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

Archive for the ‘"roadside tamaasha" song’ Category


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 : 3487 Post No. : 14008

The yippeee film for today the 1972 production by Manoj Kumar – ‘Shor’.

There was a period in the career of Manoj Kumar, where every film he touched has either been a hit, or it has commanded a cult status over the years. Starting with ‘Shaheed’ in 1965, and right up to ‘Kranti’ in 1981, he produced, directed and acted in a string of hit films, that have become memorable icons over the years. It was ‘Shaheed’ in 1965, then ‘Upkar’ in 1967, then ‘Poorab Aur Pashchim’ and ‘Yaadgar’ in 1970, then ‘Shor’ in 1972, ‘Roti Kapda Aur Makan’ in 1974, and then ‘Kranti’ in 1981. Of these, the 1972 production of ‘Shor’ is kind of the odd one out – it is not really a patriotic / nationalist theme, that is Manoj Kumar’s forte, that earned him the nickname of Mr Bhaarat. After 1981, Manoj Kumar seemed to have lost his touch, and after a string of indifferent productions – ‘Painter Babu’ (1983), ‘Kalyug Aur Ramayan’ (1987), and ‘Clerk’ (1989), he kind of let go the production / direction stance.

Coming back to ‘Shor’, not just that it was a little different from the normal ‘nationalist’ genre of Manoj Kumar, it is also counted as the least successful film, commercially, in his career as a producer / director – from the period of ‘Shaheed’ to ‘Kranti’. And then, like a few other handful of examples, this film gained a cult status over the decades. And that was, not in the least due to the fantastic songs and music of this film.

Having said that, it surely needs to be recognized and acknowledged that – looking at the list of his films from ‘Shaheed’ to ‘Kranti’ – he belongs to that select band of producers/directors that have had a Midas touch as far as music and songs are concerned. A quick review of his films listed above will lend credence to this statement. Even if, for the sake of argument only, if this set of films is viewed for quality features and box office attractions, then even if one wants to discount other aspects related to the film, one will not be able to discount these films for the sake of the music and songs.

One reason that ‘Shor’, after its initial lukewarm reception at the box office, continued to build into a cult film status, is its wonderful, and even powerful, music and songs.  Let’s take look at the list of songs of this film. It seems to be short in the list, but the impact and profundity of these songs, stands out all by itself.

 

Song Title

Post No.

Post Date

Paani re paani teraa rang kaisaa 1658 21-Jul-09
Ik pyaar ka naghmaa hai 1675 24-Jul-09
Jeewan Chalne Ka Naam 5555 1-Mar-12
Shehnaai Baje Na Baje 14003 2-Feb-18

 

My favorite amongst these is of course the one that talks about the colors of water – “Paani Re Paani Tera Rang Kaisa”. The words of this song are just so dear. Every line, every stanza has its own flavor, and impact. In the three stanzas, the question posed in the mukhda is answered in different ways. And the last one – which will touch a chord of the life’s hope within each human being – is simply the best – “Sau Saal Jeene Ki Ummeedon Jaisa”.

Then we have the supremely inspirational song of hope and progress – “Jeevan Chalne Ka Naam” – a song that plays through the days of the hopeful endaeavor, as the hero attempts to break a record of continuous cycling effort. An event and a song that bring together an entire community – a pinnacle of synthesis of emotions coming together as one.

And then the song that has, along with “Paani Re Paani. . .”, garnered the cult status – this time in the genre of love songs. Every time I listen to this line – “Zindagi Aur Kuchh Bhi Nahin, Teri Meri Kahaani Hai”, it sends shiver down my spine. The sheer simplicity of words, put together to express one of the most profound essays in the multiplicity of human existence. In eventual analysis, actually in this life, there is nothing more than the self. And practically every tale is eventually a tale of the self. But love changes all that. When there is love, then the tale is of ‘you and me’ put together – and there really is nothing else in life actually. “Ik Pyaar Ka Naghma Hai” – life is but simply a song of love, yours and my love. One of THE best expressions that puts in a definitive and ultimate response to the query of “what is love”.

