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

Archive for the ‘National integration song’ Category


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 : 3628 Post No. : 14452

Today’s song is from a film ‘Paaro’ (1947), made during the turmoil of Independence of India. By early 1947, it was clear that India would be divided and a new nation, based on religion, would be carved out by bifurcating United India. The name Pakistan was also known to everyone.

Like in every other field of activity, Hindi film industry  was also abuzz with rumours of who is migrating and who is not. Close to the month of June, July 1947, many ‘would be’ migrators were seen selling their properties. There was total chaos in film world. People were seen with suspicion and caution. All this culminated in a frenzy of activity in the industry. Everyone was in a hurry to complete his assignments. Financiers were hastening the producers and directors to complete their films somehow.

This finally ended in a record number of films made in the year 1947. The number of total films made was 280, and only Hindi films were 181. This record number was surpassed only after 41 years ! In the year 1985, the number of Hindi films made was 185. These figures are taken from Film Index by Harmandir ji. It automatically transpired that the quantity was achieved at the cost of quality. Almost 75 to 80 % films of 1947 were obscure and forgotten within a short time.

Films like ‘Aisa Kyun’, ‘Atom Bomb’, ‘Barrister’, ‘Beete Din’, ‘Chalte Chalte’, ‘Chandrahaas’, ‘Dehati’, ‘Daulat Ke Liye’, ‘Extra Girl’, ‘Farz’, ‘Gaurav’, ‘Gudiya’, ‘Heera’, ‘Janata’, ‘Jhalak’, ‘Khandaani’, ‘Lalat’, ‘Manmaani’, ‘Mere Bhagwan’, ‘Mohan’, ‘Nai Baat’, ‘Pehla Pyaar’, ‘Riwaaz’, ‘Shabari’, ‘Shahkaar’, ‘Tohfa’, ‘Toote Dil’, ‘Veerangana’ are some of the films made in 1947. How many of us even know about them ? Actually, some of these were films in which well known and major stars of the times had acted. For example, Mohan had Dev Anand as hero, Lalat was the debut film of Usha Kiran (as Usha Marathe), Prem Adib and Vanmala had acted in Chandrahaas etc.

‘Paaro’ was also one such film which was probably the outcome of the frenzy of 1947. The music director, the heroine, the director, both the lyricists and one singer of this film migrated to Pakistan at their earliest. I have not seen this film. perhaps it never came to Hyderabad. After Independence, Sardar Patel had launched ‘Operation Polo’, to annexe Hyderabad state  to India in 1948. The state was in turmoil, so new releases of 1947 came only after October 1948, that too only the most popular ones like ‘Shehnai’, ‘Saajan’, ‘Naatak’, ‘Neelkamal’, ‘Jugnu’, ‘Elaan’, ‘Dard’ and the likes of them.

The cast of film ‘Paaro’ was Geeta Nizami, Randhir, Jeevan, Ranjeet Kumari (who married actor Ram Singh and settled in UP) , Saroj Borkar, Kusum Bhate (sister of Rohini Bhate, the internationally famous dancer, on whom Lata’s first playback song was filmed in film ‘Aap Ki Sewa Mein’) etc. Geeta Nizami’s real name was Rashida Begum. She was born in 1926, in a middle class family of Lahore. At the age of 14, she was married to Barkat Nizami, uncle of actress Mumtaz Shanti. This was his second marriage.

It was through the efforts of Barkat Nizami that she was introduced to the screen. This person had a knack for recruiting girls to cinema. First he brought in Mumtaz Shanti and then his own wife. According to him this was a business, more than a marriage. He used to take 50% of earnings from Mumtaz Shanti, but after she married Wali Saheb, this stopped. To compensate, he brought Geeta. He had made a written agreement with her that she will give 50% of her income to Barkat and 25 % to his son from first wife. She earned only 25 %. This type of arrangements used to be there in those days. This was nothing but exploitation of helpless poor girls.

Geeta Nizami made her debut as a Heroine.  Initially, she took on the name of Mohini, but after realizing that there was another actress Mohna, already in films, she became Geeta and added Nizami to it. Another actress having such a Hybrid name was Mumtaz Shanti, in the same period.

In her first film ‘Mann Ki Jeet’ (1944), she acted and had a song and dance. The song was “More Jubna Ka Dekho Ubhaar” sung by Zohrabai, written by Josh Malihabadi and composed by SK Pal. The dance Geeta did on this song was very sensuous. She was shown emerging from a blooming lotus and at that time she did such provocative actions that soon the song became talk of the town. The then Bombay Government, led by Morarji Desai, promptly banned the song, but in the rest of India the song became very popular.  Her second film was Navyug’s propaganda film ‘Panna’ (1944). Her acting in this film was so good that the Govt. of India gave her a gift of Rs. 9000 as a reward.

Famous author Manto says in his book, ‘Dastavej ‘ Vol 5, that after this film, Geeta Nizami left Barkat Nizami, refusing to give him any share of her earnings. He went to the court and his case lingered, meanwhile he migrated to Pakistan also. Geeta Nizami then married several times and was known for that.

Geeta Nizami could not continue long as a heroine in films. She was lead actress in only seven films, out of total 13 that she did in India. The reason why she did not get more roles as a heroine was found in a book by a well known author. According to this author, Geeta took a bath only once a week, smelt horrible and her head was full of lice. No actor was ready to do a close up scene with her. (I remember another actress of the early 1960s – Kalpana, with same reputation. Shammi Kapoor was on record saying that Kalpana smelt very foul as she probably took bath only once a month. He had refused to work again with her in any film, after ‘Professor’ (1962).)

