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Paise ke kya kehne paisa peer hai

Posted by: on: April 9, 2024


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

Blog Day :

 5744 Post No. : 18266

Today’s song is a forgotten good song from the film Ghulam Begum Badshah-1956.

Those who were young in the decade of the 50’s and 60’s, had grown up reading stories which started with “Once upon a time….”. These imaginary stories told the adventures, wars, fights, Love stories etc. of kings and rebels. Filmmakers were intelligent enough to make up and use such stories to entertain their audience. These stories had ample scope for big, impressive sets, colourful and royal costumes, fights, beautiful dancers, magicians, plotting evil prime ministers (vaziers) and the rebels, who finally won the kingdom and the love of the beautiful princess !

Though India got Independence in 1947 and had become a Democratic Sovereign Republic in 1950, the kings and Nawabs were bestowed the status of “Raj Pramukhs” of their merged states and still had hefty pensions from the Indian Government and respect from their people. Indira Gandhi played the villain and demolished their ‘kingdoms’ finally by abolishing the post of ‘Raj Pramukh’ and their Privy Purses, downsizing the Royals to the status of common citizen in 1969.

The disappearance of feudal kings, princes and Nawabs hit the filmmakers hard and they lost a handy stock of stories for their films. Even otherwise the tastes of the Indian audience were changing fast and films with other items than the king and queen stories, in the form of comedy, romance, music, mystery,crime and love stories were now more in demand. Thus, these ” Once upon a time” stories quickly took an exit and films on such stories almost vanished by the end of the 60’s decade.

1956 was a year which celebrated the Silver Jubilee of Talkie films.In this year many noteworthy and milestone films were made. The kind of films that were made and became hits established a total turnaround in the content and music of Hindi films.Gone were the type of films where the Hero died in the end for his love. These were replaced with romance , music and happy ending films. Films which upheld the ‘Nehruvian Socialism and anti-Capitalism’ were made by Nehru’s disciples like Bimal Roy, Raj kapoor, Shantaram, Hemen Gupta etc. Let us take a look at some films of 1956. In this year Music Director Sanmukh babu upadhyaya and Lyricist Akhtar Romani made their Debuts.

26th JANUARY….Actress Nishi debuted.

AALAM AARA….Nanubhai Vakil tried to recreate the film in its Silver Jubilee year. W.M.Khan featured again and sang his original first film song ” de de khuda ke naam par” again.

BHAGAM BHAG…. Hilarious comedy film with Kishore and Bhagwan.

BHAI BHAI…. AVM’s superhit film with memorable songs. It tried to reestablish family values.

C.I.D…..A loveable crime story with romance and good songs.

CHHOO MANTAR….Johnny Walker had a free hand in films made in the 50’s He was No. 1 Comedian.

CHORI CHORI…. Another great film from AVM.

HUM SAB CHOR HAI…. Asha Bhosle gave her best songs till then. Comedy, romance and good songs.

JAGTE RAHO…. The Bangla Version won the “Grand Prix” award at Karlovy Vary film festival. Initially the Hindi version failed but after the award, it became a Hit film.

NAI DELHI…. Promoted interlanguage marriage. Good songs.

TOOFAN AUR DIYA….Dignity of labour stressed.

FUNTOOSH…. The system of Cartoon-Credits started with this film. Good songs.

India’s first Cartoon film “BANYAN DEAR” made.

Other notable films were Taksaal,Hateemtai, Children’s film “Jaldeep”, Basant Bahar, Rajhath, Inspector, Halaku,Naya Admi, Chandrakanta etc.

Today’s film Ghulam Begum Badshah, a costume film, was directed by Jugal Kishore, screenplay was by Shyam Hindi and music was by Sudipt. The cast included Sheila Ramani, Daljit, W.M.Khan, Nishi, R.Nath (comedian Rajendranath made his debut) and many others. Johnny Walker was the Guest Artiste. The story of the film was….

Salim (Daljit) is a slave who is bought by the Shah of Ishra and set free as a kind gesture. Tarak is the wily Vazir of the Shah. Tarak finds the daughter of the trader of slaves very beautiful and he orders the Trader to send Najma (Nishi),his daughter, to him within 4 days,or else….

The trader is terrified. He seeks protection from the Shah. However after 4 days, the soldiers of the Vazir came to take away Najma. Suddenly the Shah himself appears there in disguise and starts fighting with the soldiers. Incidentally, Salim also comes there and the two together drive away the soldiers, but the Trader dies in the fight. The Shah (W.M.Khan) falls in love with Najma and takes her in his safe custody.

Impressed with his bravery, the Shah appoints Salim as the chief of his Army,which is not liked by the vazir. He is waiting to usurp the throne. Salim falls in love with Begum (Sheila Ramani), a dancer in the court of the Shah. One day the Vazir rebels and captures the Shah and Najma and keeps them in jail. Salim gathers his army, which is divided now and with the help of trusted friends, rescues Shah and Najma. There is a fierce battle in which Salim kills the Vazir.

Najma becomes the queen and Salim marries begum. Thus the Ghulam,begum and Badshah are all happy, in the end.

The heroine of this film Sheila Ramani, a forgotten name today, but many of us still remember her in Navketan’s Taxi Driver (1954) ( I remember her in Funtoosh-56) where she was cast as an Anglo-Indian club Dancer – Sylvie. Sheila was born on 2-4-1931, in Karachi. She was selected as “Miss Mussoorie – 1948” and judged “Miss Simla – 1950”. Made her debut as Champa, the femme fatale of “Badnam”-52, and revealed herself as a danseuse of charm in “Anand Math”-52. She was one of the few Sindhi actresses besides Sadhana, who made it big in Bollywood. She was mostly seen as an upper class mod girl in the 50s, a role she enacted to perfection all through that swinging era in films like V. Shantaram’s Teen Batti Char Raaste (1953), Sheikh Mukhtar’s Mangu (1954), Meenar (1954), Railway Platform(1955), and Funtoosh (1956).

Her Uncle Sheikh Latif alias Lachchu was a famous Pakistani producer who produced films like Pathan (1955), Khizan Kai Baad (1955), Darbar-e-Habib (1956) etc. Sheila visited Karachi – Pakistan on the request of her Uncle, to play the lead in Pakistani film Anokhi (1956). The film was based on Hollywood’s “Fabulous Senorita”. “Gari ko chalana babu, zara halkey halkey halkey, zara dil ka jaam na chalkey” sung by Zubeda Khanum was the popular song from the film which did modestly good business in Pakistan. The movie’s great music was composed jointly by Timir Baran.

She was reduced to obscure films with titles that sounded like Jungle King (1959), and The Return of Superman (1960 – one of the last films composed by Anil Biswas). Sheila went back to India and remained as a middle-of-the-range performer in Bombay films. In the later part of h all, she acted in 24 films. Her last film was Awara Ladki-67.

Sheila was very fond of sports, especially football and swimming. Ballroom dancing was a virtual addiction for her and she used to go out dancing as often as she could. Sheila was 5 feet four inches tall, and was so fastidious that any dress she would wear won’t be repeated for six months to come at least.

According to her son Rahul Cowasji, she married Jall Edi Cowasji on 31st March 1963 and had retired from acting in 1962. Part of her family that remained in Pakistan converted to Islam. She was a Hindu. She used to live in Mumbai with her husband Jall Cowasji (President of Bombay Dyeing) till 1981. They moved to Khartoum for 3 years and then to Sri Lanka for 3 years. After her husband’s death in 1984 she migrated to Australia on her own in the late 80’s and lived in Sydney and Surfers Paradise until health problems required her to return to India in the new millennium. She used to live in her husband’s ancestral home in Mhow, near Indore (M.P.). She was frail and bedridden for a few years before her death on 15-7- 2015.

Her favorite Hindi film of her career was Taxi Driver (1954). Sheila was also the leading lady of India’s first Sindhi film after partition – Abana (1958), in which young Baby Sadhna played her younger sister’s role. By the way, the First Sindhi film of India before Partition was ” Ekta”-1940, made by Wadia Movietone and directed by Homi Wadia. ( Thanks to Cineplot for some of the information in this Bio and my notes. )

Today’s song is sung by Hemant Kumar. It is the last and final song of this film, making it a YIPPEED film. Enjoy….

Audio

Video

Song- Paise ke kya kahne paisa peer hai (Ghulam Begam Baadshah)(1956) Singer- Hemant Kumar, Lyricist – Shyam Hindi, MD- Sudipt

Lyrics

paise ke kya kehne
ho paisa peer hai
ye jiska ban jaaye wo taqdeer hai
paise ke kya kehne
ho paisa peer hai
ye jiska ban jaaye wo taqdeer hai

jisko chaahe izzat de kar
duniya ka sartaaj kare
jisko chaahe zillat de kar
roti se mohtaaj kare
ho roti se mohtaaj kare
haath mein iske do-dhaari shamshir hai
ye jiska ban jaaye wo taqdeer hai
paise ke kya kehne
ho paisa peer hai
ye jiska ban jaaye wo taqdeer hai

aaj aaye kal jaaye phir bhi
log isi ko pyaar karen
iski khaatir jaan ladaayen
ek dooje pe waar karen
ho ek dooje pe waar karen
ye ek chalti phirti si tasweer hai
ye jiska ban jaaye wo taqdeer hai
paise ke kya kehne
ho paisa peer hai
ye jiska ban jaaye wo taqdeer hai

har mushqil hai aasaan uski
jiske palle paisa hai
anhoni ko honi kar de
zor ismein aisa hai
oh zor ismein aisa hai
iske chhan chhan chhan mein wo taaseer(?) hai
ye jiska ban jaaye wo taqdeer hai
paise ke kya kehne
ho paisa peer hai
ye jiska ban jaaye
wo taqdeer hai

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Naheen duniya aise waise kee bhai sab maayaa hai paise kee

Posted by: on: March 9, 2024


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

Blog Day :

 5713 Post No. : 18232

Today’s song is from the film Zamana-1957.

