Archive for the ‘Manna Dey songs’ Category
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws
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Blog Day : |
4719 | Post No. : | 16427 |
When film making started in India, most films-i.e. about 98 %, were based on Religious Mythological or Folk stories. Even in that early era, there were Producers and Directors, who dared to make films on unusual but interesting subjects like Fictional kingdoms, highly scientific discoveries etc. Worth mentioning are a few films like Prabhat’s ‘ Wahan alias Beyond the Horizon’-1937, Prakash pictures’ ‘Mr. X’-38, Ranjit’s ‘ Prof. Waman M.Sc.’, Sagar’s ‘ 300 days and after’-38, Adarsha Chitra, Calcutta’s ‘ India in Africa’-1939 (first film to do shooting outside India, in foreign countries), Sagar’s ‘ Mahageet ‘-37 and the best film by Prakash Pictures-” Khwaab ki duniya’-1937. ( there may be some more such films too).
Not all such offbeat films succeeded, but surely they provided a Ray of Hope that Indian cinema will surely come out of this beaten track and grandma stories. I am not very sure, but I have a strong feeling that during the early films of the 40s, a few C grade action and stunt films too were made on such offbeat themes. One such film is Master Bhagwan’s ” Bhedi Bungala alias House of Mystery “-1949, India’s first Horror film. ( during the shooting, in one scene Bhagwan had to keep his eyes wide open-as if in fear. He stretched them so much and for such a long time that for one day he lost sight of both eyes. After the doctor’s treatment he regained his vision. Can we expect such dedication in today’s actors, in general ?).
For lack of proper documentation, we are unable to comment on such films of yore. As far back as 1936, Prabhat film company had made a film on Mutiny on the sea by a brave woman- Amar Jyoti-1936, featuring a new heroine- Durga Khote. Life on ships and sword fighting by a woman was mesmerising the audience.
The celestial entities have always enticed the Human Race. They were effectively used in sciences like Astrology and Astronomy. Since time immemorial Man always wanted to visit these planets sans The Sun. Moon was the centre of attraction. Could the Hindi filmmakers keep off from making a film on this theme ? Most kept off ! They , perhaps, thought it safe to use The Moon (चांद ) only in songs and dialogues. However, going through the list of film titles, I found that films using the word Chand in the titles were made, but barring a few C grade stunt and action films, this ‘ Chand ‘ was alluding to something else like the Lover, beloved and other similar things.
Film titled only Chaand were made in -1934,1944 and 1959. Then there were 13 films having ‘ Chand ‘ in their titles. As far as I gather, there were only 2 films made on fictional stories involving the Planet Moon. One was Chand ki Duniya-1959 and the other was Chand pe Chadhai (Trip to the Moon)-1967.
Today’s song is from film Chaand ki duniya-59. It is quite a long song….7.41 minutes to be exact. the video reveals that the song is filmed on the Hero Soham Kapila, the heroine Nalini Chonkar and the comedian Ram Avtar. If you remember, he had a hilarious role in film Teesri manzil-1966 as a co-passenger of Shammi Kapoor.
Ram Avtar Pandey, from Rampur-UP, started his filmi career in 1938 with character roles. In the early 50s, he switched to comedy, when he gained weight and a pot belly. Ram Avtar was a fixture in many Nasir Hussain films. His roles in Badi Behan-49,Nagin-54, Hum sub chor hain-56, Tumsa nahin dekha-57, Jab pyar kisi se hota hai-61, Phir vohi dil laya hoon-63, Teesri Manzil-67, Yaadon ki Baraat etc are memorable. His last film was Prem Geet-1981. He acted in 133 Hindi films.
The film was made by Filmistan, a big banner. Unfortunately, it was made as a quicky, without much interest. The film was directed by Mohan Sinha (grandfather of actress Vidya Sinha, of Rajnigandha-74 fame). The MD was Nirmal Kumar alias S.D.Batish.
Many composers gave music to C grade films using Pseudonyms. For example, C. Ramchandra gave music to action films in the name of ” Annasaheb”, S D Batish used the name Nirmal Kumar, Durrani used Gunjan as his name, to quote a few examples. But one name hardly anyone knows and that is Anil Biswas. Yes, when he gave music to film Begunah-1949, he used the name as Haribhai. His co-MD was Shyamu- which was C. Ramchandra ! This information is given in The Encyclopedia of Indian Cinema by Rajadhyaksha.
The cast of the film was Sohan Kapila, Nalini Chonkar, Ram Avtar, P. Kailash, Badri Prasad, Husn Bano, Indira Bansal, B M Vyas, Vijay Kumar, Noor (wife of Johnny Walker) etc etc. the banner was good, story was fine, songs were good, MD was good, Heroine and Director were good. The whole problem was with the dumb Hero- Sohan Kapila. he was one actor who was a Non Actor.
It is said that ‘No trees can grow under a Banyan Tree’. This is absolutely true and applicable in Film industry. Except in cases like the Kapoor family, i.e. Raj, Shammi and Shashi, who made their bright careers despite the shadow of their Father and other Brothers, we find that many of the sons,daughters,brothers or sisters of many popular and famous film stars were failures and never made it big in Hindi cinema.
We know cases like Suneil Anand, Nasir Khan, Tony walker, Naina Sahu, Meera Joglekar, Ajit Chitnis, Rajendranath, Narendranath, Anup kumar, Mallika, Khursheed Jr., Simple Kapadiya, Shivangi Kolhapure, Preeti ganguly, Radhika and many more. In spite of having all the backing of the famous family members, these and such many others just did not make it, because Talents are not always hereditary !
They all were given a fair opportunity to display their talent on the screen, but unfortunately despite their honest effort their skill could not come out & the viewers were left unimpressed . They were selected by big banners and well experienced directors were there to guide them. But their talent remained hidden inside them and with their nonexistent artistry they disappointed their mentors. Non-actor Sohan Kapila was in the romantic lead of Filmistan’s Babar ,which was released in 1960. Hemen Gupta , distinguished director, who earlier had directed Anand Math for Filmistan ,directed the movie and it also had the winning combination of Sahir & Roshan.
Dependable character actor Gajanan Jagirdar did the role of great Moghal Emperor Babar. But the movie flopped, as the new hero failed pathetically to register any emotion on his face. A big jolt for Seth Tola Ram Jalaan, who was already facing financial problems. Mr. Kapila appeared in 2-3 movies in inconsequential roles and disappeared from scene for ever. His daughter Padmini Kapila also pursued film career, but could not achieve much success .
There were many other actors like him, who got chances to appearopposite illustrious heroines, unfortunately their effort did not make any impact on the cine loving public. Watching their miserable performance on the screen, no film maker came forward to sign them again. Out of sight is out of mind, it was a matter of time when public as well as film industry forgot them.
Malhaar, as the name suggests, a musical film produced by great singer Mukesh in 1951. It had a story by veteran actor S K Prem & its evergreen music was composed by Roshan. The movie had newcomers Arjun & Shammi (Nargis Rabaadi ). Arjun did get another chance in Daku Ki Ladki to please the viewers with his emoting before the camera, but could not succeed and it was the end of his career.
Rattan Chopra the lucky boy was selected for films, among hundreds of aspirants. Mohan Kumar had suffered a huge set back when Aman flopped. He took the newcomer for Mom Ki Gudia, opposite Tanuja, with great hopes. Unfortunately, Mom Ki Gudia failed to dispel the gloom and sank to the rock bottom. Acting was not his cup of tea, Rattan Chopra understood and wisely opted out of the race of stardom.
K. Amarnath introduced new comer Vijay Kumar in his 1954 offering Alif Laila opposite Nimmi & Asha Mathur . Sohan Kapila and Vijay Kumar had impressive physique, but had no clue about acting. The movie had lilting music by Shyam Sunder ,which was his last contribution towards film industry .Helen for the first time got a chance to perform solo in the movie & for many decades she remained on top. But for Vijay Kumar it was his first & last chance.
Another non actor Premendra was introduced by old timer Vijay Bhatt in Holi Aayee Re (1970),which was directed by his younger sibling Harsukh Bhatt. It was pathetic to watch Premendra unsuccessfully trying to showcase his imaginary ability in the field of acting. The movie flopped phenomenally & a huge investment made by Bhatt Brothers went up in a cloud of smoke.
There were some more like Pratibha Sinha, Archan Gupta, Jayant Gupta, Ashok Sharma, Nusrat Kardar, Rajeev Kapoor, Manish Kumar, Navinchandra, Aroop Kumar, Prashant, Shalini, Kaycee Mehra, Vikram, Shekhar Suman, Deepak Kumar, Ajay, Som Dutt and many more.
