Seeing that Manna Dey was the only male playback singer in this movie, he may have sung this song for the main actor of the movie, namely Shahu Modak.

I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.

Listening to this philosophical song has calming infuence on the senses. It is just the kind of song that one would like to listen to in view of the recent bereavements in the film industry.

With this song, “Gopichand”(1958) makes its debut in the blog.


Song-Teri duniya maati ki re (Gopichand)(1958) Singer-Manna Dey, Lyrics-Bharat Vyas, MD-Avinash Vyas

Lyrics

o o
teri duniya maati ki re ae
teri duniya maati ki re
maati ki ye kaaya
tu hi jaane alakh niranjan
is maati ki maaya re ae
is maati ki maaya
alakh niranjan
alakh niranjan
alakh niranjan

o jagat baagh ke maali ee ee ee
o jagat baagh ke maali
tu kare sabki rakhwaali
phir kaahe ujad ke
kul se bichhad ke
roye re tu nidaali ee ee ee

khile phool murjhaaye ae ae
khile phool murjhaaye
ye kyun bina khile murjhaaya aa
bina khile murjhaaya
tu hi jaane alakh niranjan
is maati ki maaya re
is maati ki maaya
teri duniya maati ki re ae
alakh niranjan
alakh niranjan

tu hi sabka paalanhaara
tu hi praan ka daata aa aa
ham sab hain santaan teri
tu parampita kehlaata aa
tu hai paalak
ye hai baalak
tu hai paalak
ye hai baalak
tu jyoti ye chhaaya
tu hi jaane alakh niranjan
is maati ki maaya re
is maati ki maaya
teri duniya maati ki re ae ae
teri duniya maati ki re
maati ki ye kaaya
tu hi jaane alakh niranjan
is maati ki maaya re
is maati ki maaya
teri duniya maati ki re


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

Blog Day :

4302 Post No. : 15566

Today’s song is from film Ram Vivah-49. This is a duet song by Manna Dey and Geeta Roy. This is the first ever duet of these singers, in their career.

Geeta, who debuted via a chorus song in 1946, won some fame with her songs in film Do Bhai-47, with music by S D Burman. However till about 1950 or so, she was still struggling to make a place in the film line. She had to compete with singers like Lata and Asha as well as Shamshad, Amirbai and Zohrabai too. Manna Dey was an occasional singer, struggling very hard to get established as either a singer or a Music Director. Good sense prevailed and he realised that singing was his forte and he concentrated on it,later. He is one of my favourite singers, who had all the merit and talent, but not a strong Luck ! He became a preferred singer for composers, whenever a Bhajan, religious song or a high pitched song was to be sung.

Film Ram Vivah-49 was was produced by Prem Adib Productions and it was the only film directed by him ever. This film came after the eminently flop film Raambaan-48, made by Prakash pictures. Actually, it was Prakash pictures who had earlier made two very successful film on Ramayan stories, namely Bharat Bhet-42 and Ramrajya-43. Enthused with the success of these two films, Prakash decided to complete Triology with one more film on Ram and Seeta. They waited for 5 years and then made Raambaan-48. The glaring mistake they made was in the film story. The first two films were largely true to the original Valmiki Ramayan. While making Raambaan, they employed their story department authors-Mohan lal Dave and Pt.Girish. They messed up with the story and made it into a poor and distorted version of Ramkatha. This caused the failure of film Raambaan-48.

Learning a lesson from this, Prem Adib stuck to the original Valmiki Ramayan. In fact the Credits show Valmiki’s name for ‘ Story ‘. Additionally, the cast consisted of almost same team with Prem Adib, Shobhana Samarth, Jeevan, Umakant, Shanta Kumari and others. Music director was Shankar rao Vyas and Lyricist was Moti, B.A. (actually he was an M.A.).

The lead pair of Prem Adib and Shobhana Samarth had become extremely popular all over the country as Ram and Seeta, after their two films Bharat Milap and Ram Rajya. These two actors came together first time in film Industrial India-1938. After this they worked in 11 more films plus one more film Ramayan-54, which was concocted by joining parts of 3 films made by Prakash Pictures on Ram and Seeta. After film Rambaan-48, Prakash films focused on social and musical films and made memorable films like Baiju Bawra-52 and Gunj Uthi Shehnai-59.

The stories of Rama and offshoots of Ramayana have always inspired film makers. Mahabharat too did the same. In Hindi language alone, films on Rama stories are around 25 ( not counting obvious other films like Ram aur Shyam, Ram Lakhan or Ram Balram etc.). Practically, in every Indian language and dialects, Nepalese and Sinhalese Ram films are made. However, the kind of fame,popularity and the Box office returns, Film Ram Rajya-43 earned is beyond imagination. Calendars from 1944 to 1950 featured Shobhana and Prem as Ram and Seeta. Wherever these stars went they were mobbed and people used to touch their feet, as Ram and Seeta.

Ramayan and Mahabharata are the two major Religious Epics for Indians. Ramayana has been popular and wide spread all over the Eastern World. There are in all 300 versions of Ramayana. These include the original Valmiki Ramayan and few other major Indian language Versions like Kamban’s Ramavataram in Tamil and Rangnathan’s Ramayana in Telugu. Then there is Ramayan Manjiri in NE and Bengal version. There is a Jain version too.Besides Ramayana in every Indian language and many dialects with scripts, there are Ramayana Versions in Burma, Indonesia, Cambodia, Laos, Phillipines, Sri Lanka, Nepal, Thialand, Malaysia, Japan, Mongolia, Vietnam and China. All these versions total upto 300 in number.