Another aspect of his musical expression I would like to discuss. What we see here is the shades of Raj Kapoor and Goldie Anand – as far as the construction and the presentation of the song is concerned. Manoj Kumar really has that Midas touch to get the best out of the team of songwriter + music director + singers. The songs of his films are some of the best-in-class creations that will be listed right up there with the ones that are considered as top creations, as well as presentations. He also has a knack of putting together the most appropriate scenario, and most convincingly, to bring the song in and merge it quite so seamlessly with the flow of the story line. His song presentations are simply out of the ordinary, in a special category all by themselves. Take your thoughts back to the songs like “Jogi Hum to Lut Gaye Tere Pyaar Mein” from ‘Shaheed’; “Aayee Jhoom Ke Basant” from ‘Upkar’; “Main Na Bhoolunga. . .” from ‘Roti Kapda Aur Makaan’; “Ab Ke Baras Tujhe. . .” and “Zindagi Ki Na Toote Ladi” from ‘Kranti’. And the one that is the closest to my heart as a special favorite – “Hai Preet Jahaan Ki Reet Sada” from ‘Purab Aur Paschim”. That I am picking these songs as a sampler does not mean that the remaining songs do not jell. Each one does. Just that the space does not permit me to write about each one of them, what all I wish to write.

The song presented today, comes on to the screen with an already prefaced history, in the film. The three stanzas in this song are directed towards three men who are coincidentally present and watching the dance performance, Rani (role played by Jaya Bhaduri), is a worldly wise young lady, and a street urchin at that. To compete with and to secure herself in this most perilous environment in which she exists, she has to become one of them, with a tongue that can abuse an curse the most evil, and hands that are adept in swinging the blade of a deadly knife. Her standard masquerade to cheat people, i.e. men, and rob them, is to appear on a less traversed road in the late evening, and pose as a helpless damsel looking for help. And when a victim gets interested, she will start screaming to draw the attention of whatever is the sparse crowd, crying for help against the man. The poor victim, is painted as a trying to outrage her modesty. She blackmails them to cough up some money, in exchange for her to keep quiet.

Prior to this song, these three men are each party to such encounters with her. The first one – a regular junior artist whose name I am not able to recall right away, is a meek fellow who gets conned by Rani. The second one is Shankar (role played by Manoj Kumar), who turns the tables on her, and dares her to shout and gather attention. And the third one is also local street smart mawaali (role played by Manmohan), who fancies Rani to be easy meat for his spurious intentions. For a change, as Rani does a street dance performance, striving also to make some honest money, the three gentlemen appear one by one, to be dealt with appropriately.

Jaya’s performance as Rani is just superb. In 1972, she is very fresh from IFTI, Pune, and her portrayal of a near vagabond and street smart character is quite so convincing. We also see Premnath as the Pathan friend of Shankar, Master Satyajeet as Deepak, the mute son of Shankar, and Manmohan as the local mawaali. Once again, I request help from the more knowledgeable readers to help identify the very familiar junior artist behind the bespectacled thin old man who appears in the first stanza.

So with this post, we bring to a close, the discussion on this cult classic film from Manoj Kumar. Wonderful songs and music galore from his films. Welcome ‘Shor’ to Yippeee-land.

 

Song – Zara Sa Us Ko Chhua To  (Shor) (1972) Singer – Lata Mangeshkar, Lyrics – Santosh Anand, MD – Laxmikat Pyaarelal
Unidentified Male Voice

Lyrics

zara sa
us ko
chhua to
us ne
haaye us ne macha diya shor
zara sa
us ko
chhua to
us ne
haaye us ne macha diya shor
shor
shor
maine samjha tha ke chal jaayega zor
maine samjha tha ke hongi baaten aur
aur
phir
jaise hi
zara sa
us ko
chhua to
us ne
haaye us ne macha diya shor
zara sa
us ko
chhua to
us ne
haaye us ne macha diya shor