With all this no wonder the film was a flop and a good story was wasted. Today’s song is the 4th song of this film on the Blog. But the song is good. Enjoy….
(some information is used from an article by M N Sardana ji in Voh din yaad karo. Thanks to him)
Song- Lee haay lee haay lippip pippi…aayee jawaani badi deewaani (Chaand Ki Duniya)(1959) Singers-Manna Dey, Asha Bhonsle, Unknown male voice, Lyricist- Qamar Jalalabadi, MD- Nirmal Kumar aka S D Batish
Manna Dey + Asha Bhonsle
All chorus
Female chorus
Male chorus
Lyrics
hahahahahaha
li haay li haayi lippip pippi
li hayi li hayi lippip pippi
li hayi hayi lippi pippi pi
aahaha
la hayi la hayi lappap pappa
la hayi la hayi lappap pappa
la hayi la hayi lappa pappa paa
o ho ho
li hayi li hayi lippip pippi
li hayi li hayi lippip pippi
li hayi li hayi lippip pippi pi
aahaha
la hayi la hayi lappap pappa
la hayi la hayi lappap pappa
la hayi la hayi lappa pappa pa
o ho hoho
ye pappa pappi chhodo
chhodo ye haali holi
kuchh bolo humaari boli
tumhaari boli
haan humaari boli
aayi jawaani badi deewaani
dekho kya kya laayi jawaani
aaha
hans le gaa le maauj mana le
jaa ke phir na aaye jawaani
waah waah
aayi jawaani badi deewaani
dekho kya kya laayi jawaani aaha
hans le gaa le
mauj mana le
jaa ke phir na aaye jawaani waah waah
arre laaga laaga laaga
teri ankhiyon ka dil pe nishaana
jaaga jaaga jaaga
tere pyaar ka sapna suhaana
o o o o
laaga laaga laaga
teri ankhiyon ka dil pe nishaana
jaaga jaaga jaaga
tere pyaar ka sapna suhaana
sapna suhaana
o ho
aaha
baanki chaal ada mastaani
dekho kya kya laayi jawaani
aaha
dil ko milale dhoom machaale
jake phir na aaye jawaani waah waah
aa aa aa aa aaaa aa aa aaaa
aa aa aa aa aa
aa aa aa aa aa aa aa aa aa aa
aa aa aa aa aa
ye sama ye khushi jhoom uthhi zindagi
dil ke gulzar mein phool sa aa khil gaya
dil ke ye raaste jagmagaane lage
muskuraane lage jaane kya aa aa mil gaya
baat baat mein bani kahaani
dekho kya kya laayi jawaani aaha
dil ko milaale dhoom machaale
jake phir na aaye jawaani waah waah
aayi jawaani
badi diwaani
dekho kya kya laayi jawaani aaha
hans le gaa le
mauj mana le
jaa ke phir na aaye jawaani waah waah
o tere bin mora jiya laage na
o tere bin mora jiya laage na
o tere bin mora
o more bin tora
o dekho dekho dekho
jiya la la la la la laage na
tera roop ghazab ka jaani
dekho kya kya laayi jawaani aaha
dil ko milale dhoom machale
jake phir na aaye jawaani waah waah
aayi jawaani
badi deewaani
dekho kya kya laayi jawaani aaha
hans le gaa le
mauj mana le
jaa ke phir na aaye jawaani, waah waah
haay maara maara maara
tere teekhe teekhe nakhron ne maara
dekho dekho behke kadam
zara dena ji sahaara
ho ho ho ho
maara maara maara
tere teekhe teekhe nakhron ne maara
dekho dekho bahke kadam zara dena ji sahaara
dena ji sahaara
o ho
aaha
mausam pyaara raat suhaani
dekho kya kya laayi jawaani aaha
dil ko milaa le dhoom machaa le
jaake phir na aaye jawaani waah waah
arre dhokha dhokha dhokhaa nahin khaana
yehi mauka hai shikaari
jeete jeete jeete khel khel mein jo
wohi hai khilaadi
haan wohi hai khilaadi
o ho
aa haa
samjho dil ki baat suhaani
dekho kya kya laayi jawaani aa haa
dil ko milaa le dhoom machaa le
jaake phir na aaye jawaani waah waah
aayi jawaani
badi deewaani
dekho kya kya laayi jawaani aaha
hans le gaa le
mauj manaa le
jaake phir na aaye jawaani waah waah
ab gaao pappa pappi
ab gaao halli huli
kuchh samjho hamaari boli
tumhaari boli
haan
hamaari boli
laa hai laa hai lappap pappa
laa hai laa hai lappap pappa
waada pakka
laa hai laa hai lappap pappa
laa hai laa hai lappap pappa
bilkul sachcha
samajhne waale samajh gaye
jo naa samjhe wo kakka
laa hai laa hai lappap pappa
laa hai laa hai lappap pappa
laa hai laa hai lappap pappa
waah
li hai li hai lippip pippi
li hai li hai lippip pippi
li hai li hai lippip pippi pi
hoy laa hai laa hai lappap pappa
laa hai laa hai lappap pappa
laa hai laa hai lappap pappa paa
li hai li hai lippip pippi
li hai li hai lippip pippi
li hai li hai lippip pippi pi
hahahahahaha
hahahahaha
Dekhiye to kya ajeeb haal hai
Posted on: June 2, 2021
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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4702 | Post No. : | 16405 |
Hullo Atuldom
2nd June 1988. 33 years ago, Raj Kapoor who was also called the greatest Showman, bid adieu to this mortal world.
He was first an actor who turned a filmmaker early in his career. It is said that he had done roles as a child actor in the late ’30s, but his first adult role happened in 1947 in ‘Neel Kamal’ with Madubala as his heroine. Within a year he turned a producer-director, set up the RK Banner and came up with “Aag” and went on to produce and direct nine more movies – the last of which was “Ram Teri Ganga Maili”. Additionally he produced ‘Biwi-o-biwi’, ‘Dharam Karam’, ‘Kal Aaj Aur Kal’, ‘Jis Desh Mein Ganga Behti Hain’, ‘Ab Dilli Door Nahin’, ‘Jaagte Raho’, Boot Polish’, ‘Aah’ i.e. the total output of RK banner during Raj Kapoor’s lifetime was 18. His sons Randhir- Rishi- Rajeev tried to keep the legacy of the banner alive and made a few more movies.
Of the movies that RK Banner produced in the ’70s two were directed by Randhir Kapoor viz. ‘Kal Aaj Aur Kal’ and ‘Dharam Karam’.
“Kal Aaj Aur Kal” had a lot of interesting aspects associated with it. (1) It was the acting and direction debut of Randhir Kapoor. (2)It had three generations of the family :- grandfather Prithviraj Kapoor, father Raj Kapoor and Randhir kapoor. (3) It marked the last acting assignment of Prithviraj Kapoor and I have read somewhere that he dubbed for the movie almost from his death-bed. (3) The movie starred Raj Kapoor’s future daughter-in-law Babita. (4) This was the last RK movie for which Shankar- Jaikishan gave music. Apparently Jaikishan had completed recording the music for this movie before he passed away.
Mehmood gave a tribute to the RK family in a song from “Humjoli” (1970) when he played the grandfather, father and (modern) son.
KAAK had six songs of which the blog has four songs. Today’s song shows Raj Kapoor as the father of a stubborn young son and son of stubborn old father. He is torn between his love for his father and son. He does not want to take sides in the tug-of-war of the two generations and both father and son have asked him to choose who is more important. We have Raj Kapoor expressing all his emotions through his beautiful light-eyes (remember the reference to those eyes in the song “masti bhara hain sama”.)
The song is written by Neeraj and sung by Manna Dey.
