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

Archive for the ‘“Phool” song’ Category


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 :

4670 Post No. : 16346

“Girls’ School”(1949) was written and directed by Amiya Chakraborty for Lokmanya Productions, Bombay. Lokmanya Productions was a joint venture of Kavi Pradeep and Amiya Chakraborty. This movie had Geeta Bali, Sohan, Mangala, Krishna, Sajjan, Ram Singh, Shashikala, Vimala Vashisht etc in it.

The movie had nine songs in it. Anil Biswas was signed up as the music director. But he walked out of the movie when he found Kavi Pradeep the co producer interfering in his work. So C Ramchandra composed music for the remaining songs.

Six songs from “Girls’ School”(1949) have been covered in the past. The movie incidentally had little to do with the education of girls despite its fancy title. And the movie duly flopped. So the songs of the movie are better enjoyed as standalone songs, rather than as part of this movie.

Today (1 may 2021) is the birth anniversary of Manna Dey (1 may 1919-24 october 2013). On this occasion, here is a song from “Girls’ School”(1949). The song is sung by Manna Dey and Shamshad Begam. Kavi Pradeep is the lyricist. Music is composed by Anil Biswas.

Anil Biswas is mentioned as the music director of this song, but I suspect that this song could have been composed by C Ramchandra, seeing that C Ramchandra used the voices of Shamshad Begam and Lalita Deulkar as female voices in other songs composed for the movie, mainly because Lata Mangeshkar, the first choice for female playback singer, who had recorded three songs with Anil Biswas for the movie, refused to record more songs, when she came to know about the unceremonious ouster of Anil Biswas from this movie. However, I have gone with Anil Biswas as the music director here as mentioned in HFGK.

Today is also International labour day. The lyrics of the song sound appropriate for tat occasion as well.

Lyrics of this song were sent to me by Prakashchandra.

audio link:

Song-Phoolon ka sapna dekhne waalon (Girls School)(1949) Singers-Manna Dey, Shamshad Begam, Lyrics-Kavi Pradeep, MD-Anil Biswas
Both

Lyrics(Provided by Prakashchandra)

phoolon ka sapnaa aa aa
dekhne waalon o o o
kaanton ..on ..on pe chalnaaa aa
seekh lo o
ae jee o o o
o jee o o o

haayye rey phoolon ka sapna
dekhne waalon o o
kaanton pe chalnaa seekh lo
kaanton pe chalna
seekh lo o o
haayye rey phoolon ka sapna
dekhne waalon o o
kaanton pe chalnaa seekh lo
kaanton pe chalna
apne haathon se apni qismat
apne haathon apni qismat
khud badalnaa seekh lo o o
khud badalna seekh lo
haayye rey phoolon ka sapna dekhne waalon o o o

badey atpatey jagat ke rastey ae
o o o
o jee oo

chaley ae ae chalo rey bhai
rotey hanstey
o o o o o o o
o jee oo ooo

yahaan bhool bhulaiyyaa kaheen kaheen
hai taal-talaiyyaa kaheen kaheen
dhokey ka jaal hai har taraf

dhokey ka jaal hai har taraf
zara bachke nikalnaa seekh lo
ae jee bachke nikalna seekh lo
haayye rey phoolon ka sapna dekhne waalon o o
kaanton pe chalnaa seekh lo o
kaanton pe chalna
seekh lo o o
haayye rey phoolon ka sapna dekhne waalon o o o

mat aaney do aankh mein paani ee
oo jee oo
kamzori ki hai ye nishaani..eee
oo jee oo
baadal ki kadak se mat daro
bijli ki tadak se mat daro
baadal ki kadak se mat daro o o o o oo

tum toofaanon ke beech bhi
be-dhadak tehalnaa seekh lo o o o
be-dhadak tehalnaa aa seekh lo o o
thokar pe thokar lagey
thokar pe thokar lagey
magar tum phir bhi sambhlnaa seekh lo
ae jee phir bhi sambhalnaa seekh lo
haayye rey phoolon ka sapna dekhne waalon o o o
kaanton pe chalnaa seekh lo
kaanton pe chalna
seekh lo o o
haayye rey phoolon ka sapna dekhne waalon o o


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 :

4633 Post No. : 16287 Movie Count :

4425

Today’s song is from an obscure ‘never heard of’ type film of the early times of the Talkie era – Kaun Kisi ka-1939. The film was made by Hindustan Cinetone. It was directed by Chimanlal Luhar, a talented person. He was a rarity in those days as he was a Science graduate. In times when there were very few educated people in the film industry, he was respected everywhere.

Director CHIMANLAL MULJIBHOY LUHAR ( 1901-1948) was a Chemistry graduate from Bombay University. He started writing as a critic and author in journals like Beesvin sadee, Navchetan and Bombay Chronicle. He joined the film line as a lab Assistant in Kohinoor studios in his early 20s. Soon he became a noted cameraman for several documentaries, with K.D.Brothers, Bombay,under a British cameraman of Prince of Wales’ official entourage. After a brief stint at Rajkot with Saurashtra Films and a longer one at Krishna Films-where he shot 20 films, he joined Sharada Studios with ‘Dagabaz Duniya-1926 and several stunt films by Master Vithal. He turned a producer for a few stunt films.

Later he was a partner in Sharda films and a Director with Sagar Movietone(1934-1940). From 1941 to 46 he worked for Prakash Pictures. He directed Sassi Punnu-32,Silver King-35 Talash-E-haq (first film of Nargis, made by Jaddanbai)-35, Do deewane, Kharab Jaan, Capt. Kirtikumar, Dynamite, Kaun kisika, Sewa Samaj, Saubhagya, Darshan, Station master, School Master, Uss paar and Bindiya. He died at the young age of 47 years,in 1948. He had established his own production outfit ‘Sun Art Pictures’ in 1943, but he made only 3 films with it -School Master-43, Uss Paar-44 and Bindiya-46, before he died, after a prolonged illness.

FILMOGRAPHY: 1932: Sassi Punnu; 1935: Silver King; Talash-e-Haq; 1936: Do Diwane/Be Kharab Jan; 1937: Captain Kirti Kumar; 1938: Dynamite; 1939: Kaun Kisika; Seva Samaj; 1940: Saubhagya; 1941: Darshan; 1942: Station Master; 1943: School Master; 1944: Us Paar; 1946: Bindiya.

The Music Director of this film was Rafiq Ghaznavi, Lyricist was Munshi Dil and the cast of the film was Padma Devi, Shobhana Samarth, Khurshid, Nazir Ahmed, Mubarak, K N Singh, Maruti Rao, Khalil Ahmed, Gope etc.etc. Most of these actors, director and the MD disappeared by the end of the 40’s, because many of them were the spill overs from the Silent Era. Except a few like K.N.Singh, Gope, Mubarak or Shobhana Samarth, none of the other names will mean anything to our readers in the age bracket of 40 to 60 years. The Partition further precipitated this condition and made matters difficult to track old artistes and get their information. Considering the poor conditions in India of preserving and documenting events, information and life stories of old time artistes, it became a Herculean task to collect information on such persons.

I have written articles on films of the early cinema i.e. from the decade of the 1930s. In these articles, I have introduced few unknown or less known heroes and heroines of those times, to our readers. Some of these are Vijay Kumar, Ram Singh, Shankar Rao Vazare, Gul Hamid, Prakash and heroines like Shamim, Nazma, Anjali Devi, Shahzadi, Menaka, Radha Rani, Meera Mishra, Meera Devi etc. Today also we will talk about yet another less known artiste of the silent and early talkie films – Master Khalil Ahmed.

From the lot of the “brought forward” actors and actresses from the silent to the talkie films, two heroes were the true super stars. Master Khalil and Master Vithal. Since they had started their careers from the silent era of the 1920’s, they did not go beyond the 1940’s, when their competition increased and the newer breed of heroes took over with ease!

Though world’s first first feature film, originally presented as a talkie ,’The Jazz Singer’, released in October 1927, it took about 4 years more for talkie films to come to India. When it did come in March 1931, there was tremendous enthusiasm amongst the film makers. Initially, however, there was skepticism in the minds of well established silent film makers. Famous film makers like Dadasaheb Phalke and even V Shantaram are on record having expressed their views that talkie films will not survive. However, the same people later on, not only supported the talkie, but V Shantaram became one of the best proponents of Hindi talkie films. Even Dada Saheb Phalke ended his career by making his only Talkie, ‘Gangavataran’ in 1937. (Leela Mishra had acted in it.)

The coming of sound to films changed the film making for ever. Till then what was a fragmented production activity, slowly became an industry. Earlier, silent films were made at a cost of 8 to 10 thousand rupees. Now the talkie needed 25 to 50 thousand per film. Automatically, the hobbyists and poorer film makers disappeared. So did the acting crew who could not speak Hindi fluently or sing a song.

One finds that suddenly, there was a deluge of talented, creative and enterprising people from various professions and different backgrounds to take up the challenges of this new industry. The changing society in India is partly responsible for this deluge. Due to education and attraction to cities, many people were rapidly getting uprooted from their traditional occupations and they looked forward to these opportunities. For example a motor mechanic Sarvottam Badami became a sound recordist (and later, a director too) and a traditional carpenter like S Fattelal became the great set designer in Prabhat films. An ordinary poster painter, Baburao Painter became a director. Many such examples are available. The deluge was made up of producers, directors, sound recordists, writers, lyricists, singers, technical staff and of course the actors and actresses.

Among the first generation of heroes, namely Khalil, Sandow, Sohrab Modi, Master Nissar, Chandramohan, Prithviraj Kapoor, Motilal, Ashok Kumar, Master Vithal, Jal Merchant, Bilimoria brothers and Saigal emerged as the main players. Among actresses Mehtab, Bibbo, Kajjan, Gauhar, Sitara, Sita Devi, Zubeida, Cooper sisters, Sabita Devi, Leela Chitnis, Durga Khote, Devika Rani, Naseem, Jamuna, Kanan Bala etc. became popular.

Master Khalil Ahmed (variously mentioned as Khalil, Master Khalil, and Khalil Ahmed) was the first ever star of the silent era as well as talkie films from 1920 to 1940s. Born in 1903, he became a hero in Kohinoor’s ‘Gul E Bakavali’ (1924), opposite Zubeida. He was the first handsome and macho hero of those times. He acted with all top heroines of his time. Some of his 30 silent films are, ‘Kaala Naag, ‘Kulin Kanta’, ‘Lanka Ni Laadi’, ‘Cinema Queen’ etc.