roop ki thandi chhaon mein
armaanon ke gaaon mein
laga hua tha mela re
raahi mila akela re
maari aankh
maari aankh
gaya bhaanp
na us ne ki bas
bas
na maine ki bas
bas
na us ne ki bas
bas
na maine ki bas
bas
aur
phir
jaise hi
zara sa
us ko
chhua to
us ne
haaye us ne macha diya shor

dhum dhum dhum dhum
dhum dhum dhum
dhum dhum dhum dhum
dhum dhum dhum

ta ra ra
ra ra ra
ra ra ra ra ra ra

o jiyo raani jiyo

oo ho oo oo
oo ho oo oo
ho
ho
ho
ho

chalte chalte raah mein
kuchh paane ki chaah mein
maine us ko roka tha
aage badh ke toka tha
phenka daav
phenka daav
bola jaao
na us ne ki tas
tas
na maine ki bas
bas
na us ne ki tas
tas
na maine ki bas
bas
aur
phir
jaise hi
zara sa
us ko
chhua to
us ne
haaye us ne macha diya shor

dhan dhan dhan dhan
dhan dhan dhan

da da da
da da da

koi chhaila mod pe
haath donon jod ke
bola raat ki rani
maan le mujh ko jaani
diya phool
diya phool
gayi bhool
na maine ki tas
tas
na us ne ki bas
bas
na maine ki tas
tas
na us ne ki bas
bas
aur
phir
jaise hi
zara sa
us ne
chhua to
maine
haan maine macha diya shor
zara sa
us ne
chhua to
maine
haan maine macha diya sho..o..o..or

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
ज़रा सा
उसको
छूआ तो
उसने
हाय उसने मचा दिया शोर
ज़रा सा
उसको
छूआ तो
उसने
हाय उसने मचा दिया शोर
शोर
शोर
मैंने समझा था के चल जाएगा ज़ोर
मैंने समझा था के होंगी बातें और
और
फिर
जैसे ही
ज़रा सा
उसको
छूआ तो
उसने
हाय उसने मचा दिया शोर
ज़रा सा
उसको
छूआ तो
उसने
हाय उसने मचा दिया शोर

रूप की ठंडी छांव में
अरमानों के गाँव में
लगा हुआ था मेला रे
राही मिला अकेला रे
मारी आँख
मारी आँख
गया भाँप
ना उसने की बस
बस
ना मैंने की बस
बस
ना उसने की बस
बस
ना मैंने की बस
बस
और
फिर
जैसे ही
ज़रा सा
उसको
छूआ तो
उसने
हाय उसने मचा दिया शोर

ढुम ढुम ढुम ढुम
ढुम ढुम ढुम
ढुम ढुम ढुम ढुम
ढुम ढुम ढुम

ता रा रा
रा रा रा
रा रा रा रा रा रा

ओ जियो रानी जियो

ओ हो ओ ओ
ओ हो ओ ओ
हो
हो
हो
हो
चलते चलते राह में
कुछ पाने की चाह में
मैंने उसको रोका था
आगे बढ़ के टोका था’
फेंका दांव
फेंका दांव
बोला जाओ
ना उसने की टस
टस
ना मैंने की बस
बस
ना उसने की टस
टस
ना मैंने की बस
बस
और
फिर
जैसे ही
ज़रा सा
उसको
छूआ तो
उसने
हाय उसने मचा दिया शोर

ढन ढन ढन ढन
ढन ढन ढन

ढ ढ ढ
ढ ढ ढ

कोई छैला मोड़ पे
हाथ दोनों जोड़ के
बोला रात की रानी
मान ले मुझको जानी
दिया फूल
दिया फूल
गई भूल
ना मैंने की टस
टस
ना उसने की बस
बस
ना मैंने की टस
टस
ना उसने की बस
बस
और
फिर
जैसे ही
ज़रा सा
उसने
छूआ तो
मैंने
हाँ मैंने मचा दिया शोर
ज़रा सा
उसने
छूआ तो
मैंने
हाँ मैंने मचा दिया शो॰॰ओ॰॰ओर

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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 : 3483 Post No. : 13992

“Zindagi Zindagi” (censored on August 19th 1972) starred Ashok Kumar, Sunil Dutt, Waheeda Rehman, Farida Jalal, Ramesh Deo, Anwar Husain, supported by Shyama, Jalal Agha, Master Tito, Chaya Devi, Gajanan Jagirdar etc. Music was by Sachin Deb Burman who led the list of playback singers (the song with the titles is in the voice of Sachinda and Anand Bakshi was the lyricist. The other playback singers were Kishore Kumar, Manna Dey and Lata Mangeshkar. Producer was Nariman A. Irani and A.P. Sharma and director was Tapan Sinha.

