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

Archive for the ‘Parody 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 : 3541 Post No. : 14215

Today’s song is from the film ‘Asiai Sitara’ (1937) aka ‘Star Of Asia’.

The film was made by Harshad and Jagtap. It was distributed by Wadia Movietone. The director was Haribhai Desai, the music was by Master Mohammed and the lyricist was Pt. Anuj. The film cast was master Vithal, Jenabai Pawar, Minoo the Mystique, Vasant pehelwan, Master Dhulia etc.

After the initial surge of the films made on mythology, parsi fantasies and folk tales, the adventurous film makers moved on to make films on social issues, comedy, stunts, social reforms, history, love stories and religious personalities. From 1935, the rise of stunt films in talkie version (thanks to Fearless Nadia) gave rise to a genre, which lasted till the 1950’s. After that, it faded to a natural death. Nowadays, all the heroes do the stunts themselves, but their films are not called stunt films.

However, the audience, which was accustomed to films of fantasy, costume and folk tales, still existed, so on and off such films too were made by older film makers. The film ‘Asiai Sitara’ was also one such costume film. This was a film originally made by Haribhai Desai of Surya Film Company, Bangalore, as a silent film in 1932. In those days, Bangalore was the main city in South Circuit, so many big film distributors (mostly Gujaratis) had their offices in Bangalore. After the demise of silent films, most of them closed their distribution offices and jumped into talkie film making in Bombay. Some prominent distributors were, Dr. Ambalal Patel and Chimanlal Desai (started Sagar Movietone), Ramniklal Shah (started Mohan Pictures, Ramnik Films etc.) and Haribhai Raghunath ji Desai (started Surya Film Company in Bangalore itself).

The story of Haribhai Desai is very interesting. He was born in a very wealthy family of a village near Kutch area of Gujarat. He was very intelligent and completed his graduation in Bombay. The silent film industry was developing very fast. Haribhai decided to jump into it. To get his fundamentals strong, he went to America and did his graduation from New York Institute of Cinematography. Coming back to India, he took up a job as a manager in Laxmi Pictures and later in Suvarna Pictures of Poona. With this experience and few distribution contracts, Haribhai landed in Bangalore and set up his shop as a distributor.

Very shortly, in 1929, he established his own film production company – Surya Film Company at Bangalore, which was his main aim in life. He went to Kolhapur, hunting for talent. Kolhapur was an important film making centre in those times. There, he found Ganapatrao Baakre (गणपतराव बाकरे) –  a very handsome, well built wrestler and a daredevil stunt actor working in Baburao Painter’s  Maharashtra Film Co. He also noticed another very good looking young man, with good physique, working in stunt films for free (he was from a rich family). He was Zunzar Rao Pawar  झुंझार राव पवार). His real name was DK Pawar, but was called by this name after his role in a successful company. Haribhai needed  good and well known actors. He lured them with higher salaries and brought them to Bangalore. Ganpat Rao was paid Rs.1000 pm in those days.

Production of silent films started rapidly. Their first film was ‘Raj Hriday’ (1929). It was released in four theatres in Bombay in October 1929. The publicity of this film was handled by Kikubhai Desai (father of Manmohan Desai). Film pamphlets were showered on Bombay city from an aeroplane, as an advertisement gimmick! No doubt the film ran to houseful audiences in all theatres. In a very short time both actors from Kolhapur became very popular and famous. Surya Films made about 40 silent films.

Meanwhile Zunzar Rao Pawar fell in love with an Anglo-Indian girl – Jena Lawson, who was looking for an entry in films. They got married and she became Jenabai Pawar. Haribhai was not the one to lose such opportunities. He made two films with Jenabai Pawar as a heroine. The first was ‘The Hawk’ (aka ‘Baaz Bahadur’, 1931) and the other was ‘Asiai Sitara’ (1932). She did not work in more films. Soon Baakre and Pawar family returned to Kolhapur, after four years in Bangalore.