He featured in his first talkie film, ‘Draupadi’ (1931), made by Imperial, opposite Ermeline (aka Sudhabala ). Then came ‘Daulat Ka Nasha’ (1931), ‘Bharati Mata’ (1932), ‘Niti Vijay’ (1932), Do Rangi Duniya’ (1933) and ‘Saubhagya Sundari’ (1933). In 1934 Khalil went to Calcutta on the invitation of East India Films. His first film in Calcutta was ‘Kismet Ki Kasauti’ (1934). Then he joined Tollywood Studio (Madon Theatres). Here his first film was ‘ Gaibi Gola’ (1935), in which Baby Noorjehan made her debut as a child star.

He was in great demand in Bombay also, so Khalil started doing films in Calcutta and Bombay, by frequently travelling between the two cities. This caused a lot of stress on him, but he always kept his commitments. During this period, he also got married and got children. He settled in Calcutta and travelled often to Bombay to do films there.

Khalil did different roles, including Hindu Gods. He never changed his name. in those days very few Muslim actors kept their real names. Incidentally, during his peak time, there were two more artists named Khalil. One was Khalil Aftab, who was a lyricist and he acted in film ‘Dard E Dil’ (1934) and ‘ The Mill’ (1934) (this latter film was banned and was released later in 1936 as ‘ Ghareeb Parwar’). The other actor was Khalil Khan, who had acted in film ‘Deepak Mahal’ (1940). In all, Khalil acted in 28 Talkie films. He died quite young, on 28-11-1941, at Calcutta. Too much travelling and stress must have taken its toll on him. He was only 38 year old. He left behind a wife with 5 children.

Khalil did 13 films in Calcutta – ‘Kismet Ki Kasauti (1934), ‘Gaibi Gola’ (1935), ‘Miss Manorama’ (1935), ‘Jawaani Ka Nasha’ (1935), ‘Divine Sacrifice’ (1935), ‘Raj Dulari (1936), ‘Bulbul e Iran’ (1936), ‘Parivartan’ (1936), ‘Adarsh Mahila’ (1937), ‘Aflatoon’ (1937), ‘Karmaveer’ (1938), ‘Abla Ki Shakti’ (1941) and ‘Merchant Of Venice’ (1941).

In Bombay, he did 15 films in Bombay – ‘Draupadi’ (1931), Daulat Ka Nasha’ (1931), ‘Bharati Mata’ (1932), ‘Niti Vijay’ (1932), ‘Do Rangi Duniya’ (1933), ‘Saubhagya Sundari’ (1933), Typist Girl (1935), ‘Shaitan Ka Paash’ (1936), ‘Khudai Khidamadgar’ (1937), ‘Kiski Pyaari’ (1937), ‘Kaun Kisi Ka'(1939), ‘Hamara Desh’ (1940), ‘Pyaar’ (1940), ‘Waayada’ (1940) and ‘Taj Mahal’ (1941).

Khalil acted with most of the leading heroines of his time like, Noorjehan (Sr), Jilloo (Zulekha Ibrahim – she was known by Jilloo Bai in her later career), Kajjan- 6 films, Mushtari – 3 films (She died too young, in her teens only), Miss Rose – 2 films, Violet Cooper – 2 films, Radha Rani, Ram Pyari, Begum Akhtar (she was then known as Akhtari Faizabadi), Sulochana, Ameena, Leela Desai, Indurani, Gulab, Ermelin and Sheela etc. Khalil was very good natured and a popular actor among his co stars and producers.

A Muslim by birth, he performed a variety of roles in films. His initial acting phase included roles of Shri Krishna and Shri Ram. Disenchanted by the communal riots during those times, he gave a speech in the Indian Motion Picture Congress, on 4th May 1939. Baburao Patel’s Film India published this extract from his speech- “I have played Hindu Gods in films. I worked under Hindu producers only. I am disturbed by these riots. I am popular among Hindus and Muslims. We are the devotees of Art and Art has no religion.” Indian Film Industry is perhaps the only industry which is mostly a secular one, since its inception. Master Khalil Ahmed was an example of that.

I could not get any information about this film, its story or other details. I was surprised that this song was available on the You Tube channel. The song is sung by Khurshid, Nazir Ahmed and chorus. With this song, film Kaun Kisi Ka-39 makes its Debut on this Blog.


Song-Phool le lo phool (Kaun Kisi Ka)(1939) Singers-Khursheed, Nazeer Ahmad, Lyrics-Munshi Dil, MD-Rafiq Ghaznavi
Chorus

Lyrics

Phool le lo phool
Phool le lo phool
aayi basant ki saari bahaar
joban barsaaya hai singaar
ae man ??
jhoole jhool
ae man ??
jhoole jhool
Phool le lo phool
Phool le lo phool

kaisa ?? hai tera singaar
phoolon mein lipti ho jaise talwaar

madam jee sadqe
hum donon ??
joban ke badle
hum donon ??

haaan
aankhon mein teri daaloon dhool
aankhon mein teri daaloon dhool
Phool le lo phool
Phool le lo phool

aayi basant ki saari bahaar
aayi basant ki saari bahaar
gali gali par barse phuhaar
gali gali par barse phuhaar
aayi basant ki saari bahaar
aayi basant ki saari bahaar

baaghon se maalan laayi sandes
baaghon se maalan laayi sandes
aate hain preetam apne des
hey ae ae es
aate hain preetam apne des
sun sun kaliyaan sej sajaawo o o
sun sun kaliyaan sej sajaawo o o
phool bechaaron ho na malool
phool bechaaron ho na malool
Phool le lo phool
Phool le lo phool
aayi basant ki saari bahaar
aayi basant ki saari bahaar
kali kali par barse ??
kali kali par barse ??
aayi basant ki saari bahaar
aayi basant ki saari bahaar


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

Blog Day :

4489 Post No. : 16013

I have mentioned in one of my earlier post here that these days I am looking for movies where only one song has been posted so far. In my daily browsing of the blog while I have already noted some movies, new surprises keep coming e.g. the time-lag between posting of the first song of the movie and thereafter posting of the second song. While we can understand a couple of year time-lag is considerable some have to wait for their second song almost more than five to six years or even ten years as we have seen during posting of ‘blog ten-year challenge song’. Well, if that was not enough, I have found a movie with a song posted in 2008 and still waiting for its second song to be posted on the blog. 😊

In today’s case the movie is ‘Mordhwaj-1952’ and one of its song, namely dagmag dagmag doley naiyya… has been posted on 02.06.2014.

Today we will listen to a lovely melodious song from this movie. This song took almost seven years to get posted after it was noted down. 😊

‘Mordhwaj-1952’ alias ‘Raja Mordhwaj’ (as mentioned in HFGK Vol.III-1951-1960) was directed by Balwant Bhatt for ‘Nav Anand Chitra, Bombay’. It was produced by Mangalanand Gautam and it was passed by Censor Board on 27.10.1952.

This movie had Durga Khote, Prem Adeeb, Ram Singh, Tiwari, Shashi Kapoor, Manju, Nand Kishore, Babu Raje, Urvashi, Raj Adeeb, Leela Mishra, Y.N. Joshi, Sushila, Bindu, Neeru and others.

Music for this movie was composed by Narayan Dutta and all the eight songs this movie has were penned by Bharat Vyas.

Our respected Arun Kumar ji has mentioned in detail about the music director, director and stars of this movie while presenting the first song from this movie viz. dagmag dagmag doley naiyya.

I am presenting herewith details of the songs of this movie as given below;

Song Singer/s Posted On
Dagmag dagmag doley naiyya Mohd Rafi 02.06.2014
Palkon ki dori bani … gupchup un sang ho gayi ankhiyaan chaar re Asha Bhonsle, Mubarak Begam, Dilip Kumar Roy
Aayi rang bhari phoolon ki rut pyaari re … Geeta Dutt Being posted today
Mera man hai magan, muskaaye gagan, poonam ki chamacham raat hai Asha Bhonsle, Khan Mastana
Kit jaaoge ghanshyam muraari, tumhe jaane na doonga Mohd Rafi
Gin gin taare ratiyaa bitaaun… aaoji raajkumar Geeta Dutt
Jhoothha jag jhoothhi re maayaa Dilip Kumar Roy
Lekh vidhaataa ka likha … maat pita ke haathon dekho baalak ka balidaan re Mubarak Begam, Khan Mastana

Let us now enjoy today’s song. It is sung by Geeta Dutt and composed by Narayan Dutta. Lyrics are by Bharat Vyas.


Song-Aayi rang bhari phoolon ki rut pyaari re (Mordhwaj)(1952) Singer-Geeta Dutt, Lyrics-Bharat Vyas, MD-Narayan Dutt
Chorus
Unknown male voice

Lyrics

Aayi rang bhari phoolon ki rut pyaari re
Ghar aaja muraari re ae ae
Ghar aaja muraari re
Aayi rang bhari phoolon ki rut pyaari re
Ghar aaja muraari re ae ae
Ghar aaja muraari re

Gun gun bhanware jhoom rahen
Gun gun bhanware jhoom rahen
Kaliyon ka munh choom rahe
Munh choom rahe
Munh choom rahe
Dhaani hain dharti
Neela gagan hai ji
Aaja piya
Dole jiya
Jiya magan hai ji
Boley koyalia kaari
Boley kayalia kaari
Kaari
Kaari re
Aayi rang bhari phoolon ki rut pyaari re
Ghar aaja muraari re ae ae
Ghar aaja muraari re

Chori chori piya pyaare
Palkon mein tumko
Chhupaa loongi re
Chhupaa loongi
Jaane na paaoge tumhen
Nainon ka kaajal banaa loongi re
Banaa loongi
Matwaari soorat par waari ee
Matwaari soorat par waari
Waari
Waari re
Aayi rang bhari phoolon ki rut pyaari re
Ghar aaja muraari re ae ae
Ghar aaja muraari re

Painyya padoon sainyya tore
Chhup chhup ke
Mohe sataao naa ji
Sataao naa
Thhandi thhandi chaandni raaton mein
Yoon
Jiyaraa jalaao na ji
Jalaao na
He he he he

Tum jeete sajan main haari
Tum jeete sajan main haari
Haari
Haari re
Aayi rang bhari phoolon ki rut pyaari re
Ghar aaja muraari re ae ae
Ghar aaja muraari re