It was made by the famous Filmistan Ltd. Directed by Arbind Sen, the film had music from 2 stalwarts – Anil Biswas and Salil Chaudhari. The cast of the film wasKamaljeet, Ameeta, Nazir Hussain, Firoz khan (making his film Debut), Shakuntala, Kanu Roy, Ram Avtar, Yaqub etc.

This was the first and possibly the last time when these 2 stalwart Bengali composers worked together for one film. In Hindi films, right from 1931 onwards, many composers from Bengal came to Bombay to try their luck, but only a few could make their name here. The common major problem of these composers was Language, cultural difference and poor adaptability to Non -Bengali atmosphere. Here are names of few such composers- most names would be unfamiliar to our readers…..

Radhacharan Bhattacharya, Shoolpani Mukherjee, S.P.Mukherjee, V.V.Ganguly, Niren lahiri, Shivrani Ghosh, A.C.Biswas, Bhishmadev Chaterjee, Ramani Mukherjee, Sushant Banerjee, Rubin Chaterjee, Anil Bagchi, Himangshu Dutt, K.P.Sen, Gyanprakash Ghosh, Naresh Bhattecharya, D.C.Dutt, Pratap Mukherjee, Kshirodchandra Bhattacharya, Ravi Roychaudhari, T.K.Das etc.etc.

All the above composers gave music to 1 to 4 Hindi films and then went back to Bengal. There were only 4 major composers from Bengal ( 2 from East and 2 from West Bengal) who succeeded here and etched their names in the HFM history. I call them A Grade. They all operated at the same time during the Golden Era. The following table will give a clearer picture….

Name Born in year Place number of films number of songs Active period Active years
Anil Biswas 1914 East Bengal 86 777 1935-1965 30
S.D.Burman 1906 East Bengal 90 717 1946-1996 30
Hemant Kumar 1920 West Bengal 54 429 1952-1979 27
Salil Chaudhari 1923 West Bengal 70 325 1953-1995 40

Anil Biswas was the first major composer from Bengal to start his career in Bombay in 1935, at the age of just 21 years, whereas S D Burman was the oldest having started his career in Bombay in 1946, at the age of 40 years ! The longest tenure was that of Salil Chaudhari,but his song total is the lowest, with an average of about 5 songs per film.This is much lower than the average of 8+ and 9 of the others. This may be because in later part of his career,Salil da gave music to many parallel films which had minimum songs.

As can be seen from the table, the two senior composers were from East Bengal and the 2 junior composers were from West Bengal. The styles of these two groups were different because of the different pattern of Eastern and Western Bangla music. All four depended and used heavily from the folk tunes and Bangla songs,from their respective regions. Anil Biswas and Burman da drew heavily from the Eastern Bangla folk tunes and that is why sometimes their music had similarities.

Besides these 4 stalwarts, there were some less successful composers from Bengal, like Ashok Ghosh, pannalal Ghosh, Robin banerjee, Hiren Bose, Shyamal Mitra, Arunkumar Mukherjee, Manas Mukherjee etc. If I was asked to rank the 4 stalwarts, my ranking would be S.D.Burman, Hemant kumar, Anil Biswas and Salil Chaudhari.

Today’s film Zamana was a 1957 film.

1957 – what a year it was! The best year in the Golden Era! The best year in the 50s! The best year for melody and music! Such wonderful films came this year!!! The lineup of 1957 films looks like the selection of the creamy layer in everlasting music – ‘Mother India’, ‘Pyasa’, ‘Tumsa Nahin Dekha’, ‘Bhabhi’, ‘Asha’, ‘Miss Mary’, ‘Naya Daur’, ‘Do Aankhen Barah Haath’, ‘Paying Guest’, ‘Nau Do Gyarah’, ‘Dekh Kabira Roya’. ‘Nausherwaan e Adil ‘, ‘Gateway Of India’, ‘Hum Panchhi Ek Daal Ke ‘, ‘Kathputali’, ‘Sharada’ . . . Films like Baarish, Ab Dilli door nahin, Abhiman, Bada Bhai, Begunah, Beti, Chhote Babu, Coffee House, Dushman, Johnny Walker, Miss Bombay, Miss India, Mr. X, Narsi Bhagat, Paak Daman, Pawanputra Hanuman, Ustad, Zamana, Garma Garam had equally melodious songs like other films mentioned, albeit may not be so famous Films produced in Madras were quite popular. AVM’s ‘Bhabhi’, ‘Miss Mary’ and ‘Hum Panchhi Ek Daal Ke’, Prasad Production’s first Hindi film ‘Sharda’, and MV Raman’s film ‘Asha’ played havoc with their captive audiences. Films from south somehow have always concocted a success formula, mixing comedy, tragedy, social message, excellent production values and above all superb music, which made their films very popular everywhere.

Satyen Bose’s ‘Bandi’ brought together all the three Ganguly brothers in one film for the first time. Later he would repeat this feat in ‘Chalti Ka Naam Gaadi’ in 1958. ‘Musaafir’, Hrishikesh Mukherjee’s first Hindi film as a director, was an experimental film depicting the phases of life – birth, life, death and rejuvenation, symbolically through a succession of tenants in a house on rent. Director Amiya Chakravarty’s competition with Gyan Mukherjee came to an end with his unexpected demise while the making of ‘Kathputali’ was in progress. The film was completed by Nitin Bose. (Later, Gyan Mukherjee also passed away while making ‘Sitaron Se Aagey’ (1958) which was later completed by Satyen Bose. Both films had the same story and same heroine).

With the musical blockbuster ‘Tumsa Nahin Dekha’ from Filmistan, Nasir Hussain introduced his own success formula of entertaining films and minted crores by repeating it several times, in a new garb. This film changed Shammi Kapoor’s luck, and made him an A grade actor. However, it did not much benefit the heroine Ameeta. She remained where she was – a second grade actress. Filmistan also released ‘Paying Guest’, with chocolate hero Dev Anand, with superb music and songs composed by SD Burman. Dev also featured in ‘Nau Do Gyarah’, another musical entertainer from Navketan, his home production company.

A surprise hit that year was the socio-religious film ‘Janam Janam Ke Phere’. The song “Zara Saamne To AaO Chhaliye” became the unexpected top song of the year and an iconic one at that! ‘Apradhi Kaun’ was genuinely an excellent detective story. Amiya Chakravarty’s ‘Dekh Kabira Roya’ was a hit due to its superb music, though its cast was quite ordinary. ‘Do Aankhen Barah Haath’ got the national award. Amiya Chakravarty and Gope passed away this year. Nimmi got married. Vividh Bharati started its broadcast on 3rd October 1957.

I do not remember the story of today’s film Zamana, though I remember having seen this film in those days. It was about changes in the social set up from an old generation to the modern generation. The song lyrics also indicate this. The Hero of the film was Kamaljeet- which was not his real name. Those who do remember his name, it is as the husband of Waheeda Rahman.

Kamaljeet born as Shashi Rekhi (DoB NA – 21 November 2000) was an actor in Hindi language films. He is known for his films Son of India (1962) & Shagoon (1964).

Born & brought up in Bangalore, Karnataka, Kamaljeet was very fond of films in his childhood and wanted to be an actor. Kamaljeet fell in love with Indian actress Waheeda Rehman on the sets of the film, ‘Shagoon’ in 1964. At that time, he proposed to her. However, he got married to her 10 years after the proposal. They married on 27 April 1974. The couple have a daughter Kashvi and son Sohail.

Kamaljeet made his acting debut with the film ‘Mr. Lambu’, which was released in 1956. Thereafter, he worked in several other films including Kismet Ka Khel (1956), Zamana (1957), Kitna Badal Gaya Insaan (1957), Mr. India (1961), Son of India (1962), Sher Khan (1962), Vidyapati (1964), Shagoon (1964), Qawwali Ki Raat (1964), Veer Ghatotkach (1970), Tamacha (1988) & Heer Ranjha (1992). His major works include ‘Son of India’ and ‘Shagoon’ in which he acted with Waheeda Rehman.

Kamaljeet died of Brain Haemorrhage on 21 November 2000 in Mumbai, Maharashtra.

Today’s song is sung by Manna Dey and chorus. Let us enjoy this song….