Actor Umakant played the role of Laxman even in this film. In all he played this role in 7 films. Similarly, actor Jeevan, who first time played the role of Narad in Bharat Milap-42, played Narad in almost 100 films in his career ( it was like Jagdish Raj playing role of Police Inspector or Iftekhar playing Police Commissioner or Murad playing a court Judge in Hindi films).

In my last post (on film Bharat Milap-42), I had mentioned about difficulty in getting information on practically unknown actors.This is a major problem for people ,like me, who are students of vintage films and its people. Another big problem is “same name confusion”, caused by artistes having similar sounding names . In early cinema era as we all know, most artistes came form lower strata of society as members of respectable families were not ready to join this ‘ lowly’ film line. This applied mostly for women folk. Among these families of Tawayafs and singers, there were limited names recycled. Some examples are Noorjehan, Khursheed, Zubeida, Shehzadi, Naseem etc etc. This caused problems and confusions. This problems was also among Male artistes at a lesser rate. Names like Asit Sen, N Datta, Rajkumar, Shyam etc are some examples. It was not restricted to Muslim artistes only. There are examples like Nalini, Leela, Ranjana, Rajkumari etc . I would say the ratio was 60:40 for females and Males.

At one given time, there were as many as 8 to 10 Nalinis working in films. Similarly there were several Shantas in films. Few examples are Shanta Apte, Shanta Hublikar, Shanta Mujumdar, Shanta kumari (stuntwali), Shanta kumari (Socialwali),Shanta Patel etc. Luckily, there was no Same name confusion, as these Shantas were using their surnames. Shanta Mujumdar acted only in Prabhat bilingual films. She later married writer Pt. Mukhram Sharma. Shanta kumari and Shanta Patel were stunt actresses. Socialwali Shanta kumari stopped working in 1936…before stuntwali came in. Socialwali married and became Shanta Kothari and worked in 3 films with this name.

Today, we will know more about Shanta Kothari (nee Shanta kumari), who acted as Kaushalya in 3 films after marriage. She is one of those artistes about whom information had to be culled from multiple sources, with great efforts. She was born in 1904 in a large family. Her father Motilal was Principal of a college, but mother was a Tawayef. She studied in English medium. After father’s death, her mother started teaching her dancing and singing. Soon she was singing for customers.

She was very beautiful looking. She entered film line at the age of 16 years, i.e. in 1920. She acted in Silent films made by various companies like Sharada, Great Eastern,Ranjit, kohinoor, Shri krishna film co and krishnatone etc.Some of her silent films were, Kala pahad-27, with master Vithal, Bhai ya kasai-28,Pilgrims of Love-29, Kumud Kumari-29, Prince Charming-30 with E.Billimoria and Castles in the air-30. Other films were Loves of Mughal Prince, Drums of Love, Pyari Jogan, Pardesi Sainya, Prem yatra, Rasili Radha, Maujeli Mashuqa, Shaikh Chilli etc etc. In 1930 she went to Calcutta and worked in film Shrikant also.

Due to her good looks, dancing and singing skills,she effortlessly entered Talkie film era. Her first talkie was krishn Cinetone’s Heer Ranjha-31. It was followed by Chintamani-31,Krishnavatar-32, Lanka Dahan-33, Hatim Tai-1-33, Simhasan-34, Sant Tulsidas-34, Kashmeera-34, Aaj kal-34, Bal hatya and Prem yatri-36. She sang on A.I.R. Bombay frequently. In film Sant Tulsidas, she sang equally with a stalwart like G.N.Joshi, with ease. She sang 21 songs in 8 films in her career.

She took a break from films and she got married to Sound Recordist Kothari. She became Shanta Shantaram Kothari after marriage.In 1941, when film Bharat Milap was being planned, Prakash Pictures requested and she worked in that film as well as Ramrajya-43 in the role of Kaushalya. After 5 years when Prem Adib requested, she again worked in film Ram Vivah-49. However, she stopped films after that.

I could not get further information about her after this period, but we have all information about her film career. (For information used here, I thank Isuru Udayanga Kariyavasam, V.S.Nigam’s article on http://www.medium.com, books- Beete kal ke sitare-S.Tamrakar, Early Hindustani talkies-P.Kamalakar, muVyz.com, CITWF, HFGK and my notes)

The Music Director of film Ram Vivah-49 was Shankar Rao Vyas. After the success of films ‘ Narsi Bhagat-40’ and ‘ Bharata Milap-42’, Vyas rode on the Pinnacle of his career with the popularity of Ramrajya songs. Vyas was a very hard working person. Once while recording songs of film ‘ Vikramaditya’-45, he needed Echo effect in the song ‘ Om Jai Jai Shankar’. In those days, the recording studios were not equipped with such facilities. Vyas searched and found out a Temple having a big Dome in the obscure suburb Jogeshwari in Bombay and recorded this song in that Temple at 2 am in the midnight when it was very quiet !

Ramrajya-43 was the most successful musical film of that era. When Prakash Pictures planned to produce Ramrajya again in 1967, the MD was Vasant Desai. Before recording film’s first song Desai garlanded the photo of Shankar Rao Vyas and then only started the work, seeking his Blessings. Ramrajya had also the distinction of being the only film in the world which Mahatma Gandhi saw in his life. It is said that he was pleased with its songs very much.