——————————————-
Devnagri script lyrics (Provided by Avinash Scrapwala)
——————————————-
आई रंग भरी फूलों की रुत प्यारी रे
घर आजा मुरारी रे ए ए
घर आजा मुरारी रे
आई रंग भरी फूलों की रुत प्यारी रे
घर आजा मुरारी रे ए ए
घर आजा मुरारी रे

गुन गुन भंवरे झूम रहें
गुन गुन भंवरे झूम रहें
कलियों का मुंह चूम रहे
मुंह चूम रहे
मुंह चूम रहे
धानी है धरती
नीला गगन है जी
आजा पिया
डोले जिया
जिया मगन है जी
बोले कोयलिया कारी
बोले कोयलिया कारी
कारी
कारी रे
आई रंग भरी फूलों की रुत प्यारी रे
घर आजा मुरारी रे ए ए
घर आजा मुरारी रे

चोरी चोरी पिया प्यारे
पलकों में तुमको
छुपा लूंगी रे
छुपा लूंगी
जाने न पाओगे तुम्हे
नैनों का काजल बना लूंगी रे
बना लूंगी
मतवारी सूरत पर वारी
मतवारी सूरत पर वारी
वारी
वारी रे
आई रंग भरी फूलों की रुत प्यारी रे
घर आजा मुरारी रे ए ए
घर आजा मुरारी रे

पैंय्या पडूँ सैंय्या तोरे
छुप छुप के
मोहे सताओ ना जी
सताओ ना
ठंडी ठंडी चांदनी रातों में
यूं
जियरा जलाओ ना जी
जलाओ ना
हे हे हे हे

तुम जीते सजन मैं हारी
तुम जीते सजन मैं हारी
हारी
हारी रे
आई रंग भरी फूलों की रुत प्यारी रे
घर आजा मुरारी रे ए ए
घर आजा मुरारी रे


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

Blog Day :

4466 Post No. : 15954 Movie Count :

4371

Today 9th Oct’2020 is the sixth Remembrance Day of music director, lyricist and singer Ravindra Jain. He passed away on 9th Oct’2015 at the age of 71 yrs (born on 28th February’1944).
On this occasion as a tribute to him here is a song from the ‘1982’ movie ‘Bhaagya’ which is composed as well as written by him.

‘Bhaagya-1982’ was directed by Naval Kishore for ‘Baba Movietone, Bombay’. It was produced by Ravindranath Dasgupta.

It had Vinay Kumar, Meera, Sushma Verma, A.K. Hangal, Sulochana, Bhagwan Dada, Birbal, Chandrashekhar, Jagdeep, Keshto Mukherjee, Prabal Sen, Rajendra Singh Thakur, Zareen, Manmauji, Dev Sharma, Meghdoot.

Ajay Bannerjee make his debut appearance in this movie. Jalal Agha make a friendly appearance in this movie.

This movie was passed by Censor Board on 10.02.1982.

This movie had six songs (as per HFGK Vol.VI-1981-1985) composed by Ravindra Jain. Ravindra Jain also wrote lyrics for all the six songs.

Kishore Kumar, Hemalata, Yesudas, Amit Kumar, Abhijeet and Rachna, gave their voices to the songs in this movie.

Today’s song is sung by Kishore Kumar and Hemlata separately. HFGK mentions this song as two different songs i.e. ‘Koi phool na mahke’ and ‘janmon ka hai pyaar hamaara…’, however from the video (partial) of this song mentioned under part-II the female version appears in continuation after the male version (which might be the second stanza of repeat of few lines of the male version of this song).
(Also, if we watch the video of male version only (Part-1) we can see the heroine appearing at the end of this song and may be the female version starts here?) …

Knowledgeable readers who have watched this movie can throw more light on the movie and its songs…

I have not watched this movie and had neither heard of this song till seven years back when I came across it during my daily song listening browsing session and had shared it then itself, however this remains to be posted and today we are introducing it with the movie ‘Bhaagya-1982’ also making its debut on the blog.

Let us now listen to this song …

Video (partial)

Audio (Both versions)

Song-Koi phool na mahke koi panchhi na chahke (Bhaagya)(1982) Singer-Kishore Kumar/ Hemlata, Lyrics-Ravindra Jain, MD-Ravindra Jain

Lyrics

—————————–
Kishore Kumar version
—————————–

Koi phool na mahke
Koi panchhi na chahke
Koi phool na mahke
Koi panchhi na chahke
Sooni hain saari bahaarein
Pyaasi nigaahen
Tujhko pukaaren
Aaja re
Koi phool na mahke
Koi panchhi na chahke

Nadiya ka sunsaan kinaara
Aur bhi gumsum ho gaya
Sukh dukh mein sang jaagnewaale
Kyun tu aise so gaya
o janmon ke meet bataa tu
Bin bole kahaan kho gaya
Teri yaad sataaye
Din raat rulaaye
Sooni hai saari bahaarein
Pyaasi nigaahen
Tujhko pukaare
Aaja re
Koi phool na mahke
Koi panchhi na chahke

Aankh se ojhal honewaale
Dhoondhhta hoon tujhe khwaab mein
Tu hai kahaan jis’se bhi poochha
Chup ho gaya jawaab mein
Thha main kabhi tere pyaar mein dooba aa
Ab dooba hoon sharaab mein
Yahi ek sahaara
Mere ghamon ka chaara
Sooni hai saari bahaarein
Pyaasi nigaahen
Tujhko pukaare
Aaja re
Koi phool na mahke
Koi panchhi na chahke
Koi phool na mahke
Koi panchhi na chahke

———————————-
Hemlata version
———————————

O ho o o o
O ho o o o
O o o o o
O o o o o

Janmon ka hai pyaar hamaara
Janmon tak sang jaayega
Kasme waade itni jaldi
Kaise koi bisraayega
Tod ke har deewaar milenge
Dil ko dil jo bulaayega
Kahin door nahin hoon
Jahaan dhoondhhe wahin hoon
Tu mere dil mein rahega
Tujhse miloongi
Jab bhi kahega
Aa jaa re
Main hoon prem deewaani
Tere sapnon ki raani

Kal bhi tujhse door na thhi main
Aaj bhi tere paas hoon
Mit kar bhi jo mit nahin paaye
Main aisi ek aas hoon
Jitna udaas tu mere bina
Main tujh bin utni udaas hoon
Mujhe bhool na jaana
Sadaa pyaar nibhaana
Tu mere dil mein rahega
Tujh se miloongi
Jab bhi kahega
Aa jaa re
Main hoon prem deewaani
Tere sapnon ki raani
O o o o o
O ho o o o
O o o o o O
o o o o
O o o
O o o
O o o
o o o
o o o

————————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————————

——————–
किशोर कुमार संस्करण
——————–

कोई फूल न महके
कोई पंछी न चहके

कोई फूल न महके
कोई पंछी न चहके
सूनी है सारी बहारें
प्यासी निगाहें
तुझको पुकारे
आजा रे
कोई फूल न महके
कोई पंछी न चहके

नदिया का सूनसान किनारा
और भी गुमसुम हो गया
सुख दुःख में संग जागनेवाले
क्यूँ तू ऐसे सो गया
वो जन्मों के मीत बता तू
बिन बोले कहाँ खो गया
तेरी याद सताए
दिन रात रुलाये
सूनी है सारी बहारें
प्यासी निगाहें
तुझको पुकारे
आजा रे
कोई फूल न महके
कोई पंछी न चहके

आँख से ओझल होनेवाले
ढूंढता हूँ तुझे ख्वाब में
तू हैं कहाँ जिससे भी पूछा
चुप हो गया जवाब में
था मैं कभी तेरे प्यार में डूबा
अब डूबा हूँ शराब में
यही एक सहारा
मेरे ग़मों का चारा
सूनी है सारी बहारें
प्यासी निगाहें
तुझको पुकारे
आजा रे
कोई फूल न महके
कोई पंछी न चहके

कोई फूल न महके
कोई पंछी न चहके
——————————–
हेमलता संस्करण
——————————–

ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ
ओ ओ ओ
ओ ओ ओ ओ
ओ ओ ओ ओ ओ

जन्मों का है प्यार हमारा
जन्मों तक संग जाएगा
कसमे वादे इतनी जल्दी
कैसे कोई बिसरायेगा
तोडके हर दीवार मिलेंगे
दिल को दिल जो बुलाएगा
कहीं दूर नहीं हूँ
जहां ढूंढें वहीँ हूँ
तू मेरे दिल में रहेगा
तुझसे मिलूंगी
जब भी कहेगा
आ जा रे
मैं हूँ प्रेम दीवानी
तेरे सपनों की रानी

कल भी तुझसे दूर न थी मैं
आज भी तेरे पास हूँ
मिट कर भी जो मिट नहीं पाए
मैं ऐसी एक आस हूँ
जितना उदास तू मेरे बिना
मैं तुझ बिन उतनी उदास हूँ
मुझे भूल न जाना
सदा प्यार निभाना
तू मेरे दिल में रहेगा
तुझ से मिलूंगी
जब भी कहेगा
आ जा रे
मैं हूँ प्रेम दीवानी
तेरे सपनों की रानी
ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ
ओ ओ ओ
ओ ओ ओ ओ
ओ ओ ओ ओ ओ


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: 4338 Post No.: 15637

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Blog 10-Year Challenge (2010-2020) – Song No. 33
—————————————————————————

When I look back at 2010, the blog posting rate was surprisingly similar to the post rate of 2020. Every day one or two posts appeared during 2010. The blog clocked around 60 odd posts per month. Same is happening even in 2020.

Coming to this date 10 years ago, viz 3 june 2010, two posts were discussed in the blog as below :-

Song Movie title-Year Remarks
Tere binaa zindagi se koi shikwa nahin Aandhi (1975) All songs covered
Mil ke bhi ham mil na sake

Sunahri Naagin (1963) 07 of 08 songs posted

“Sunahri Naagin-1963” was directed by Babubhai Mistry for Everest Pictures, Bombay. Its story and screenplay were by Pt Madhur and Vishwanath Pandey. Dialogues were by C K Mast. It was a fantasy movie which had Mahipal, Helen, Sulochana, Anwar Hussain, Sapru, Priti Bala aka Zeb Rehman, Ulhas, Paul Sharma, Jeevankala, Bela Bose, Madhumati, Sheela Kashmiri, Kamal Mehra etc in it.