When the silent era ended and talkie films flourished, Haribhai closed Surya Films and went to Bombay. There, he remade his two successful silent films, made with Jenabai Pawar, as talkie films, with the same heroine. ‘Baaz Bahadur’ was made in 1936 and ‘Asiai Sitara’ was made in 1937. Now that these were talkie films, Jenabai also sang in the film. She sang four songs in each film. Considering she was not Indian, the songs were reasonably good. Earlier the silent films had Ganapat Rao Baakre as the hero, now in talkie films, Master Vithal was the hero.

Master Vithal (1906-1969) was the first superstar of silent films. He also has the credit of being the hero of the first talkie film of India ‘Aalam Ara’ (1931). He got this role only because of his un-paralleled popularity in silent films. He was the first ‘Angry Young Man’ of Indian cinema in the 1920s and the 1930s. His films were full of stunts, fighting and daredevil acts. Master Vithal was very handsome with a very muscular physique. He was the ideal of many aspiring young actors like Bhagwan.

So, when Bhagwan became stunt film hero and a director, his ardent wish was to act with Master Vithal or direct him. By 1940, Master Vithal was almost a gone actor, with very few Hindi films. So when Bhagwan got him to act in his film ‘Naghma e Sehra’ (1945), both Bhagwan and his close friend C Ramchandra were extremely excited. CR not only gave music to this film, but also did playback singing for Master Vithal and fulfilled his wish.

Today’s generation has no idea what position Master Vithal held in the minds of Indian audience in those days. Stunt films were very popular and Master Vithal, with his handsome looks, muscular physique and daredevil stunts was extremely popular. I am perhaps one of the very few remaining now, who has seen his film. I only remember one scene from that film, in which Master Vithal jumps from a tree onto an open car, fights with the goons and takes away the heroine, who promptly embraces him. I neither remember the name of the film nor of the heroine. She might be Zebunnisa.

Master Vithal (Vithal Raghunath Desai) made his début on the stage as a child artist with Raja Pur Natak Mandali. He then started his career as a film editor with Maharashtra Films, Kolhapur which was owned by Baburao Painter. His first film role was as a female dancer in ‘Kalyancha Khajina’, a silent era film directed by Painter. He continued to work as film editor and a dancer and played minor roles in films. His first break as a male lead was in the film ‘Ratna Manjari’ (1926) produced by Sharda Studios, which he had joined earlier in 1925. After ‘Ratna Manjari’, he was a permanent fixture in the role of a hero and he was the star attraction of the films from Sharda Studios.

Sharda Studios was owned by Nanubhai Desai, Anand Prasad Kapoor and Harshadrai Mehta.  Nanubhai Desai was the studio founder and director of many stunt films produced by the company in which Vithal appeared in swashbuckling roles with Zebunnisa as his heroine. A professional wrestler, he became a very popular fearless hero acting in films on historical themes related to Rajasthan and Maharashtra; thus giving him the title ‘the Indian Douglas Fairbanks, a title Vithal hated. Audience adored him in his stunt hero role, which became his ‘forte’. By 1930, he was the highest paid male star in Indian cinema industry.

In 1930, Vithal’s popularity in stunt films attracted Ardeshir Irani of Imperial Film Company to invite him to join his company to make India’s first talkie, though Mehboob Khan was also vying for the role. Vithal, who was quite excited by Irani’s offer, accepted and moved to Irani’s newly formed film company Sagar Studios in Bombay, breaking his contract with Sharda Studios, only by few days. Nanubhai Desai was furious and he kidnapped Master Vithal. He was kept a captive, forcing him to extend the contract with Sharda Films. When Irani came to know this, he went to the court against Sharda films. Eminent lawyers like Setalwad and Mohmmed Ali Jinnah were employed by the litigating parties.