Geeta Nizami did just 13 films. Her last film was ‘Ek Tha Ladka’ (1951). After this she migrated to Pakistan. In Pakistan she formed a dance troupe and did shows in various cities of Pakistan. She died on 28-4-2008.

The film had only 7 songs, written by Nakshab Jarchavi and S. Nadeem, composed by Music Director Rashid Atre.

Composer RASHEED ABDUL ATRE was born in Amritsar on 15-2-1919. His father Khushi Mohammed was a well known musician and singer. Rasheed learnt music from Ustad Khan Saheb Ashfaq Hussain. Then he went to Calcutta and worked under RC Boral. During his stay in Calcutta he is presumed to have composed songs for films ‘Pardanasheen’ (1942) and ‘Mamta’ (1942), under the name RA Atra. After coming back to Bombay he joined Jhande Khan and Gobindram in composing songs for Pagli’ (1943). He was assistant to composer Amir Ali in ‘Panna’ (1944). With Pt Amarnath, he composed songs for ‘Shirin Farhad’ (1945). Then came ‘Room No. 9’ (1946), ‘Nateeja’ (1947), ‘Paaro’ (1947) and ‘Shikaayat’ (1948). From 43 to 48 he gave music to 6 (confirmed) films. Not much, but then he did not get much time too.

‘Nateeja’ was a Muslim social made by Bombay Talkies and he was specially called for it. ‘Nateeja’ music was his best in India and all its songs became very popular. For ‘Room No 9’, he worked in Navyug Chitrapat Co. where one of the owners was PK Atre, a noted Marathi writer and dramatist. PK Atre was, of course a Hindu, but it was a coincidence.

After Partition Atre went to Pakistan. He first served Radio Pakistan, Rawalpindi and then at Lahore. He prospered in Pakistan and gave music in 54 Urdu and Punjabi films. He was awarded the coveted Nigar Award 3 times in a row.  The famous marching song of Pakistan ”Allah o Akba ” was composed by him. The first Pakistani film for which Rasheed Atre gave his music was director Masood Pervez’s ‘Beli’ (1950).

Three years after ‘Beli’, Rasheed was in-charge of music for director Nazir Ahmed Khan’s Punjabi film, ‘Shehri Babu’ (1953), whose evergreen songs still are popular in Pakistan . Atre’s music for director WZ Ahmed’s 1954 family-friendly film ‘Roohi’ (1954) was also a huge success.

Rasheed Atre’s music is all very praise-worthy in director Nazir Ahmed Khan’s film ‘Khatoon’, which was popular for its thumri. Atre’s composition exhibits an astonishing range and power in director Anwar Kamal Pasha’s superhit film ‘Sarfarosh’ (1956). In 1956, Rasheed was also given the responsibility of composing songs for director Anwar Kamal Pasha’s golden jubilee punjabi film ‘Chann Mahi’ (1956) (lyrics: Tufail Hoshiarpuri, starring: Bahar, Aslam Pervaiz). Atre was, indeed, a powerhouse of a musician and a case in point is director WZ Ahmed’s all-time favorite film, ‘Waada’ (1957), which happened to be a movie from a more idealistic time. At the height of his fame, Atre came up with his magical composition for film director Anwar Kamal Pasha’s semi-historical movie, ‘Anarkali’ (1958). To be precise, it was a joint venture of 2 film music composers Rasheed Attre and Master Inayat Hussain.

Rasheed Attre passed away on December 18, 1967, at the age of 48.

Today’s song is sung by Rashid Atre himself with co singers, whose names are not mentioned in HFGK, so no guessing. Both, singer Rashid Atre and the film Paro-47 make a debut on the blog today.

[Author’s Note: Credits- Film directory, mpop.org, pakfilms.net, Encylopedia of Indian Cinema, Harish Raghuwanshi ji, Muvyz, HFGK, my notes.]
[Ed note-With this song, “Paaro” (1947) becomes the 100th movie of 1947 to get represented in the blog]

 


Song – Jeevan Panchhi Boli Boley (Paaro) (1947) Singer – Rashid Atre, Unidentified Female Singer, Lyrics – [Unattributed], Music – Rashid Atre

Lyrics (Provided by Sudhir)

jeevan panchhi boli boley
jeevan aana jaana re pagle
jeevan aana jaana

jeevan panchhi boli boley
jeevan aana jaana re pagle
jeevan aana jaana

kaun chhoot aur kaun achhoot
sab hindustani hain
kaun chhoot aur kaun achhoot
sab hindustani hain
alag alag paudhe bagiya ke
par hai paani ek
alag alag paudhe bagiya ke
par hai paani ek
?? kahaana re
?? kahaana re
jeevan panchhi boli boley
jeevan aana jaana re pagle
jeevan aana jaana

ek baap ke laakhon bete
ek bhoomi par rehte
ek baap ke laakhon bete
ek bhoomi par rehte
aandhi paani aag hawaa sab
ek saath hi sehte
aandhi paani aag hawaa sab
ek saath hi sehte
kyun bairi ban jaana re
kyun bairi ban jaana re
jeevan panchhi boli boley
jeevan aana jaana re pagle
jeevan aana jaana

do din ka hai sab ka jeevan
kaun oonch aur neech
do din ka hai sab ka jeevan
kaun oonch aur neech
palak jhapakte udd jaayen sab
?? ho ya ??
?? ho ya ??
maati mein mil jaana re
maati mein mil jaana re
jeevan panchhi boli boley
jeevan aana jaana re pagle
jeevan aana jaana

desh jal raha
desh jal raha
desh jal raha bhed bhav ki
ab ye aag mita do
ho jaao sab ek
prem ki ganga nadi bahaa do
ho jaao sab ek
ho jaao sab ek
ho jaao sab ek