When I was going through the above, I thought that I was going through the credits of “Parasmani”(1963). Both movies were created by the same team, and even the star cast had much in common. Mahipal was the hero in both the movies, Here in ‘Sunahri Naagin'(1963), we have Helen in female lead instead of Geetanjali.

“Sunahri Naagin”(1963) had eight songs in it. Seven songs have been covered in the past. Here are the details of the seven songs covered in the blog:-

S N Song Post number in blog Date of posting
1 Been na bajaana jaadu na jagaanaa 2342 12-March-2010
2 Tu hi tu hai main dekhaa karoon 2345 14-March-2010
3 Chhedoge mujhko agar jaan ke 2449 16-March-2010
4 Mil ke bhi ham mil na sake 2511 3-June-2010
5 Main to ho gayi re badnaam 14495 16-July-2018
6 Yoon na akadiye yoon na bigadiye 15482 16-March-2020
7 Donon haathhon se dil kyun sambhaala hai 15493 24-March-2020

From the table, it can be seen that the movie made its debut in march 2010 and I discussed three songs from the movie in that month. Another song was discussed in june 2010. Then this movie was not taken up again in the blog for eight years.

This year, two songs have been discussed and one of these two songs was a Blog Ten Year Challenge song.

Today, another blog ten year challenge opportunity presents itself. On this occasion, here is this lovely song from “Sunahri Naagin”(1963). It is sung by Mukesh and Lata. The song is picturised on Mahipal and Helen. This song appears to be the song corresponding to Chori chori jo tumse mili to log kyaa kahenge of “Parasmani”(1963).

Not only are the singers same in the two songs, even the lyricist 9Farooque Kaiser is the same. Parasmani had music by Laxmikant Pyarelal. Here Kalyanji Anandji are the music director. Though HFGK is silent about the assistant music directors, it appears to me that Laxmikant Pyarelal may have been the assistant music director in this movie. I can notice Laxmikant Pyarelal stamp in this song.

It is a lovely song to listen to. Its lyrics and details were sent jointly by Prakashchandra and Avinash Scrapwala. Prakashchandra gave valuable background information on this movie whereas Avinash Scrapwala was the catalyst behind this Blog Ten Year Challenge Post.

With this song, all the eight songs of “Sunahri Naagin”(1963) are covered and the movie joins the list of movies that have been YIPPEEED in the blog. I notice that “Parasmani”(1963) too had been YIPPEED with its equivalent song viz Chori chori jo tumse mili to log kyaa kahenge . Such coincidences occur in the blog all the time.

Audio

Video

Song-Tujhe chaand kahoon ya phool kahoon (Sunahri Naagin)(1963) Singers-Mukesh, Lata, Lyrics-Farooque Kaiser, MD-Kalyanji Anandji

Lyrics(Provided by Prakashchandra)
————————
tujhe chaand kahoon yaa aa
phool kahoon
tujhe chaand kahoon yaa aa
phool kahoon
mere pyaar ka koi
naam nahin
haaye naam nahin
main teri nazar mein ae
bas jaaun
main teri nazar mein ae
bas jaaun
duniya se mujhe koi
kaam nahin
haaye kaam nahin

zulfon ki chamak ye kehti hai
tu koi sunehri naagin hai
zulfon ki chamak ye kehti hai
tu koi sunehri naagin hai
har saans mein sholaa tadpe hai
har geet mein dil ki dhadkan hai
har geet mein dil ki dhadkan hai

aankhon mein nashaa saa chhaayaa hai
aur haath mein mere
jaam nahin
haaye jaam nahin
main teri nazar mein
bas jaaun
duniya se mujhe koi
kaam nahin
haaye kaam nahin

do chaar ghadi kaa
milnaa ye
ab saari umar kaa bandhan hai ae
do chaar ghadi kaa
milnaa ye
ab saari umar kaa bandhan hai ae

tum naam wafaa ka
lete ho
duniyaa to wafaa ki
dushman hai
duniyaa to wafaa ki
dushman hai
do pyaar bharey dil waalon ko
duniyaa mein kahin aaraam nahin
aaraam nahin

tujhe chaand kahoon yaa
phool kahoon
mere pyaar ka koi
naam nahin
haaye naam nahin
main teri nazar mein
bas jaaun
duniya se mujhe koi
kaam nahin
haaye kaam nahin ee

———————————————
Devnagri Script Lyrics (Provided by Avinash Scrapwala)
———————————————–
तुझे चाँद कहूँ या आ
फूल कहूं
तुझे चाँद कहूँ या आ
फूल कहूं
मेरे प्यार का कोई
नाम नहीं
हाए नाम नहीं
मैं तेरी नज़र में ए
बस जाऊं
मैं तेरी नज़र में ए
बस जाऊं
दुनिया से मुझे कोई
काम नहीं
हाए काम नहीं

जुल्फों की चमक ये कहती है
तू कोई सुनहरी नागिन है
जुल्फों की चमक ये कहती है
तू कोई सुनहरी नागिन है
हर सांस में शोला तडपे है
हर गीत में दिल की धड़कन है
हर गीत में दिल की धड़कन है

आँखों में नशा सा छाया है
और हाथ में मेरे
जाम नहीं
हाए जाम नहीं
मैं तेरी नज़र में ए
बस जाऊं
दुनिया से मुझे कोई
काम नहीं
हाए काम नहीं

दो चार घडी का
मिलना ये
अब सारी उम्र का बंधन है ए
दो चार घडी का
मिलना ये
अब सारी उम्र का बंधन है ए

तुम नाम वफ़ा का
लेते हो
दुनिया तो वफ़ा की
दुश्मन है
दुनिया तो वफ़ा की
दुश्मन है
दो प्यार भरे दिल वालों को
दुनिया में कहीं आराम नहीं
आराम नहीं

तुझे चाँद कहूँ या आ
फूल कहूं
मेरे प्यार का कोई
नाम नहीं
हाए नाम नहीं
ैं तेरी नज़र में ए
बस जाऊं
दुनिया से मुझे कोई
काम नहीं
हाए काम नहीं


This article is written by Sadanand Kamath, 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: 4331 Post No.: 15625

Today, May 27, 2020 is the 56th Remembrance Day of India’s first Prime Minister, Pandit Jawaharlal Nehru. I also remember this day for two other reasons. First, it was the day when my SSC result was out in the morning and second, I had to attend my maternal uncle’s marriage. That day was almost like current lockdown situation except that the trains were running and we could go out. A pall of gloom was visible on almost every one’s faces I met at the marriage. The question in their mind was ‘After Nehru, Who?

Pandit Jawaharlal Nehru was a visionary and the architect of modern India. For a newly independent country, charting of a growth path was necessary. The policies were directed towards creating infrastructure facilities like construction of major dams, power plants and setting up of heavy industries like steel plants, engineering and chemicals. Higher educational institutes like Indian Institute of Technologies (IITs), the Indian Institute of Management (IIMs) and other scientific institutes like All India Institute of Medical Science (AIIMs) were set up. He was also the architect of non-alignment movement during the cold-war years.

There were also brickbats for Pandit Nehru’s policies. His handling of Kashmir issue in 1948 and his China policies were highly criticised. Also, the food crisis in the 1960s were blamed for not giving importance to the agricultural sector in the Five-year plans. The foremost critics of Nehruvian policies in those days were Dr. Ram Manohar Lohia of Socialist Party, Hem Barua, H V Kamath and Barrister Nath Pai of Praja Socialist Party, Balraj Madhok of Jan Sangh and Hiren Mukherjee of Communist Party of India. Despite their relatively much lower number of seats in the parliaments, they were forces to reckon with as the leaders from the opposition parties.

I remember in my teen that during the parliament sessions that the newspapers will carry front-page news of the criticism of Government’s policies by one or more of the names of the leaders I mentioned above. Some of these names may not ring bell to the new generations. Most of them were good orators. It was the charismatic presence of Pandit Jawaharlal Nehru who aptly handled heated debate upholding the democratic norms in the parliament.

After the General Election of 1957, one more strong critic of Pandit Nehru’s policies entered the Lok Sabha. He was 33-year old Atal Bihari Vajpayee of Jan Sangh. There used to be heated arguments between the young Atal Bihari Vajpayee and Pandit Nehru in Lok Sabha. One of the anecdotes which Atal Bihari Vajpayee revealed during a ‘no confidence’ motion against his Government in 1996, proves that despite serious differences, Pandit Jawaharlal Nehru’s admired Atal ji’s performance in the Lok Sabha. Let us read in Vajpayee’s own words which he spoke in Hindi (translated by me in English):

Once during the heated debate in the Lok Sabha, I told Nehru ji that he had a mixed personality in which he was both Churchill and Chamberlain (former prime ministers of the U K – first was supposed to be hawkish and the second dovish in crisis management). Nehru ji did not get angry. In the evening, I attended at a function organised for a visiting foreign dignitary. At the venue, Nehru ji saw me and called at his place to complement me for my rousing speech of that day in the Lok Sabha. He took me to one of the foreign dignitaries and introduced me by saying ‘he is a young leader from the opposition who always criticises me, but I see in him a great future’.

And what a great statesman Atal Bihari was as well. In 1977, when Atal Bihari Vajpayee became the Foreign Minister, he came to South Block to take charge of his ministry. While walking in the lobby of his office, he noticed that Nehru ji’s portrait was missing from the wall. He called his officials and asked them as to what happened to the portrait. There was no answer. After some time, he found that Nehru ji’ portrait was back in its place. Both these anecdotes indicate the greatness of both these leaders and their relationship in which there was no malice despite serious political differences.

Some of the IPTA members belonging to Hindi film fraternity were also the critics of the Nehruvian policies. Majrooh Sultanpuri in 1948 wrote a poem calling Pandit Nahru a stooge of Hitler and the slave of the Commonwealth for which he was arrested in 1949 by the then Chief Minister of Bombay State, Morarji Desai. Sahir Ludhianvi’s satirical song, cheen o arab hamaara hindustaan hamaara had an implicit criticism of the Government’s policies for widening the gap between ‘haves’ and ‘haves not’.