When the case started in the court, the judge asked Master Vithal, where he would like to join. That time Sharada was paying him Rs. 300 pm. Master Vithal replied that whichever company gave him more salary, he would join them. After this, there was an auction in the court and sums were spelt for master Vithal. Imperial Film company won when they offered Rs. 1200 pm as salary. The judge gave his judgement and Master Vithal joined Imperial. Thus he became the first actor to get a four figure salary in Indian Films. He was also the first actor in the industry, to own a car. After losing Master Vithal, Sharada Film company wanted a replacement for him.  They appointed P. Jairaj, an upcoming handsome and muscular actor, on a salary of Rs. 100 pm!

The following year, Master Vithal played the hero in the first Indian talkie ‘Aalam Ara’ with Zubeida as the female lead. ‘Alam Ara’ was also the first film in which music was introduced, as many as seven music scores were part of the film. As his Hindi diction was poor, he could not deliver the dialogues properly; his acting quality in histrionic roles was also questioned. He was  shown mostly in a state of trance or semi consciousness in the film and hardly had any dialogue. It is said that Vithal could not adopt himself to the new genre of talking-singing films in Hindi as he was “reduced to a hero who is (was) magically struck dumb in Alam Ara”. In 1932, he did some more silent films, which were no longer preferred by the audience. The talkies led to the decline of his career in Hindi films. Vithal would never get a major role in Hindi films again. From 1934 onward, he started doing some Marathi films realizing his limitations. From the 1940s onward, he regularly appeared in films by Bhalji Pendharkar and those featuring Lalita Pawar and Durga Khote. He also played in a side role in the 1944 blockbuster film ‘Ramshashtri’Towards the end, he played only minor roles in Marathi films; his last film appearance was in 1966.

A lot has been said about his inability to speak Urdu dialogues and there is a popular myth, that after ‘Aalam Ara’, he did not get any talkie film and he left the Bombay film industry for Kolhapur to continue his career in Marathi films. Nothing can be farther from truth, because not only Master Vithal was cast as a hero in another talkie film, by Imperial Film Company itself – ‘Anangsena’ (1931), but many other well known production houses like Wadia, Mohan, Pradeep, BK Dave, Ranjit etc. engaged him for talkie films.

However, Master Vithal who was not very comfortable with Urdu dialogues, was no more interested in doing Hindi films anymore, so he did films very selectively. He acted in 8 silent films till 1934 and 16 talkie Hindi films till 1946. He even gave music to a film ‘Kashmir Ki Kali’ (1946), and also acted in it. All this after ‘Aalam Ara’.

Master Vithal is in history books as the first hero of the first Hindi talkie film and also has to his credit the introduction of a double role (by Shahu Modak) in a Bilingual film ‘Aawaara Shehzada’ (1933), which he directed (‘Autghatkecha Raja’ in Marathi). Master Vithal himself was the first to do a double role in silent film,’Prisoner of Love’ (aka ‘Raj Tarang’, 1927), made by Sharada Films.

Master Vithal acted in a total of 92 films – Hindi, Marathi, talkie and silent. He also directed two talkie films – one each in Hindi and Marathi. In one of his interviews, he regretted his decision to shift to Kolhapur in 1946 permanently as, he felt, this reduced his Hindi film participation. He had constructed a big chawl in Kolhapur and in his retirement years, he lived on its rental income. He died in 1969.

Haribhai Desai did not do anymore Hindi films. He was active in Gujarati films as a writer and director. He even made a Telugu film as a director. The film was ‘Bhaktimala’ (1941). It was made on the theme of Devdasi tradition of Maharashtra, where maidens are married to God. Actress P Bhanumathi did the main role. The film proved to be a great hit in south and remakes in southern languages were also made. This is considered a milestone movie in Telugu films.

‘Asiai Sitara’ has 8 songs. This song is sung by Master Dhulia, a famous Gujarati folk singer of repute. This song was composed as a parody of Saigal’s famous song “Balam Aaye Baso More Mann Mein” from film ‘Devdas’ (1935). The composer Master Mohammed, was famous for his patriotic songs. He had earlier composed another parody song, “Gaawo Gaawo Ae Mere Saadhu“, in the film ‘Miss Frontier Mail’ (1936), which was a parody of the KC Dey song ‘Jaao Jaao Ae Mere Sadho, Raho Guru Ke Sang‘ from film ‘Pooran Bhagat’ (1933).