Audio
Video
Song-Dekhiye to kya ajeeb haal hai (Kal Aaj aul Kal)(1971) Singer-Manna Dey, Lyrics-Neeraj, MD-Shankar Jaikishan
Lyrics
dekhiye toh kya ajeeb haal hai
sochiye toh kya ajeeb baat hai ae ae
ek paanv chal raha alag alag
doosra kisi ke saath saath hai ae ae
dekhiye toh kya ajeeb haal hai
ek daal iss tarah phooli phali
ek ek paat phool ban gaya
ek daal iss tarah phooli phali
ek ek paat phool ban gaya
ek daal iss qadar magar luti
ek ek phool dhool ban gaya
aaj aur kal ki dhoop chhaanv mein aen
iss liye samay ke soone gaanv mein
ek paanv chal raha alag alag
doosra kisi ke saath saath hai ae ae
dekhiye toh kya ajeeb haal hai
ek hawa chali ke khil uthha chaman
ek hawa chali ke sab ujad gaya
ek kadam uthaa ke raah mil gayi
ek kadam uthaa ke path bichhad gaya
ek hawa chali ke khil uthha chaman
ek hawa chali ke sab ujad gaya
ek kadam uthaa ke raah mil gayi
ek kadam uthaa ke path bichhad gaya
iss liye dilon ki jeet haar mein aen
iss liye kisi ke preet pyaar mein aen
ek paanv chal raha alag alag
doosra kisi ke saath saath hai ae ae
dekhiye toh kya ajeeb haal hai ae
sochiye toh kya ajeeb baat hai ae ae
ek paanv chal raha alag alag
doosra kisi ke saath saath hai ae ae
dekhiye to kya ajeeb haal hai
hmm hmm h hmm hmm
aa aa aa aa aa
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 : |
4652 | Post No. : | 16318 | Movie Count : |
4431 |
The song under discussion is from “Sampoorna Devi Darshan”(1971). “Sampoorna Devi Darshan”(1971) was produced by S J Rajdev and directed by Shantilal Soni for ‘Sargam Chitra, Bombay’. The movie had Sushma, Ashish Kumar, B.M. Vyas, Padma Rani, Shabana, Uma Dutt, Azad, Shery Mohan, Arvind Pandya, Johny Whisky, Dilip Dutt, Shri Bhagwan, Bhagwan Sinha, Maya, Shobha, Suman, Prem Lata, Daya Devi, Rajeshwari Rao, Haroon, Prince Arjun, Kiran Kumar, Dalpat Bhai etc in it.
Screenplay and dialogues of this movie were written by R. Priyadarashi. Editing of this movie was done by I.M. Kunnu. Lyrics of this movie were written by B.D. Mishra and music was composed by S.N. Tripathi.
Lyrics of the song as well as details of the movie were sent to me by Avinash Scrapwala, with the request that- “Kindly introduce the movie with your writeup please, as I am not good when it comes to writing about mythology. Please.”
While making the above request, he assumed that I can write about mythology. In reality, I know even less about this topic. Whatever litle I knew about this topic was from my voracious reading of children’s magazines like Chandamama, and also reading of Geeta Press Gorakhpur religious publications during my younger days. I have already forgotten most of that.
I in fact, learnt something new from the email of Avinash Scrapwala. I realised that there is a Navratri during Durga puja of october November and also another navratri in the summer season. The summer season navratri is called Chaitra navratri and it marks the beginning of the Hindu calendar year.
Today marks the beginning of Hindu calendar year Samvat 2078. This is Vikram Samvat (Vikram calendar), which, we can see is 57 years ahead of Gregorian calendar (the one that is commonly followed by most people). However India adopted Shak Samwat (Shak Calendar) as Indian calendar which has the same months as Vikram calendar but it started in 78 AD, unlike Vikram Samwat which started in 57 BC. Official Shak calendar is tied to the Gregorian calendar. It begins on 22 march, and on Gregorian leap year it begins on 21 march.
Chaitra is the first month of Hindu Vikram Samvat calendar year. This year this day falls on 13 April. Chaitra navratri begins from this day. This time it is from 13 april to 22 april.
Like during the october-november Navratri, the chaitra navratri too is observed by praying to different avatars of Goddess Durga during the nine days of the festival. These avataras, that are worshipped on the nine days are:-from day one to day nine-Maa Shailputri, Maa Brahmcharini, Maa Chandraghanta,Maa Kushmaanda,Skandmata, Maa Katyayani, Maa Kaalraatri, Maa Mahagauri and Maa Sidhhidaatri.
The festival marks the beginning of the spring season and it ends with Ram Navami or the birthday of Lord Rama.
This new year day is celebrated in different parts of the country by different names viz. Gudi Padwa (Maharashra, MP,Chattisgarh), Ugadi (Andhra Pradesh, Karnataka), Puthandu (Tamilnadu), Vishu (Kerala), Bihu (Assam), Poila Baisaakh (Bangal), Baisaakhi (Punjab) etc.
Just imagine for a second. All these regions of India, located far far away from each other, have been celebrating their new year on this same day for many centuries! It means that all these diverse places, separated by vast distances have been culturally integrated for many many centuries ago ! How else do you explain the fact that all these regions celebrate their new years on the same day ! I notice that I have stayed in almost all the above mentioned regions of India and I have observed this new year celebrated in almost all its different forms. 🙂
Religious minded people use this occasion for pooja, archana, aradhana etc, whereas cultural minded people celebrate it through songs and dances. Vigorous Punjabi dance on this occasion is well known to most people. Personally I am a big fan of Bihu dance that I saw getting performed on this occasion, during my stay in Assam two decades ago. These festivals also have much to offer to those who look forward to sweets and pakwaans. 🙂
As per HFGK Vol-V (1971-1980) this movie had six songs (including one five-part song). All the songs of this movie were written by B.D. Mishra and music was composed by S.N. Tripathi.
The list of the songs given in HFGK is as follows;
| SNo | Song Title | Singer/s |
|---|---|---|
| 01 | Jai devi maata, jai nau durgaa maata | Manna Dey, Chandrani Mukherji, chorus |
| 02 | Sansaar ki kaisi reet hai …sachchaayi roye duniya mein | Asha Bhonsle |
| 03 | O raaja aa jaa na mere paas | Asha Bhonsle |
| 04 | Aao suhaag ki raat manaa le… tumhaare sang jeenaa thha | Asha Bhonsle |
| 05 | (a) Nij janm bhoomi dharti maa ko naman-part-1 (b) Hari bhari brajbhoomi seenchti sadaa (c) Kaam krodh mad lobh moh kitnaa hi zor lagaaye (d) Paap taap santaap jhoothh ki ek na chalegi (e) Teerath teerath mandir mandir jo ghoome din raat |
Manna Dey, Chandrani Mukherjee, chorus |
| 06 | Maa Paava gadh thhi ootaryaa mahaakaali re (garbaa) |
When I first looked at the name of the movie and the lyrics of the song, and looked at the request of Avinash scrapwala regarding this being a song for the occasion, my first impression was, how can it be. It is a song fit for Durga puja. Then, on doing some research, that I have presented above, I found out that there is something known as Chaitra Navratri and that it is a festival like the Navratri of Dashara, and that this song is actually tailormade for the occasion. Now I have realised that the world “Nav Durga” that we often come across is not “nav Durga” but “nau Durga” viz. “nine Durga”, and it refers to the nine forms of Durga.
The song plays in the background at the credits appear on the screen. The lyrics of this song mentions all the nine forms of Durga.
This shows that the makers of movies like this were very well versed with Indian mythology and they could make movies on such topics. The lyricists of the songs of such movies had indepth knowledge about the subject as we can see from the lyrics of this song, which comes from the pen of B D Mishra. Music is composed by S N Tripathi.
With this song, “Sampoorna Devi Darshan”(1971) makes its debut in the blog. 1971 saw 115 movies getting released. This movie is the 106th movie of 1971 to find representation in the blog.
We this opportunity to wish everyone a very happy, healthy and prosperous new year and chaitr navraatr.
Let us now listen to song devoted to Maa Durga, the Goddess who is worshipped during this Chaitr Navraatr.
Song-Jai devi maataa Jai Nau Durga Maataa (Sampoorna Devi Darshan)(1971) Singer- Manna Dey, Chandrani Mukherjee, Lyrics – B D Mishra, Music – S N Tripathi
Lyrics(Provided by Avinash Scrapwala)
jai devi maata aa
jai nau durga maata aa
janani jai ho teri
amar tera naata aa
jayo jayo maa jagdambe ae
pehla hai swaroop
shail putri maata
hai shail putri maata
jo inke gun gaataa
sukh sampatti paataa
jayo jayo maa jagdambe ae
dooja hai swaroop
bramhchaarini maa aa
hai bramhchaarini maa
bramhroopini tu hi
paap haarini maa aa
jayo jayo maa jagdambe
teeja hai swaroop
chandraghanta maata
hai chandraghanta maata
tujhko paa ke man ka
andhiyaara jaataa aa
jayo jayo maa jagdambe
chautha hai swaroop
kushmaandaa maayi
hai kushmaanda maayi
inse hi ban jaata
jeewan sukhdaayi
jayo jayo maa jagdambe
pancham roop anoop
devi skandmaata
hai devi skandmaata
trigun tritaap vinaashini
tribhuvan ki praata
jayo jayo maa jagdambe
chhanthvi katyaayani
maayi taaran haari
maayi taaran haari
poojen brahma vishnu
poojen tripuraari
jayo jayo maa jagdambe
saantvin ye mahagauri
aathvin kaalraatri
hai aathvin kaalraatri
nauvvaan roop hai tera
maayi siddhidhaatri
jayo jayo maa jagdambe
nau durga ki aarti
jo koyi gaave
ye jo koyi gaave
kahe shivanand swami
jag mein sukh paaye
jayo jayo maa jagdambe
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4649 | Post No. : | 16313 |
#The Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 131 # Qawwalis – 9
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Welcome all to another post presenting a song from the ‘decade of seventies-1971-1980’. The years when I was growing, and as a ‘child’ I have many memories and nostalgia especially related with the only popular entertainment medium available those days i.e., ‘Hindi Cinema’, ‘Radio’ and ‘Hindi Film Music’.