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

जीवन पंछी बोली बोले
जीवन आना जाना रे पगले
जीवन आना जाना

जीवन पंछी बोली बोले
जीवन आना जाना रे पगले
जीवन आना जाना

कौन छूत और कौन अछूत
सब हिंदुस्तानी हैं
कौन छूत और कौन अछूत
सब हिंदुस्तानी हैं
अलग अलग पौधे बगिया के
पर है पानी एक
अलग अलग पौधे बगिया के
पर है पानी एक
?? कहाना रे
?? कहाना रे
जीवन पंछी बोली बोले
जीवन आना जाना रे पगले
जीवन आना जाना

एक बाप के लाखों बेटे
एक भूमि पर रहते
एक बाप के लाखों बेटे
एक भूमि पर रहते
आँधी पानी आग हवा सब
एक साथ ही सहते
आँधी पानी आग हवा सब
एक साथ ही सहते
क्यों बैरी बन जाना रे
क्यों बैरी बन जाना रे
जीवन पंछी बोली बोले
जीवन आना जाना रे पगले
जीवन आना जाना

दो दिन का है सब का जीवन
कौन ऊंच और नीच
दो दिन का है सब का जीवन
कौन ऊंच और नीच
पालक झपकते उड़ जाएँ सब
?? हो या ??
?? हो या ??
माटी में मिल जाना रे
माटी में मिल जाना रे
जीवन पंछी बोली बोले
जीवन आना जाना रे पगले
जीवन आना जाना

देश जल रहा
देश जल रहा
देश जल रहा बेहद भाव की
अब ये आग मिटा दो
हो जाओ सब एक
प्रेम की गंगा नदी बहा दो
हो जाओ सब एक
हो जाओ सब एक
हो जाओ सब एक

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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 : 3599 Post No. : 14366

Today’s song is from the 1953 film ‘Raaj Ratan’.

Since childhood, we have been hearing stories of kings and queens. Most stories have a set pattern- good king, crooked vazier (minister), dutiful son, happy ending ! To go from start to finish, lot of masala used to be present, which actually made these stories interesting. We all knew the end, but it was the curiosity to know how it was achieved in the film. These stories had variations-

– Sometimes the Prince would fall prey to bad company and his beloved would set things right for him

– The Sage declares that a certain fruit of a certain tree from a certain jungle would restore the king’s eyesight  or

– The young prince is lost when still an infant, is brought up by a loyal servant, who has a lovely daughter, just made for the prince !  etc.

The attraction of these stories of kings and queens remained with us till around the time we got married and faced the realities of life.

Costume films were made for younger people – children and elders who still felt like children. ALAS ! these types of movies stopped being made by the end of the 50’s decade. Nowadays films are made in this genre, in a disguised way, using computerised special effects and having a science based background. The basic plot of good vs bad still remains the same, but presented in a way suitable for current times. That is why films like Harry Potter etc. are making millions.

Film ‘Raaj Ratan’ was also a costume drama, having the beaten track formula of the lost prince etc. The cast of the film was Nirupa Roy, Ranjana, Ulhas, Jairaj, Sapru, Hiralal, Baby Tabassum etc. Actor Trilok Kapoor had made a Guest appearance in this film. It was produced by the Mohan Pictures workers’ society. The music was by Ninu Majumdar and songs were from Bharat Vyas.

I have seen this film in when it was released, however, I do not have its storyline with me now. I selected a song from this film with a purpose. The heroine of this film was Ranjana. Now, hardly anyone knows about this actress who had worked as a heroine with Dilip Kumar in his early career.No information is available about her in any book or on the internet. Here is some information about her, for our readers.

Ranjana’s real name was Ratan Shantaram Deshpande. She was born in Nagpur on 20-10-1927. While studying in St. Ursula High School, she learnt dancing and music from well known ustads. After passing her 6th standard examination, she came to Bombay to her elder sister, Kusum Deshpande, who was already working as actress with Minerva Movietone films. Kusum married Vasant Thengadi, a handsome actor in Hindi films of those times.

Kusum arranged for specialised dance training for Ratan in the holidays. Later Ratan was taken to Vijay Bhatt of Prakash Pictures for an interview. She was immediately selected and got a role in the famous film ‘Ram Rajya’ (1943). In this film she was Chitralekha, Sita’s sakhi. Vijay Bhatt also changed her name to Ranjana. She was on pay roles of Prakash Pictures for Rs. 2000 pm. She acted in  films like ‘Police’ (1944), ‘Vikramaditya’ (1945) and ‘Hamaara Sansar’ (1945). Next films were ‘Nai Maa’ (1946) and ‘Zamin Aasman’ (1946).

Ranjana was called by Bombay Talkies for heroine’s role opposite Dilip kumar in the film ‘Milan’ (1946). This film was based on the Bangla film ‘Nauka Doobi’ written by Gurudev Rabindranath Tagore. She did the role of Hem Nalini in this film’s Hindi version. The same role was done by Meera Sircar in the Bangla film ‘Nauka Doobi’.

After this film, Ranjana was in great demand, but she wanted to quit films and get married to live a simple life. But as luck would have it, she had to continue working in films till 1975. She also worked in many Marathi films. In all, she worked in about 35 films. Ranjana worked with many big stars of her times like Prem Adeeb, Prithviraj Kapoor, Jairaj, Dilip Kumar, Jeevan, Umakant etc. It is interesting to note that her sister and her brother-in-law acted with her in few films. Some such films were ‘Zamin Aqsman’ (1946) and ‘Shadi Se Pehle’ (1947). In the film ‘Saajan Ka Ghar’ (1948) all three had worked together.