The film ‘Asiai Sitara’ and singer ‘Master Dhulia’, both make a debut on the blog today.

[Author’s Note: Acknowledgements and thanks – The above write up refers to and has adapted material from books by Shri Vithal Pandya, Isak Mujawar, Dr RK Verma, and from Harish Raghuwanshi ji, CITWF, MuVyz.com, HFGK, Encyclopedia of Indian Films and my own notes.]

 


Song – Aan Phanse Ab Ban Mein Bhaiya (Asiai Sitara) (1937) Singer – Master Dhulia, Lyrics – Pandit Sampat Lal Shrivastav ‘Anuj’, Music – Master Mohammed
Unidentified Male Voice

Lyrics (Provided by Sudhir)

aan phanse ab ban mein bhaeee..yyaa
aan phanse ab ban mein bhaieee..yyaa
aan phanse
aan phanse
bhai..ee..ee..ee..yaaaaaaa

aan phanse ab ban mein bhaiya
aan phanse ab ban mein
bhai..ee..ee..ee..yaaaaaaa

ye kya kar raha hai

taan maar raha hoon

jhoothe ke laaye
saanche gawaaye
jhoothe ke laaye
saanche gawaaye
sach bin lutiaa kaun piraaye
sach bin lutiaa kaun piraaye
kaari badariya barsan laagi
kaari badariya barsan laagi
baitha gar saawan mein bhaiya
baitha gar saawan mein
bhai..ee..ee..ee..yaaaaaaa

suratiya kaisi bhai kaari
kaari
kaari
suratiya kaisi bhai kaari
ab to kamariya tootan lagi
tootan laagi
tootan laagi
reh gayi mann ki mann mein bhaiyyaaa
reh gayi mann ki mann mein
bhai..ee..ee..ee..yaaaaaaa

nainanwa paayo nirbhaagi
nainanwa paayo nirbhaagi
tab hi pawanva phootan laagi
phootan laagi
phootan laagi
dhool pari nainan mein bhaiyyaaa
dhool pari nainan mein
bhai..ee..ee..ee..yaaaaaaa

kaisi bhai ye harkat

kalaam le raha hoon

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
आन फंसे अब बन में भईsय्याआ
आन फंसे अब बन में भईsय्याआ
आन फंसे
आन फंसे
भई॰॰ई॰॰ई॰॰ई॰॰य्याआआआआ

आन फंसे अब बन में भइय्या
आन फंसे अब बन में
भई॰॰ई॰॰ई॰॰ई॰॰य्याआआआआ

ये क्या कर रहा है

तान मार रहा हूँ

झूठे के लाये
साँचे गवाए
झूठे के लाये
साँचे गवाए
सच बिन लुटिया काऊ पिराये
सच बिन लुटिया काऊ पिराये
कारी बदरिया बरसन लागी
कारी बदरिया बरसन लागी
बैठा गर सावन में भइय्या
बैठा गर सावन में
भई॰॰ई॰॰ई॰॰ई॰॰य्याआआआआ

सूरतीया कैसी भई कारी
कारी
कारी
सूरतीया कैसी भई कारी
अब तो कमरीया टूटन लागि
टूटन लागि
टूटन लागि
रह गई मन की मन में भइय्या
रह गई मन की मन में
भई॰॰ई॰॰ई॰॰ई॰॰य्याआआआआ

नैननवा पायो निरभागी
नैननवा पायो निरभागी
तब ही पवनवा फूटन लागि
फूटन लागि
फूटन लागि
धूल परी नैनन में भइय्या
धूल परी नैनन में
भई॰॰ई॰॰ई॰॰ई॰॰य्याआआआआ

कैसी भई ये हरकत

कलाम ले रहा हूँ

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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.