Today I am once again taking you to back to the ‘seventies’. Today we will listen to a ‘qawwali’ composed by Raam Laxman. His first on the blog in this category. Today’s song in not a ‘pure’ ‘qawwali’ but can be termed a ‘fusion-qawwali’ if I am not wrong. Today’s song can also remind readers of the famous ‘raaz ki baat kah doon to’ from the movie ‘Dharma-1973’.
Well, the today’s song or ‘qawwali’ is from the movie ‘Agent Vinod-1977’.
‘Agent Vinod-1977’ was directed by Deepak Bahri for ‘Sargam Pictures Pvt. Ltd., Bombay’.
It had Mahendra Sandhu, Asha Sachdev, Rehana Sultana, Iftekhar, Pinchoo Kapoor, Nazir Hussain, Ravindra Kapoor, K.N. Singh, V. Gopal, Vishwa Mehra, Viju Khote, Rajan Kapoor, Sunder, Bhagwan, Sharat Saksena, Kamal Deep, Master Romi, Shail Chaturvedi, Ranvir Raj, Gurbachan, Brujendra Mohan, Jagdeep, Helen, Jayshree T., Leena Das, Sheetal, Asha Potdar, Geeta Khanna, Shobhna Shah and others.
This movie was passed by Censor Board on 23.07.1977.
I vaguely remember to have watched this movie with my Father, I had forgotten about this movie except its one song ‘Lovelina aa gaya main’. And later on, when I started my music collection, I was always looking for this movies’ song. The other thing that had made to my ‘impressionable mind’ was its dashing hero Mahendra Sandhu. However, I do not remember if I watched his other movies too (they are not so many I think).
But like many other stars from the ‘seventies’, I always remember Mahendra Sandhu’s name whenever movies or related stories about movies were discussed among friends or in the family with elders.
This movie had six songs which were penned by Ravindra Rawal and composed to music by Raam-Laxman.
Following is the list of songs of this movie (as given in HFGK Vol-V-1971-1980);
| S.No. | Song Title | Singer/s | Posted On |
|---|---|---|---|
| 01 | Zu zu … main jhonka matwaala | Kishore Kumar, chorus | |
| 02 | Lovelina main aa gaya | Asha Bhonsle, Shailendra Singh | 21.10.2013 |
| 03 | Band kamre mein ek ladki akeli | Asha Bhonsle, Mahendra Sandhu | |
| 04 | Mehfil mein aaye ho aao muqaabil | Asha Bhonsle, Manna Dey | Being discussed today |
| 05 | Yaara dildaara, tera ye ishaara | Usha Mangeshkar, Dilraj Kaur | |
| 06 | Ham to nikle ram bharose | Mahendra Kapoor, Jaspal Singh, chorus |
We can see that as many as nine singers were used for the six songs in this movie. This easily give us hint about the variety of the songs this movie had.
Only one song from this movie has been posted on the blog on 21.10.2013. Around the same time, I had noted the today’s song which is being presented today.
Today’s song happens in a party and is sung by Asha Bhonsle and Manna Dey. On screen it is Leena Das and Mahendra Sandhu lip-syncing in the voices of Asha Bhonsle and Manna Dey respectively.
Also seen in the picturization is Asha Sachdev who accompanies Mahendra Sandhu in the party which I guess is hosted by Pinchoo Kapoor who seems to have planned to trap Mahendra Sandhu – a secret agent. And for this purpose, Leena Das sings the song to woo Mahendra Sandhu. Mahendra Sandhu who is already aware of their intentions joins the song. Not just that , he even cautions them ‘hamse na uljho aye jaan e mehfil jaan jaaoge,
pehchaan jaaoge, phir maan jaaoge’ 😊
I hope readers will like today’s song as much as I do. 😊
let us now enjoy today’s song …
Song-Mehfil mein aaye ho aao muqaabil jaan jaayenge (Agent Vinod)(1977) Singers-Asha Bhonsle, Manna Dey, Lyrics-Ravindra Rawal, MD-Ram Laxman
Lyrics
Aa aa aa
Aa aa aa
Aa aa aa
aa aa aa
Jo roshani hai
aaftaab chaand taaron mein
Jo dilkashi hai
chaman ke haseen nazaaron mein
Mere shabaab mein
aise samaa gaye ae donon
Ke jaise pyaar ke nagme
jawaan bahaaron mein
Mehfil mein aaye ho
Aao muqaabil jaan jaayenge
Pehchaan jaayenge
Phir maan jaayenge
Mehfil mein aaye ho
Aao muqaabil jaan jaayenge
Pehchaan jaayenge
Phir maan jaayenge
Aji hamse na uljho
Ae jaan e mehfil jaan jaaoge
Pehchaan jaaoge
Phir maan jaaoge
Surkh zanjeer nazar teer
Adaayein khanjar
Hain tabassum mein bijliyaan
Mera shabaab kehar
Aa aa
Inmein uljhaana mujhe
Koi aasaan nahin
Maut ka darr ho jise
Main wo naadaan nahin
Kabhi nishaana
Kabhi waar chook jaata hai
Mera qaatil har ek baar
Jhhuk jaata hai
Iss ghadi bhi hoon nishaane pe
Waar kar jaao
Ya meri maut ka phir aitbaar kar jaao
Hmm bahut dekhe
Haan
Hamse na uljho
Ae jaan e mehfil jaan jaaoge
Pehchaan jaaoge
Phir maan jaaoge
Waqt ke saath main har rang mein
Dhal saktaa hoon
Zidd pe aaoon to rukh hawaa ka
Badal saktaa hoon
Josh mein yoon naa machal
Naaz itna bhi naa kar
Tujhko behkaa gayi hai
Ye jawaani ki lehar
Ye mera kaam thha
Aagaah tujhe kar dena
Koi mushkil nahin
Gumraah tujhe kar dena
zulfein kar doon jo pareshaan to
Aise ghir jaao
Inn andheron mein
Umr bhar bhatakte reh jaao
Achha
Hmm
Mehfil mein aaye ho
Aao muqaabil jaan jaayenge
Pehchaan jaayenge
Phir maan jaayenge
Jahaan mein dekhe hi nahin hai
Toone zindaa dil
Tu bhi samjhaa nahin nadaan
Adaayein qaatil
Aa aa
Aaj maukaa hai milaa
Phir na karnaa tu gilaa
Main hoon tayyar khadaa
Jhoothi zidd pe hai adaa
Jaane kyon teri jawaani pe
Reham aata hai
Haath aaya shikaar bhi
Koi ganwaata hai
Nainon se teer chale
Haan
Meri aahon se chale
Neechi nazron ki hayaa
Khaali ye waar gayaa
Tabassum ki ye bijlee
Naa meri jaan nikli
Ye meri shokh adaa
Kuchh asar hi naa hua
Dekh meri angdaayee
Ye bhi mujh tak na aayi
Mere liye koi nayaa sitam
Ijaad karo
Ya jo jawaab diya hai maine
Use yaad karo
Kyon yaad aaya ke nahin
Aji hamse na uljho
Ae jaan e mehfil jaan jaaoge
Pehchaan jaaoge
Phir maan jaaoge
Hamse na uljho
Ae jaan e mehfil jaan jaaoge
Pehchaan jaaoge
Phir maan jaaoge
Rang Holi ka niraala
Posted on: March 29, 2021
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 : |
4637 | Post No. : | 16294 |
“The Right And the wrong”(1970) was written, produced and directed by Harbans (Micky) Kumar for Deluxe Films Corporation. It was the first Carribean (West Indian) colour movie, produced in Trinidad and Tobago, a country with large population of Indian origin emigrants who left India and settled in that as well as neighbouring countries (such as Guyana, Suriname etc) a few centuries ago. Many West Indian Cricketers with Indian sounding names are descendents of those Indian origin people. Names like Sonny Ramadhin, Rohan Kanhai, Alvin Kalicharan, Shivnaraine Chanderpal, Ravi Rampal, Darren Ganga, Ramnaresh Sarwan are familiar to cricket lovers.