Prof. Shankarrao Vyas (1898-1956) was born in Kolhapur on 23-1-1898. His father Ganeshpant was a well known Keertankar and Puranik! So, he was brought up in the religious and musical environment. Unfortunately, Ganeshpant died when Shankar was seven years old. His paternal uncle brought him up for few years. His maternal uncle (Mama) noticed his inclination towards music and enrolled him in the ‘gurukul’ of Maharaj (Pandit) Vishnu Digambar Paluskar.

In those days, students had to sign a bond with the Gandharva Mahavidyalaya. Training period would last 8-10 years and the student would become all-rounder in every field related to music. Thus, Shankar Rao spent nine years in this gurukul, earned ‘Sangeet Pravin’ degree and gold medal for overall development. With the suggestion of guruji, he worked in Lahore vidyalaya for few years.
In 1931, he moved to Ahmadabad for establishing branch of Gandharva Mahavidyalaya. He was an expert not only in vocal music, but could play and repair many instruments including sitar, jaltarang and mendolin. He would conduct orchestra consisting of Indian and western instruments. He was also a very good composer and wrote several bandishes. He was the key person in planning music section of national (Rashtriya) schools: an idea originated by Gandhiji in Ahmadabad.

In 1935, he left Ahmadabad and settled in Bombay. He founded school for music education at Dadar, just outside the western railway station. ‘Vyas Sangeet Vidyalaya’. It is still functioning at this place. His brother Narayanrao Vyas and brother in law Vasantrao Rajopadhye also joined him in this noble cause. Around 1930/31, HMV Company invited both Vyas brothers for recordings and they cut over 200 songs (100 discs) until about 1938. He also cut few orchestral records under ‘Vyas Brothers’ banner playing pure classical ragas. These records were best sellers and company had printed their photographs on record catalogues.

This period was also the beginning of talkie films. Shankar Rao composed music for Hindi (35), Marathi (5), and Gujrathi (3) films from 1937-1955. His first film as a composer was ‘ His Highness’ -37 and the last was ‘ Baal Ramayan’ -released in 56. He also composed background music for fifteen films. Most of his films were based on religious or mythological themes. He also taught music to non-singing actors such as Sardar Akhtar and Shirin Bano. His most famous musical films were – Narsi Bhagat (1940), Bharat Bhet (1941), Ram Rajya (1943, in Hindi and Marathi). Saraswati Rane sung ‘Beena madhur madhur kachu bol’ in raga Bhimpalas in Hindi film ‘Ram Rajya’ and this song became popular throughout India. This was the only film that Gandhji watched in cinema hall and was much impressed with the music. Songs from Marathi version of ‘Ram Rajya’ viz. ‘Sujanho parisa ramkatha’ and ‘Ladkya raanila lagale dohale’ are shown on TV even today.

He was very busy in many fields as a composer, Principal of his music school, author of articles and bandishes, President of Gandharva Mahavidyalaya and founder editor of ‘Sangeet Kala Vihar’ magazine (founded in 1947) of Vidyalaya that is published even today. He passed away at Ahmadabad on 17-12- 1956. He has sung couple of abhangs of Saint Tukaram. These are available on HMV records. Record P 13454 published in 1931 has a sweet abhang – ‘Roopi guntale lochan, charani sthiravale mana’.

Today’s song indicates that Shankarrao Vyas tried hard to be with the changing tastes of his audience. The song has a faster tune and music.


Song-Dhanya Dhanya hai Avadhpuri (Raam Vivaah)(1949) Singers-Geeta Dutt, Manna Dey, Lyricist- Moti B A, MD- Shankarrao Vyas
Both

Lyrics

Dhanya dhanya hai avadhpuri
Dhanya wahaan ki phulwaari
Jahaan Raam ne janam liya hai
Dhanya wahaan ke nar naari ee
Dhanya wahaan ke nar naari

Avadhpuri ke uttar dish
Saryu ki dhaara behti hai
Raaja Dashrath raaj karen aur
Praja chain se rehti hai ae
Praja chain se rehti hai

Ann dhan se bharpoor Ayodhya
Teen lok se hai nyaari

Jahaan Raam ne janm liya hai
Dhanya wahaan ke nar naari
Dhanya wahaan ke nar naari

Chham chham karti chali kaamini
Hai solah singaar kiye
Aankhon mein sansaar liye
Haathon mein sundar haar liye
Satvanti hain sabhi naariyaan
Sat par apne balihaari

Jahaan Raam ne janm liya hai
Dhanya wahaan ke nar naari
Dhanya wahaan ke nar naari

Raam Lakhan aur Bharat
Shatrughan
Chaar ratn hain raaja ke
Jinmein sabse bade raam hain
Pran piyaare parja ke ae
Pran piyaare parja ke
Raam liye dhanu-baan raakshason ke
Marne ki hai baari

Jahaan Raam ne janm liya hai
Dhanya wahaan ke nar naari ee
Dhanya wahaan ke nar naari


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

Blog Day :

4299 Post No. : 15558

“Baaraat”(1960) was produced and directed by K Amarnath for K Amarnath Productions, Bombay. This “social” movie had Ajit, Shakila, Mukri, Salim, Protima Devi, Murad, Shalini, Brahm Bhardwaj, Gulnar, Pandey, Amrit Rana, Ravikant, Sheila Kashmiri, Sajjan etc in it.