Blog Day : 3512 Post No. : 14111

How do I begin this post? I am at a loss. I have so many things running in my head. Should I say Sunday 25th March 2018, was a bad day or sad day. But it was definitely a day which began sadly for me. I normally begin my Sundays an hour later than working days, but this Sunday was different. The constant buzzing of my mobile due to incoming messages disturbed me. And one of the message was from my son, who was travelling, and had not slept in the bus. He was seeing the internet site of a news channel which carried the shocking news that the darling of the audiences SRIDEVI had passed away in Dubai of a CARDIAC Arrest. That jolted me and my first reaction was to google for confirmation. And sure enough the news had broken on the internet a few minutes back. The first person to break the news to Atulites was Satyajitji from DOWN Under. And the reactions followed through the day- here there everywhere.

There were messages being posted and reposted and forwarded among the various WhatsApp- groups all trying to find a reason for the sudden death of a supposedly perfectly healthy human being. The mystery still continues. But we have lost a “Khwaabon Ki Shehzaadi”, a style icon, an inspiration for numerous aspiring actors. A person who was passionate about her work. She was comfortable doing an Indian classical dance as well as out-of-tune Bollywood-style numbers the equivalent of which in South Indian movies are called Dappang-Kootu; though Dappang-Kootu is largely folk dance based and Sridevi was good in all of it.

On the day the news broke all the news channels spoke of her work in Tamil as well as Hindi movie and mentioned in the passing about her having worked in Malayalam, Kannada and Telugu as well. Having started at the very young age of 4 or 5 she has acted opposite all the giants of the Indian film industry of the period starting with Sivaji Ganesan and Gemini Ganesan in her first movie “Kandan Karunai” as child star in Tamil; followed by “Maa Naana Nirdoshi” in Telugu, “Kumara Sambhavam” in Malayalam, and “Apna Desh” in Hindi as Rajesh Khanna’s niece- cannot forget “Rona kabhi nahin rona chahe toot jaaye koi khilona” although her fist outing as child star in Hindi was “Rani Mera Naam” in 1972. I have also seen her in the Tamil version of “Apna Desh” “Nam Naadu” as niece to MGR. Just before she began performing adult roles we saw her as sister to Lakshmi in “Julie” in the iconic song “My heart is beating”, she was just 11 then.

From the age of 13 she graduated to doing adult roles and Kamal Haasan and Rajnikanth were her first co-actors. There was time when she was a heroine to many actors of the South Indian film industry in whose films she had acted as a child.

Her debut in Hindi was in the not-so-successful “Solva Sawan” in 1979 opposite Amol Palekar; she had also starred in the Tamil original and the Telugu remake. But after her second attempt in Hindi movies in the Jeetendra starrer “Himmatwala” in 1983. I distinctly remember that year I had been to Hyderabad to my mama’s place and there were these huge posters everywhere of this beautiful heroine amid rows of “colourful pots” in what turned out to be a song which is still popular “nainon mein sapna, sapno mein sajna, sajna pe dil aagaya”. That was also the time when Jaya Prada had made her debut in Hindi movies through “Sargam”. And the teenager that I was then, decided Sridevi was a threat to Jaya Prada, and refused to see that movie. I think the first Sridevi movie I saw of my own choice was “Inquilaab” because Amitabh Bachchan was her co-star. And then I was floored by her. Subsequently I have many of her movies and was particularly fond of her pairing with Jeetendra and Amitabh Bachchan though that was only in three movies, she was the FEMALE SUPERSTAR of her times. She also paired successfully with Anil Kapoor and Mithun Chakravarty.

28-2-2018
—————–
I have been writing this for the last two days and still the reality has not sunk-in. I am still thinking of the day when the news broke. In the meantime, there has been news that our shehzaadi died due to “accidental drowning” but whatever be the reason she is lost to us and her numerous fans. But the people who will miss her the most will be her two young daughters and husband, immediate family and friends. They have undergone great mental stress this last few days, the time that it took them to get her mortal remains from Dubai. My thoughts are with them. They say the cremation will finally happen today. May our darling Sridevi find eternal peace.