“The Right And the wrong”(1970) had Ralph Maharaj, Angela Seukaran, Elain Le Gare, Frant Raiter,Francis ashlby, Gloria Kim david, Holly Betaudier, Jasse mcdonald,Mark mathews, Rasheed Pier khan, Susan Hawkins, Tony Maharaj,Yusuf Ali etc in it.
This movie was set in the era hen these emigrants from India were used by white people as contract labours. The movie was in English but it had two Hindi songs in it. Some Hindi movie names were roped in to create these songs.
One such song is already represented in the blog. This song is sung by Mukesh ! This song (and for that matter the movie itself) was a big hit among Indian origin people of West Indies. If one is not aware, one would consider that song as from an Indian movie. This song, O mere hamraahi kyun tera man ghabraaye was discussed in the blog on 2 January 2009, more than 12 years ago !
It turns out that the second Hindi song from this movie was a Holi festival song ! Today (29 march 2021) is the festival of Holi. These are unusual days for India and the world, when extreme caution is advisable while celebrating festivals. On this occasion, here is this “unusual” Holi song from an English language Carribean movie.
If the earlier song was sung by Mukesh, then this song is sung by Manna Dey. The song also has male and female chorus. Thakur Chhabra is the lyricist. Music is composed by Vedpal Verma.
Lyrics of this song and other details ere sent to me by Prakashchandra.
I take this opportunity to wish everyone a happy and safe Holi.
Audio link:
Video link:
Song-Rang holi ka niraala (The right and the wrong)(1970) Singer-Manna Dey, Lyrics-Thakur Chhabra, MD-Vedpal Verma
Male chorus
Female chorus
All chorus
Lyrics(Provided by Prakashchandra)
aaaa…aaan…aaan…aaan…aaa
aaaan..aaa..aaaa..aaa..aaa.aa
aaa..aaa…aaa…..aaaa
haaaa…aaa….aaa…aaaa…aaa..aaa…aa
hoyye rang holi ka niraalaa
na koyi gora na koyi kaalaa
hamein ek kar daalaa
is rang ne ae
rang daalaa hamein apne hi rang mein hoyye ae ae
o rang holi ka niraalaa
na koyi gora na koyi kaalaa
hamein ek kar daalaa
is rang ne ae
rang daalaa
hoyye hoyye
jaat paat aur bhed bhaav ke ae ae
is ne bandhan todey ae ae
ho o o o ho o ho o o is ne bandhan todey
haayye ae
jhoom jhoom sab naach rahey hain aen aen
mann se mann ko jodey ae
ho o ho o o o mann se man ko jodey
jhoom jhoom sab naach rahey hain
mann se man ko jodey
haayye chhotey badey ko milaayaa
bhed bhaav ko mitaayaa
rang daalaa hamein apne hi rang mein aen
o ho oo oho o o o
ho o o ho o o ho o o ho
ho o oo ooo ho oo
ho o o ho o o oho oo ho oo oo hho hho o ho
rang rangeela phagun aayaa
masti hai ang ang mein aen aen aen aen
bhar pichkaari phaguaa kheley
nar naari sang sang mein
haayye dholak baajey dhamaakk dhamm dhamm
hho gori naachey chhamaakk chhamm chhamm
chhedi pyaar ki aisi sargam
is rang ne ae ae
rang daalaa hamein apne hi rang mein aen
o rang holi ka niraalaa na koyi
Chanda Kaahe Ka Tera Maama
Posted on: March 8, 2021
- In: "appeasement" song | "chaand" song | Children's song | Chorus song | Devnagri script lyrics by Sudhir | Guest posts | Lyrics contributed by readers | Mahendra Kapoor songs | Manhar Udhas songs | Manna Dey songs | Post by Sudhir | Song sung by three or more singers | Songs of 1960s (1961 to 1970) | Songs of 1969 | Yearwise breakup of songs
- 7 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day: |
4616 | Post No. : | 16256 |
A celebration of 100 years of Sahir Ludhianvi – his 700th song being posted on our blog.
A hundred years today. Being celebrated by the 700th post on our blog.
Sahir Ludhianvi – the “. . . Pal Do Pal Ka Shaayar. . .“, who would be actually “. . . Har Ik Pal Ka Shaayar. . .“, being relevant for all times, and responsive to all the pitfalls and tragedies of the human experience. But then also, never to be discounted for romanticism a la “Ye Raat Ye Chaandni Phir Kahaan. . .” and “Yoon To Hamne Laakh Haseen Dekhe Hain“, or even as “Phir Na Keeje Meri Gustaakh Nigaahi Ka Gila“, or the upbeat strings of “Mere Labon Pe Dekho Aaj Bhi Taraane Hain. . .“, or even the most in depth portrayal of the bhakti (devotion) sentiment, as in “Aan Milo Aan Milo Shyaam Saanwre“, and “Tum Bansi Ho Main Taan, Ham Tum Do Nahin” and even more intense in “Aaj Sajan Mohey Ang Laga Lo. . .“.
Yes, it is the poet who is Har Ik Pal Ka Shaayar, touching all the facets of experiences of life, from the time when a child is pining for the moon as a toy, and all the way to the derelict conclusion of the human life as in “Lo Apna Jahaan Duniyawaalo, Hum Is Duniya Ko Chhod Chale“.
Sahir Sb seemed to have an affinity for the phrase ‘pal do pal’. We hear these words in ‘Railway Platform’ (1957) –
Pal Do Pal Ka Saath Hamaara, Pal Do Pal Ki Yaari
Aaj Ruke To Kal Karni Hai Chalne Ki Tayaari
Basti Basti Parvat Parvat. . .
Repeated in ‘Mehmaan’ (1974)
. . .
Pal Do Pal Dhoom Machha Ley
Yoon Mar Mat Mar Mat Yaaraa
In ‘Zameer’ (1975), he would write
Zindagi Hansne Gaane Ke Liye Hai Pal
Do Pal. . .
Then again in ‘Burning Train’ (1980), reminding us of the shades of ‘Railway Platform’
Pal Do Pal Ka Saath Hamaara
Pal Do Pal Ke Yaaraane Hain. . .
And yes, ‘Kabhi Kabhi’ (1976) of course,
Main Pal Do Pal Ka Shaayar Hoon
Pal Do Pal Meri Kahaani Hai
Pal Do Pal Meri Hasti Hai
Pal Do Pal Meri Jawaani Hai
In ‘Pyaasa’ of 1957, he had posed three very profound questions in the lines of poetry he wrote for that film. At a personal level, the query was “Jaane Wo Kaise Log The Jin Ke Pyaar Ko Pyaar Mila“. On the plane of social strife and stigma he had asked “Jinhen Naaz Hai Hind Par Wo Kahaan Hain“. And then, the ultimate question of life that he has posed is “Ye Duniya Agar Mil Bhi Jaaye To Kya Hai“. The film gains its depths, attempting to interpret and address these questions. And more than sixty years later, these questions continue to haunt the discerning mind. Timeless queries, one would say, but still, crystallized for once in words by Sahir.
There is this one incisive insight that the poet possesses, or maybe the other way round, this incisive insight possesses the poet. Each verse, each song that he has penned in his lifetime, goes well beyond the simple words that he wrote. His words, his lines offer you, nay they force you to take a pause and think – what profundity, in just this simple arrangement of 8, 10 or 15 words. And the thought will stay in the mind for much much longer that what it took to simply read the words for once.
This life, ‘zindagi’ – the incisive insight brings out so many facets that the poet examined it. In 1954, he penned the following for ‘Taxi Driver’
Ae Meri Zindagi
Aaj Raat Jhoom Le, Aasmaan Ko Choom Le
Kis Ko Pata Hai Kal Aaye Ke Na Aaye. . .
For ‘Munim Ji’in 1955, he wrote
Ek Taraf Haseen Jalwe Hain
Ik Taraf Jawaani
Zindagi Hai Zinda. . .
In 1958, his words for ‘Light House’ are
Tang Aa Chuke Hain Kashmakash-e-Zindagi Se Hum
Thukra Na Den Jahaan Ko Kahin Be-dilee Se Hum
With 1960 came ‘Barsaat Ki Raat’ and the promising words are
Zindagi Bhar Nahin Bhoolegi Wo Barsaat Ki Raat. . .
1962, and it is ‘Hum Dono’, with the lines
Main Zindagi Ka Sath Nibhata Chala Gaya. . .
With ‘Aaj Aur Kal’, 1963, ‘Zindagi’ was a most depressing thought.