Song- Nahin Duniya aise waise ki bhai sab maaya hai paise ki (Zamaana)(1957) Singer- Manna Dey, Lyricist-Prem Dhawan, MD- Salil Chaudhari
Chorus

Lyrics

Nahin duniya
nahin duniya aise waise ki
bhai sab maaya hai paise ki
bhai sab maaya hai paise ki
ajee nahin duniya
nahin duniya aise waise ki
bhai sab maaya hai paise ki
bhai sab maaya hai paise ki

haan aan aan aan
duniya ke ae mandir mein aen
haan aan aan
sab karte paise ka jaap
paisa ram paisa ram paisa ram
paisa ram paisa ram paisa ram
paisa ram paisa ram
haan aan aan
duniya ke mandir mein
sab karte paise ka jaap
kya jogee
kya bhogee
bhaiyya aa aa
paisa sabka baap
poochho bhai kyun
kyon

aah
bhai sab maaya hai paise ki
bhai sab maaya hai paise ki
nahin duniya
nahin duniya aise waise ki
bhai sab maaya hai paise ki
bhai sab maaya hai paise ki
bhai sab maaya hai paise ki
bhai sab maaya hai paise ki
nahin duniya
nahin duniya aise waise ki
bhai sab maaya hai paise ki
bhai sab maaya hai paise ki

haan aan aan aan
paise waale ke kutte ko bhi
milti hai motor
aur bin paise bik jaao o o
milti hai
he he kya
thokar
poochho bhai
kyun
thhanthhangopal ki
kyun
kyun

arre jai paiselal ki
thhanthhangopal ki
jai paiselal ki
thhanthhangopal ki
bolo jai paiselal ki
thhanthhangopal ki
jai paiselal ki
thhanthhangopal ki
bolo jai paiselal ki
thhanthhangopal ki
jai paiselal ki
thhanthhangopal ki
thhanthhan
thhanthhan
thhanthhan
thhanthhan
thhanthhan
thhanthhan
jai paiselal ki
thhanthhangopal ki
jai paiselal ki
thhanthhangopal ki
jai paiselal ki
thhanthhangopal ki
o jai paiselal ki
thhanthhangopal ki

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Raste ka maal saste mein

Posted by: on: May 14, 2023


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 :

 5413 Post No. : 17756

“Maharaja”(1970) was produced and directed by Naresh Saigal for N S Films, Bombay. The movie had Nutan, Sanjay Khan (in title role), Sujit Kumar, Rajendranath, Jeewan, Tarun Bose, Manmohan Krishna, Manmohan, Rajan Haksar,
Onkar, Ameena, Lalita Kumari, Assie, Dilip Dutta, Sumal, Prabhat Kumar, Karim, Master Omi, Master Raja etc. The movie introduced Roopa. The movie also had
Helen, Nirupa Roy in special appearances with guest appearances by Hiralal, Murad, Randhir and Shashi.

“Maharaja”(1970) had five songs in it. Two songs have been covered in the past.

Here is the third song from the movie. This song is sung by Manna Dey and chorus. Akhtar Romani is the lyricist. Music is composed by Madan Mohan.

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

Lyrics of the song were sent to me by Prakashchandra.

audio link:

Song-Raste ka maal saste mein (Maharaja)(1970) Singer-Manna Dey, Lyrics-Akhtar Romani, MD-Madan Mohan
Chorus

Lyrics(Provided by Prakashchandra)

raste ka maal sastey mein
sastey ka maal bastey mein aen
raste ka maal sastey mein
sastey ka maal bastey mein
aa mere paas
mat ho udaas
kar doon main bojh halkaa aa aa
kya aitbaar kal kaa
raste ka maal sastey mein
sastey ka maal bastey mein ae ae
raste ka maal sastey mein

yennaa swaamee
swaamee ingey waa ingey waa
eeyodu bhagyaam nallaa irthaa/irukkaa/??/yatthaa
evaadu ne/ley/
your name money
you got lot money..eee

o naseebawaaley paashaahho
aao twaanoo kam dee gallaa dass ye
tussee apni watchnoo badey changey lagdey o
par twaanoo paisaa changaa lagdaaaye
aur tussee mainoo daadey changaa lagde hey/hai
rab dee meharbaanee naal
kinnaaa sohnaa mel hoyyaa aaa

koyi chalaaye chhakdaa
koyee udaaye raackitt
pehnee kisee ne dhotee
pehnaa kisee ne jaackitt
iske galey mein phandaa
uskey galey mein laackkitt
khaalee kisee kaa batuaa
aur full kisee ki paackit
tere ghar mein ho
mere ghar mein ho
farq kyaa hai pyaarey aaaa
aa aa mere paas
mat ho udaas
kar doon main bojh halkaa aaa aaa
kya aitbaar kal kaa
raste ka maal sastey mein
sastey ka maal bastey mein ae ae
raste ka maal sastey mein

aei ae money money
too roo ooo oo tu roo roooo ooo
money money
too roo ooo oo tu roo roooo ooo
money monney
aayye ae ae ae aey ae
everybody loves money money
everybody needs money money
everybody wants money money
maaanee maanee maanee ee ee ee eeee

if you haven`t got money you look so funny
if you have got money you`re nice and bright
& you dearest/?? sonny
you understand my sonny…eeee…eeeee
oo ooo so ooo so o ooo
everybody loves money money
everybody needs money money
everybody wants money money
maaneee maanee maneeee eee eee hheee eee eeee

haayyerey haayye
haayyerey haayye
haayyerey haayye mera money money
abhi idhar thhaa mera money money
kidhar gaya rey mera money money
gum gayaa rey mera money money
lutt gayaa rey mera money money
haayyerey haayye mera money money
haayyerey haayye mera money money
haayyerey haayye mera money money
haayyerey haayye mera money money

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Athanni jahaan amma rupaiyya howe baap

Posted by: on: January 13, 2023


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

Blog Day :

 5292 Post No. : 17328

Today’s song is a funny Dance song from the film – Naya Aadmi-1956.

There were 4 films with titles Aadmi – in 1939, 1957, 1968 and 1993. Then came films describing an Aadmi, like Aadmi sadak ka-1977, Pehla Aadmi-1950, Naya Aadmi-1956 and Bhala Aadmi-1958. Aadmi alone is not good, so films came like Aadmi aur Apsara-1991, Aadmi aur Aurat-1984 and 1999, Aadmi aur insaan-1969 and even Aadmi ki Aurat-2009 !

Since the times when the adventurous S.S.Vasan-Producer, Director and Owner of Gemini Studios, made his film ” Chandrakanta”- in Hindi in 1948 on a mammoth scale (with over 600 prints of the Hindi version for simultaneous release on All India basis on 24th December 1948), the Southern film industry woke up. After the film Chandrakanta was successful, Vasan started making remakes of his Tamil hit films in Hindi one after another. When other filmmakers of the South saw Vasan busy doing this and visiting his bank very often with several bags full of money to deposit, they too joined the bandwagon !

Thus, the entire decades of the 50’s and the 60’s saw many films from South, in the form of Remakes of Southern Hit films, Dubbed or shot at Madras for the All India audience of Hindi films. After Vasan’s Gemini, A.V.Meiyyappan’s AVM, Nagi Reddy’s Vauhini Studios and L.V.Prasad’s Prasad productions gave many films, made with all Southern, all Bombay or a mixed cast of actors. Many major Heroes of South secretly nurtured a desire to shine in the Hindi belt. They joined this race. Actors like M.G.Ramchandran (MGR), N.T.Tama Rao (NTR), A.Nageshwar Rao (ANR), Sivaji Ganesan, Gemini Ganesan etc., actresses like Bhanumathy, Jayalalitha, Jamuna etc and character artistes like Relang, S.V.Ranga Rao etc appeared in Hindi films. ( A very loooong list of such remakes and dubbed films is available on IMDB ). Even today many Southern Hit films are remade or dubbed in Hindi and the addition is, many Hindi Hits are also remade in Southern languages. The West Bengal Film Industry which actually led this trend in the 30’s and the 40’s has fallen way behind now.

The cast of film Naya Aadmi-56 was Anjali Devi (south), N.T.Rama Rao, jamuna, Ram Sarma, Ragini (South), Anwar hussain, Gope , Helen, Raja sulochana etc etc. Music was by the pair of M.S.Vishwanathan and T.K.Rammurthy. This was their First Hindi film as Music Directors. Film Naya Aadmi-56 was made by Jupiter Pictures, madras. The film was directed by C.P.Dixit. The original film was Tamil Hit film VELAIKARI – 1949, which was remade as Naya Aadmi in Hindi-1956, Santosham in Telugu in 1956 and also as Malli Maduve in Kannada in 1963.

Jupiter Pictures, one of the top Tamil banners of the time, entered into a five film contract with matinee idol N.T. Ramarao and simultaneously remade their box office Tamil hit, Velaikari (1949) as Santhosham in Telugu and Naya Aadmi in Hindi. Interestingly Velaikari was also released in some Telugu provinces with the title ‘Dasi Kanya’ in Telugu in the posters. C.P. Dixit who assisted L.V. Prasad for the Hindi version of Jupiter’s Tamil, Hindi bilingual Rani (1952) was signed to direct both Santhosham and Naya Aadmi . The cast for both the versions remained the same but for Anwar Hussain stepping in for Jaggaiah and comedian Gope replacing Relangi for Naya Aadmi.

Since Telugu language was a problem for the Bombay based director C.P. Dixit, T. Hanumantharao assisted him as dialogue director. Dixit later directed about a dozen movies apart from Naya Aadmi, in Hindi including Paras , Mausam, Fakira, Ghazab and Beta Ho Tho Aisa (1994). earlier he had also acted in Hindi film Namoona-1949. Viswanathan- Ramamurthy composed the music which also contributed to Santhosham ’s success. NTR signed a five film contract with Jupiter Pictures – Santhosham and Naya Aadmi followed by Umasundari (1956- directed by P. Pullaiah), Valmiki (1963 -C.S. Rao) and Marmayogi (1964- B.A. Subbarao).

When the film was remade in Kannada with Dr. Rajkumar in the lead as Malli Maduve (1963) G.K. Venkatesh composed the music. Santhosham was released on December 24, 1955 and Naya Aadmi a week later on January1, 1956.

Though NTR acted in 23 Hindi movies,Naya Aadmi-1956 was the only film which was simultaneously made in Hindi and Telugu and hence so to say, was his only Hindi film. The other 22 films were dubbed in Hindi.