Her sister Kusum Deshpande was born on 20-11-1914 at Nagpur. She came to Bombay in 1930 and worked in Minerva as an apprentice, without pay. She also worked with All India Radio, and in some Marathi dramas and films. Her first Hindi film was ‘Ghar Ki Rani’ (1940). She also did ‘Charnon Ki Daasi’ (1941), ‘Village Girl’ (1945), ‘Wamaq Azra’ (1946) and ‘Zamin Aasmaan’ (1946). In all she did 20 Hindi films. She married actor Vasant Thengadi on 30-11-1944.

Vasant Thengadi was born on 11-1-1910 at Nagpur. He was the son of a Congress leader Dhaniram Thengadi. Vasant had his education in Poona. He could not join army (then the British Army), because of his father’s political connections. He had to leave his Engineering college after father’s death. Being very handsome, tall and with good physique, he started working in Marathi dramas and films. He started his Hindi work with film ‘Dhuwaandhaar’ (1935). [Author Note: This was also the Debut film for Leela Chitnis and Meera Alexander]. He started doing villain roles and became popular and famous. Besides Marathi films, his Hindi films were ‘Taramati’ (1945), ‘Phir Bhi Apna Hai’ (1946), ‘Mera Ladka’ (1938), ‘Din Raat’ (1945), ‘Ten O’clock’ (1942) etc. Later he also worked as assistant director to Raja Nene.

We have many families like this in Hindi films. I remember Zubeida and her mother and sisters, Sitara Devi and her 2 sisters, Nargis, her mother and brothers, Kapoor family, Dilip kumar, his brother and sister in law, many film couples and families of several film people are examples. Ranjana was perhaps one early example. Thank God this Ranjana was not around when yet another Ranjana came to Hindi films. She was Ranjana Deshmukh, niece of actress Sandhya (nee Vijaya Deshmukh). This Ranjana, however , worked mainly in Marathi films and did only 4 Hindi films starting with the famous film ‘Chaani’ (1977). Unfortunately, she first met with an accident and then died of Heart attack at the age of just 40 years or so.

‘Raaj Ratan’ has 7 songs – 3 Geeta solos,  2 Asha solos 1 solo each of Meena Kapoor and Rafi. Today’s song is a 2 in 1 song. Part 1 and 2 combined in one song having a 78 RPM record of two sides. The Music was by Ninu Mujumdar (9-9-1915 to 3-3-2000), who sang 28 songs in 13 films and composed 169 songs in 18 films.

[Author’s Note: Acknowledgements and thanks – The above write up refers to and has adapted material from ‘Who’s Who in Films’ (1946), muVyz, and my own notes.]

[Ed Note: This is a multilingual song that has the following languages present in the lyrics flow – Hindi, Maarwari, Gujarati, Marathi and Bangla. The lyrics for this multi-lingual song have been deciphered and contributed by,
a. Marathi lyrics by Dr. Anil Satwick
b. Bengali lyrics and Bangla script by Antaraa Nanda Mondal
c. Gujarati lyrics and Gujarati script by yours truly
Both Dr Anil Satwick and Antaraa are very dear friends and are part of our extended music lovers group in Delhi. Acknowledgements and thanks are due to both for their tremendous help in getting the lyrics right.
Regarding the Marathi lyrics, Dr Satwick is not sure of all the words, due to lack of clarity in the recording. I request other friends who are familiar with the Marathi vocabulary and script to please help with corrections to the lyrics, if any.]

 


Song – Rang Rangeeli Naariyon Ke Rang Rangeele Vesh Hain (Raaj Ratan) (1953) Singer – Geeta Dutt, Lyrics – Bharat Vyas, Music – Ninu Majumdar

Lyrics (Provided by Sudhir)

rang rangeeli naariyon ke
rang rengeele vesh hain
rang rangeeli naariyon ke
rang rengeele vesh hain
roop hain anek aur
ek in ka desh hai
ek in ka desh hai

rang rangeeli naariyaan
jaise phulwaariaan
bagiya mein mehak rahi
kesar ki kyaariaan
dekh lo. . .
dekh lo

dekh lo banaras ki sundari
jiski lehraati lehron si chundari
jo gaati hai daadra aur thumri
thumak thumak gaati hai daadra aur thumri

oo oo oo
laagi naahin chhoote ho raama
chaahe jiya jaaye raama ho
chaahe jiya jaaye
chaahe jiya jaaye raama o ho
chaahe jiya jaaye
chaahe jiya jaaye
chaahe jiya jaaye

peepal ke jhaad hain
ret ke pahaad hain
ghunghat mein naach raha mast maarwaad hai
dekh lo. . .
dekh lo
dekh lo

sarvar paani lene jaaun to
najar lag jaaye
sarvar paani lene jaaun to
najar lag jaaye
mhaari toshni pade ko dhaula rang ud jaaye
ho dhaula rang ud jaaye
mhaare heengdu ki tikiya(?) darad bhar jaaye
sarvar paani lene jaaun to
najar lag jaaye
najar lag jaaye
haaye dulhan hoye jaaye
najar lag jaaye
haaye dulhan hoye jaaye
sarvar paani lene jaaun to
najar lag jaaye

rang rangeeli naariyon ke
rang rengeele vesh hain
rang rangeeli naariyon ke
rang rengeele vesh hain
roop hain anek aur
ek in ka desh hai
ek in ka desh hai
rang rangeeli naariyaan
jaise phulwaariaan
bagiya mein mehak rahi
kesar ki kyaariaan

naajukadi naar chale paayal jhankaar
range mehndi se gore gore haath hain
poonam ki raat
goonje garbe ka geet
aisa preet bhara
sangeet bhara pyaar gujraat hai
dekh lo. . .
dekh lo

mehndi ki maandi naar ve
aeno rang gayo goojrat re
mehndi rang laagyo ri
naano jiyaario laadpo kai
laagyo mehndi na chhodbe
mehndi rang laagyo ri