The movie had eight songs in it. Six of these songs have been covered in the past.

Here is the seventh song from “Baaraat”(1960) to appear in the blog. The song is sung by Rafi and Manna Dey. Majrooh Sultanpuri is the lyricist. Music is composed by Chitragupta.

The song is picturised on Ajit and Mukri who are seen trading their wares namely Tel maalish and boot polish respectively in prime location of Mumbai, viz in front of Hotel Taj. 🙂

Video has one stanza less. The audio contains the full song.

Video

Audio

Song-O baabu tel maalish karaa lo boot polish(Baaraat)(1960) Singers-Rafi, Manna Dey, Lyrics-Majrooh Sultanpuri, MD-Chitragupta

Lyrics

o baabu tel maalish
karaa lo boot polish
o baabu tel maalish
karaa lo boot polish
phool se halka sar ho jaaye tel maalish
darpan jaisa joota chamke boot polish
o baabu tel maalish
karaa lo boot polish
o baabu tel maalish
karaa lo boot polish

kehte hain daaru kise kehte hain bhang
champi karalo chadhe aankho mein rang
kehte hain daaru kise kehte hain bhang
champi karaalo chade aankhon me rang
malish kara polish kara
garmi ho sardi ho chaahe pade baarish

o babu tel malish
karalo boot polish
o babu tel malish
karalo boot polish

chamka ke doon jo abhi joote ko baandh
dharti pe sab ye kahen utra hai chaand
chamka ke doon jo abhi joote ko baandh
dharti pe sab ye kahen utra hai chaand

sar jo tera mal du zara
taare na dikhe to kabhi karo naalikh
o babu tel malish
karalo boot polish
o babu tel malish
karalo boot polish

phera jo haath laga aisa bhala
rota jo aaya wohi hansta chala
phera jo haath laga aisa bhala
rota jo aaya wohi hansta chala
are dekho idhar joota magar
ik baar to chhoone do yahi hai gujaarish

o babu tel maalish
karaa lo boot polish
o baabu tel maalish
karaa lo boot polish


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 :

4298 Post No. : 15555

“Baaraat”(1960) was produced and directed by K Amarnath for K Amarnath Productions, Bombay. This “social” movie had Ajit, Shakila, Mukri, Salim, Protima Devi, Murad, Shalini, Brahm Bhardwaj, Gulnar, Pandey, Amrit Rana, Ravikant, Sheila Kashmiri, Sajjan etc in it.

The movie had eight songs in it. Five of these songs have been covered in the past.

Here is the sixth song from “Baaraat”(1960) to appear in the blog. The song is sung by Rafi, Manna Dey and chorus. Majrooh Sultanpuri is the lyricist. Music is composed by Chitragupta.

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


Song-Arre jaanewaale hamaari gali aana (Baaraat)(1960) Singers-Rafi, Manna Dey, Lyrics-Majrooh Sultanpuri, MD-Chitragupta
Both
Chorus

Lyrics

arre janewaale
ho o o o
are jaanewale hamaari gali aana
arre jaanewaale hamaari gali aana
aane jaane ka yahi hai zamaana ke
arre jaanewaale hamaari gali aana
arre jaanewale hamaari gali aana

jo karen tujhpe yaqeen
haan
aji hum aise nahin
naa
aise naadaan nazar aayenge tujhe aur kahin
haan
jo karen tujhpe yaqeen
aji hum aise nahin
aise naadaan nazar aayenge tujhe aur kahin

chhod de hamko baaton mein behlaana
arre jaanewaale hamaari gali aana
are jaanewaale hamaari gali aana

aane jaane ka yahi hai zamaana ke
arre jaanewaale hamaari gali aana
arre jaanewaale hamaari gali aana

ho pichad
ho lichad
dhup dhipad
thimpa thhipad
hrr
ha
o dhippad
hrr
rappa

arre nikli meri jaan
hoy
sambhal ae jaane jahaan
waahwaah
yoon lachakta hai badan
jaise mohabbat ki kamaan

arre nikli meri jaan
sambhal ae jaane jahaan
yoon lachakta hai badan
jaise mohabbat ki kamaan
tauba tauba ye andaaz e mastaana
arre jaanewale hamaari gali aana
arre jaanewaale hamaari gali aana

aane jaane ka yahi hai zamaana ke
arre jaanewaale hamaari gali aana
arre jaanewaale hamaari gali aana

aa haha
dampa diga
tu tupat
o chicat
hrr

toone sau baar suna
haan
maine sau baar kaha
haan
dil tera ghar hai
tu is ghar me sanam shauk se aa
aha
toone sau baar suna
maine sau baar kaha
dil tera ghar hai
tu is ghar mein sanam shauk se aa

hum tere hain taklluf na farmaana
arre jaanewaale hamaari gali aana
arre jaanewaale hamaari gali aana

aane jaane ka yahi hai zamaana ke
arre jaanewaale hamaari gali aana
arre jaanewale hamaari gali aana


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

Blog Day :

4293 Post No. : 15546

“Preetam” (1971) was produced and directed by Bhappie Sonie. The movie had Shammi Kapoor, Vinod Khanna, Leena Chandavarkar, Helen, Raj Mehra, Tiwari, Anwar Hussain, Manmohan, Siddhu, Malika, Urmila Bhatt, Raj Kishore, Ravikant, Daya Devi, Shyam, Dhanraj, Robert Slater, Birbal, Naaz, Dhumal, Mehmood etc in it.