The movie (what little I saw of it) is based in a village where there is a hospital of which Sunil Dutt is a doctor and revolves around the life of the villagers and casteism. Ramesh Deo played Choudhury Ramprasad’s vagabond son. Today’s song has him {Ramesh Deo} lip-sync in the voice of Manna Dey through the lanes of the village and making politician-type promises of sadak (road), school, railgaadi (train), pul (bridge) etc. all in one breath.

Possibly the first movie in which I made note of an actor called Ramesh Deo was Hrishikesh Mukherjee’s “Anand”;that too not when the movie was released (I was a toddler at that time) but when I saw it on Doordarshan.

Then subsequently I saw him in “Jeevan Mrityu” (on tv of course) which came before “Anand” and other movies like “Khilona” “Lakhon mein ek” “Dus Lakh” and numerous other movies. He mostly played characters that were grey or completely negative, though occasionally he played a lovable friend as in “Shikar” or “Anand” or “Rampur Ka Laxman” “Ek Mahal Ho Sapno Ka” etc.

Now why am I talking about Ramesh Deo ? Because he turns a year older today (30 january 2018). He turns 89 today-unbelievable that he has been around for so long. He made his debut in Marathi films in 1951/52 and his Hindi debut was in the 1962 Rajshri Productions movie “Aarti”. Recently (meaning 2-3 years back) I saw him on some Marathi channel where they were felicitating him on his long innings in the film world- Marathi and Hindi. They also showed footage of his contribution to the industry and then it dawned on me that he has produced feature films, television serials, ad films etc. He is active even now as can be seen in the surf excel ad which has him play an adoring grandpa with Vidya Sinha as the grandma https://www.youtube.com/watch?v=LiHhHKE_iMI . Ramesh Deo’s family is into entertaining the world- his wife is actress Seema Deo and sons Ajinkya- an actor and Abhinay- a director of movies, ads and television serials.

Honestly speaking I landed on a song mouthed by Ramesh Deo by accident. In the long time that he has spent in movie (almost 250 Hindi movies) the number of times he has sung songs on screen can be counted on one’s fingers. This is one such song that reminds me of “woh jhootha hai vote na usko dena” from “Namak Haram” though here it looks like he is making false promises. 🙂


Song-Kaun sachcha hai kaun jhoothha hai (Zindagi Zindagi)(1972) Singer-Manna Dey, Lyrics-Anand Bakshi, MD-S D Burman
Chorus

Lyrics

kaun sachcha hai
aur kaun jhootha hai
pehle ye jaan lo
phir apna vote do
haan ji
kaun sachcha hai
kaun jhootha hai
pehle ye jaan lo
phir apna vote do

arrey haan
jaan lo
pehchaan lo
phir apna vote do o o
kaun sachcha hai
kaun jhootha hai
pehle ye jaan lo
phir apna vote do

hum janta ke
sevak hain ji
ham janta ke sevak hain
ham karte hain sewa
woh janta ke
dushman hain ji
woh janta ke dushman hain
woh khaate hain mewa
(giggle)
dhokha na khaana
zamaana bura hai
munh mein hai raam naam
aur bagal mein
chhura hai
jaan lo pehchaan lo
phir apna vote do o o
kaun sachcha
hai
aur kaun jhootha
hai
are haaan
pehle ye jaan lo
phir apna vote do
kaun sachcha

hai
kaun jhootha
hai
pehle ye jaan lo
phir apna vote do

ram prasad
jai jai
ram prasad
jai jai
loknath
haay haay
loknath
hay haay

iss chhote se gaanv ko hum sheher banaayenge
aur bail gaadi ke badle railgaadi chalaayenge
gaadi chalayenge ji
gaadi chalayenge

aur school banaayenge
pul banaayenge
aspataal banaayenge
pakka waada hai
pakki sadak bhi banaayenge
jai jai ramprasad
mera kehna maan lo
phir apna vote do
kaun sachcha hai
aur kaun jhootha hai
pehle ye jaan lo
phir apna vote do