lambe hain kesh
aadha mardaana vesh
aur haathon mein teekhi talwar hai
rann mein lade veer naari maraathan
ran chandi ka avatar hai
dekh lo..oo..oo..oo..oo

hey dhanya maharani jhansi
ghodyavar khaashi
kuthoon kahi ghushi ganeema kare lail ke dwaar
chap-chapa chaal ek talwar
sukhandi pasri kirti paar ji
ji ji ji ji ji
nawaaja (??) hauj(?) to paar ji
ji ji ji ji ji

ey ji saanwra baran
komal komal charan
ey ji saanwra baran
komal komal charan
kaare kaare do naina vishaal hain
taaron ki chhahan taley
bikhra ke kesh chaley
jaadu bhara bangaal hai
ho dekho jaadu bhara bangaal hai
dekh lo. . .
dekh lo

tumi kaader kuler bou
go tumi kaader kuler bou
jamuna jol aante jaachchho
shonge neyi to keu
tumi kaader kuler bou
jamuna jol aante jaachchho
shonge neyi to keu
tumi kaader kuler bou
tumi kaader kuler bou

rang rangeeli naariyon ke
rang rengeele vesh hain
rang rangeeli naariyon ke
rang rengeele vesh hain
roop hain anek aur
ek in ka desh hai
ek in ka desh hai

———————————————————
Hindi and Gujarati script lyrics (Provided by Sudhir)
Bangla script lyrics (Provided by Antaraa Nanda Mondal)
Marathi lyrics (Provided by Dr Anil Satwick)
———————————————————
रंग रंगीली नारियों के
रंग रंगीले वेश हैं
रंग रंगीली नारियों के
रंग रंगीले वेश हैं
रूप हैं अनेक और
एक इन का देश है
एक इन का देश है

रंग रंगीली नारियां
जैसे फुलवारियाँ
बगिया में महक रही
केसर की क्यारियाँ
देख लो॰ ॰ ॰
देख लो

देख लो बनारस की सुंदरी
जिसकी लहराती लहरों सी चुंदरी
जो गाती है दादरा और ठुमरी
ठुमक ठुमक गाती है दादरा और ठुमरी

ओ ओ ओ
लागि नाहीं छूटे हो रामा
चाहे जिया जाये रामा हो
चाहे जिया जाये
चाहे जिया जाये रामा ओ हो
चाहे जिया जाये
चाहे जिया जाये
चाहे जिया जाये

पीपल के झाड़ हैं
रेत के पहाड़ हैं
घूँघट में नाच रहा मस्त मारवाड़ है
देख लो॰ ॰ ॰
देख लो
देख लो

सरवर पानी लेने जाऊन तो
नजर लग जाये
सरवर पानी लेने जाऊन तो
नजर लग जाये
म्हारी तोशनी पड़े को धौला रंग उड़ जाये
हो धौला रंग उड़ जाये
म्हारे हींगड़ू की तिकिया(?) दरद भर जाये
सरवर पानी लेने जाऊन तो
नजर लग जाये
नजर लग जाये
हाए दुल्हन होए जाए
नजर लग जाये
हाए दुल्हन होए जाए
सरवर पानी लेने जाऊन तो
नजर लग जाये

रंग रंगीली नारियों के
रंग रंगीले वेश हैं
रंग रंगीली नारियों के
रंग रंगीले वेश हैं
रूप हैं अनेक और
एक इन का देश है
एक इन का देश है
रंग रंगीली नारियां
जैसे फुलवारियाँ
बगिया में महक रही
केसर की क्यारियाँ

नाजुकड़ी नार चले पायल झंकार
रंगे मेहंदी से गोरे गोरे हाथ हैं
पूनम की रात
गूँजे गरबे का गीत
ऐसा प्रीत भरा प्यार गुजरात है
देख लो॰ ॰ ॰
देख लो

मेहंदी की मांडी नार वे
ऐनो रंग गयो गूजरात रे
मेहंदी रंग लाग्यो री
नानो जियारिओ लाडपो कई
लाग्यो मेहंदी ना छोडबे
मेहंदी रंग लाग्यो री
મહેંદી કી માંડી નાર વે
એનો રંગ ગેઓ ગુજારાત રે
મહેંદી રંગ લાગઓ રી
નાનો જિયારિયો લાડપો કાઈ
લાગઓ મહેંદી ના છોડબે
મહેંદી રંગ લાગઓ રી

लंबे हैं केश
आधा मर्दाना वेश
और हाथों में तीखी तलवार है
रण में लड़े वीर नारी मराठन
रण चण्डी का अवतार है
देख लो॰॰ओ॰॰ओ॰॰ओ॰॰ओ

हे धन्य महाराणी झांशी
घोड्यावर खाशी
कुठून कोहे घुशी
गनीमा करे लैल के द्वार
चप-चपा चाल एक तलवार
सुखण्डी पसरी किरती पार जी
जी जी जी जी जी
नवाजा (??) हौज(?) तो पार जी
जी जी जी जी जी

ए जी सांवरा बरण
कोमल कोमल चरण
ए जी सांवरा बरण
कोमल कोमल चरण
कारे कारे दो नैना विशाल है
तारों की छाहाँ तले
बिखरा के केश चले
जादू भरा बंगाल है
हो देखो जादू भरा बंगाल है
देख लो॰ ॰ ॰
देख लो