The movie had six songs in it. Five songs from the movie have been covered in the past.

Here are the details of these songs:-

S N Song Song number in blog Date of posting
1 Insaaf huaa duniya se ae yaar safaachat 8400 23-July-2013
2 Chaal suhaani haay baat raseeli haay 8655 7-Sep-2013
3 Haay dil laga to aisa laga 8839 15-Oct-2013
4 Sher se ladne aayi dekho shahar ki ik billi 14573 14-Aug-2018
5 Ham bhi shikaari tum bhi shikaari 14610 29-Aug-2018

Here is the sixth and final song from “Preetam”(1971) to appear in the blog. This song is sung by Manna Dey. Rajinder Krishan is the lyricist. Music is composed by Shankar Jaikishan.

The first song from the movie to appear in the blog was a Manna Dey song as well. Like that song, this song too is picturised on Mehmood. Here he is seen with Naaz. While commenting on that song, I had observed that

Listening to the song, it is clear that the dance and music is inspired from “Gumnaam” (1965) and the lyrics are somewhat inspired from “Padosan” (1968). Based on the above, I guessed that the music director must be Shankar Jaikishan and the lyricist must be Rajinder Krishan. On checking up, I was proved right !

The above observations apply on this song as well. 🙂

In the start of the song, there are some words that I guess are in Tamil. I request our knowledgeable readers to help correct those lyrics wherever applicable.

With this song, all the songs of “Preetam”(1971) are covered in the blog and the movie joins the list of movies that have all their songs covered in the blog.


Song-Hamne ye soch kar pyaar kiya (Preetam)(1971) Singer-Manna Dey, Lyrics-Rajinder Krishan, MD-Shankar Jaikishan

Lyrics

ni na nikre
na ayogya
adoob tappu
na unmayi khaad nikre
ney shikhre
ney shikhre
mutaam kudu

humne ye sochkar pyaar kiya
humne ye sochkar pyaar kiya
pyaar se achcha koi kaam nahin
ayyo amma
pyaar se achcha koi kaam nahin
ayyo amma
humne ye sochkar pyaar kiya
haaye
humne ye sochkar pyaar kiyaa aa

thhodi si yek din
humne sharaab pee li
aane laga jo maza
to behisaab pee li
thhodi si yek din
humne sharaab peeli
aane laga jo maza
to behisaab peeli
toota khumaar jab
aaya khayaal tab
aankhon se yaar ne jo
mujhko pilaayi thhi
aisi sharaab koi
aisa koi jaam nahin
nahin nahin nahin nahin
nahin nahin nahin nahin
humne ye sochkar pyaar kiya
humne ye sochkar pyaar kiya
pyaar se achcha koi kaam nahin
ayyo amma
pyaar se achcha koi kaam nahin
ayyo amma
humne ye sochkar pyaar kiyaaa

yek deewaane se ye humne sawaal kiya
soorat bana li kaisi
kaisa ye haal kiya
paav
ayyo paav
yek deewaane se ye humne sawaal kiya
soorat bana li kaisi
kaisa ye haal kiya
bola fakeer hoon
phir bhi ameer hoon
duniya ko bech ke
pyaar khareeda maine
banda hoon pyaar ka
kisi ka ghulam nahin
nahin nahin nahin nahin nahin
nahin nahin nahin
humne ye sochkar pyaar kiya
haaye
humne ye sochkar pyaar kiya aa
pyaar se achcha koi kaam nahin
ayyo amma
pyaar se achcha koi kaam nahin
ayyo amma
humne ye sochkar pyaar kiya
haaye
humne ye sochkar pyaar kiya aa
nahin nahin nahin nahin
nahin nahin nahin nahin
ayyo ayyo ayyo gauri ayyo


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

Blog Day:

4285 Post No. : 15532

“Maa”(1952) was produced by Ashok Kumar and Sawak Vacha and directed by Bimal Roy for Bombay Talkies. This movie had Leela Chitnis, Bharat Bhushan,Shyama, Nazir Hussain,Asit Sen, Manju, B.M.Vyas, Achla Sachdev, Bikram Kapoor, Krishnakant, Samar Chatterjee, Bharata Vyas(uncredited) etc in it.

This movie, which was based on a Bangla story by Swaraj Bannerjee had six songs in it. Four songs have been covered in the past.

Here is the fifth song from “Maa” (1952) to appear in the blog. This song is sung by Manna Dey. Bharat Vyas is the lyricist. Music is composed by S K Pal. The lyrics for this song have been contributed by Avinash ji.