Shailendra was also the critics of Nehru. He had written a sarcastic poem on Nehru’s visit to the UK in June 1953 to attend the coronation ceremony of Queen Elizabeth. In today’s scenario, probably, Shailendra would have become a persona non grata in South Block. But with Pandit Nehru, it was different. The following anecdote which I read on the facebook page of Dinesh Shankar Shailendra, the youngest son of Shailendra, throws some light which indicates that Pandit Nehru had no malice towards his critics.

Sometime after the Chinese aggression in October 1962, Pandit Nehru invited some members of Indian Film Industry to Delhi to personally thank them for doing programmes for the Indian Army to boost their moral and also raise funds. Raj Kapoor with his core team comprising Shankar-Jaikishan, Mukesh, Hasrat Jaipuri and Shailendra were also the guests. All the guests were waiting at the venue but Nehru ji got delayed. A bored Shailendra told Raj Kapoor that he was tired of waiting and would like to go back to his hotel room. He also said that there were so many important guests and he would not be missed. Raj Kapoor agreed.

After some time, Pandit Nehru arrived and personally met all his guests. While talking to Raj Kapoor, Pandit Nehru suddenly asked ‘Where is Shailendra? – the man who wrote hothon pe sachchaayi rehti hai, jis desh mein ganga behti hai. Raj Kapoor was in a quandary. He immediately sent Shankar to bring Shailendra from his hotel room which he did. A relieved Raj Kapoor proudly introduced Shailendra to Pandit Nehru who insisted getting photographed exclusively with Shailendra. Nehru ji told Shailendra that he would personally sign the picture and send it to him which he did.

It was, therefore, no surprise that the finest tributes to Pandit Nehru following his death on May 27, 1964 came from his critics. After reading them, I feel that they have all come from the bottom of their hearts and also out of immense respect for him. Kaifi Azmi wrote a heart-felt song, meri aawaaz suno, pyaar ka raag suno for ‘Naunihaal’ (1967). He also wrote a nazm, Nehru in 1964. Sahir Ludhianvi wrote a nazm, Jawaharlal Nehru soon after the death of Pandit Nehru.

Pandit Nehru was a great admirer of Hindi and Urdu poetry. He was a fan of poets like Josh Malihabadi, Firaq Gorakhpuri, Suryakant Tripathi Nirala and Harivanshrai Bachchan with whom he used to interact with them on poetry. There are anecdotes on Pandit Nehru’s friendship with these poets which also reveal that Pandit Nehru took criticism from his friends without malice towards them.

Pandit Nehru was instrumental in setting up of Children’s Film Society of India in 1955. He had invited Kidar Sharma to direct the first film for the children, ‘Jaldeep’ (1956). The film won the award of the best film under children’s film category at Cannes Film Festival in 1957. For the next children’s film, ‘Bachhon Se Baaten’ (1957), Kidar Sharma requested Nehru ji as a part of the film. One can say that Pandit Nehru acted in a film where he was the main actor. [Source: Kidar Sharma’s autobiography, ‘One And Lonely Kidar Sharma’ (2002)].

Shailendra wrote a non-film song as a tribute to Jawaharlal Nehru. On the occasion of the 56th Remembrance Day of Pandit Jawaharlal Nehru, I am presenting the same non-film song ‘phool khilega baaghon mein’ (1964) which is rendered by Mukesh. The song is set to music by Shankar-Jaikishan.

Audio Clip:

Song-Phool khilega baaghon mein jab tak ghulaab hai pyaara (Mukesh NFS)(1964) Singer-Mukesh, Unknown voie, Lyrics-Shailendra, MD-Shankar Jaikishan
Chorus
Chorus + Mukesh

Lyrics

Chacha Nehru
amar rahen
Chacha Nehru
amar rahen
Chacha Nehru
amar rahen

phool khilega baaghon mein
jab tak gulaab kaa pyaara
tab tak zinda hai dharti par
Nehru naam tumhaara
jab tak hai iss jag mein
chanda suraj kaa ujiyaara
tab tak zinda hai dharti par chaacha naam tumhaara

humko hai dukh humne kho daala apna humjholi
jiske saath deewaali thhi uske sang khelen holi
kaun bada ab hum jaise ban ke khilwaad karega
pyaar karega jhagdega jhoothi taqraar karega
khilega jag ke aangan mein
jab tak bachpan pyaara
tab tak zinda hai dharti par chaacha naam tumhaara

kaun manga kar dega humko bhaalu haathi cheete
bachpan ke din apne to bachpan se pehle beete
kaun hamen chitti likhega pyaar bhari bhaasha mein
haay tumhen bhi hum likh paate kaash aur tum jeete
jab tak bachche muskaayenge youn nirmal jaldhaara
tab tak zinda hai dharti par chaacha naam tumhaara

wo muskaan hamaare jaisi hriday jeetne waali
wo gussa jo sheetal hai jaise barkha matwaali
wo ghudki jo sikhlaati hai sabak yaad kar lena
wo baaten jaise bikhraaye phool phool ki daali
yaad aayengi jab tak dukh mein degi yaad sahaara
tab tak zinda hai dharti par chaacha naam tumhaara

phool khilega baaghon mein jab tak gulaab ka pyaara
tab tak zinda hai dharti par chaacha naam tumhaara

chale gaye ho lekin lagta hai tum yahin chhupe ho
jaise hum bachchon se aankh micholi khel rahe ho
bagiyaa ke phoolon mein bikhri hai muskaan tumhaari
nadiyon ke sang chalte ho parvat ke saath khade ho
jab tak baaki hai duniya mein jo kuchh bhi hai pyaara
tab tak zinda hai dharti par chaacha naam tumhaara

kabhi na bhoolenge hum tumne itna pyaar diya hai
kabhi na murjhaayega tumne jo gulzaar diya hai
hamen tumhaari yaadon ki saugandh ke hum bachche bhi
yogya banenge uske tumne jo sansaar diya hai
jab tak mehnat ke haathon jaayega vishwa sanwaara
tab tak zinda hai dharti par chaacha naam tumhaara

hum sachche insaan banen
hum dost banen vishwaasi
hum chaahe jo hon pahle hon achchhe Bharatwaasi
kabhi na ho ab jung zameen par
desh rahen sab mil kar
jung ek hi ho duniya mein
bhookh rog aur dukh par
jab tak bahti hai is duniya mein Ganga ki dhaara
tab tak zinda hai dharti par chaacha naam tumhaara
phool khilega baaghon mein
jab tak gulaab kaa pyaara
tab tak zinda hai dharti par
chaacha naam tumhaara
tab tak zinda hai dharti par
chaacha naam tumhaara
tab tak zinda hai dharti par
chaacha naam tumhaara


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. : 15598

“Bandagi” (1972) was a “social” movie which was directed by K Shankar for MCR Films, Madras. The movie had Vinod Mehra, Sandhya Roy, Madan Puri, Sujit Kumar, Ramesh Deo, Sundar, Birbal, Shivraj, Prem Kumar, Gemini Balu, Indira Bansal, Shammi, Shabnam, Pandhari Bai, Padma Khanna, Jagdeep etc in it.

This movie had six songs in it. !972 was a time when I was as my precocious best as far as listening to Hindi movie songs on loudspeakers and radio was concerned. But I must admit that I never heard any songs of this movie. I was not even aware of the name of the movie till now ! So it is clear that the movie did not do well at the box office.

One song from the movie has been discussed in the past. Here is the second song from “Bandagi”(1972) to appear in the blog. This song is sung by Kishore Kumar. Rajinder Krishan is the lyricist. Music is composed by Shankar Jaikishan.

The picturisation shows Vinod Mehra (badminton racquet in hand) singing this teasing cum flattering song for Sandhya Roy (also holding a badminton racquet). The same song picturised over a Shammi Kapoor or Jeetendra would have made this song a hit song. Sadly Vinod Mehra never had the charisma of a top romantic hero. Investing on penny stocks like Vinod Mehra and Sandhya Roy and hoping to make handsome profits neither works in stock market nor in Hindi movies. 🙂


Song-Mera yaar zulf mein phool laga ke chalta hai (Bandagi)(1972) Singer-Kishore Kumar, Lyrics-Rajinder Krishan, MD-Shankar Jaikishan

Lyrics

haaye
o
waah waah
kya kehne hain

mera yaar
mera yaar zulf mein phool laga ke chalta hai
kambakht bahaaron ka kaleja jalta hai
o mera yaar
o mera yaar
o mera yaar
o mera yaar zulf mein phool laga ke chalta hai
hey hey

uff mastaani
haay bhari jawani
uff mastaani
bhari jawaani
jaise chadhti nadiya ka paani
mukhde ko
mukhde ko dekh ke sooraj aankhen malta hai ae ae
o mera yaar zulf mein phool laga ke chalta hai
hey hey

rang badan ka
haay chandan jaisa
rang badan ka chandan jaisa
chalta phirta ek chaman sa
sharma ke
sharma ke din bhi waqt se pehle dhalta hai ae ae
mera yaar zulf mein phool laga ke chalta hai
sadqe

roop ki barkha
aise barse
roop ki barkha aise barse
dhoop bhi chhup jaaye darte darte
palko ke
palko ke saaye me ik shola sa tapta hai ae ae
mera yaar zulf mein phool laga ke chalta hai
o mera yaar
o mera yaar
o mera yaaaar
o mera yaar zulf mein phool laga ke chalta hai


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

Blog Day :

4268 Post No. : 15495 Movie Count :

4270

hullo Atuldom

Under Sudhirji’s current series “Songs repeated in hindi films” he posted Ek Ladki Bheegi Bhaagi Si on March 17th, that reminded me that Farooque Sheikh’s Birth anniversary was round the corner. he would have turned 72 today (25 march 2020).

I was reading up about Farooque Sheikh ((25 March 1948 – 28 December 2013) and discovered he was the son of a lawyer and was a law graduate himself. He had leanings towards theatre and met his future wife Roopa and future co-star Shabana Azmi on the stages of St. Xavier’s College in Mumbai.

His first released movie was M.S. Sathyu’s “Garam Hawa”. What followed was a list of movies that represented the meaningful cinema of the 70s and 80s, movies that were neither ART or COMMERCIAL but more of the MIDDLE-OF-THE-ROAD kind; movies that the middle class audiences of those times identified with. We saw him in Chashme Baddoor, Katha, Rang Birangi, Ek Baar Chale Aao, Faasle, Ab Aayega Maza, Biwi Ho Toh Aisi etc.
Today we shall have a song from “Biwi Ho Toh Aisi” which had an unusual pairing. We were used to seeing Farooque with Deepti Naval in most films back then, but “BHTA” had Farooque pairing with Rekha romantically, and Kadar Khan and Bindu played his parents and Salman Khan (this was Salman Khan’s debut movie) played his brother.