He had dubbed his Hindi dialogues himself. As he had problems with Hindi,the Dialogues were written in Telugu for him to understand the correct diction.
The music was given by the famous duo of Vishwanath-Rammurthy,who were as prolific as S-J in Hindi.Vishwanath used to sing songs also in south films.
Madan Mohan was opted for this film,as he was quite popular in south production houses-who understood his talent. However,since most songs had same tunes like Telugu songs, the duo also was retained in Hindi version. My information from the southern journals is that this song was composed(except the tune) by Madan Mohan. I do not know why his name is not mentioned in HFGK.

Just for information,the Telugu song is equally interesting.It is also available on You Tube.

Speaking of the “comic talent ” of NTR, let me tell you, there was one movie in 1954, VADDANTE DABBU (which means-Money when denied also), in which NTR with ANR (Akkineni Nageshwar Rao), Jamuna and Janki made a tremendous impact in comedy. This film became so popular that later he was offered comedy roles only. He,however,continued with Mythology and Historical films. Incidentally, this was a remake of a Marathi film “LAKHACHI GOSHT,”-1952, which was the story of a Lakh of Rupees, starring Raja Paranjape, Raja Gosavi, Chitra and Rekha etc.

In the 40s and 50s, Hindi, Marathi and Telugu films were exchanging themes,without obligation.

I hope our readers had enjoyed the Telugu Superstar’s Hindi Qawwali, already posted on this blog a few years back.

I have seen this movie when it was released in 1956.I also saw “Santhosham”, its Telugu version which also came soon after. The Telugu film was a mammoth success,celebrated jubilees and was remade in Kannada as well.

The Hindi version NAYA AADMI-1956 was not successful, maybe NTR was not a name known to many people elsewhere. However the music became powerful. The film was directed by C.P.Dixit-his first Hindi film.Later he directed 10 more Hindi films featuring top guns like Sanjeev kumar etc. He also acted in the film Namoona-1949. He was earlier an assistant to L.V.Prasad.

The story of this film was….

Mayadas,a money lender is a wealthy widower,whose son Shekhar loves their maid Chandani and his daughter Rajani hates her.Sitaram who took loan to educate son Anand cannot repay and Mayadas auctions his house.Sitaram commits suicide.His son Anand returns and knows this.He plans revenge on Mayadas.
One day Anand and his friend Jaggu find the dead body of Parmanand,a rich Zamindar from England.Anand is his look-alike and impersonates him.The blind mother receives him gladly and fixes his marriage with Rajani.After marriage,Anand tortures Rajani,uses all her money and insults Mayadas openly.He also creates rift in Shekhar and mayadas. Mayadas throws Shekhar out and burns Chandani’s house.
Now Shekhar wants to take revenge on Anand.
The further story tells us how both the men are converted to goodness and how everything settles down to normalcy with respective persons learning their lessons in life.

The highlight of the film was its music.

One of the Heroines of this film was Jamuna. There was another Same Name actress Jamuna Barua from the Bangla films about whom we know. Let us know about this Jamuna from South.

Jamuna (born 30 August 1936) is an actress, director and politician who appeared mainly in Telugu films. She made her acting debut at the age of 16 in Dr. Garikapati Rajarao’s Puttillu (1953), and received her breakthrough with L. V. Prasad’s Missamma (1955). Her filmography also includes Tamil, Kannada, and Hindi films. She won a Filmfare Award and an award at Filmfare Awards South. She was a Member of Parliament in the 9th Lok Sabha (1989–1991) representing the Rajahmundry constituency.

Jamuna was born in Hampi of present-day Karnataka to Nippani Srinivasa Rao and Kowsalya Devi. Jamuna was named Jana Bai. Her father is a Madhva Brahmin, while her mother is a Vaisya and they had an inter-caste love marriage. Her father was involved in the business of turmeric and tobacco and their family moved to Duggirala, in Guntur District of Andhra Pradesh when Jamuna was seven years old. She grew up in Duggirala. When Savitri was performing drama in Duggirala, she stayed in Jamuna’s house. Later, Savitri invited Jamuna to act in films. She entered as a heroine in movies at the age of 15. Jamuna’s mother tongue is Kannada.

Jamuna was a stage artist in school. Her mother taught her vocal music and harmonium. Dr. Garikipati Raja Rao (see Indian People’s Theatre Association IPTA) watched her stage show Maa Bhoomi and gave her an offer to act in his film Puttillu in 1952.She acted in 198 films in Telugu and other south Indian languages. She also acted in Hindi films, winning the Filmfare Best Supporting Actress Award for Milan (1967), repeating her role from the original Telugu film Mooga Manasulu (1964). Jamuna acted in 22 Hindi films. Her well known Hindi films were Miss Mary-1957, Sadhana-1958, Hamrahi-1963 and Milan-1967. These were films made in Hindi actually, at Bombay and Madras. All the other films were dubbed films.
She also established Telugu artist association and has been doing social service through it for the last 25 years.

It is almost a custom among the southern film artistes to be in Politics atleast for some time. Jamuna also had a political career. Jamuna joined the Congress party in the 1980s and was elected to the Lok Sabha from Rajahmundry constituency in 1989. She lost the 1991 election and quit politics but briefly campaigned for the in the late 1990s during Atal Bihari Vajpayee’s tenure.

Jamuna married Professor Juluri Ramana Rao, a zoology professor in SV University, in 1965; he died on 10 November 2014 aged 86 due to cardiac arrest. They have a son, Vamsee Juluri and daughter, Sravanthi. They live in Hyderabad, Telangana. (Adapted from wiki, nett4you,with thanks. I have also used information from The Hindu article dated 11-9-2014 and an article from Andhra Prabha dated 27-1-1974, muVyz, HFGK and my notes).

Now let us enjoy this dance song. Helen danced on this song, even in its Telugu version- Santosham-1956, which was her first Telugu film. Later she danced in many southern films.


Song- Athanni jahaan amma rupaiyya howe baap (Naya Aadmi)(1956) Singer- Asha Bhonsle, Lyricist- Rajendra Krishna, MD- M.S.Vishwanath-T.K.Rammurthy
Chorus
Male chorus/voice

Lyrics

athanni jahaan amma
rupaiya hove baap
aisi duniya mein bhaiyya
jeena bhi hai paap
jeena hai paap
athanni jahaan amma
rupaiya hove baap
aisi duniya mein bhaiyya
jeena bhi hai paap
jeena hai paap

paani ya pawan ya chaand ki chandaniya
paise se khareed ke dikhaaye zara duniya
maam parimba chumba chumba
maam parimba chumba
paani ya pawan ya chaand ki chandaniya
paise se khareed ke dikhaaye zara duniya
phir din raat kaisa paise ka ye jaap
arrey paise ka ye jaap
aisi duniya mein bhaiya
jeena bhi hai paap
jeena hai paap
athanni jahaan amma
rupaiya hove baap
aisi duniya mein bhaiyya
jeena bhi hai paap
jeena hai paap

dhan ke firaak mein na chain paaye man
bolo kis kaam phir aayega ye dhan
dhan ke firaak mein na chain paaye man
bolo kis kaam phir aayega ye dhan
dhan nahin dhan aisa ye to hai sharaap
aisi duniya mein bhaiyya
jeena bhi hai paap
jeena hai paap
athanni jahaan amma
rupaiya hove baap
aisi duniya mein bhaiyya
jeena bhi hai paap
jeena hai paap

mili hai ye zindagi to jeene ke liye
hansi hansi khaane aur peene ke liye
maam barimba chumba chumba
maan barimba chumba chum
mili hai ye zindagi to jeene ke liye
hansi hansi khaane aur peene ke liye
sab kuchh hote huye
rote kyun hain aap
aji rote kyun hain aap
aisi duniya mein bhaiyya
jeena bhi hai paap
jeena hai paap
athanni jahaan amma
rupaiyya hove baap
aisi duniya mein bhaiyya
jeena bhi hai paap
jeena hai paap

dubba chip
ajeeba chubba
dubbachibba
ajeeba chub chub
dub dubba chib
ajeeba jubba
dubba chibba
ajeeba jubba
jub jub

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Jag ko naach nachaaye paisa

Posted by: on: August 3, 2021


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

Blog Day :

 4764 Post No. : 16511 Movie Count :

4488

Today’s song is from the film Paisa-1941. This was the first film having the word ‘Paisa’ in its title. After this film, every decade, there were films having the word Paisa in its title. In 1956 – Paisa hi Paisa, in 1957- Paisa, in 1969- Paisa ya Pyar, in 1974- Paise ki Gudiya, in 1985- Paisa yeh Paisa, in 1992- Paise ke Peechhe, in 2001- Paisewali, and in 2004- Paisa Vasool. Obviously, the importance of Paisa had established itself in the film industry !

Talking of film titles, I was once going through the Film Title Index from 1931 to 2012, published by Shri Hamraz ji. I was sure that the most popular word for film titles must be ” Pyar”. For the sake of confirmation and curiosity, I started counting the film titles starting with the word Pyar. I found 96 films made with Pyar as the starting word in their titles. There were another 11 variations like Pyaara, Pyaari etc.

Slightly disappointed with my age-old belief about Pyar being the most popular film title word shattered, I decided to find out which word was more in film titles than Pyar. Once I completed the count, I was surprised to find 206 films having the word ” Ek” in its titles. In this category, 32 films started with the words” Ek aur….”. While doing this exercise, I came across many Title repeats and I took up that issue.

I have found that there were films beyond count having a repeat of titles for 2 or 3 times,
4 times repeat titles were 80 films
5 times were 23 films
6 times were 5 films and
7 times was only 1 Title….” INSAF “. Films with this title were made in 1937, 1946, 1956, 1966, 1973, 1987 and 1997. As if by a rule, these films were made every decade till 2000 ! So much for Film Titles in Hindi Cinema World !