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


Song-Wo aankhen kya aankhen(Maa)(1952) Singer-Manna Dey, Lyrics-Bharat Vyas, MD-SK Pal

Lyrics  (Provided by Avinash Scrapwala)

wo aankhen kya aankhen aen jin mein
aansu ki dhaar nahin een een een
wo dil patthar hai
jis dil mein maata ka pyaar nahin

wo aankhen kya aankhen jin mein
aansu ki dhaar nahin
wo dil patthar hai
jis dil mein maata ka pyaar nahin

dharti si dheeraj waali
aur aakaash si nirmal maa
ganga si paawan man-bhaawan
jamuna si nischchhal maa
bhagwaan bhagwaan
bhagwaan banaayi hai toone duniya mein kaisi maa
jo sab kuchch de
aur kuchh bhi na le ae ae
jo sab kuchch de
aur kuchh bhi na le
bas ek hai aisi maa
duniya mein hazaaron naate
duniya mein hazaaron naate
par maata do chaar nahin
wo dil patthar hai
jis dil mein maata ka pyaar nahin
wo aankhen kya aankhen

bachpan ki pyaar bhari godi ke
meethhe meethhe jhoole
haaye meethhe meethhe jhoole
lori ka aa
lori ka wo sangeet madhur
koi kab kaise bhoole
maata ka ye nirmal naata aa aa aa
maata ka ye nirmal naata
toote na koi tode
insaan nahin
haiwaan hai wo o o
jo maa se bhi munh mode ae
insaan nahin haiwaan hai wo
jo maa se bhi munh mode
wo jeevan kya jeevan
wo jeevan kya jeevan
jismein mamta ka taar nahin
wo dil patthar hai
jis dil mein maata ka pyaar nahin
wo aankhen kya aankhen


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

Blog Day :

4270 Post No. : 15500 Movie Count :

4271

Ok, so Atul approached me a few days ago requesting me for a post for a special occasion.

My posts have become very infrequent here – in fact, before my latest post on Sahir’s birth anniversary (8th March), my previous post was on his death anniversary last year (25th October). So a gap of more than 4 months.

But then, like often happens in Test cricket, you wait and wait for a wicket to fall – and when one falls, another quickly follows.

Same has happened here. Following quickly on the heels of the 8th March post, here is another one.

And on such an occasion that I just could not refuse. Let’s just call it the perfect yorker. 🙂

Friends, I am SO honoured here to present Rafisaab’s 3000th song on this blog.

Please allow me now to take a deep breath to let this sink in.

I don’t remember now when we got to Rafisaab’s 1000th and 2000th songs, but as we scale new heights, it feels like we’re entering rarified space.

3000 songs of one artiste on our blog is quite an astonishing achievement. Of course, we’ve already got there with Lata Mangeshkar (she’s going strong with 3500+ right now) but Rafisaab is only the second artiste to hit this milestone here.

Even as I write this post, I feel extremely humbled – and undeserving of this honour. This post is supposed to be a tribute not just to Rafisaab, but to this blog itself.

And there have been so many more here, starting with Atul himself, who deserve to write this. My contributions have dramatically reduced – while there are at least a dozen others (actually many more), who contribute much more, and far more regularly.

But since I am a big Rafisaab fan, I think Atul approached me for this. (In fact there are even bigger Rafisaab fans here – but let’s not start comparing. :-))

Having said all that, let’s talk a bit about Rafisaab here – and our love for him.
I say “our”, because I know I speak for everyone here when I say, we all love Rafisaab here. Only the degree might differ.

Speaking for me personally (and maybe for others too), it has never been about just Rafisaab’s voice.

Sure, for his voice alone, he would easily have had a special place in my heart. That divinity in his voice, his ability to transport me into a different realm altogether, the intonations, the “thehraav” – all of these put him on a level that’s stratospheric for me.

I have spent hours listening to Rafisaab, often intending to listen to just one song. 🙂 I’d listen to one, then get tempted to listen to another, then another, and so on. And before I’d realize it, the minutes would turn into hours. I’ve even spent all night listening to him (ok, that was a few years ago, when I coul stay awake all night). 🙂

It has been said many times before, and by many, but I will say it again – at least in HFM, I haven’t seen any singer with the versatility of Rafisaab. He could deliver every single song in exactly the mood and range required for it. Which is why he could do rock and pop singing just as comfortably as he could do bhajans and ghazals.

Rafisaab could totally get you into any mood the song demanded. He could just mesmerize you into it.

One moment he’s singing the breezy “pukaarta chala hoon main” or the sensuous “aaja re aa zaraa”, the next he’s singing the bhajan “sukh ke sab saathi”. 🙂

One moment, you’re imagining yourself as Shammi Kapoor with “aaja aaja main hoon pyaar tera”, the next you’re Bharat Bhushan lamenting “o duniya ke rakhwaale”. 🙂

They said of Rafisaab that he was an extremely shy and quiet person outside the recording room. You could barely hear his voice.

But once, in the room, recording?

He was a totally different person.

He would be so totally immersed in the song, giving it the very best he could, that you couldn’t believe it was the same person who, outside the room, hardly ever spoke.

In this sense, Rafisaab was a thorough professional. He always sought to give his very best, regardless of who the composer was.

In stature, he was often far higher than most of the composers he sang for. So it is only normal that composers might have hesitated to ask him for a retake, and could have just gone with whatever had been recorded, even if they were not fully satisfied.

But such was Rafisaab’s humility, such was his professionalism, such was his lack of ego, that he would ask the composer if it was ok – and if the composer had any suggestions for improvement, Rafisaab would redo it to the composer’s satisfaction.

That is truly the sign of greatness of an artiste.
And, considering how many successful artistes end up with ego too to match, Rafisaab stands out as an exception.

There are so many other things about Rafisaab that speak of the greatness of him as a human being.

There are other examples of Rafisaab’s nature that are also endearing.