Maut Kitni Bhi Sangdil Ho Magar
Zindagi Se To Meharbaan Hogi
‘Chandi Ki Deewaar’ and 1964, another depressing sentiment
Kahin Qaraar Na Ho Aur Kahin Khushi Na Miley
Hamaare Baad Kisi Ko Ye Zindagi Na Mile
And then, a refreshing thought in 1965, with these lines in ‘Shagoon’,
Ham Hain Maayoos Magar Itne Bhi Maayoos Nahin
Ek Na Ek Din To Yah Ashqon Ki Ladi Tootegi
Ek Na Ek Din To Chhatenge Ye Ghamon Ke Baadal
Ek Na Ek Din To Ujaale Ki Kiran Phootegi
Zindagi Zulm Sahi Zabr Sahi Gham Hi Sahi
On to 1969, and the life is a happenstance – film is ‘Aadmi Aur Insaan’,
Zindagi Ittefaaq Hai
Kal Bhi Ittefaaq Thi Aaj Bhi Ittefaaq Hai
And in the same film, we have the sobering sentiment as,
Zindagi Ki Raah Mein Khushi Ke Phool Bhi
Zindagi Ki Raah Mein Ghamon Ki Dhool Bhi
Zindagi Kabhi Yaqeen Kabhi Gumaan Hai
Har Qadam Pe Teraa-Meraa Imtahaan Hai
Zindagi Ke Rang Kai Re Saathi Re. . .
Come 1975, and it is ‘Ek Mahal Ho Sapnon Ka’; the refrain once again is downbeat as in
Dekha Hai Zindagi Ko Kuchh Itna Qareeb Se
Chehre Tamaam Lagne Lage Hain Ajeeb Se
But then it is ‘Zameer’ in the same year that bounces back to say,
Zindagi Hansne Gaane Ke Liye Hai Pal Do Pal
Ise Khona Nahin Kho Ke Rona Nahin
Plus a more sobering thought, from the same film,
Tum Bhi Chalo Hum Bhi Chalen
Chalti Rahe Zindagi
Naa Zameen Manzil Naa Aasmaan
Zindagi Hai Zindagi
With ‘Kaala Pathar’ in 1979 came the motorcycling song that infused the bubbling spirit of freedom and hope.
Jaate Huye Qadmon Se
Aate Huye Qadmon Se
Bhari Rahegi Raahguzar
Jo Ham Gaye To Kuchh Nahin
Ik Raastaa Hai Zindagi
Jo Tham Gaye To Kuchh Nahin
Ye Qadam Kisi Muqaam Pe
Jo Jam Gaye To Kuchh Nahin
Coming to the song being presented today. It is a wonder that I thought of, as I listened to this song today after a very long time. Yes, a child pining for getting the moon to play with. And with the ‘बाल हठ’ (a child’s obduracy), it is an overwhelming experience to be able to convince the child and talk it out of its impossible wish. As I listened, I am reminded of the story from the Ramayan – the passage where Ram, as a toddler, one day gets into His mind that he wants the moon to play with. No amount of coaxing and appeasing and promises by the parents and others can talk Him out of His insistence. And the accompanying wailing and waving of arms is making Kaushalya and Dashrath very worried and uncomfortable. Rajguru, Vashishth ji is summoned for help. He arrives and says, well, if the child is wanting the moon, give Him the moon. The parents are confused, and ask Vashishth ji, as to how to make that happen.
Rajguru asks for a large dish (‘परात’) with raised edges. The dish is placed in front of the child, and is filled with water. Instantly, the likeness of the moon is reflected in the water in the dish. So Vashishth ji beckons the child and points to the reflection and says, here is the moon, now play. So the toddler Ram, seeing that the moon is now so close, puts His hands in water, but swish and splash as He may, He is not able to hold in hand, the reflection that can be seen with the eyes. But the splashing play pleases Him, and the wailing is forgotten.
Sahir Sb is addressing the same situation in this song, likely that the child is insisting on visiting ‘Chanda Mama’. And as is the rule in Hindi films – well, you have a song to for a three-minute-disposition-of-a-difficult-situation. The lines in the song are actually trying to reason with the child, based on some simple logic statements, that aim at convincing the child that they (the three bad men in the film) are much better suited to be ‘Mamma’ to the child than the distant moon.
So there is arguments like, hads ‘Chanda Mama’ ever visited you? Has ‘Chanda Mama’ ever invited you to his place. He just sits in the sky and creates a fake uproar. Where as we (the three bad men in the film) are with you every day. We play with you, we take care of you and bring you toys. And so, as is wont in Hindi films, all it takes is three minutes of music and song to change the mind of any individual in any situation. Start the song, and you can time the mind conversion almost exactly to 3 minutes (maybe plus a few more seconds).
The video of this song is not available, but it most certainly is picturized on Geeta (role played by Baby Rani) who plays the upset little child, wanting the moon, and the three bad men – Govind, Joseph and Nazir (roles played by Pran, Ajit and Anwar Hussain respectively). The singing voice for the three bad men are back played by Manna Dey, Mahendra Kapoor and Manhar. The singing voice is not identified for a few lines at the end of the song, which are apparently lip synced by the child.
The film is ‘Nanha Farishta’ from 1969. A film by T Prakash Rao, is a touching tale of three criminals whose lives are transformed by the love a small child girl they have kidnapped. The star cast of this film includes Pran, Ajit, Anwar Hussain, Baby Rani, Padmini, Pandharibai, Balraj Sahni, Johnny Walker, Suresh, Mukri, Raj Mehra, Sunder, Maruti, and Prem Kumar.
The film has four songs, all penned by Sahir Sb. The music is composed by Kalyanji Anandji. Two of the four songs are already showcased on our blog. This is the third song to find its place here, as the centenary celebration of this gifted poet. And we also add the celebration of adding the 700th song by Sahir Sb to our blog.
A very refreshingly joyful song – yes, Sahir Sb had the versatility to pen such gems also.
Listen and enjoy.
Song – Chanda Kaahe Ka Tera Maama (Nanha Farishta) (1969) Singer – Manna Dey, Mahendra Kapoor, Manhar, Unidentified Child Voice, Lyrics – Sahir Ludhianvi, MD – Kalyanji Anandji
Manna Dey + Mahendra Kapoor + Manhar
Lyrics
arre chanda kaahe ka tera mamma
mamma
chanda kaahe ka tera mamma
naabhe ke naama na jaama
jaama
mamma mamma mamma
arre hum hain tere mammaa
mamma mamma mamma
arre hum hain tere mammaa
chanda kaahe ka tera mamma
na tujh se milne dharti pe aaye
na tujh ko apni nagri dikhaaye
hum ko to chanda bilkul na bhaaye
bilkul na bhaaye
hamen bilkul na bhaaye
amber pe baitha chaahat jataaye
jhootha machaaye humgaama. . .
mamma mamma mamma
arre hum hain tere mammaa
mamma mamma mamma
arre hum hain tere mammaa
chanda kaahe ka tera mamma
hum tujh ko nit nit godi khelaayen
arre nehla dhula ke powder lagaayen
haathi dilaayen ghoda dilaayen
haathi dilaayen munni ghoda dilaayen
naach aur ga ke kartab dikhaayen
tak dhin tak dhin sa re ga ma. . .
mamma mamma mamma
arre hum hain tere mammaa
mamma mamma mamma
arre hum hain tere mammaa
chanda kaahe ka tera mamma
tu hai chaheti tu hai dulaari
mariam hamaari seeta hamaari
dil tujh pe sadqe
jaan tujh pe waari
donon jahaan se tu hum ko hai pyaari
hum ne tera haath thaama. . .
mamma mamma mamma
arre hum hain tere mammaa
mamma mamma mamma
arre tum ho mere mammaa
chanda kaahe ka tera mamma
chanda nahin hai mera mamma
mamma
mamma mamma mamma
arre hum hain tere mammaa
mamma mamma mamma
arre hum hain tere mammaa
————————————————————
Hindi Script Lyrics (Provided by Sudhir)
————————————————————
अरे चंदा काहे का तेरा मामा
मामा
चंदा काहे का तेरा मामा
नाभे के नामा ना जामा
जामा
मामा मामा मामा
अरे हम हैं तेरे मामा
मामा मामा मामा
अरे हम हैं तेरे मामा
चंदा काहे का तेरा मामा
ना तुझसे मिलने धरती पे आए
ना तुझको अपनी नागरी दिखाये
हमको तो चंदा बिलकुल ना भाए
बिलकुल ना भाए
हमें बिलकुल ना भाए
अंबर पे बैठा चाहत जताए
झूठा मचाये हंगामा॰ ॰ ॰
मामा मामा मामा
अरे हम हैं तेरे मामा
मामा मामा मामा
अरे हम हैं तेरे मामा
चंदा काहे का तेरा मामा
हम तुझको नित नित गोदी खिलाएँ
अरे नहला धुला के पाउडर लगाएँ
हाथी दिलाएँ घोड़ा दिलाएँ
हाथी दिलाएँ मुन्नी घोड़ा दिलाएँ
नाच और गा के करतब दिखाएँ
तक धिन तक धिन सा रे गा मा॰ ॰ ॰
मामा मामा मामा
अरे हम हैं तेरे मामा
मामा मामा मामा
अरे हम हैं तेरे मामा
चंदा काहे का तेरा मामा
तू है चहेती तू है दुलारी
मरियम हमारी सीता हमारी
दिल तुझपे सदक़े
जां तुझपे वारी
दोनों जहां से तू हमको है प्यारी
हमने तेरा हाथ थामा॰ ॰ ॰
मामा मामा मामा
अरे हम हैं तेरे मामा
मामा मामा मामा
अरे तुम हो मेरे मामा
चंदा काहे का तेरा मामा
चंदा नहीं है मेरा मामा
मामा
मामा मामा मामा
अरे हम हैं तेरे मामा
मामा मामा मामा
अरे हम हैं तेरे मामा
Aajaa re aajaa morey sajan aa
Posted on: February 23, 2021
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 : |
4603 | Post No. : | 16232 |
Hullo Atuldom
12th February was the birthday of an Atulite. He has started a series to introduce missing movies of the ’70s, and just as well as movies of 70s will complete 50 years. It is unbelievable that movies that were part of our childhood are 50 years old.