From 1931 till about the end of the 50’d decade, the Southern, Eastern and the Western region filmmakers used to make Bilingual (even Trilingual) films, i.e. one in the regional language and another in Hindi language. This was essentially to earn more profits and widen the scope of their films. In the early years, the regional cinema did not have so much market as the Hindi films had reached the nooks and corners of India- including South India, Ceylon, Burma, Afghanistan etc. As the times passed on, the Regional markets grew big enough to compete and do away with looking at Hindi markets for business.

Today’s film Paisa-41 was also one such film made in Marathi and Hindi. It is just a coincidence that my previous post and today’s post both have the films with the same Director-G.P.Pawar and the same Heroine-Kanta Kumari. The Lyricist of this film is not known, but the Music Director was C.Balaji.

I am sure, hardly anyone has ever heard his name so far. It is natural also, because Balaji gave music only to 2 Hindi films. First is Raja Gopi chand-1938 And the other film was Paisa-1941. Both his films were bilingual-in Hindi and Marathi. Basically Balaji was a marathi film composer. He was the first music director to change his name to look like a South indian name. C.Ramchandra came much later.

His real name was Balaji Gopal Chougule. originally his family was from Kolhapur, but he was born at Varanasi on 12-10-1913. After the death of his maternal grandfather Balaji came to Kolhapur. here he learnt music from Ustad Manji khan (son of Ustad Alladiya khan), Shankarrao Sarnaik and Govindrao Tembe. Tembe taught him the skill to give music to films.

He started working with some drama companies like Kirloskar natak mandali and Yeshwant Sangeet mandali, as a Harmonium player. In 1937, he became assistant to Govindrao Tembe for film ‘Pratibha'(Hindi/marathi). When Tembe left the film halfway, he completed its music, but his name was not credited. He got his first Marathi film independently, Kanhopatra. Its songs became very popular. Pendharkar gave him Raja Gopichand-38 as an independent MD. Later he did another film in Hindi/Marathi, Paisa-41.

In 1945, Balaji started learning music again, this time under Bhurji Khan (youngest son of Alladiya Khan). Balaji gave music to 5 Marathi films and 2 Hindi/Marathi films. When Shivaji University started in Kolhapur in 1962, he started an agitation for inclusion of Music in its curriculum. His efforts bore fruits and it was done in 1964. He gave tutions of Music in his last days. C.Balaji expired on 11-9-1984 at his home town, Kolhapur.

The cast of this film was Kanta Kumari, Madhav Kale, Indira Wadkar (this was her last Hindi film), Shakuntala, Vimal Ghaisas, Devaskar, Raja pandit ( he was an actor, director and producer. He was the husband of actress Ratnamala. They had one son-Jaikumar, who died in an accident. They were divorced later on), Bala saheb, V.D.Pandit etc.

Madhav Kale was born in Nashik in 1903. After his school education at Nashik, he joined Deccan college at Poona and passed Intermediate course. He was interested in playing in dramas, which was opposed by his mother. But he used to take part in dramas while in college. He was a good singer too. Wanting to join films, he sent applications to many companies. Saroj and Sharda companies responded. He acted in several silent films like Mukti Sangram, Kanak Kesari etc. He entered the Talkie films with Vikram Charitra-32, Mera Imaan-34 and Vishnu Bhakti-34. During this period, he got married in 1934.

He acted in 21 films. His last film was Gokul ka chor-59. He even directed one film, Sacha Sapna-42. He sang 13 songs in 7 films till 1942.
There is no information about him after this.
After writing this bio of Madhav Kale, I came to know that after the films, Madhav went back to Nashik, where he was active in local politics. He became a Municipal Councillor, but lost Assembly elections, which he was very hopeful of. He died somewhere in 1980.

Indira Wadkar was the Paternal aunt of Heroine Hansa Wadkar. Hansa Wadkar’s father had three sisters, Kesharbai, Indirabai and Sushilabai. Sushila was married to Master Vinayak, a renowned actor-director of the early era of Indian cinema. The elder sister as well as Indira Wadkar were acting in films and Indira was a classical singer as well. Indira acted in several films including Duniya Kya Hai (Resurrection) (1937) and in Vinayak’s production company “Hans Films” like Devata (1939) in Marathi. Indira used the surname Wadkar to avoid using the family name Salgaokar, for fear of reprisal from society against women acting in films. Her older sister, Kesharbai, was working in a film made by M.G. Rangnekar and she suggested that Wadkar work in films to sustain her family. She acted in 11 Hindi films. She was a popular mother in law in Marathi films.

Today’s song is sung by a Chorus, with an unknown male voice in it. With this song, film Paisa-41 makes its Debut on this Blog.


Song- Jag ko naach nachaaye paisa (Paisa)(1941) Singers- Chorus, Lyricist- Not known, MD- C.Balaji

Lyrics

Jag ko naach nachaaye paisa
jag ko khel khilaaye paisa
Jag ko naach nachaaye paisa
jag ko khel khilaaye paisa
lambe kad waala jhuk jaaye
lambe kad waala jhuk jaaye
bigde(?) ko akdaaye
bigde(?) ko akdaaye
paisa Jag ko naach nachaaye
paisa jag ko khel khilaaye
paisa Jag ko naach nachaaye
paisa jag ko khel khilaaye
paisa

paise ki mahima hai nyaari
paise ki mahima hai nyaari
isko poojen sab nar naari
isko poojen sab nar naari
meethhe khwaab dikhaaye paisa
meethhe khwaab dikhaaye paisa
jeewan swapn banaaye paisa
jeewan swapn banaaye paisa
jag ko naach nachaaye paisa
jag ko khel khilaaye paisa
jag ko naach nachaaye paisa
jag ko khel khilaaye paisa

begaane apne ban jaayen
begaane apne ban jaayen
dushman bhi aa kar apnaayen
dushman bhi aa kar apnaayen
aaye aa kar jaaye paisa
aaye aa kar jaaye paisa
jaaye jaa kar aaye paisa
jaaye jaa kar aaye paisa

paisa
paisa
paisa
paisa

paisa
paisa
paisa
paisa
paisa
Jag ko naach nachaaye paisa
jag ko khel khilaaye paisa
Jag ko naach nachaaye paisa
jag ko khel khilaaye paisa

Tags: , ,

Duniya mein hain bande pyaare daulat ke

Posted by: on: December 10, 2020


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 :

 4527 Post No. : 16088

“Husn Ka Chor”(1953) was produced by Homi Wadia and directed by JBH Wadia for Basant Pictures, Bombay. The movie had Usha Kiran, Mahipal, Brij Mohan Vyas, Azeem Dalpat, Sardar Mansoor, Agha Shapoor, Bismilla etc in it. The movie had seven songs in it. Four songs have been covered in the past.

Here is the fifth song from “Husn Ka Chor”(1953) to appear in the blog. The song is sung by Rafi and chorus. Bulo C Rani is the music director. The movie had three lyricists but it is not clear who penned the lyrics of this song.

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


Song-Duniya mein hain bande pyaare daulat ke (Husn Ka Chor)(1953) Singer-Rafi, MD-Bulo C Rani
Chorus
Rafi + Chorus

Lyrics

duniya mein hain bande pyaare daulat ke
baanye haath ke dhandhe saare daulat ke
humma heli baba teli sab matwaale daulat ke
jahaan dekho wahaan dekho phande saare daulat ke

daulat sab ke aib chhupaye
daulat ka hai bolbaala
bolbaala
chaar dinon ki chaandni mein
iski raushni sabse aala
sabse aala
saari duniya chalti hai sahaare daulat ke
duniya me hai bande pyaare
daulat ke
baanye haath ke dhandhe saare daulat ke
humma heli baba teli sab matwaale daulat ke
jahaan dekho wahaan dekho phande saare daulat ke

ye daulat imaan khareede
ye daulat insaan khareede
ye daulat imaan khareede
ye daulat insaan khareede
daulatwaala take take mein
muflis ke armaan khareede
bade ghazab ke khel hai
nyaare nyaare daulat ke

daulat ke hain sab deewaane
daulat ke hain sab deewaane
ek shama hai laakh parwaane
ek shama hai laakh parwaane
duniya mein hain itne thheke
duniya mein hain itne thheke
gali gali mein maikhaane
o dekho gali gali maikhaane
ae ae ae ae
ae ae ae ae
rang rageele hain humaare pyaare daulat ke
duniya mein hai bande pyaare daulat ke
baanye haath ke dhandhe saare daulat ke
humma heli baba teli sab matwaale daulat ke
jahaan dekho wahaan dekho phande saare daulat ke

Tags: , , ,

Dhanwaanon ki dhan nagri ki sun lo raam kahaani

Posted by: on: October 4, 2020


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 :

 4461 Post No. : 15941

“Dashaavtaar”(1951) was produced by Kikubhai Desai and directed by Jayant Desai for J K Films, Bombay. This movie had Nirupa Roy, Trilok Kapoor, Niranjan Sharma, Umakant, Vasantrao Pahalwan, Praveen Kumar, Baby Tabassum, Murad, Master Dhulia, Revashankar, Satyanarayan, Chandabai, Charubala, Neerja. Nagolkar, Pt Iqbal etc in it with guest appearance by Jeewan.

The movie had twelve songs in it. Two songs have been covered in the past.

Here is the third song from “Dashaavtaar”(1951) to appear in the blog. The song is sung by Rafi and chorus. Munshi Saaghar Hussain is the lyricist. Music is composed by Avinash Vyas.

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

The audio of this song is not very clear. I have not been able to get the lyrics of the song to my satisfaction. I request our readers with keener ears to help fill in the blanks/ suggest corrections in the lyrics wherever applicable.