तुमि कादेर कुलेर बोउ
गो तुमि कादेर कुलेर बोउ
जमुना जोल आन्ते जाच्छो
शोंगे नेई तो केयो
तुमि कादेर कुलेर बोउ
जमुना जोल आन्ते जाच्छो
शोंगे नेई तो केयो
तुमि कादेर कुलेर बोउ
तुमि कादेर कुलेर बोउ
তুমি কাদের কুলের বৌ
গো তুমি কাদের কুলের বৌ
যমুনা জল আনতে যাচ্ছ,
সঙ্গে নেই তো কেউ
তুমি কাদের কুলের বৌ
যমুনা জল আনতে যাচ্ছ,
সঙ্গে নেই তো কেউ
তুমি কাদের কুলের বৌ
তুমি কাদের কুলের বৌ

रंग रंगीली नारियों के
रंग रंगीले वेश हैं
रंग रंगीली नारियों के
रंग रंगीले वेश हैं
रूप हैं अनेक और
एक इन का देश है
एक इन का देश है


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

Blog Day : 3479 Post No. : 13978

The blog activities have picked up pace quite a bit in this new year. Almost all contributors are quite active. I hope this pace is sustained, and does not peter out like the enthusiastic short term flings of the resolutioners. Gajendra ji had commented that it generally is a euphoria that lasts about a week into the new year. But in this case, ‘रब नजर ना लगाए’, we seem to be going great guns for over three weeks now. So far, it portends all good for the continuing activity. Now only if responses in the comments column also pick up pace. 🙂

Greetings to all readers and friends, on the occasion of marking the Republic Day event of our country.

In the notes exchanged with Atul ji over the past week, it comes about that the 1966 film ‘Sushila’ is just one song short of being a Yippeee film on the blog. And quite fortunately, the remaining song in the list is actually very appropriate for the celebration of 26th January. Scrambling to locate this song, we are unsuccessful to find it posted online. And so the quick decision was to upload the song, post it for 26th January celebrations and in the process add one more to the list of Yippeee’d films.

In the process of realizing this plan, as I checked the songs folder for this film in my collection, I was in for a very peculiar surprise. I checked and checked again with the Geet Kosh and also with the list of songs available on the blog. There had to be an error somewhere. Actually, the songs folder in my collection was showing one song extra than the 6 songs that are supposed to be there. Checking with Geet Kosh, the number seems to tally. Our Yippeee films lists also shows this film as being one song short. So how come I have an extra song.

My first reaction of course was that another song has been inserted in this folder by mistake. I took a chance and called up my collector friend to check. He said that the song (the extra song I was enquiring about) belongs to this film. In confusion, I completed the call, without asking him another important question – who says it is?

In confusion, I resorted back to the Geet Kosh. And it just struck me to check the corrigenda of volume IV. And as I did, I find that this ‘supposed’ extra song does exist for this film. The corrigenda entry lists this song, as one more song for this film, which is missing from the main Geet Kosh listings.

So the silver lining to this confusion cloud is that this film has seven and not six songs – one more unheard song to enjoy. Ah yes, but there is also a cloud to this silver lining – that this film cannot be yippeee’d today. So, there. 🙂

Today’s song is written by Jaan Nisar Akhtar, and the music is by C Arjun. The singing voices are of Asha Bhosle and Usha Mangeshkar accompanied by chorus. I haven’t had the opportunity to see this film. The manner in which the song is presented, it appears that a teacher is singing this song, accompanied by a group of school students. The teacher is telling about the glory and the history of India, and then she poses a query to the students, to tell briefly about some of the great people of our country. Apparently, the students take turns to sing out a brief introduction to certain great leaders of our country, past and present.

At the end of the song, the teacher takes over once again, and tells the students about the continuing problems and social ills, and then exhorts them to become the great leaders of the future, and help to address these problems.

The issues mentioned, were valid for the 1960s, and sadly, they continue more aggravated-ly, even fifty years later. It seems as if the human progress continues, in many aspects and many spheres of life. But apparently, these social evils are a given constant in the society. Nothing seems to have the power to effect any change in status quo. These issues have been discussed in ancient texts, in the teachings of great men over the ages, and continue to seize the time and attention of the leaders today. And that is all I have to say about this situation.

Enjoy this rare song from the mid 1960s, that apparently went out of circulation for quite some time in the interim.

Once again, greetings for a Happy Republic Day.

Song – Satyamev Jayate Satyamev Jayate  (Sushila) (1966) Singer – Asha Bhosle, Usha Mnageshkar, Lyrics – Jaan Nisar Akhtar, MD – C Arjun
Chorus

Lyrics

bharat ke hum rehne waale
bharat hum ko pyaara hai
is dharti ka maan badhaana
pehla farz hamaara hai
is dharti ka maan badhaana
pehla farz hamaara hai
sadiyon ke itihas ne humko
raaz yahi batlaaya hai
desh ki jis ne sewa ki hai
wohi bada kehlaaya hai
desh ki jis ne sewa ki hai
wohi bada kehlaaya hai
aise mahaan insaanon ke
naam zara batlaao to
desh ki khatir kis ne kiya
kya kaam zara batlaao to
desh ki khatir kis ne kiya
kya kaam zara batlaao to

chandragupt samraat ke jiska daur sunehra daur hua
daur sunehra daur hua
mulk tha apna tukde tukde
ek bana kuchh aur hua
mulk tha apna tukde tukde
ek bana kuchh aur hua
satyamev jayate satyamev jayate
satyamev jayate satyamev jayate

amn ka khud paighaam ho jaise
naam ashok e azam ka
naam ashok e azam ka
aaj bhi chakra nishaan hai
apne tirange parcham ka
aaj bhi chakra nishaan hai
apne tirange parcham ka
satyamev jayate satyamev jayate
satyamev jayate satyamev jayate

akbar jis ne maanavta ka
farz sikhaana chaaha tha
farz sikhaana chaaha tha
hind ki saar kaumon ko
ik kaum banana chaaha tha
hind ki saar kaumon ko
ik kaum banana chaaha tha
satyamev jayate satyamev jayate
satyamev jayate satyamev jayate