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 : 3475 Post No. : 13960

“मैं लेखक हूँ, लेखक”।

The year – 1956. The film – that zany, crazy, fun and pathos filled runaway hit titled ‘Funtoosh’. Remembered today for a fantastic portfolio of songs. And a very sensitive and effective performance by Dev Anand.

The film has a noisy opening inside a mental asylum. Dev Anand, one of the inmates, is being released to the outside world. He knows himself, as do others, only as ‘funtoosh’. Apparently he has endeared everyone in that blessed place, for when he leaves, everyone offers him a gift, piling him and his pockets with trinkets, small tokens, a hat, a pair of sunglasses, garlands, rings and what not. From a world that is upside down compared to the outside, ‘funtoosh’ makes a grand exit on a tricycle, smoking a pipe.

Of course his level of awareness and understanding does not include the fact that the outside world is very much the ‘downside up’ version of the world inside the asylum. With inherent goodness and simplicity of a person sans memories, it does not take long for the world outside and its people, to relieve him of all those gifts. Folks will dearly remember the song “Ae Meri Topi Palat Ke Aa”, that is presented during this sequence of events.

In a matter of a few hours, and about 15 minutes into the film, ‘funtoosh’ is bereft of all his possessions, the gifts that were given to him by his friends from another ‘home’ that he had to leave. Evening is descending, and so is his mood – crestfallen. Dejected and doleful, he is sitting on the steps outside an Irani type restaurant, with a pen in his hand, his last worldly possession other than the clothes on his back. He is contemplating to write a letter to his friends back in the asylum, and he is visibly struggling to put down any words.

A bespectacled young man, carrying a couple of books under his arm, and lighting a cigarette, comes out of the restaurant, and pauses next to ‘funtoosh’, watching him trying to articulate something to write. He notices that ‘funtoosh’ has a postal envelop, but he does not have a piece of paper. He draws out a plain sheet from the notebooks he is carrying, and hands over to ‘funtoosh’.

‘funtoosh’ begins writing – “मेरे प्यारे दोस्तो”, (my dear friends) then pauses for a few seconds, then he draws a large question mark on the paper and signs it with a flourish – ‘funtoosh’. The bespectacled young man asks, “बस?” (that’s all?). ‘funtoosh’ replies – “इतना ही काफी है। ज़िंदगी के दो हिस्से होते हैं, एक सवाल, दूसरा जवाब। मैंने सवाल लिख दिया है, वो जवाब लिखेंगे” (I have written the question, they will write an answer).

Immediately the young man opens his notebook again, and starts to note down this philosophical gem. ‘funtoosh’ asks him why is he noting this down. The young man replies – “काम आएगा। मैं लेखक हूं, लेखक” (it will come handy, I am a writer). ‘funtoosh’ asks him so what does he write. The young man say – stories, about people like you. ‘funtoosh’ asks him whether he will write a story about him – ‘funtoosh’. The young man says – yes, why not. ‘funtoosh’, apparently is so moved by this interest and attention on part of the young man, he caps the pen in his hand, and forces it into the shirt pocket of the young man, saying that if he writes about him, then he should write using this pen.

And with that, it is the last of his worldly possession that ‘funtosh’ gives away to this young man.

The name if this young man does not appear anywhere in the credits, not even as a guest artist. At 22 years of age, this, in all probabilities, is Vijay Anand’s very first screen appearance. Not that his name has not appeared in credits before. Two years earlier, in 1954, when ‘Taxi Driver’, another Navketan hit was released, his name was introduced to the viewing public for the first time, in the role of the story and dialogue writer. But in this film, where he makes his first appearance on screen, his presence is not officially acknowledged anywhere.