Song-Dhanwaanon ki dhan nagri ki sun lo raam kahaani (Dashavtaar)(1951) Singer-Rafi, Lyrics-Munshi Saagar Hussain, MD-Avinash Vyas
Chorus
Unknown voice

Lyrics

dhanwaanon ki dhan nagri ki sun lo raam kahaani
baaba sun lo raam kaahaani
dhanwaanon ki dhan nagri ki sun lo raam kahaani baaba
sun lo raam kahaani
rupaiyya unka raaja
athanni unki raani
tewanni (?)
tewanni (?)
do ladkiyaan manmaani
siyaavar ramchander ki jay

building bangle banwaane ki bechaaron ko ?? cash
aur kiraaydaaron se pagdi lene ki
jhanjhat

??
khoon paseena ek kiya
??
paanch hazaar maang rahe hain??
hazaar maangte hain ??
o ho ho ho

bank balance badhaane ko wo karen khoon ka paani
siyavar ramchander ki jay
arre paas na apne building bangla
sadkon par hum sote
khaate jo bhagwaan khilaaye
bhojan ko nahin rote
hmm
raam naam hai bank hamaara
jisko na aaye haani
siyaavar ramchandr ki jay
dhanwaanon ki dhan nagri ki sun lo raam kahaani
baaba sun lo raam kahaani
haan
dhanwaanon ki dhan nagri ki sun lo raam kahaani
baaba sun lo raam kahaani

ae ae ae
income tax bachaane ko wo dhakke khaayen dar dar
arre unko jhat bukhaar aa jaaye jaana pade jo mander
ae mandar ko kahaan le jaate ho income tax office le jaao
office waalon ko aur

bhool jaayen parmeshawar ko nahin bhoolen rakam bachaani
siyavar ramchander ki jay
arey tax vax ki fikar na phaaka
tax vax ki fikar na phaaka
paas na apne damdi
chimta jholi dhan hai apna
vastr tan ki chamdi
paas hamaare aaye jo chinta mar jaaye uski naani
siyavar ramchander ki jay
arre sukh hi sukh hai
hahahaha
sukh hi sukh hai hum logon ko joru hai na jaata
le de ke bas ek hamaara raam naam se naata
raakhe ja vidh raam rahenge
yahi hai man mein thhaani
siyavar ramchandr ki jay
dhanwaanon ki dhan nagri ki sun lo raam kahaani
baaba sun lo raam kahaani
ha ha
dhanwaanon ki dhan nagri ki sun lo raam kahani baaba
sun lo raam kahaani
rupaiya unka raaja
athanni unki raani
chawanni duanni
do ladkiyaan manmaani
rupaiya kiska bhaiya
athanni kiski saathi
chawanni duanni
yoon aati hai yoon jaati
tike na hargiz ek jagah
ye jaise bahta paani
siyavar ramchander ki jay

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Goriya uski deewaani jiski paackit garam garam

Posted by: on: May 11, 2020


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 :

 4315 Post No. : 15600 Movie Count :

4295

So we reach yet another century of posts in the blog. It appears to be a rather fast century, even though it took 45 days. It is faster in comparison to “recent” centuries though. It is the fastest century since 147th century (Song number 14601 to 14700) which took 53 days to complete. There were days when centuries in 16 days used to be the norm. 🙂

Better late than never, of course. The blog keeps movis steadily, without a pause and that gives us the confidence that our musical bandwagon in moving (however slowly) and so we are indeed inching towards our destination.

During this journey, we often find ourselves reaching individual marks of artists as well. Then we try and combine these landmarks in one write up.

It so happens that today we are reaching two individual landmarks as well, with this article.

This song is the 2700th song of Asha Bhonsle as a playback singer. This song also happens to be the 1100th song of Rajinder Krishan as a lyricist.

On this occasion, here is a song from “Aag Ka Darya”(1990). This movie was produced by R Venkatraman and directed by S V Rajendra Singh. The movie had Dilip Kumar, Rekha, Amrita Singh, Avtar Gill, Padmini Kolhapure etc in it.

The movie had six songs in it.

Asha Bhonsle and Rajinder Krishan worked together in 380 songs in 181 movies, including 211 solo songs. This song was the last solo song penned by Rajinder Krishan for Asha Bhonsle. Music is composed by Laxmikant Pyarelal.

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

It is a song that grows on the listeners after one has listened to it a couple of times. It is a nice hummable song to listen to.

With this song, “Aag Ka Darya”(1990) makes its debut in the blog.

I take this opportunity to thank one and all. Let us hope that our musical bandwago will not only maintain its run, but it will pick up speed as well.


Song-Goriya uski deewaani jiski paackit garam garam (Aag Ka Darya)(1990) Singer-Asha Bhonsle, Lyrics-Rajinder Krishan, MD-Laxmikant Pyarelal
Chorus

Lyrics

Ho goriya uski deewaani jiski paackit garam garam
ho goriya uski deewaani jiski paackit garam garam
paackit garam garam o jiski paackit garam garam
goriya uski deewaani jiski paackit garam garam
are batuwa kholo note dikhaao chhodo sharam varam
goriya uski deewaani jiski paackit garam garam
ho goriya uski deewaani jiski paackit garam garam

apni apni garaj ka sauda aa aa
ho ho ho
apni apni garaj ka sauda
ismein kya hai dhokha
ismein kya hai dhokha
aji ismein kya hai dhokha
hoga wo naadaan jo chhode haath mein aaya mauka
chadhhi javaani ki nadiyon ko bolo kisne roka
husn ki khaatir bik jaate hain bade badon ke dharam
ho muniya uska bhare paani jiski paackit garam garam
ho muniya uska bhare paani jiski paackit garam garam
arre paackit garam garam arre paackit garam garam
o jiski paackit garam garam
batuwa kholo note dikhaao aji chhodo sharam varam
ho goriya uski deewaani jiski paackit garam garam

tarah tarah ke khel yahaan hain tarah tarah ke vele
ek raat mein mit jaate hain din ke laakh jhamele
din ke laakh jhamele
aji din ke laakh jhamele
isi liye to door door se aate hain albele
kaam yahaan kya uska jeb ho jiski naram
jaani main to uski raani jiski paackit garam garam
ho jaani main to uski raani jiski paackit garam garam
are paackit garam garam ho jiski paackit garam garam
batuwa kholo note dikhaao aji chhodo sharam varam
ho goriya uski deewaani jiski paackit garam garam
ho goriya uski deewaani jiski paackit garam garam
ho goriya uski deewaani jiski paackit garam garam

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Chhan chhan karti daulat boley

Posted by: on: April 16, 2020


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 :

 4290 Post No. : 15541

“Chaubees Ghante”(1958) was produced by Tejnath Zar and directed by Dwarka Khosla for Zar productions, Bombay. this “crime” movie had Premnath, Shakeela, K N Singh, Maruti, Shammi, Nishi, Satish Batra, Samson, Sheila Vaz, Kanchanmala, Rajan Kapoor, Nasreen, Laxman Rao, Mahendra, Prem KUmar, Jerry, Dewaskar, Naudiyal, Daraz etc in it.

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

Here is the seventh song from “Chaubees Ghante”(1958) to appear in the blog. This song is sung by Rafi, Asha Bhonsle and chorus. Raja Mehdi Ali Khan is the lyricist. Music is composed by Bipin Babul.

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

Audio

Video

Song-Chhan chhan karti daulat bole (Chaubees Ghante)(1958) Singers-Rafi, Asha Bhonsle, Lyrics-Raja Mehdi Ali Khan, MD-Bipin Baabul
Chorus
Rafi + chorus

Lyrics

ajab paise ka fanda hai
ajab paise ka chakkar hai
jahaan dekho wahin insaan ki
paise se takkar hai ae ae
aa aa aa aa aa
aa aa aa aa aa

chhan chhan karti daulat bole seth tijori tod de
laakhon hi ka bhala hai ismein
ab ye qaidi chhod de
chhan chhan karti daulat bole seth tijori tod de
laakhon hi ka bhala hai ismein
ab ye qaidi chhod de

rookhha sookhha khaake hamne joda paisa paisa
tumko kaise denga hamko samjha ullu jaisa
kya samjha ullu jaisa
sun be mehta
sun be mehta laathi leke aison ka sar phod de
laakhon hi ka bhala hai ismein ab ye qaidi chhod de
chhan chhan karti daulat bole seth tijori tod de
laakhon hi ka bhala hai ismein ab ye qaidi chhod de

aa aa aa aa aa aa
aa aa aa aa aa
laahkon insaanon ki rozi das barah ki chheene
aaa aa aa aa
ye daulat jo baahar aaye isse chale machinen
isse chale machinen
ise lutaade bhar bhar jhole
seth tijori tod de
laakhon hi ka bhala hai ismein
ab ye qaidi chhod de
chhan chhan karti daulat bole
seth tijori tod de
laakhon hi ka bhala hai ismein
ab ye qaidi chhod de

daulat meri baandi isko umar qaid mein daala
kismein himmat hai jo tode motu raam ka taala
arre motu raam ka taala
kyun be mehta
kyun be mehta hai koi jo itna paisa jod de
laakhon hi ka bhala hai ismein ab ye kaidi chhod de
chhan chhan karti daulat bole seth tijori tod de
laakhon hi ka bhala hai ismein ab ye qaidi chhod de

aa aa aa aa aa
aa aa aa aa aa
tere ghar ke saamne aake bhookhon ne gash khaaya
aa aa aa aa aa
o nirmohi seth tujhe kyun inpe raham na aaya
kyun hampe raham na aaya
jeewan naiyya dagmag dole
seth tijori tod de
laakhon hi ka bhala hai isme
ab ye qaidi chhod de
chhan chhan karti daulat bole
seth tijori tod de
laakhon hi ka bhala hai ismein
ab ye qaidi chhod de

tere saamne bhookha insaan gas kha kha ke leta
de de sab kuchh gar hai seth karodimal ka beta
seth karodimal ka beta
sun re mehta dil mera bole
seth tijori tod de
laakhon hi ka bhala hai ismein
ab ye qaidi chhod de
chhan chhan karti daulat bole
seth tijori tod de
laakhon hi ka bhala hai ismein
ab ye qaidi chhod de
chhan chhan karti daulat bole
seth tijori tod de
laakhon hi ka bhala hai ismein
ab ye qaidi chhod de

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Baap gaaye thumri aur garba gaaye maiyya

Posted by: on: October 28, 2018


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3754 Post No. : 14719

Today’s song is the 3rd song from film Oonchi Haveli-55 to be discussed in the Blog. For the last 6-7 months, I have been discussing songs mostly from the decades of the 1930s and the 1940s. The last song from the 1950s that I discussed was on 3-3-2018, which for me was the 5th song from the decade of 1950s in this year. Looking back, I find that I had discussed a song from 1994 also in this year. Good songs, to whatever year they belong to, are my favourites. The only regret is that such songs have become few and far between. Good and meaningful Lyrics is another thing which has become scarce.