Over the last two days, as I was talking of a star/ an actor I loved, I told my mom-in-law about all the Sridevi- Jaya Prada movies of the 80s where Sri always played a stronger character and Jaya had all the crying to do. My sister was thinking of all the famous songs of the Jeetendra- Sridevi- Jaya Prada movies which could not have been done by anyone else. Everyone must have had a song of that time which they loved but will never admit as those were songs with seemingly no-sense. But they all were successful.

A thought just went through my mind. The day the news came on TV some channels showed a scene from one of her first movies as a child. It had baby Sridevi “crying unconsolably running a short distance and collapsing on to her Knee and still crying.” Her last released movie “Mom” (2017) has her running similarly, crying uncontrolled and dropping on to her knee. Uncanny I must say!!

The song with this post is from “Lamhe”. I had originally intended that the song should accompany a post on the graceful Waheeda Rehman, but I am presenting it here on this sad occasion. There is an incident behind the shoot of this song which Yash Chopra has related. The shoot was scheduled in London in 1991. That was the time her father passed away. She left the shoot midway to be with her family during the time of grief. The schedule was that this song was to be shot and upon her return Yash Chopra offered to change the schedule or cancel it altogether. But such was Sri’s passion to her work that she was ready to do what the director asked for. Anupam Kher her co-actor in the movie adds that in between shots she used to be drowned in grief but there used to be no trace of that emotion once she was infront of the camera. She was a darling of the camera too.

Rest in Peace Dear—Om Shanti, Shanti Shanti.


Song-Pyaar hua iqraar hua hai parody song(Lamhe)(1991) Singers-Sudesh Bhonsle, Pamela Chopra, Lyrics-Anand Bakshi, MD-Shiv Hari
Sudesh Bhonsle + Pamela Chopra
Pamela Chopra + Unknown female voice
All

Lyrics

pyaar hua ikraar hua hai
pyaar se phir kyun darta hai dil
pyaar hua ikraar hua hai
pyaar se phir kyun darta hai dil
kahta hai dil rasta mushqil
maaloom nahin hai kaha manzil

pyaar hua ikraar hua hai
pyar se phir kyon darta hai dil

tadbeer se bigdi hui
taqdeer bana le
taqdeer bana le
apne pe bharosa hai to
ek daav lagaale
lagaale daav lagaale
tadbeer se bigdi hui
taqdeer bana le,
taqdeer bana le
apne pe bharosa hai to
ek daav lagaale,
lagaale daav lagaale

jai jai shivshankar,
kaanta lage na kankar
he jai jai shivshankar,
kaanta lage na kankar
ke pyaala tere naam ka piya
o o o gir jaaungi
main mar jaaungi
jo toone mujhe tham na liya
o sau rab di

he jai jai shivshankar,
kanta lage na kankar
ke pyaala tere naam ka piya
o o o
gir jaaungi main mar jaaungi
jo toone mujhe thhaam na liya

o sau rab di

hum tum
ek kamre mein band hon
aur chaabhi kho jaaye
hum tum ek kamre mein band hon
aur chaabhi kho jaye
tere nainon ki bhoobhulaiya me
bobby kho jaaye
hum tum ek kamre mein band hon
aur chaabhi kho jaaye

Thakur
bol tere saath kya sulook kiya jaye
maar diya jaye ki chhod diya jaaye
bol tere saath kya sulook kiya kiya jaaye
maar diya jaaye ki chhod diya jaaye
bol tere saath kya sulook kiya kiya jaaye
bol tere saath kya sulook kiya kiya jaaye
jaam diya jaaye ki jahar diya jaaye

bol tere saath kya sulook kiya kiya jaaye
are bol tere saath kya sulook kiya jaaye

babuji dheere chalna,
pyar mein zara sambhalna
haan bade dhoke hain
bade dhoke hai iss raah mein
baabuji dheere chalna,
pyaar mein zara sambhalna
haan bade dhoke hain
bade dhoke hai iss raah mein
babuji dheere chalna