Remembering Goldie – Vijay Anand – on the 84th anniversary of his birth today – 22nd January. A multi-faceted artist who has been an actor, producer, director, story and dialogue writer, film editor, and even sound editor.

In a manner of speaking, maybe a personal trait for keeping a low profile. For as we see his career develop, we find him making such cameo appearances in his films, completely unannounced. Folks will recall that Alfred Hitchcock used this device to make a fleeting appearance in his own films, and the viewers started to look forward to his films for, amongst other cinematic interests, to locate where does he make his signature cameo appearance.

Same with Vijay Anand – he also makes cameo appearances in his films. And he made another refinement on top of the Hitchcock-ian style of making a physical appearance. In place of making a physical appearance, he would lend his voice to a bit artist in a stray one-off dialogue, where one would least expect him to be. In the song “Pyaar Ka Raag Suno. . .” (‘Tere Ghar Ke Saamne’ – 1963), he is one of folks that Dev Anand and Nutan encounter, as they are serenading in the staircase of Qutab Minar. And then, in film ‘Guide’ (1965), his voice is heard midway through the film, as an absolute non-entity is enquiring about Raju Guide from the attendant at the book stall on the Udaipur railway station platform. I had at one time prepared a brief list of such appearances, but I am not able to locate it right at this moment. I will update this para, as soon as I am able to locate it or re-gather that info.

When we talk of great artists and their creations, we generally wonder – why is it that they did not produce more. Yes, some artists are very prolific. But then, we must also realize that most works of art, especially cinema, takes a fair amount of time to complete one creation. Yes, Vijay Anand’s career seems to be less prolific in comparison. It seems to have its stop and start times. In 1954, he is scripting ‘Taxi Driver’. In 1955, his name appears in the star cast of the film ‘Joru Ka Bhai’, a comedy film made by Chetan Anand, his elder brother. In 1956, he is makes a cameo in ‘Funtoosh’. In 1957, he makes his debut appearance in a lead role – as the hero opposite to Shakila in the film ‘Agra Road’. 1957 also sees the release of ‘Nau Do Gyaarah’, his debut directorial venture. Hmmm. . . quite a watershed year for his career, making debut both as a lead actor and a director in the same year.

Then, a gap of couple of years and we see all the three Anand brother appear together in the 1960 social hit film ‘Kaala Bazaar’. Vijay Anand plays the first love interest of Waheeda Rehman, who has gone to France for higher studies, and returns to India during the second half of the film, when an uncertain relationship is developing between Dev Anand and Waheeda Rehman. And yes, he is also the director of this film.

Next we hear about him in 1963 – as the director of the film ‘Tere Ghar Ke Saamne’. In between, there is  unconfirmed statements that he also was the shadow director of the film ‘Hum Dono’ in 1961.

1964 sees the release of Chetan Anand’s ‘Haqeeqat’ – he makes appearance as one of the soldiers in the army unit that is on the China border, and gets trapped in the winter snow as weather turns belligerent. He is present in the qawwali – “Ho Ke Majboor Mujhe Us Ne Bhulaaya Hoga”.

Come 1965, and we see the zenith of his creative career. Navketan’s ‘Guide’ is released, to a critical acclaim that predicts this film to be the best film Hindi cinema has produced. The prediction stands true today – more than fifty years later. The original author of the story, RK Narayan, was not too happy with the outcome, wherein Dev and Vijay had made some significant modifications to the original storyline. But the outcome of the final product says everything. The film is a grand tour of the human life, of the transformation of a soul from an expert guide, to a conman, to a sinner, and then on to a realization that takes the soul to horizons that are way beyond the mundane existence of this world, this life. The film remains to be seen yet once again, no matter how many times one has seen it. And the one man behind it – Vijay Anand. The performance he extracted from Dev Anand, is a remarkable achievement that even Dev was never able to replicate in his entire career.