Today’s song is sung by Rafi. I strongly believe that God had given at least 10 different voices to this divine singer ! His special voice and style changed to suit the lip syncer on the screen and the song situation. His voice for Dilip Kumar was never the same as one he used for Johnny Walker.

Rafi came from a poor and humble background and had to struggle very hard to enter, sustain and reach the heights in Hindi Film Music. We all know that he came from a poor family but how his early life was spent is not known to many.

Punjab must be proud that two of its sons ruled Hindi cinema music for the first 50 years of its existence, which also happened to be its golden era. initially it was Saigal from 1933 to 1947 and then Mohd. Rafi-as if the baton was handed over by one statemate to another. Both started with humble beginnings and struggled hard to win their places in the History. Saigal, however, had less competition, but then the industry was also smaller. In case of Rafi, the competition was greater, but then the industry had also grown manifolds.

Born into a lower middle class Muslim family belonging to a non descript village in Punjab in 1924, Rafi did not have much education. It was confined to reading and writing in Urdu in Persian script. A little bit of multiplication, and his education was over. In leisure time, Rafi would take his and friends’ cattles for grazing- singing songs all the day.

Rafi did not have exposure to Radio until the beginning of Lahore Radio station in 1937. Of course wealthy people had their gramophones and he would listen to Indubala and Kamla Jharia songs coming from the Havelis and in the Bazaar area. Rafi sang many folk songs.

His father decided to shift to Lahore- 50 miles away, for better earning. Like most Amritsaris, he too was an expert in cooking. He opened a Dhaba and soon did well. Later on he called Rafi to Lahore in 1941 Rafi got a job in a Hair cutting saloon. Whole day he would do people’s shaving, while singing songs. His customers were happy. One day, Programme Director of Lahore A.I.R. Mr. Jeewan lal Mattoo was passing by and he heard Rafi’s singing. Impressed with his enchanting voice, sweetness,range and tonal quality, he shocked Rafi with his offer. Rafi gave his audition next day and passed with flying colours. From March 1943, Mohd.Rafi became a Radio singer, at 35 rupees per song. ( six months later Surinder kaur also joined Lahore Radio).

After hearing his voice on Radio, Music Director Shyam sunder called him to sing in his Punjabi film ” Gul Baloch”. Before coming to Lahore, Rafi was married to his cousin, but his Father in law had told him that his wife will join him only after he starts earning decently. Even after that single song in a film, Rafi continued his shaving job in the saloon. Meanwhile Mr. Mattoo helped him to learn classical music. Also Master Inayat Hussain gave him training. Another teacher was Budh Singh Taan. Noorjehan, Umrao Zia and Zeenat begum were seniors to Rafi in Lahore, but they knew each others. He took training from Bhai Samund Singh and Bhai Santa Singh of local Gurudwaras. Rafi was a saintly person and a true Namazi, doing 5 times Namaz daily.

Rafi’s wife came to him after he became a Radio artiste. He had a large friends circle, who used to gather in his house. There were many Hindi and Punjabi films made in Lahore, but none of the composers thought of Rafi as a singer. Pt. Amarnath and Ghulam Hyder liked his voice and knew his talent. While shifting to Bombay, Ghulam Hyder invited Rafi to join him. Even from Bombay he sent him 2 calls. Finally on his second call, Rafi decided to shift to Bombay, lock stock and barrel, in 1945. In Bombay, till Jugnu-47 happened, Rafi sang few songs in films, but he made his living by singing in private Mehfils of wealthy Punjabis of Bombay.

Story of Rafi after Jugnu-47 is known widely. I just wanted to highlight his less known early days, before coming to Bombay. Some of this information is used from an article by H.S.Aujla in Apnaorg.

May be, because of his humble background and a struggle before he succeeded, he always had a soft corner for struggling composers. Unlike some other famous singers, he was always ready to help such composers, even if the money offered was below par. During his peak period also, poor B and C grade composers could approach Rafi with a request to sing their songs and Rafi rarely disappointed them.

Nissar Baazmi later went to Pakistan and became a big composer. Even Noorjehan and Mehdi Hassan considered it an honour to sing for him in Pakistan. As long as Nissar Baazmi was in India, he somehow remained a C-grade composer. And at the time he did Khoj, he was a nobody.

It was as a nobody in HFM that Baazmi approached Rafi to sing for the rendition of a composition for “Khoj”. He could only afford to pay Rs 50 to Rafi. Rafi charged Baazmi just the token Re 1. The result- Chanda ka dil toot gaya roney lage hain sitaare Just the shot in the arm that a struggling music director, as well as the lyricist (Raja Mehdi ali Khan) could have dreamed of !

Pandit Shivram was a small time composer as well. He too had only Rs 50 to offer Rafi for singing a song. In return, Rafi offered him as well as the music lovers this priceless song Daulat ke jhoothhe nashe mein ho choor (Oonchi Haweli)(1955) .

Rafi left his mark even in movies where Talat Mehmood was the main singer and Rafi got to sing sung one song. Take for instance Ghulam Mohammad composition Hai bas ki har ek unke ishare mein nishaan aur (Mirza Ghalib), S D Burman’s Manzil ki chaah mein (Devdas).

How Rafi could hold his own for a composer where other singers had given their best for him is tellingly illustrated in case of songs composed by Baabul. Manna Dey had sung two superb duets in in Reshmi Roomal, viz. Zulfon ki ghataa lekar saawan ki pari aayi (with Asha Bhonsle) and Aankh mein shokhi lab pe tabassum (with Suman Kalyanpur) . This movie also boasted the Talat Mehmood timeless classic Jab chaaye kabhi saawan ki ghata(Reshmi Roomaal)(1961). Mukesh too added his mite Reshmi Roomal through Gardish mein hon taare na ghabraanaa pyaare (Reshmi Roomaal) .

Next movie that Baabul got was “Naqli Nawaab” where the same hero Majoj Kumar was to lip sync the songs. Despite recording such awesome male playback songs in his previous movie, Babul switched to Rafi in “Naqli Nawaab”. Rafi was paid Rs 200 for this movie. The timeless classics that Rafi came up with were- Tum poochhte ho ishq balaa hai ke nahin hai (Naqli Nawaab) and Chheda jo dil ka fasaanaa( Naqli Nawaab) .

If Rafi’s created gems for Babul did the same for Babul’s erstwhile partner Bipin as well ! For Bipin Datta, Rafi sang Ye Bombay shahar ka badaa naam hai (Kya ye Bombay hai ?)

If music director Dulaal Sen is remembered today, then it is thanks to one “Black Prince”(1960) Rafi solo song viz. Nigaahein na phero chaley jaayenge ham (Black prince) .

C Arjun much later, told that he felt very proud that he had at least created a ghazal that could come somewhere near a Madan Mohan composition. I wanted special attention to this my coveted ghazal from my singer but all good singers available were bigger than the film for which I had composed it! revealed Arjun. It was with great hesitation, therefore, that I approached Rafi Saab to render my ghazal, so feelingly written by Indivar. And Rafi Saab, without bothering about the small payment we were in a position to make, said it was one of the best ghazals that had fallen to his lot and he would give it everything that he had.not ready to sing for a small time music director in a B grade movie. Rafi had no such qualms. He obliged C Arjun and came up with a rendition that ensured that this ghazal even till date in bracketed among the best ghazals of Hindi movies. This ghazal with Madan Mohanesque quality was Paas baitho tabeeyat bahal jaayegi (Punar Milan) .

Lala-Asad-Sattar three instrumentalists turned struggling music directors could get Rafi to sing for them and Rafi did what he always did- provided A grade song in a B grade movie-Main to tere haseen khayaalon mein kho gayaa (Sangram) .

Sapan Jagmohan made their debut as a music director duo with “Begaana”(1962). A good blueprint that the music director duo had created was converted into a memorable masterpiece by Rafi-Phir wo bhooli si yaad aayi hai(Begaana)(1963).

We have had many A grade compositions in B and C grade movies. A good number of such compositions are in Rafi’s voice and they came about because Rafi would put art before commerce and would sing for pittance no matter how “small” a movie or its music directors were. That is how we got Iqbal Quraishi’s composition Subah na aayi shaam na aayi(Cha Cha Cha) and Sonik-Omi offering Dono ne kiya tha pyaar magar(Mahua)(1969).

The Rafi touch could turn any disc into gold! The above information is based partly on an article written by Raju Bharatan for The Illustrated Weekly of India, Aug 93.