ho re maajhi,
ho re majhi ho o o
mere maajhi,
mere saajan hain us paar
main man maar
hoon is paar
o mere maajhi
abki baar le chal paar
le chal paar
mere saajan hain us paar
ho re maajhi,
ho re maajhi
ho ho ho mere maajhi

bindiya chamkegi
choodi khankegi
bindiya chamkegi
choodi khankegi
teri neend ude te
ud jaaye
kajra bahkega
gazara mehkega
kajra bahkega
gazra mehkega
gaddi tur diye
te tur jaaye
bindiya chamkegi
choodi khankegi

yaahoo
yaahoo
chaahe koi mujhe jungli kahe
kahne do ji kahta rahe
hum pyaar ke toofaanon mein ghire hain
hum kya karen
chahe koi mujhe jangli kahe
kahne do ji kahta rahe
hum pyaar ke toofaanon mein ghire hain
hum kya karen
chaahe koi mujhe jungli kahe

yaahoo,
yaahoo

chaahe koi mujhe jungli kahe
haaaan kahne do jee kahta rahe
yahoo yahoo bhi karenge
waahu waahu bhi karenge
karenge
aa aa
chaahe koi mujhe jungli kahe ae ae
haaaaan baabul mora

tu mere man ka moti hai
in nainan ki jyoti hai
yaad hai mere bachpan ki
gahr aaya mera pardesi ee

maalish
tel maalish
aen
champii
sar jo tera chakraaye,
ya dil dooba jaye
aaja pyaare paas humaare
kaahe ghabraaye,
kaahe ghabraaye
sar jo tera chakraaye,
ya dil dooba jaaye
aaja pyaare pas humaare
kaahe ghabraaye,
kaahe ghabraaye
aen

jaane wo kaise log thhe jinke,
pyaar ko pyaar mila
humne to jab kaliyaan maangi,
kaanton ka haar mila

kaanton se kheench ke ye aanchal
tod ke bandhan baandhi paayal
ho o o
koi na roko dil ki udaan ko
dil wo chala
aaaa aa aa aaaa
aaj phir jeene ki tamanna hai
aaj phir marne ka iraada hai

aaj phir jeene ki tamanna hai
aaj phir marne ka iraada hai

ramayyaa vastavayyaa
ramayyaa vastavayyaa
ramayyaa vastavayyaa
ramayyaa vastavayyaa
maine dil tujhko diya,
maine dil tujhko diya

o ramayyaa vastavayyaa
ramayyaa vastavayyaa
ramayyaa vastavayyaa
ramayyaa vastavayyaa

maine dil tujhko diya,
maine dil tujhko diya

o ramayyaa vastavayyaa
ramayyaa vastavayyaa

maine dil tujhko diya,
maine dil tujhko diya

o ramayyaa vastavayyaa
ramayyaa vastavayyaa

maine dil tujhko diya,
maine dil tujhko diya

aa aa


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 : 3458 Post No. : 13874

“Johar in Bombay” (1967) was directed by Shantilal Soni for Thakkar Pictures, Bombay. The movie had I S Johar, Sonia Sahni, K N Singh, Rajendranath, Madan Puri, Polson, Jeevankala etc in it.

This movie was a slapstick comedy where I S Johar and Rajendranath fumble their ways to glorious feats like defeating the nefarious designs of evil scientists with the help of Alladin’s jinn thanks to Alladin’s lamp that I S Johar accidentally comes across in his antique shop.

The movie had six songs in it. Four of these songs have been covered in the blog. All of them were covered in 2011. After a gap of over seven years, here is the next song from “Johar in Bombay” (1967) to appear in the blog. This song is a comedy song which is a parody of some popular songs of that era.

Mahendra Kapoor is the singer. The lyricist of the song is not known. Music is composed by Usha Khanna.