This was not the first time that Rekha teamed up with Farooque Sheikh. He had played a Nawaab who was in love with Umrao in Umrao Jaan. There was one other movie with the same pairing but we see Farooque Sheikh playing the typical romantic Bollywood hero here.
Here is today’s song.


Song-Phool gulaab ka (Biwi Ho To Aisi)(1988) Singers-Md Aziz, Anuradha Paudwal, Lyrics-Anjaan, MD-Laxmikant Pyarelal
Both

Lyrics

phool gulaab ka
phool gulaab ka
laakhon mein hazaaron mein
ek chehra janaab ka aa aa
phool gulaab ka
haan jhonke suroor ke
jhonke suroor ke ae
aisi taareefen taareefen
aisi taareefen karna
seekhe koyi huzoor se ae ae

phool gulab ka
haan jhonke suroor ke ae

gore gore haathon mein mehandi mehakti hai
gore gore haathon mein mehandi mehakti hai
phool si kalaayi mein choodi khanakti hai ae
choodi khankati hai ae ae
maujen chenaab ki
maujen chenaab ki ee
maathhe pe chamakti hai bindiya hijaab ki ee ee
phool gulaab ka

khushbuon ke saaye mein
kya kya gul boote hain
khushbuon ke saaye mein
kya kya gul boote hain
prem rang sachcha hai
baaki rang jhoothhe hain
baaki rang jhoothhe hain ae ae
mausam jawaan hai
mausam jawaan hai ae
tauba boloon kya boloon
mushkil mein jaan hai ae ae
jhonke suroor ke ae ae

thhami thhami lehren hain
ruka ruka paani hai
thhami thhami lehren hain
ruka ruka paani hai

teri meri aankhon mein
raat ki kahaani hai
teri meri aankhon mein
raat ki kahaani hai
raat ki kahaani hai ae ae
waada bahaar ka
waada bahaar ka aa
umrr bhar gaayenge
naghma yeh pyaar ka aa aa

phool gulaab ka
laakhon mein hazaaron mein
ek chehra janaab ka aa aa
jhonke suroor ke
aisi taareefen karna seekhe koyi huzoor se ae ae

phool gulab ka
laakhon mein hazaaron mein
ek chehra janaab ka aa aa
phool gulaab ka
laakhon mein hazaaron mein
ek chehra janaab ka


This article is written by Sadanand Kamath, 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 : 3727 Post No. : 14666

Today, October 1st is the birth anniversary of two iconic personalities of Hindi film music. Both started their career in Hindi film industry in Bombay (Mumbai) in 1946 – one as a music director and the other as a lyricist. Yes, it is Sachin Dev Burman’s 112th birth anniversary and Majrooh Sultanpuri’s 99th birth anniversary. Both have been my favourites amongst the music directors and lyricists of the golden era of Hindi film music. Both seem to have been made for each other. SD Burman was one of the earliest pioneers in introducing the concept of ‘tune first lyrics later’ in Hindi film music while Majrooh Sultanpuri was master in writing lyrics to the tune.

I found both of them to be non-conformists in their respective fields.  SD Burman’s compositions did not leave trails to identify them as SD Burman type of music. In my younger days, it was not easy for me to identify the songs composed by SD Burman. Had I not known in advance, I would have difficulties in knowing that songs of ‘Baazi’ (1951), ’Pyaasa’ (1957) and  ‘Nau Do Gyarah’ (1957) were composed by the same music director. Majrooh Sultanpuri on the other hand wrote lyrics of varied moods and of all genres with ease. Another common factor between these two stalwarts was that both were called as ‘old man with young heart’. If SD Burman could composed Roop Tera Mastaana at the age of 64, Majrooh Sultanpuri wrote lyrics for Raat Shabnami Bheegi Chaandni at the age of 77.

Despite both SD Burman and Majrooh Sultanpuri starting their filmy career in 1946, it took about 11 years for both of them to work together in Navketan’s  ‘Nau Do Gyaarah’ (1957), though the other collaboration, ‘Paying Guest’ (1957) was released first. The main reason was that SD Burman was already working with Sahir Ludhianvi since 1951. It was only when SD Burman stopped engaging Sahir after ‘Pyaasa’ (1957) that he found Majrooh Sultanpuri as a suitable lyricist partner. From 1957 till SD Burman’s death in October 1975, both of them worked together in 20 films composing 137 songs.

I have already written about Majrooh Sultanpuri last year while covering the song Nanha Mora Doley Mori Anganiaa. So in this article, I propose to discuss only the musical career of SD Burman.

Sachin Da (1/10/1906 – 31/10/1975) was born in Comilla, a part of Tripura at that time (now in Bangladesh). He belonged to Tripura’s royal family in which his father, Nabadwip Chandra Dev Burman, was the next in line to Tripura Royalty. However, due to some palace machinations, Nabadwip Burman was denied his right as the next king of Tripura because of which he along with his family shifted to Comilla. SD Burman’s childhood years in Comilla became his training ground for music as he became enthralled by the folk music of what was then known as East Bengal.

After graduation from a Comilla college, SD Burman enrolled for Master’s degree in English in the University of Calcutta in 1924. However, he soon gave up his studies to become the disciple of Krishna Chandra Dey (KC Dey). Later, he continued his musical training under Ustad Badal Khan and Pandit Bhishamdev Chatopadhyay.  The royal family of Tripura were the connoisseurs of Hindustani classical music. They resented SD Burman’s indulgence in singing and recording folk songs for earning as it was below dignity for a royal member of family to earn from the music. They also felt that folk songs were not meant for royalty as they were sung by the lower strata of the society. Because of this, SD Burman did not get the traditional royal welcome when he visited Agrtala after his marriage with Meera in 1938.

In 1932, SD Burman left Tripura for Calcutta (Kolkata) for pursuing his interest in music. In the same year, he approached HMV for his first recording of a non-filmy Bengali song. However, he failed in the audition test. Luckily for him, Hindustan Musical Products (Hindustan Records) offered to record his first gramophone song. The song became a major success for Hindustan Records. During 1932-1946, SD Burman recorded over 100 non-films, mostly Bengali and some filmy Bengali songs most of which became commercially successful.

Despite success as a singer in non-film songs, SD Burman had to face disappointment in 1933 when a song sung by him in the film ‘Yahudi Ki Ladki’ (1933) was deleted and was recorded afresh in the voice of Pahadi Sanyal due to the internal politics of New Theatre. In 1935, SD Burman got an opportunity to do a minor role of a beggar in Madhu Bose’s film ‘Selima’ (1935) in which he was to sing a song. At first, SD Burman refused telling that he would be ostracised from the Tripura royal family if they came to know that he was working in a film. However, Madhu Bose assured him that no one would recognise him in his make-up of a beggar with beard and moustache. So this became SD Burman’s first film song as an actor-singer.

Sometime in 1942, SD Burman got an offer from Chandulal Shah to join Ranjit Movietone as music director. The offer was declined as he did not relish the idea of leaving Kolkata. In the next two years, he found that he was not able  to get enough opportunity to compose music for Bangla films as all important banners had their own music directors in their pay rolls. These music directors would offer him to sing as a playback singer which he would not agree as his wish was to become a music director. At this juncture, he took a decision that he would not sing for any other music directors and he would sing his own compositions for films not as a playback singer but as background singer. He maintained that stand consistently after he became a part of the Bombay (Mumbai) film industry in 1946.

In early 1940s, Bengal was reeling under the worst famine. The film industry was adversely affected. There was an exodus from Kolkata to Mumbai film industry for a different reason. SD Burman knew that despite his liking for Kolkata, he had to move to Mumbai to be able to achieve his dream of becoming a music director. In October 1944, SD Burman along with his family landed in Mumbai on the invitation from Rai Bahadur Chunnilal and Sashadhar Mukherjee who had formed Filmistan with Ashok Kumar, Gyan Mukherjee and other technicians, a breakaway group from Bombay Talkies.  Burman joined Filmistan as music director.

In Mumbai, SD Burman’s greatest handicap was his inability to fully understand Hindi, leave aside Urdu.  This handicap willy-nilly made him the pioneering in ‘tune first lyrics later’ concept in Hindi film song compositions. It is said that in his first two films with Filmistan, C Ramchandra helped SD Burman in music arrangements. I guess, as a newcomer, it was difficult for him to arrange musicians and communicate with them.

His first film as a music director was ‘Shikaari’ (1946) followed by ‘Aath Din’ (1946), both produced under the banner of Filmistan.  The music of ‘Shikari’ (1946) did not create much interest in the common public though studio hands appreciated newness in his music compositions. However, songs of ‘Aath Din’ (1946) especially two songs sung by SD Burman and Pehle Na Samjhaa Pyaar Tha by Ameerbai Karnataki became popular and made him a different class of music director well-versed with the then East Bengal folk music.

SD Burman was not satisfied with his music in these two films as he did not find anyone in the streets singing his songs. On the contrary, he found his servant always humming the songs from ‘Rattan’ (1944). He felt that unless his songs became popular on the streets, his presence as a music director would never be felt in Bombay film industry.

In the meanwhile, Sashadhar Mukherjee allowed him to take up the music direction in the films outside Filmistan. In 1947, he did two films outside Filmistan – ‘Chitor Vijay’ (1947) and ‘Dil Ki Rani’ (1947) both having Raj Kapoor and Madhubala as lead pairs. Neither the films fared well on the box office front nor did the songs become popular. The only point of interest in ‘Dil Ki Rani’ (1947) was that SD Burman made Raj Kapoor to sing in his own voice a song, O Duniya Ke Rehne Waalo Bolo Kahaan Gaya Chitchor.

Filmistan entrusted SD Burman with the music direction of ‘Do Bhai’ (1947). Sashadhar Mukherjee was a hard task master who rarely got satisfied with the tunes SD Burman composed for this film. Fed up with the constant rejections of tunes by Sashadhar Mukherjee, one day, SD Burman decided to have a show down with his boss. Probably after that he would think of leaving Filmistan and go back to Kolkata. To his surprise, Sashadhar Mukherjee at once approved the first tune he played on the harmonium and asked him record the song at the earliest. The song was Mera Sundar Sapna Beet Gaya sung by Geeta Roy (later Dutt). This song made Geeta Roy a star playback singer overnight. The film was a box office success. For the first time, SD Burman heard his servant humming this song which made him very happy. In 1948, he composed songs from ‘Vidya’ (1948). It was his first film with Dev Anand and Suraiya. The film did not fare well on the box office but one song  Laayi Khushi Ki Duniya, picturised on Dev Anand and Suraiya, became very popular.