For example, the fact that he sang for composers for a nominal fee, even just a token one rupee, because he knew they could not afford to pay him fees compatible with his stature.

Even in the royalty issue, which resulted in his fallout with Lata, his stand was typical. I don’t want to play judge here, and talk about whether his/Lata’s action was right or wrong, but it was typical of Rafisaab to feel that he had been adequately compensated for the work he had done, and shouldn’t ask for more.

Rafisaab’s generosity went beyond the industry. He provided financial support to people who did not even know who their benefactor was.

All of this, without the slightest arrogance. When someone would praise one of his songs, Rafisaab would just smile and point upwards , as if to say “sab ooparwaale ki kripa hai”.

There’s SO much one could learn from Rafisaab and his values. Ever-polite, ever-professional, ever-helpful, ever-smiling, ever-humble. And ever the family man too, because he always enjoyed spending time with his family.

I’ve written many times about him here – and much of what I’m saying here is repetitive (and possibly boring), but it always gives me great joy to write about Rafisaab, whatever the occasion.

I invariably then write about his character and not just his songs, because his character amazes me just as much as his amazing voice.

So the fact that we have now got 3000 songs of Rafisaab on this blog is a hugely satisfying achievement. My hearty congratulations to Atul, and to everyone else who has been part of this process.

Oh, and in all the discussion about Rafisaab and his 3000th song, I almost forgot.

There’s another milestone to celebrate today – today’s song also happens to be the 15500th song on the blog.

Yes, 15,500.

There was a time, in the early years of the blog, when every century was a major milestone. Then, as the centuries began getting clocked with regularity, the celebration around them decreased. We had entered the chiliad league, so our major milestones became 1000, 2000, 3000 and so on….now past 15000.
The 100s became minor milestones.
While this is understandable to some extent after 155 centuries, I still think every century deserves to be celebrated.

Let us NEVER forget that EVERY song involves a fair amount of effort, and though contributors (*cough*, *cough*) do their bit, every song still requires time & effort from Atul/Sudhirji. And they’ve put this effort 100 times, since 15400. So, I definitely think they deserve appreciation and a round of applause for this.

Now onto the song for today.

You can always trust Atul to unearth songs that have long faded from people’s memory. Or maybe they never got attention when they were released.

The same applies to films too. After all, the Hindi film industry is prolific, with hundreds of films being released every year, and thousands of songs.

As a result, many songs and films never get attention.

This blog has always tried to unearth such songs and films, and to give them their share in the limelight, even if it is several years after their release. After all, every song involves a lot of effort from many artistes. And for a film? The effort is several times more – involving so many more people, in various capacities, each one playing his/her role hoping to see the film succeed at the box-office.

I don’t know the success rate of films, but I’d say there are far more films that don’t click at the box-office, than those which do. Let’s not get into reasons here – I’m no pundit – but I do always like to acknowledge the effort that has gone into making a film anyway.

Why so much of a build-up in this post?

Because the song for today has as much to do with the film as with the song itself.

Prima facie, the song looks like a routine song. It’s a qawwali, with its usual nok-jhok, and, as isn’t uncommon in movies, with disguises. 🙂

Now I’m a sucker for qawwalis, so even though this probably isn’t in the same league as many more illustrious ones, I’m happy to just listen to it, and enjoy it.
Besides, this was 1982 – and by then, qawwalis were slowly on the decline. The times had changed, and naturally films had to reflect the changed times.
So I wouldn’t judge this qawwali, keeping other classics in mind. 🙂

When Atul sent me an e-mail requesting me for a write-up, he explained why he picked this song. It has to do with not just the song, but the film as well.

This is what he said:

The song that I have chosen for the occasion is a special song. It is a rare song. It is composed by an obscure music director called B T Singh. It is the only song of B T Singh with Rafi in his career. HFGK mentions that music was arranged and composed by Uttam Singh. He could be assistant to B T Singh.

The movie is an obscure movie called “Chambal Ke Daaku”(1982). This movie was Produced by R S Sandhu , written and directed by S Azhar for S L Cheema films, Bombay.
The USP of the movie was “Real dacoits pesented first time on screen.”
The movie had real dacoits viz Mohar Singh, Madho Singh, Fateh Singh, Lakhan Singh, Kalyan Singh and hundred of ex dacoits, and actors like Nazneen, Javed Khan, Madhumalini, Sulochana, Malti Joshi, Yasmeen, Birbal, Dushyant, Deep, Ashok, S S Khan, Nirmal Singh, Shamsher Singh, Jeewan Singh, Joginder Singh, Amreek Singh, Joginder Singh Laddhar, Mahendra Singh, Chandrakala, Ramesh Deo, Sohel Khan, Joga Singh, Sayyad Khan, Praveen Lakhad, Gajendra Gadge, Rajkumar, Baw Brar, Shabbir Khan, Guest apppearances by Padma Khanna, Hina Kausar, Mahendra, Raza Murad etc.”

Wow!
So now we have a film here where real-life dacoits just decided to act in a film. Maybe there are other examples too (what about “Jis Desh Mein Ganga Behti Hai”)?

In any case, it is a rather fascinating scenario. And of course, when I learnt about this, my mind began working overtime, imagining all sorts of things.