The song is picturised in the usual light hearted manner on I S Johar and others, meant to appeal mainly to low brow audiences. 🙂


Song-Meri pyaari pyaari soorat ko kisi ki chhuri na lage (Johar in Bombay)(1967) Singer-Mahendra Kapoor, Lyrics-Usha Khanna

Lyrics

meri pyaari pyaari soorat ko
kisi ki chhuri na lage
chashme baddur
chhuriyon ko chhupa lo bakshe mein
police ki nazar na lage
chashme baddur

yoon na peechhe phira karo
dhandha koi kiya karo
yoon na peechhe phira karo
dhandha koi kiya karo
tumse badhkar kaanyiyaan hoon main
chaal samajh kar chala karo
meri pyaari pyaari soorat ko
kisi ki chhuri na lage
chashme baddur

zara saamne to aao pagle
chhup chhup ladne mein kya raaz hai
zara main bhi to dekhoon zaalima
tu kaisa teerandaaj hai
zara saamne to aao pagle

bahaaron aag barsaao
koi bandook laaya hai
koi dambook laaya hai
o hunter
maut ban jaao
koi bandook laaya hai
koi dambook laaya hai
giro ae pattharon
in dusmanon ke kaale haathon par
chalo ae goliyon
kambakht gaddaaron ke seenon par
bahaaron aag barsaao
koi bandook laaya hai
koi dambook laaya hai

yaahoo
yaahoo
chaahe koi mujhe jungli kahe
kehne do ji kehta rahe
hum jang ke toofaanon mein gire hain
hum tang karenge
chaahe koi mujhe jungli kahe
yaahoo
yaahoo
yaahoo
yaahoo


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.

“Shagoofa”(1953) was produced under the banner of P N Films ( Premnath’s home production) and it was directed by H S Rawail. The movie had Premnath, Beena Rai, Bipin Gupta, Sundar, Purnima, Yashodara Katju, Baby Naaz etc in it.
Read more on this topic…


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.

Today’s song is from film ‘Chaand Taara’ (1945). This song is sung by Noor Mohammed ‘Charlie ‘ and chorus. Today (30th June) is the anniversary of Charlie’s passing away in 1983. This song is in his memory. This song also happen to be a parody song. No, no, I am not doing a series on parody songs. It is just a coincidence that I got hold of a second rare song which is also a parody song.
Read more on this topic…


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.

Today’s song is from film ‘Jawani Ki Pukaar’ aka ‘Call Of Youth’ (1942). The film makes its debut on our blog today. It is sung by Sarfaraz Deen, who too makes his debut with this song.
Read more on this topic…


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.

“Maasoom” (1960) was directed by Satyen Bose for Bani Roop Chitra. The movie had Ashok Kumar, Sarosh Irani, Aziz, Honey Irani, Anuva Gupta, Manmohan Krishna, Mohan Choti, Chaman Puri, Bhagwan Sinha, Keshto Mukherjee, Master Nissar, Jeevankala, Gautam, Bir Sakuja etc in it.
Read more on this topic…


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.

Today’s song is a Parody song, filmed on Mehmood, Aruna Irani and many others, from the film “Main sundar hoon”-1971.
Read more on this topic…


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.

I think that I have got an unique song this time. This is a song from a film called Meri Asha-50. The song is sung by film comedian Agha aka Aghajaan Baig. I have never known that Agha had sung any song. Never came across any of his songs,nor read it in HFGK about his song, in his long career of almost 50+ years.
Read more on this topic…


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.

Parody is a very interesting form of songs. Many people think that it is very easy to make a Parody song, but in my opinion, it is one of the most difficult forms to present. It is not just the tune of a popular song, but also the song situation in the film too, that has to be taken into account. It must have meaningful words to suit the purpose of the situation and must also evoke laughs. It is easier to make people cry, but it is very difficult to make people smile or laugh heartily.
Read more on this topic…


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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 more than nine years. This blog has over 14400 song posts by now.

This blog is active and online for over 3600 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14493

Number of movies covered in the blog

Movies with all their songs covered =1141
Total Number of movies covered =3957

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Active for more than 3500 days.

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