tipu jisko naam watan ka
jaan se apni pyaara tha
jaan se apni pyaara tha
jisne aage badh ke videsi taaqat ko lalkaara tha
jisne aage badh ke videsi taaqat ko lalkaara tha
satyamev jayate satyamev jayate
satyamev jayate satyamev jayate

naam hai zinda laxmi bai
jhansi ki maharani ka
jhansi ki maharani ka
hum ko jisne sabak diya hai
himmat ka qurbaani ka
hum ko jisne sabak diya hai
himmat ka qurbaani ka
satyamev jayate satyamev jayate
satyamev jayate satyamev jayate

veer bhagt singh desh pe jis ne
apne ko qurbaan kiya
apne ko qurbaan kiya
chadh kar jis ne sooli pe
azaadi ka ailaan kiya
chadh kar jis ne sooli pe
azaadi ka ailaan kiya
satyamev jayate satyamev jayate
satyamev jayate satyamev jayate

neta wo subhash ke jin se
andolan ki mauj chali
andolan ki mauj chali
kaandhe par ik jhanda le kar
azaadi ki fauj chali
kaandhe par ik jhanda le kar
azaadi ki fauj chali
satyamev jayate satyamev jayate
satyamev jayate satyamev jayate

bapu bin hathiyaar jinhon ne
jung ladi azaadi ki
jung ladi azaadi ki
jin ke kaaran hum ne dekhi
aaj ghadi azaadi ki
jin ke kaaran hum ne dekhi
aaj ghadi azaadi ki
satyamev jayate satyamev jayate
satyamev jayate satyamev jayate

nehru apna pyara  rehbar
jis ne har balidan diya
jis ne har balidan diya
saare jag ki nazron mein
is desh ko ooncha maan diya
saare jag ki nazron mein
is desh ko ooncha maan diya
satyamev jayate satyamev jayate
satyamev jayate satyamev jayate

goonji hai awaaz samay ki
waqt ke hain paighaam bahut
aage aage karna honge
hum ko tum ko kaam bahut
kab tak aakhir aur sahen
is gurbat is bekaari ko
khatm abhi karna hai hamen
dualat ki zaaradaari ko
zaat ke bandhan cheez hain kya
kyon doori apne beech rahe
desh mein koi dukh kyon jhele
kyon ye oonch aur neech rahe
tumko bhi kal badh ke
apne baagh ki khushboo ban’na hai
bachcho ik din tumko gandhi
tumko nehru ban’na hai

gandhi ban’na hai
nehru ban’na hai

gandhi ban’na hai
nehru ban’na hai

gandhi ban’na hai
nehru ban’na hai

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
भारत के हम रहने वाले
भारत हमको प्यारा है
इस धरती का मान बढ़ाना
पहला फर्ज़ हमारा है
इस धरती का मान बढ़ाना
पहला फर्ज़ हमारा है
सदियों के इतिहास ने हमको
राज़ यही बतलाया है
देश की जिसने सेवा की है
वही बड़ा कहलाया है
देश की जिसने सेवा की है
वही बड़ा कहलाया है
ऐसे महान इन्सानों के
नाम ज़रा बतलाओ तो
देश की खातिर किसने किया
क्या काम ज़रा बतलाओ तो
देश की खातिर किसने किया
क्या काम ज़रा बतलाओ तो

चन्द्रगुप्त सम्राट के जिसका दौर सुनहरा दौर हुआ
दौर सुनहरा दौर हुआ
मुल्क था अपना टुकड़े टुकड़े
एक बना कुछ और हुआ
मुल्क था अपना टुकड़े टुकड़े
एक बना कुछ और हुआ
सत्यमेव जयते सत्यमेव जयते
सत्यमेव जयते सत्यमेव जयते

अम्न का खुद पैगाम हो जैसे
नाम अशोक ए आज़म का
नाम अशोक ए आज़म का
आज भी जिसका चक्र निशां है
अपने तिरंगे परचम का
आज भी जिसका चक्र निशां है
अपने तिरंगे परचम का
सत्यमेव जयते सत्यमेव जयते
सत्यमेव जयते सत्यमेव जयते

अकबर जिसने मानवता का
फर्ज़ सिखाना चाहा था
फर्ज़ सिखाना चाहा था
हिन्द की सारी क़ौमों को
इक कौम बनाना चाहा था
हिन्द की सारी क़ौमों को
इक कौम बनाना चाहा था
सत्यमेव जयते सत्यमेव जयते
सत्यमेव जयते सत्यमेव जयते

टीपू जिसको नाम वतन का
जान से अपनी प्यारा था
जान से अपनी प्यारा था
जिसने आगे बढ़ के
विदेशी ताक़त को ललकारा था
जिसने आगे बढ़ के
विदेशी ताक़त को ललकारा था
सत्यमेव जयते सत्यमेव जयते
सत्यमेव जयते सत्यमेव जयते

नाम है ज़िंदा लक्ष्मी बाई
झाँसी की महारानी का
झाँसी की महारानी का
हमको जिसने सबक दिया है
हिम्मत का कुर्बानी का
हमको जिसने सबक दिया है
हिम्मत का कुर्बानी का
सत्यमेव जयते सत्यमेव जयते
सत्यमेव जयते सत्यमेव जयते

वीर भगत सिंह देश पे जिसने
अपने को कुर्बान किया
अपने को कुर्बान किया
चढ़ कर जिसने सूली पे
आज़ादी का ऐलान किया
चढ़ कर जिसने सूली पे
आज़ादी का ऐलान किया
सत्यमेव जयते सत्यमेव जयते
सत्यमेव जयते सत्यमेव जयते