Filmistan’s ‘Shabnam’ (1949) can be regarded as SD Burman’s first real successful film as a music director as all the songs of the films became very popular. For SD Burman, it was one of his most satisfying period of his musical career as he found the songs of ‘Shabnam’ being heard on the street quite often. He even heard the labourers at Bandra Railway Station, singing one of the songs from this film in tandem with their track maintenance work.

In 1950s, SD Burman did not have much success as a music director. ‘Afsar’ (1950) was his first film for Navketan – a film production company started by Chetan Anand and Dev Anand. The film did not fare well at the box office although two songs – Naina Deewaane Ek Nahin Maane and Man Mor Huaa Matwaala became popular. ‘Pyaar’ (1950) also did not have a great run. SD Burman was now depressed that even after 5 years of his stint as a music director in Bombay film industry, he has not established himself as a successful music director. With this thought in mind, he decided to leave Mumbai and return to Kolkata.

At that time, Ashok Kumar was reviving Bombay Talkies by producing ‘Mashaal’ (1950) for which SD Burman was entrusted with the music direction. His leaving at a crucial juncture would have affected the film. After much persuasion by Ashok Kumar, SD Burman stayed back to complete the music direction of the film with a condition that after the completion of his work, he would return to Kolkata.

It so happened that ‘Mashaal’ (1950) became a box office hit film. Almost all the songs of the film became very popular. But it was Manna Dey’s song,  Upar Gagan Vishaal which drew attention of the common folk. With this song, Manna Dey seemed have announced that he had, at last, arrived in the world of Hindi film music. Manna Dey had worked as an Assistant Music Director for SD Burman but he got his first chance to sing under his baton only in ‘Mashaal’ (1950).

With the success of ‘Mashaal’ (1950), producers lined up for signing SD Burman for their films which included ‘Bahaar’ (1951), ‘Buzdil’ (1951), ‘Ek Nazar’ (1951), ‘Naujawaan’ (1951) and ‘Sazaa’ (1951). All these films had very popular songs some of which are still remembered today like Sainya Dil Mein Aana Re, Jhan Jhan Jhan Jhan Paayal Baaje, Thandi Hawaayen Lehra Ke Aayen and Tum Na Jaane Kis Jahaan Mein Kho Gaye.

But one film SD Burman  did in 1951 gave a tremendous boost to his career as a music director – it was Navketan’s ‘Baazi’ (1951). It was Guru Dutt’s first directorial venture. SD Burman’s musical treatment in this film was quite a contrast to what he had so far churned out. There were no Bengali traces in the songs. Instead, he predominantly used western and Punjabi beats. In fact, he turned Sahir Ludhinavi’s philosophical ghazal, Tadbeer Se Bigdi Huyi Taqdeer Banaa Le  into a seductive club song. All the songs of ‘Baazi’ (1951) became super hits. The success of ‘Baazi’ (1951) made SD Burman almost a permanent fixture with Navketan Banner until ‘Chhupa Rustom’ (1973). By now, he had dropped the idea of shifting to Kolkata.

The musical success of ‘Baazi’ (1951) created a successful pair of Sahir Ludhianvi and SD Burman. During 1951-57, both of them created 138 songs in 18 films. Unfortunately, due to clash of egos, they did not work together after ‘Pyaasa’ (1957).

I will not go into further details of his successful films as they are in large numbers. But there are a few films which I consider as classic insofar as SD Burman’s music is concerned. They are ‘Taxi Driver’ (1954), ‘Pyaasa’ (1957), ‘Nau Do Gyaarah’ (1957), ‘Paying Guest’ (1957), ‘Kaala Paani’ (1958), ‘Sujata’ (1959), ‘Kaala Baazar’ (1960), ‘Bandini’ (1963) ‘Tere Ghar Ke Saamne’ (1963), ‘Guide’ (1965), ‘Aradhana’ (1969), ‘Prem Pujari’ (1970), ‘Sharmilee’ (1971), ‘Tere Mere Sapne’ (1971), and ‘Abhimaan’ (1973). But within these films, there were high points in SD Burman’s musical career – ‘Baazi’ (1951), ‘Pyaasa’ (1957), ‘Guide’ (1965), ‘Aradhana’ (1969) and ‘Abhimaan’ (1973).

During 1946 until his death in October 31, 1975 SD Burman composed music for 90 films (including one unreleased film) comprising 673 songs (666 songs if I exclude 7 songs from the unreleased film). This gives an annual average of 3 films. According to those who had closely worked with SD Burman, he would consider him to be ‘busy’ if he had two films on hand. He considered himself ‘very busy’ if he had 3 films on hand. He would not take any more musical assignments until he completed one of the three films on hand. So the annual average of 3 films are within the parameter he set for himself.

It was during the recording the song, Badi Sooni Sooni Hai Zindagi Ye Zindagi  from ‘Mili’ (1975) that SD Burman got paralytic attack and was shifted to Bombay Hospital. Later, RD Burman completed the recording of the song. What an irony! When Kishore Kumar was singing this song for recording, his mentor was in the hospital in deep coma. SD Burman remained in coma for the next 5 months until his end came on October 31, 1975.

Since the article has already become very lengthy, I propose to write a second part of the article covering some other aspects of SD Burman’s Hindi film music on his Remembrance Day on October 31, 2018. There are hundreds of anecdotes in the life of SD Burman – some known and some unknown to me – which makes his musical journey very interesting. While Gulzar called him ‘Prince of Music’, Pandit Hari Prasad Charasia referred him as ‘Sangeet Sant’ (Saint of Music). Kersi Lord, who worked with SD Burman as a drummer and later as an accordionist for a very long time, called him ‘an old man with a young heart’ insofar as his music was concerned. Pandit Shiv Kumar Sharma, the santoor player called SD Burman as a wonderful person with child-like innocence.

I will end this article with a statement that SD Burman was a music director who remained at the zenith of his musical career in Hindi film industry since the success of ‘Baazi’ (1951) until his death on October 31, 1975. Even 5 year hiatus with Lata Mangeshkar (1957-62) did not affect his musical career. Some of the films for which SD Burman composed music may have failed at the box office but his music did not fail.

On the occasion of 112th birth anniversary of SD Burman and 99th birth anniversary of Majrooh Sultanpuri, I present one of their creations from ‘Sitaaron Se Aage’ (1958). The film was produced by VL Narasu, a coffee plantation magnate from the South India. The film starred Ashok Kumar, Vyjayantimala, Jagdish Sethi, Johny Walker, Shammi, Iftekhar, Raja Sulochana, Leela Mishra, Manmohan Krishna etc.

The film seems to have jinxed from the very beginning. Gyan Mukherjee was originally assigned to direct the film. He had even completed musical sitting with SD Burman. The film went into shooting floor in 1956. However, Gyan Mukherjee fell ill and was diagnosed with brain tumour. He was also afflicted by Parkinson’s disease. He passed away in November 1956. Ashok Kumar had to rope in Satyen Bose to direct the film (As revealed by late Sachin Bhowmick and quoted in ‘SD Burman – The Prince Musician’ – Anirudh Bhattacharjee & Balaji Vittal (2018).

During the making of the film, SD Burman got into tiff with Lata Mangeshkar on the issue of re-recording of the song, Sainya Kaise Dhaaroon Dheer as he wished to record the song afresh with some changes in the tune. Since Lata was leaving for a foreign trip, she could not give him the date, nor she could commit to give a priority date on her return from the trip. This enraged SD Burman to such an extent that he stopped engaging Lata Mangeshkar as a playback singer for the next 5 years. He got the above-mentioned song recorded in the voice of Asha Bhonsle. But she could not render the song the way S D Burman wanted. So he retained the originally recorded Lata version for the film. The remaining songs which were to be sung by Lata in the films were rendered by Asha Bhonsle (3) and Geeta Dutt (1).

After about 8 years from this incidence, SD Burman got his original wish fulfilled. Lata Mangeshkar recorded a song based on the tune of the song referred to above. The result was the culmination of a new song for the film ‘Guide’ (1965). The song was Mo Se Chhal Kiye Jaaye Dekho Sainya Beimaan. Incidentally, as I checked from the credit titles, Hiralal was one of the choreographers for both ‘Sitaaron Se Aage’ (1958) and ‘Guide’ (1965).

‘Sitaaron se Aage’ (1958) got delayed and finally released sometime in early 1958. The film was a musical extravaganza with Vyjayantimala performing a number of semi-classical dances in the film. A feature of the songs in this film was that  SD Burman used Western scores in a couple of songs like Chanda Ki Chaandni Ka Jaadoo and Mehfil Mein Aaaye Wo Aaj Dheere Se that sounded like waltz music.

So far 7 songs (out of 9 including one multiple version song) from this film have been covered in the Blog. I present the 8th song – ‘Aa Khilte Hain Gul, O Mere Bulbul’ sung by Lata Mangeshkar. The song was written by Majrooh Sultanpuri and picturised on Vyjayantimala as a dance song. The song is not only melodious but rhythmic as well.

[Author’s Note: Some of the information on SD Burman’s early life and early musical career has been sourced from ‘SD Burman – The World of His Music’ by Khagesh Dev Burman (translated from Bengali by SK Ray Chaudhuri), 2013.]