‘Guddi’, ‘Andaz’, ‘Haathi Mere Saathi’, ‘Caravan’, ‘Anand’, ‘Anubhav’, ‘Parwana’, ‘Tere Mere Sapne’, etc all 1971 releases, all which I have seen multiple times. I am sure that these movies would be favourites of a majority of the followers of this blog.
There is one more movie that will complete 50 years this year. Its release date has been recorded on various internet sites as 1st July 1971, but the censor certificate has a date of 24th February 1970 i.e. exactly a year after its leading lady bade goodbye to this mortal world.
Madhubala- the beauty who charmed an entire generation of moviegoers. A beauty who had an infectious smile and near-musical laughter: – can anyone forget the laughter that precedes ‘haal kaisa hai janaab ka’ or the mischievous smile through ‘accha jee main haari chalo maan jaao na’ and ‘jaanu jaanu re chhupke kaun aaya tore angna’. Her eyes were so expressive. But write-ups about her say that she kept a low public profile and was not seen at film parties and premieres.
She was born Mumtaz Jehan Begum Dehlavi in Delhi on 14th February (which the world celebrates as valentine day in modern times) as fifth of eleven children to Ataullah Khan and Ayesha Begum. An out of work father first reached Delhi from Peshawar (now in Pakistan) and then to Bombay. A very young Mumtaz was first cast as a child actor in the 1942 release ‘Basant’ which was followed by ‘Mumtaz Mahal’,‘Phulwaari’, ‘Dhana Bhagat’, ‘Rajputaani’. Baby Mumtaz became Madhubala from “Neel Kamal” in 1947. It is said that baby Mumtaz and baby Mahjabeen became friends in the period they were child actors and grew up to be contemporaries – Madhubala and Meena Kumari. Madhubala is said to have been a fan of Meena and her voice.
Madhubala was one of the most popular, successful and highly paid actresses of the ‘50s and ’60s. She acted in 73 movies in a career spanning almost two decades though the ‘60s saw only five films of hers. She also produced three movie: – ‘Naata’ (1955), ‘Mehlonkekhwab’ (1960) and ‘Pathan’ (1962). She sang a song or two as baby Mumtaz in ‘Basant’. She was an enigma who was rarely seen at filmy functions or premieres, this was because she was an obedient daughter and submitted to the domination of her father. According to what Dilip Kumar has once said:- she was the only female star for whom crowds would gather at the gates of the studios where she was shooting. Many believe she was one of the most underrated actresses as her beauty attracted more attention than her talent. She was good at expressing a range of emotions through her eyes- comedy, pathos etc etc. In spite of being an iconic actress she never won any awards and was only nominated for her role in “Mughal-e-azam” but she reigned on the hearts of her fans.
She was unlucky in life and had a few heartbreaks before leaving this world and Kishore Kumar, whom she married in 1960, yearning for her. She died on 23rd February 1969 of congenital heart disease;an ailment for which there was no treatment when she was diagnosed in 1954 on the sets of a film being made in Madras. By the time heart surgeries were possible she was too weak to withstand and was confined to bed for nearly nine years. In 1966 she attempted to complete her part of work in the Raj Kapoor starrer “Chalaak” but that was also a strain for her fragile body. (Most of this information I have found on Wikipedia about an actress/ star who was on my dad’s list of favorites in those times).
The song with this post is from a movie that was shot sometime in the ‘50sand we have a very young Sunil Dutt romancing the princess “Jwala” (Madhubala). This movie is significant as it is the only movie of Madhubala that was shot in colour, “Mughal-e-azam” was partly in colour at the time of making, but “Jwala” was made as a colour movie. Sudhirji’s post gives us details about the movie which was essentially a ‘princess falling in love with a commoner who turns out to be a prince in exile’ story. Today’s song is written by Rajinder Krishan, tuned by Shankar -Jaikishan and sung by Manna Dey and Lata Mangeshkar.
February was the month of Madhubala’s birth and she would have turned 88. It is also the month she left the world at 36. We, her fans, can only fantasize how she would have looked as an octogenarian.
Song-Aaja re aaja more sajan aa(Jwaala)(1970) Singer-Lata, Manna Dey, Lyrics-Rajinder Krishan, MD-Shankar Jaikishan
Both
Lyrics
aaja re aaja
more sajan aa
sapnon ki paalki mein dheere dheere aa
sajan dheere dheere aa
aaja re aaja
more sajan aa
sapnon ki paalki mein dheere dheere aa
sajan dheere dheere aa
kis ne hamaara naam le liya
pardon mein chhupne waale
saamne to aa
zara samne to aa
kis ne hamaara naam le liya
pardon mein chhupne waale
saamne to aa
zara saamne to aa
aaun to aaun kis tarha
koi baar baar roke
bol re sainya kaun hai jo mera pyaar roke
aaun to aau kis tarha
koi baar baar roke
bol re sainya kaun hai jo mera pyaar roke
mahal ye tera haal ye mera
rok raha hai na ja
aaja re aaja
more sajan aa
sapnon ki paalki mein dheere dheere aa
sajan dheere dheere aa
kis ne hamaara naam le liya
pardon mein chhupne waAle
samne to aa
zara saAmne to aa
main to hoon panchhi baAwra
tu baagh ki hai raani
donon hain rahi pyaar ke
aur ek hai kahaani
main to hoon panchhi baawra
tu baagh ki hai raani
donon hain raahi pyaar ke
aur ek hai kahaani
pankh laga ke saath uda ke
le chal mohe raaja
aaja re aaja
more sajan aa
sapnon ki palki mein dheere dheere aa
sajan dheere dheere aa
kis ne hamaara naam le liya
pardon mein chhupne waale
saamne to aa
zara saamne to aa
baandh ke dori preet ki
aa door kahin jaayen
phir koi bulaaye bhi
to laut ke na aayen
baandh ke dori preet ki
aa door kahin jaayen
phir koi bulaaye bhi
to laut ke na aayen
koi na dekhe
koi na jaane
mujh mein yoon samaa ja
aaja re aaja
more sajan aa
sapnon ki paalki mein dheere dheere aa
sajan dheere dheere aa
kis ne hamaara naam le liya
pardon mein chhupne waale
samne to aa
zara saamne to aa
aa aa aa aa aa
aa haa aa aa
aa ha haa
aa aa aa
aa haa aa
aa haa aa aa aa
Kaun hai mujrim kaun hai munsif
Posted on: February 18, 2021
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4598 | Post No. : | 16225 |
#The Decade of Seventies – 1971 – 1980 #
————————————————————————
# Bhoole-Bisre Geet # 123 # Qawwalis – 8
——————————————-—–—————-——
Welcome all to the today’s ‘special post’. Special because, we pay our tributes to Khayyam Saab(18 February 1927 – 19 August 2019) on his ninety-fourth birth anniversary today on 18th February’2021.
On this occasion, we are going to listen to a ‘qawwali’ composed by him for the movie ‘Chambal Ki Kasam-1979’.
This ‘qawwali song’ under the above series is coming after a long gap of more than three and half years. The last time I had shared a ‘Qawwali’ was on 26.06.2017 and that qawaali too, like this one, was from the pen of Sahir Ludhianvi.
I had earlier planned to present today’s qawwali for the same occasion last year, however I was unable to send the article at that time.
We have one hundred and sixty-three songs under the category of ‘Qawwalis’.
Today’s ‘qawwali’ is only the second ‘qawwali composition’ of Khayyam Saab to appear on the blog.