नेता वो सुभाष के जिन से
आंदोलन की मौज चली
आंदोलन की मौज चली
कांधे पर इक झण्डा ले कर
आज़ादी की फौज चली
कांधे पर इक झण्डा ले कर
आज़ादी की फौज चली
सत्यमेव जयते सत्यमेव जयते
सत्यमेव जयते सत्यमेव जयते

बापू बिन हथियार जिन्हों ने
जंग लड़ी आज़ादी की
जंग लड़ी आज़ादी की
जिन के कारण हमने देखी
आज घड़ी आज़ादी की
जिन के कारण हमने देखी
आज घड़ी आज़ादी की
सत्यमेव जयते सत्यमेव जयते
सत्यमेव जयते सत्यमेव जयते

नेहरू अपना प्यारा रहबर
जिसने हर बलिदान दिया
जिसने हर बलिदान दिया
सारे जग की नज़रों में
इस देश को ऊंचा मान दिया
सारे जग की नज़रों में
इस देश को ऊंचा मान दिया
सत्यमेव जयते सत्यमेव जयते
सत्यमेव जयते सत्यमेव जयते

गूंजी है आवाज़ समय की
वक़्त के हैं पैगाम बहुत
आगे आगे करना होंगे
हमको तुमको काम बहुत
कब तक आखिर और सहें
इस गुरबत और बेकारी को
खत्म अभी करना हाई हमको
इस दौलत की ज़ारादारी को
ज़ात के बंधन चीज़ हैं क्या
क्यों दूरी अपने बीच रहे
देश में कोई दुख क्यों झेले
क्यों ये ऊंच और नीच रहे
तुमको भी कर बढ़ के
अपने बाग की खुशबू बनना है
बच्चो इक दिन तुमको गांधी
तुमको नेहरू बनना है

गांधी बनना है
नेहरू बनना है

गांधी बनना है
नेहरू बनना है

गांधी बनना है
नेहरू बनना है

 


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.

REPORT ON MUMBAI GANGOUT – Part 2
—————————————–

……Javed ji was introduced to Sadanand ji, as they were meeting each other for the first time. Even I had met him for the first time, though we had E-mail communications earlier. It so happened that, in the last Mumbai Gangout which Sudhir ji attended, he had gifted all of us a copy of Javed ji’s first Hindi book ( he has more books in Urdu), ” Kuchh kalaakaar-kuchh yaden “. After reading that book, I wrote a mail to Javed ji about certain discrepancies, I had found in the book. Actually I was hesitant whether to write such a mail to him, but my adventurism won over me and the mail was sent finally.
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This article is written by Raja, 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.

Today, the 8th of March, is a very special day for some of us.

No, it’s not because it is International Women’s Day. Well, that too, but also because it is the birthday of somebody associated with the Hindi film industry who is very close to us.

Yes, I’m talking about Sahir Ludhianvi. Sahir Sb would have been 96 today had he been alive.
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This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

To keep up our New Year resolution of one movie getting Yippeeeed per day I found that the 1982 Manmohan Desai produced & directed “Desh Premee” falls short by a song to achieve YIPPEEHOOD.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

All numbers are unique unto themselves – inasmuch as each number has its own claim to fame just by being what it is. And but for the imagination and fancies applied by our minds, which at times picks on certain characteristics and binds some special stature to some of them, all these numbers would be as interesting, or for that matter disinteresting, as any other number. Let me quote the instance of a number that has now become famous as the ‘Hardy – Ramanujan Number’. This anecdote is attributed to a conversation in or about 1919 (wow, ninety seven years ago), that happened in London. Indian mathematician Srinivas Ramanujan, who was based in London for some time, was ill and confined to his bed at his residence. His friend, Godfrey Hardy, another mathematician (who had invited and arranged for Ramanujan’s travel etc. to London), came visiting him. The initial conversation was about Hardy’s journey to see Ramanujan. He mentioned off hand that the number of the taxicab in which he had travelled, was 1729 – for all intents a most uninteresting and boring number. To this comment, Ramanujan replied that ‘1729’ was a very special number. In fact it is the smallest number that can be represented as the sum of two cubes, in two different ways. (I am avoiding the calculation details; interested readers can google this for more details).
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

Greetings to all Atulites on the celebration today, of the 63rd Republic Day of the Indian Union.

There is an interesting history and facts behind this date. After the massacre at the Jalianwala Bagh in 1919, the call for complete independence from the British rule strengthened, especially led by the veteran leaders such as Bal Gangadhar Tilak, Aurobindo Ghosh and Bipin Chandra Pal, who advocated explicit Indian independence from the Empire. On 26th Jan, 1930, the Indian National Congress adopted the Purna Swaraj declaration, i.e. complete independence for India.
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Today is 26th january, the 63rd republic day of India.

For this blog, it is the fourth republic day. During these three past Republic day occasions as well on the three occasions of Independence day of India, this blog has covered most well known patriotic songs from Hindi movies.
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This article is written by Sudhir,a fellow enthusiast of Hindi movie music and a regular contributor to this song.

The name Vasant Desai brings to memory a long list of songs rooted in the classical and folk traditional music of India. On this blog, today we have another celebration. With this post, the blog now carries 100 songs composed by Vasant Desai. In a career that lasted more than four decades, Vasant Desai was selective in the associations he made and never strayed away from his musical foundations. He scored the music for less than fifty films during this time. Thirty of these films are represented on this blog.
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(© 2008 - 2018) 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.

What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 14600 song posts by now.

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

Total number of songs posts discussed

14650

Number of movies covered in the blog

Movies with all their songs covered =1147
Total Number of movies covered =4002

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Blog Start date: 19 july 2008

Active for more than 4000 days.

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