(Video)

(Audio)

Song – Aa Khilte Hain Gul, O Mere Bulbul (Sitaaron Se Aage) (1958) Singer – Lata Mangeshkar, Lyrics – Majrooh Sultanopuri, MD – SD Burman
Chorus

Lyrics

aa khilten hain gul
o mere bulbul
rut hai jawaan
tu hai kahaan
dilruba aa aa aaa
aa khilten hai gul
o mere bulbul
rut hai jawaan
tu hai kahaan
dilruba aa aa aaa
aa khilten hai gul
ho oo mere bulbul
mil jaa gale
kahin ye milan ki 
rut na dhale
mil jaa gale
kahin ye milan ki 
rut na dhale
 
o o o o
o o o o o 
wohi teri raahen
wohi meri aahen
wohi main hoon
wohi dil mera
o
wohi teri raahen
wohi meri aahen
wohi main hoon
wohi dil mera
wohi teri baaten
wohi meri raaten
wohi rang e mehfil mera
rah ke juda
dil na dukha
aa bhi jaa aa aa aaa
aa khilten hain gul
o mere bulbul
jiyara jaley
piya kabhi apne
din thhe bhale
o jiyara jaley
piya kabhi apne
din thhe bhale
rut hai jawaan
tu hai kahaan
dilruba aa aa aaa
aa khilten hain gul
o mere bulbul
 
aa aa aa aa
aa aa aa aaa
aa aa aa aa
aa aa aa aaa
aa aa aa aa

o o o o
o o o
raah teri takta
gham se sulagta
chaand bechaara kahaan gaya
o raah teri takta
gham se sulagta
chaand bechaara kahaan gaya
tu hi nahi aaya
dhal gaya saaya
yahaan ka taara wahaan gaya
raat dhali
jhoom chali
phir hawaa aa aa aaa
aa khilten hain gul
o mere bulbul
tum na miley
khadi khadi jaloon piya
chanda taley
ho tum na miley
khadi khadi jaloon piya
chanda taley
rut hai jawaan
tu hai kahaan
dilruba aa aa aaa
aa khilten hain gul
o o mere bulbul. . .

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

आ खिलते हैं गुल
ओ मेरे बुलबुल
रुत है जवां
तू है कहाँ
दिलरुबा आ आ॰॰आs
आ खिलते हैं गुल
ओ मेरे बुलबुल
रुत है जवां
तू है कहाँ
दिलरुबा आ आ॰॰आs
आ खिलते हैं गुल
हो ओ मेरे बुलबुल
मिल जा गले
कहीं ये मिलन की
रुत ना ढले
मिल जा गले
कहीं ये मिलन की
रुत ना ढले

ओ ओ ओ ओ
ओ ओ ओ ओ ओ
वही तेरी राहें
वही मेरी आहें
वही मैं हूँ
वही दिल मेरा

वही तेरी राहें
वही मेरी आहें
वही मैं हूँ
वही दिल मेरा
वही तेरी बातें
वही तेरी रातें
वही रंग ए महफिल मेरा
रह के जुदा
दिल ना दुखा
आ भी जा आ॰॰आ॰॰आ
आ खिलते हैं गुल
ओ मेरे बुलबुल
जियरा जले
पिया कभी अपने
दिन थे भले
जियरा जले
पिया कभी अपने
दिन थे भले
रुत है जवां
तू है कहाँ
दिलरुबा आ आ॰॰आs
आ खिलते हैं गुल
ओ मेरे बुलबुल

आ आ आ आ
आ आ आ आss
आ आ आ आ
आ आ आ आss
आ आ आ आ

ओ ओ ओ ओ
ओ ओ ओ
राह तेरी ताकता
ग़म ये सुलगता
चाँद बेचारा कहाँ गया
ओ राह तेरी ताकता
ग़म ये सुलगता
चाँद बेचारा कहाँ गया
तू ही नहीं आया
ढाल गया साया
यहाँ का तारा वहाँ गया
रात ढली
झूम चली
फिर हवा आ॰॰आ॰॰आs
आ खिलते हैं गुल
ओ मेरे बुलबुल
तुम ना मिले
खड़ी खड़ी जलूँ पिया
चंदा तले
हो तुम ना मिले
खड़ी खड़ी जलूँ पिया
चंदा तले
रुत है जवां
तू है कहाँ
दिलरुबा आ आ॰॰आs
आ खिलते हैं गुल
ओ ओ मेरे बुलबुल॰ ॰ ॰


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 : 3691 Post No. : 14601

Greetings to all friends and readers for on today’s festival of Raakhi. I hope and pray that celebrations have been happily enjoyed in all households.

Ten years now that we have been celebrating this festival online on our blog. In the early years, as one browses through the articles posted, there was always this apprehension as to how many songs related to this festival may be found. But then the going has been good and strong, and noting the contribution sent in by group members, I think we are still good for a few years to come, to continue this celebration online. Folks have been sending in Raakhi songs from the recent decades, and we have also been searching and locating songs from the 1940s and 1950s still waiting to be posted.

Yes, this subject of the happy relationship between brothers and sisters is so central to the family storylines that abound in Hindi films. Such a large percentage of our films are romantic stories with strong family grounding, and in so many of them there is always a brother sister relationship to be highlighted. And when we have that as a prominent part of the screenplay, then more often than not a song has to come in to express the emotional sanctity and the beauty of this relationship. And that is a matter of common experience – isn’t it? Every person has had this relationship within family, within extended family, and within circle of friends too. And a great celebration this is – such a reassuring reminder of the people who matter in life.

This post is delayed – well, the drivers too have to celebrate you know. I have been busy with family gatherings and long distance phone calls since morning, and I am sure Atul ji too has been similarly occupied. And so would have been most of the readers and friends.

A wonderful song that was a favorite in the radio listening days is being brought up for posting today. The film is ‘Badnaam’ from 1975. Lyrics are from the pen of Asad Bhopali and the music – ah yes, the attractive and enchanting melody comes from the mind of that unsung genius – Ganesh. The tune is very catching, and I am sure you will remember it when you hear it again.

On screen, the song is performed by Nazima, who has played many second lead roles in her time, and many of them being of the younger sister. A charming and a bright screen presence she has. The person playing the role of the brother in this film is Baldev Khosa. The film comes from the banner of GeetaShri Films, Bombay and is directed by Dilip Bose. Besides the two performers we see in this clip, the rest of the cast of actors includes Reeta Anchan, Jalal Agha, Joginder, Jagirdar, Abhi Bhattacharya, Iftikhar, Mohan Choti, Brahmachari, Beerbal, Murad, Jagdev, Anita Guha, Gopal Sehgal, Master Ratan, Jayshree T, Master Chiku, Kamaldeep, Daya Devi, Lakshmi Chhaya, Anwar Hussain, and Sujeet Kumar.

Once again, hearty greetings to all readers and friends on this occasion of Rakhi.

Editor note- With this song, the fourth and final song from the movie, “Badnaam”(1975) joins the list of movies that have all their songs covered in the blog.

 

Song – Bhaiya Phool Main Phoolon Ki Daali  (Badnaam) (1975) Singer – Asha Bhosle, Lyrics – Asad Bhopali, MD – Ganesh

Lyrics

bhaiya phool main phoolon ki daali
jaise kaliyon ke mukhde pe laali
bhaiya phool main phoolon ki daali
jaise kaliyon ke mukhde pe laali
mera sapna tu. . .  haan
mera sapna tu
mera apna tu
tu hai to hai hariyaali
bhaiya phoo..oo..ool main daali
bhaiya phool main phoolon ki daali
jaise kaliyon ke mukhde pe laali

maathe pe tere chandan teeka
aaja aaj laga doon
maathe pet ere chandan teeka
aaja aaj laga doon
ik tere kaaran main duniya ki
har daulat thukra doon
tujh bin hai jeevan khaali
bhaiya phoo..oo..ool main daali
bhaiya phool main phoolon ki daali
jaise kaliyon ke mukhde pe laali

bajne do ab to mann ki veena
bajne do shehnaai
bajne do ab to mann ki veena
bajne do shehnaai
aaya hai kitne barson mein ab
behna ke ghar bhai
hoon na main kismatwaali
bhaiya phoo..oo..ool main daali
bhaiya phool main phoolon ki daali
jaise kaliyon ke mukhde pe laali

jag se na tootega ye naata
kitni bhi ho doori
jag se na tootega ye naata
kitni bhi ho doori
milne se hum ko kya rokegi
ab koi majboori
dhal gayi wo raina kaali
bhaiya phoo..oo..ool main daali
bhaiya phool main phoolon ki daali
jaise kaliyon ke mukhde pe laali
mera sapna tu. . .  haan
mera sapna tu
mera apna tu
tu hai to hai hariyaali
bhaiya phoo..oo..ool main daali
bhaiya phool main phoolon ki daali
jaise kaliyon ke mukhde pe laali

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
भैया फूल मैं फूलों की डाली
जैसे कलियों के मुखड़े पे लाली
भैया फूल मैं फूलों की डाली
जैसे कलियों के मुखड़े पे लाली
मेरा सपना तू॰ ॰ ॰ हाँ
मेरा सपना तू
मेरा अपना तू
तू है तो है हरियाली
भैया फू॰॰॰ल मैं डाली
भैया फूल मैं फूलों की डाली
जैसे कलियों के मुखड़े पे लाली

माथे पे तेरे चन्दन टीका
आजा आज लगा दूँ
माथे पे तेरे चन्दन टीका
आजा आज लगा दूँ
इक तेरे कारण में दुनिया की
हर दौलत ठुकरा दूँ
तुझ बिन है जीवन खाली
भैया फू॰॰॰ल मैं डाली
भैया फूल मैं फूलों की डाली
जैसे कलियों के मुखड़े पे लाली

बजने दो अब तो मन की वीणा
बजने दो शहनाई
बजने दो अब तो मन की वीणा
बजने दो शहनाई
आया है कितने बरसों में अब
बहना के घर भाई
हूँ ना मैं किसमतवाली
भैया फू॰॰॰ल मैं डाली
भैया फूल मैं फूलों की डाली
जैसे कलियों के मुखड़े पे लाली

जग से टूटेगा ये नाता
कितनी भी हो दूरी
जग से टूटेगा ये नाता
कितनी भी हो दूरी
मिलने से हम को क्या रोकेगी
अब कोई मजबूरी
ढल गई वो रैना काली
भैया फू॰॰॰ल मैं डाली
भैया फूल मैं फूलों की डाली
जैसे कलियों के मुखड़े पे लाली
मेरा सपना तू॰ ॰ ॰ हाँ
मेरा सपना तू
मेरा अपना तू
तू है तो है हरियाली
भैया फू॰॰॰ल मैं डाली
भैया फूल मैं फूलों की डाली
जैसे कलियों के मुखड़े पे लाली


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 TWELVE years. This blog has over 16400 song posts by now.

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

Important Announcement

(© 2008 - 2021) 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

16433

Number of movies covered in the blog

Movies with all their songs covered =1270
Total Number of movies covered =4463

Total visits so far

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Active for more than 4000 days.

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