The music Director for film Oonchi Haveli-55 was Shivram or Pt. Shivram Krishna. He was one of those composers who could not get very famous, though he composed very well. Pt. Shivram Krishna was born at Jodhpur on March 22, 1927. He started learning music at the age of 8 under the tutelage of his father Master Tulsidas, who worked with Marwar Record Company, Jodhpur from 1934 onwards. He was later employed in the court of the Maharaja of Jodhpur, Umed Singh as a singer/musician. It was the name and fame of Khemchand Prakash that inspired him to try his luck in films. At the age of 16, he went to Lahore where he worked under Pandit Amarnath and Master Ghulam Haider for around three years, only to return to Jodhpur at the time of partition. From the year 1948 till 1950 he worked as a music director with His Masters Voice in Lucknow, and then made his way to Mumbai in 1951.

At Mumbai, Pt. Shivram was given his first break by V. Shantaram, who signed him for two of his films – Teen Batti Chaar Raasta (1953) and Surang (1953). The music of both the films was appreciated and the films became silver jubilee hits. Besides these, V. Shantaram gave him two more films in 1960 – ‘Phool Aur Kaliyan’ and ‘Kaale Gore’, the first winning the National Award for Best Children film, while the second remained unreleased. He used the voices of V. Shantaram’s daughters Charusheela and Madhura in children’s films.

Following the success of his initial films, Pt. Shivram caught the attention of Dhirubhai Desai and Nakhshab Jarchavi, who signed him for their next films, Oonchi Haveli (1955) and Raftaar (1955) respectively. The songs of these two films were also quite successful. Then came Sati Ansuya (1956), another film by Dhirubhai Desai that started the trend and literally sealed his fate as a composer of mythological films. Barring Naya Kadam (1958), a social drama, and Rangeela Raja (1960), a stunt film, and the two children films by V. Shantaram, all the films he got after Sati Ansuya were religious/ mythological films. In all, out of the 23 films he composed for, as many as 14 were religious/ mythological films.

Despite composing some good songs for these films, the success he got with his initial films could not be repeated given the limited popularity of such films and similarity in the genre of songs. Barring a few songs from Shravan Kuman (1960), Kan Kan Mein Bhagwan (1963) and Sati Naari (1965), most of the songs are all but forgotten. ‘Tum Naacho Ras Barse’ by Mahendra Kapoor in Sati Naari fetched Pt. Shivram the Swami Haridas Award in 1966.

The last two Hindi films of Pt. Shivram were Sampoorna Teerth Yatra (1970) and Mahapavan Teerth Yatra (1975), both of which have the unique distinction of featuring what could be the longest Hindi film songs, running 45 and 70 minutes respectively. Both these songs were about the various places of pilgrimage in India and were almost similar in tune and structure. Interestingly, he had also composed two more songs on similar lines in Durga Pooja (1962) and Kan Kan Mein Bhagwan (1963).

Pandit Shivram gave music for various regional languages such as Rajasthani, Bhojpuri, Punjabi, Haryanvi, etc. He was the default composer for Rajasthani films all through the 1960s, starting with the first Rajasthani film Babasa Ri Ladli (1961). He also composed for several Marwari and classical music non-film albums. As a proficient Harmonium player, he teamed with table-nawaaz Ustaad Nizamuddin Khan to produce a classical album. Pandit Shivram was as good a vocal artist as he was a harmonium player. He sang in films like Oonchi Haveli, Rangeela Raja, Sati Ansuya, Badrinath Yatra, etc.

The lyricists Pt. Shivram worked with, were more or less decided by the films he worked in. While he worked with the likes of Asad Bhopali, Shevan Rizvi, Pyare Lal Santoshi, Nakhshab Jarchavi, etc. in his non-mythological films, predominantly ‘Hindi’ writers like Bharat Vyas, Kavi Pradeep, Neeraj, Madan Bharti and Pt. Indra wrote for his mythological films. Pt. Indra and Bharat Vyas were his prime contributors for Rajasthani films.

Pandit Shivram died in February 1980 leaving behind a family of musicians. His daughter Jayshree Shivram is a singer. Two of his sons, Jugal Kishore and Tilak Raj jointly composed for a few Hindi films, debuting with Bheegi Palkein (1983). His third son, Naveen Shivram had started his musical career with giving music for the serial Apnapan in 1999 and went to compose for a few small time Hindi films and some Rajasthani film and non-film albums as well. Another son, Mukesh, was also a composer and is no more. ( Information on Shivram, based on urgetofly.com and my notes.)

Now, here is a fun song from this film, sung by Rafi and chorus. Though Asha Bhosle’s name is also credited, I did not find any female voice in the song.
PS-Now Sadanand Kamath Jee has pointed out that this song is a two part song and Asha Bhonsle’s voice does appear in the second part of the song. So this song is a Rafi-Asha Bhonsle duet, after all.


Song- Baap gaaye Thumri aur Garba gaaye Maiyya (Oonchi Haweli)(1955)Singer- Rafi, Asha Bhonsle, Lyrics- Bharat Vyas, MD- Pt Shivram
chorus

Lyrics

baap gaaye thumri aur garba gaaye maiyya
jab aangna mein raas rachaenge ye rupaiya
ye chaandi ka kanhaiya ho chhan chhan chhan rupaiya
bhabhi gaaye bhim palaasi drupad gaaye bhaiya
jab aangana mein raas rachaenge rupaiya
ye chaandi ka kanhaiya ho chhan chhan chhan rupaiya

gol gol ye nagad narayan hove jiske paas
wo saare aalam ka baalam sab jan uske saath
ki duniya naak ragadti
ke duniya kaan pakadti
ki duniya jhuk jhuk kare salaam
baabuji parnaam
saahab ji salaam
seth ji raam raam raam raam raam
dekh ke saari duniya naache ta ta ta ta thhaiya
jab aangana mein raas rachaenge ye rupaiya
ye chaandi ka kanhiya ho chhan chhan chhan rupaiya

naram naram duniya laage jab garam garam ho jeb
rupaiye ki jhankaar mein bhaiya chhup jaate sab aeb
achcha
haha
zara dekh lo
ek hai saabat ek hai gaayab
ek khuli hai ek hoon hoon hoon
jaane saara gaam inko jaane saara gaam
par laxmi ki kirpa se inka kamalnayan hai naam
arre inka kamalnaian hai naam
ghuti hui hai khopadi
ghuti hui hai khopadi
par paas hai inke rokadi
safaachat sab baal uden
ye ganju ji ganjan hain
paisa inki aankh ka anjan
daanton ka manjan hai
par jeb kare jham jham to
inka naam keshranjan hai
ae bhaiyya inka naam keshranjan hai
ye kaaghji jawaan seena taan ke khade hue
ye laxmi ki duniya mein heere moti se jade huye
aa aa aa aa aa
dehradun ke cartoon
ye mahlon mein rahte
unchi haweli mein rahte
isiliye sab basti waale hastimal kahte
arre inko hastimal kahte
ke moorakh kahlaaye gyaani
ke phoohad kahlaaye raani
ki cheeku kahlaaye daani
ki ye sab rupye ki maaya
arey bhai waah waah waah waah waah
hoy besuri lugaayi bhi kahlaati hai suraiya
jab aangna mein raas rachaenge ye rupaiya
ye chaandi ka kanhaiya ho chhan chhan chhan rupaiya

o jee o jee
aji aao jee
main teri nayi naweli naar
tu mera albela bhataar
kiya sab tere liye singaar
aji aa jee
ho ho ho ho
kaho meri kaisi ankhadiyaan
ke jaise gulaab ki pankhadiyaan
daant ki kaisi jyoti hai
seep mein jaise moti hain
seep mein jaise moti hain
aur mere sar ke kaise baal
aji in ne to kiya kamaal
ke jaise saawan ke baadal
ke jaise bhanwron ka ho dal
ke jaise nainon ka kaajal
haay re wai wai wai wai wai
meethe meethhe lagte hon jo panchhi se baraiyya
kab
jab aangna mein raas rachaaye re rupaiyya
ye chaandi ka kanhiya ho chhan chhan chhan rupaiya
baap gaaye thumri aur garba gaaye maiyya
jab aangna mein raas rachaenge ye rupaiya
ye chaandi ka kanhaiya ho chhan chhan chhan rupaiya

aa aa aa aa aa
aa aa aa
maine laakhon ke bol sahe
chaandi ke chanda
haay re baandi ke banda
haaye re phaansi ke phanda
tere liye ae
maine laakhon ke bol sahe

saajan aaya hey sakhi
ee ee ee ee ee
waah waah waah
haan
kai manuhaar karo
thhal bhara gaz motiyaan aan
aur ooper nain dhara aa aa aa aa aa aa
ho chaandi ke chanda
haaye re baandi ke banda
haaye re phaansi ka phanda
tere liye ae
maine laakhon ke bol sahe

ikanni duwanni
chawanni athhanni
ikanni duwanni
chawanni athhanni
chhote mote maap hain
ki chhote mote maap hainhe
ye hain baal bachche iske
rupaiyya inka baap hai
rupaiyya inka baap hai
is kaljug ki duniya mein paar laage tab hi naiyya
jab aangna mein raas rachaenge ye rupaiya
ye chaandi ka kanhaiya ho chhan chhan chhan rupaiya

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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over FIFTEEN years. This blog has over 18300 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2024) 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

18305

Number of movies covered in the blog

Movies with all their songs covered =1411
Total Number of movies covered=4951

Total visits so far

  • 16,472,061 hits

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Blog Start date: 19 july 2008

Active for more than 5000 days.

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