The only previous Khayyam qawaali in the blog was this song from ‘Shankar Hussain-1976’ which was posted on 22.05.2011.
But the case with the lyricist Sahir Ludhianvi is totally different. He, so far has twenty-five of his ‘qawwali songs’ on the blog. And today’s song will be his twenty-sixth qawwali song on the blog (more statistics on ‘Qawwali’ on the blog will be coming here in future posts). 😊
Today’s ‘Qawwali’ written by Sahir Ludhianvi can be termed as a ‘social-muqaabla qawwali’ 😊 between a ‘law abiding Police officer’ and a person who has lost his faith in ‘law and order’ and hence doing ‘his self-styled justice with the ‘goons’ in the society’.
We are all aware that in our Hindi movies we have many types of qawwalis created for a particular situation taking a‘liberty’ from the purest form of ‘qawwali’ is i.e., ‘sufiana’…
“Chambal Ki Kasam-1979” was an M.P.D. Productions presentation. It was produced by V L Murlidhar and directed by Ram Maheshwary. It had Raj Kumar, Shatrughan Sinha, Moushmi Chatterjee, Farida Jalal, Ranjeet, Nirupa Roy, Paintal, Gopal Sehgal, R. Tiwari, Usha Kiran, Peace Kanwal, Jagdish Raj, Nazir Hussain, Gufi, Paro Devi, Maruti, Uma Khosla, Raj Rani, Master Bhagwan, Gurucharan, Usha (Gwalior), Pandit Ganga Prasad (Gwalior), Mansaram, Master Rajesh, Master Rahul, Master Sonu, Master Rajiv, Baby Shaloo, and Manu Arora.
Pradeep Kumar and Amjad Khan makes a guest appearance and a special appearance in this movie respectively.
Story of this movie was written by M.K. Tamanna and Screenplay was written by Benoy Chatterjee. Dialogues of this movie were written by Sagar Sarhadi and Safdar Hussain. Additional Dialogues were by Ela Maheshwary. Editing for this movie was done by D.N. Pai and M.S. Shinde.
This movie had eight songs, which were sung by Jagjit Kaur, Lata Mangeshkar, Manna Dey, Mahendra Kapoor and Mohd Rafi.
Sahir Ludhianvi is the lyricist for all the songs and music is composed by Khayyam Saab.
So far, five songs of this movie ‘Chambal Ki Kasam-1979’ have been posted on the blog as given below;
| Song | Posted On |
|---|---|
| Simti huyi ye ghadiyaan | 27.04.2012 |
| Chanda re mere bhaiyya se kehna | 02.08.2012 |
| Parmeshwar rakhwaalaa tera | 25.10.2014 |
| She’r ka husn ho | 09.12.2016 |
| Marta hai koi to mar jaaye | 30.01.2021 |
Let us now enjoy to this wonderful ‘qawwali’ sung by Manna Dey and Mahendra Kapoor. It is performed on screen by Shatrughan Sinha (lip syncing in Manna Dey’s voice) and Raj Kumar (lip syncing in Mahendra Kapoor’s voice). The two actors are seen trying to score brownie points over the other in this lyrical muqaablaa -😊. Finally the ‘law’ has the last laugh in archtypical Hindi movie style …
Also seen in the picturization of this song are Nirupa Roy, Moushumi Chatterjee and Farida Jalal with many other artists.
This ‘qawwali’ composition by Khayyam Saab is in his own style and it grows on us if we listen to it more than once …
Remembering Khayyam Saab …
Video
Audio (Partial)
Song-Kaun hai mujrim kaun hai munsif (Chambal Ki Kasam)(1979) Singers-Mahendra Kapoor, Manna Dey, Lyrics-Sahir Ludhianvi, MD-Khayyam
Chorus
Lyrics
aa aa aa aa aa aa aa aa
aa aa aa aa aa aaa
aa aa aa aaa
jaaneman jo tera manshaa hain
wo ham jaante hain
aa aa aa aa aa aa aa
aa aa aa aa aa aa aa
tu kisi bhes mein aaye
tujhe pehchaante hain
tum badi tez nazar rakhte ho
ham maante hain
arey hamse bachta nahin mujrim
ye sabhi jaante hain
aa ha ha
achchaa aa
to suniye
ho o
kaun hai mujrim
kaun hai munsif
o
kaun hai mujrim
kaun hai munsif
bahas hai bekaar
mujrim kaun nahin
kaun nahin mere yaar
mujrim kaun nahin
mere yaar
arey aisaa kaho naa
ho o
ek tumhi ho nek jahaan mein ae
ho ek tumhi ho nek jahaan mein
baaki sab badkaar
matlab ye niklaa
ye nikla mere yaar
matlab ye niklaa mere yaar
aisaa nahin hai wallaah
daake ke hain roop hazaaron
qatl ke laakhon dhandhe ae
asal se badhkar
hoye asal se badhkar
sood kamaayein
saahukaar ke phande ae
paani ke injection bechen
arey paani ke injection bechen
dhan ke lobhi bande
desh ke sewak ban kar netaa
khaayen kaum ke chande ae
desh ke sewak ban kar netaa
khaaye kaum ke chande
ho o
chor pakadne waale dekhe
ho o chor pakadne waale dekhe
chor ke saajhedaar
bhaashan rehne de
rehne de mere yaar
bhaashan rehne de mere yaar
arz ye hai kiblaa
jantaa aur sarkaar ke mujrim
hain sab aise bande ae
inki gardan
oye inki gardan naapenge
ik din qaanoon ke phande ae
jantaa inke khoon se apne ae
arey jantaa inke khoon se apne
haath kare kyon gande
ham maujood hain
ham rokenge
saare kaale dhandhe
ham maujood hain
ham rokenge
saare kaale dhandhe
ho o o
tum khud hi ban baithhe ho o
ho tum khud hi ban baithhe ho
qaanoon ke thekedaar
tumko kya bolen
kya bolen
sarkaar
tumko kya bolen sarkaar
arey bhaai aur kya karen ham
ho o o o
lambaa hai qaanoon ka rastaa
aur vakaalat mehangi ee ee
ho o o o
paap ke bojh se toot ke reh gayi
satya aur nyaay ki bahangi
hamne khud bandook uthhaa li
khench li ab talwaar
isme kya bigdaa
kya bigdaa mere yaar
isme kya bigdaa mere yaar
kiblaa mulahijaa ho
irshaad
irshaad
ho o o o
khoon ka badlaa khoon chalaa
to khoon bahegaa sadiyon
ho o o
aangan aangan dwaare dwaare
sog rahega sadiyon
nafrat se nafrat badhti hai
pyaar ka phal hai pyaar
nafrat jaane de
jaane de mere yaar
nafrat jaane de mere yaar
ab hamaari bhi suniye hazrat
aa aa aa aa aa aa aa aa a a a
qaatil ko jo qatl kare ae
usko qaatil mat kehnaa
kaayar ban’ne se behtar hai
baaghi ban kar rehnaa
aa aa aa aa aa aa aa
aa aa aa aa aa aa aa aa
aap ki ye bhool hai kiblaa
kaayar wo jo hathiyaaron ke
bal per jeena seekhe
insaan ho kar insaanon ke
khoon ko peena seekhe
arey ab bhi sudhar jaa
ab bhi khule hain
ab bhi sudhar jaa
ab bhi khule hain
pashchaataap ke dwaar
nafrat jaane de ae
ab bhi sudhar jaa
ab bhi khule hain
pashchaataap ke dwaar
nafrat jaane de
jaane de mere yaar
nafrat jaane de mere yaar
pashchaataap
arey ham ko pashchaataap sikhaate
mar gaye kitne gyaani
wo khaali gyaani honge
wo khaali gyaani honge
par ham hai gyaani jaani
arey karte rahe hain karte rahenge
bhai karte rahe hain
karte rahenge
ham yoonhi manmaani
aage bhi manmaani ki
arey aage bhi manmaani ki
to goli padegi khaani
ha ha ha haa
arey maar sake jo hamen ae
arey maar sake jo hamen
wo goli bani nahin hain jaani
bani to hai
bani to hai par hamne
ab tak chaahi nahin chalaani
haan ha ha
aaj ye hasrat poori kar lo
bhai aaj ye hasrat poori kar lo
maukaa hai laasaani
bhai maukaa hai laasaani
mere jaani ee
aa aa aa aa aa aa aa
aa aa aa aa aa aa aa aa
aa aa aa aa aa aa aa
aa aa aa aa aa aa aa aa
aa aa aa aa aa aa aa
aa aa aa aa aa aa aa aa
aa aa aa aa aa aa aa
aa aa aa aa aa aa aa aa
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