– Were they active dacoits, wanted by the police? If so, how did they get to act? Or had they served their sentence, and reformed? In which case, they shouldn’t be judged on their past, of course.
– How much were they paid?
– Was it maybe just a smart move for the producer to co-opt real-life dacoits so that not only does he have a USP, but he also has access to their expertise, and could film in locations he wouldn’t otherwise dare to?
– How did co-stars, and the rest of the crew feel? Imagine having chai with a real-life dacoit. You’d probably not want to upset him, or even crack a joke about him, for fear of him taking offence at it
– In the shooting scenes, was anyone worried that the dacoits might just get excited and take it all too literally?

Such thoughts, and more, came to my mind, because this was reel life and real life potentially getting mixed up. The key word here is “potentially”. 🙂

Chambal itself was a common film theme in those days – especially in the 70s and early 80s. Films mirror real-life events, and dacoity used to be in the news off and on in those days. There were plenty of dacoit films made in that time, the most famous being Sholay, of course. 🙂

I remember VP Singh, CM of UP (1980-82) came down hard on dacoity in his time, and even got a lot of praise for it. But soon after, there was a major dacoity, as if to spite him – and he offered to resign as CM.

I myself used to travel a lot by train from Orissa to Delhi in the early 80s, and go through Gwalior-Morena (I think Dholpur in Rajasthan also), which I think is the Chambal area. The landscape would be “interesting”, and would trigger my imagination. 🙂

Anyway, enough of digression.

Back to the song, it is sung by Rafisaab (of course), together with Asha Bhosle and Manna Dey. Rafisaab passed away in 1980, so it’s possible this is one of his last few songs – unless the film took a while to get released.

I must admit I couldn’t recognise many faces – but Ramesh Deo is, of course, unmistakeable.

Hope you enjoy the song, and imagine yourself singing it with real-life dacoits in Chambal Valley. 🙂

And once again, congratulations to the blog for clocking Rafisaab’s 3000th, and the blog’s 15500th.

Audio

Video


Song-Uljhan ho chaahe koi aa jaaye mushqil (Chambal Ke Daaku)(1982) Singers-Rafi, Asha Bhonsle, Manna Dey, Lyrics-Gauhar Kanpuri, MD-B T Singh
Male chorus
Female chorus

Lyrics

banaayenge bhanwar mein raasta
aur lahron pe saahil
bhanwar kehte hain uljhan ko o
lahar ka naam hai ae ae mushqil

uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil
mil ke rahegi yahin apni manzil
mil ke rahegi yahin apni manzil
kehta hai aaj yehi mera dil
uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil

kahaan se aaye ho
bolo ji kya iraada hai

Ji kya iraada hai
hamaari baat hai
ya doosron se waada hai

ye dil ka raaz hai
dil mein hi rehne do dilbar
haan rehne do dilbar
banega baat ka afsaana honthon pe aa kar
dilon ke raaz ko
o o o o o o
dilon ke raaz ko
nazron se ham to
kehte hain
kehte hain
kehte hain
ham si haseenon ko samjho na gaafil
gaafil
ham si haseenon ko samjho na gaafil
uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil

haaye
haseen adaaon ka rangeen nazaara dekhenge
nazaara dekhenge
ham apni aankh se kismat ka taara dekhenge
haaye ae ae ae
ae ae ae
aa aa aa aa aa
aa aa aa aa
nazar nawaaz
nazaaron mein jee nahin lagta
haaye ae ae
haseen chaand sitaaron mein aen
jee nahin lagta
sa ni ma dha pa ni
dhi ma pa ni sa
sa ni sa dha ni
pa dha
ma pa
ma ga ma
ga re ga sa re
sa re ga ma pa
nigaah e naaz ka hamko ishaara mil jaaye

ishaara mil jaaye
hamen bhi jeene ka
koi sahaara mil jaaye

isharaa paaoge ae ae ae
isharaa paaoge
jhaanko hamaari aankhon mein
aankhon mein
aankhon mein
chaand se chehre pe
taaron ki jhilmil
jhilmil

chaand se chehre pe taaron ki jhilmil
uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil

samajh gaya hoon main
dil aur nazar ke afsaane

nazar ke afsaane
anaar ek hai
aur uske do hain deewaane

deewaana kaun hai
duniya ko ye bataana hai
yahi bataana hai
nazar ke teer se taqdeer aazmaana hai
jo hoshiyaar hai
ae ae ae ae ae
jo hoshiyaar hai
duniya usi ke kaabil hai
kaabil hai
kaabil hai
mehfil se baahar bhi hai ek mehfil
mehfil

mehfil se baahar bhi hai ek mehfil
uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil
kahin uljhan hai
kahin mushqil hai

kahin mehfil kahin manzil
ye lo mera fasaana
ye kissa hai puraana
oho
hamaara dil na todo
oho
ye dil ki bat chhodo
oho
mere nazdeek aao
oho
qayaamat na uthhaao
oho
tumhaara dil hai patthar
aha
magar tum ho sitamgar
oho
mujhe tarpaaya tumne
oho
mujhe uljhaaya tumne
oho
tujhe hamne pooja
oho
mere dil mein hai dooja

oho
kahaan hai wo kidhar hai
oho
idhar hai ye udhar hai


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15700 song posts by now.

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

Important Announcement

(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

15723

Number of movies covered in the blog

Movies with all their songs covered =1212
Total Number of movies covered =4329

Total visits so far

  • 13,617,643 hits

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Active for more than 4000 days.

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