And the songs of ‘Guide’ – each one of them deserves to be dealt with in separate individual write ups. The visualization and cinematography of “Aaj Phir Jeene Ki Tamanna Hai” can simply not be bettered. The top shot of the lead pair in the rear of truck full of hay, or the low angle tracking shot of Waheeda Rehman’s feet as she is walking on the walls of the fort. Or the superb capture of the sunset ambience in “Tere Mere Sapne Ab Ek Rang Hain” – a song that was completed in an unbelievable 4 shots. When I read this and then went back to review the video of this song again, it is now even a more staggering experience with this knowledge – just 4 shots. And more than just the songs – that have been viewed and viewed and viewed again and again, and written about and discussed and critiqued to no end – I would like to draw the attention of the readers to another musical piece, which keeps to just being short of a full fledged song. The snake dance in the village of snake charmers. The visualization, the settings, the lighting, everything about this piece is just out of this world – and I dare say, this would be probably the best on screen dance performance of Waheeda Rehman.

In 1966, we see his directorial capabilities reach a plane very different from ‘Guide’. The release is ‘Teesri Manzil’ directed by him. An edge-of-the-seat thriller cum comedy film, one sees Vijay’s song picturization capabilities touch even newer heights of perfection. If the songs of ‘Guide’ were about a traditional view of the life of this sub-continent, the songs of ‘Teesri Manzil’ brought in a rock element that had never been presented before as such. And no, I am not going to discuss the song details here – they are so much a favorite of every music lover, that I may just be holding a candle to what everyone already knows and believes in.

1967 – and another brilliant caper is in the making – ‘Jewel Thief’. Another taut thriller, another musical bonanza, and another set of memorable songs picturized so elegantly that it defies description to do justice. Yesterday I had written about the dance song of Jaishree T (from the film ‘Tere Mere Sapne’), with the comment that it was probably the best on screen performance for her. I make a same kind of statement today – the song “Hothon Mein Aisi Baat. . .” has been acknowledged as the best dance performance of Vijayantimala in her entire career.

1968 – and we don’t know what to say about his film this year. He directed the Dev Anand – Asha Parekh starrer ‘Kahin Aur Chal’, produced under a non-descript banner titled JM Productions. The film seems to have sunk without a trace. The stories that emerged later were that this film was produced with the express requirement to show losses, for some tax manipulations. The producers withdrew the film almost as soon as it was released, to claim losses. The sad part is that the film has completely disappeared. It is known that even Dev Anand himself was searching for it. It was not a Navketan production so he had no control over its ownership. Nothing more is noted anywhere about this film, except that its songs are available. This curious situation kind of makes this Vijay Anand directed film as one of the most sought after cinematic assets in the industry.

After another gap of an unlettered 1969, Vijay is back in 1970, with the news of another blockbuster hit of a comic thriller – ‘Johnny Mera Naam’. Coming on the heels of ‘Teesri Manzil’ and ‘Jewel Thief’, this another taut thriller demonstrated Vijay going from strength to strength, and also continuing to refine his uncanny handling of on screen song presentations. The songs of this film are simply stupendous – the picturization of “Pal Bhar Ke Liye. . .” is unimaginably innovative and yes, very sweet – “Pal Bhar Ke Pyaar Pe Nisaar Saara Jeevan. . .”. And then, yes, the handling of a worried Hema Malini being followed by the police in the song “O Mere Raja. . . Waada To Nibhaaya”.

So far, so good. But then it gets even better in 1971. Moving away from the thriller genre, Vijay Anand directs ‘Tere Mere Sapne’ – which maybe barring ‘Guide’, is probably the most sensitive and a most mature handling of a theme of family sentiments, and human failings and triumphs. I was in school when this film was released. And in my haughtiness of the amateur school time discussions about human psychology and social issues, I thought very well of this film, given of course some ‘critical defects’ that I believed I must communicate to the director, if I could. That haughtiness and the thought of those errors is long past. And, as with a handful of some very excellent films, this is one which has a new learning to give every time one views it. I have seen this film every so often again and again, and simply do not get tired of it. The multi- faceted pushes and pulls that are experienced in real life, are so well depicted in this epitome production about human life.

I clearly remember the discussion I had with my school friends after seeing this film. I commented (quite amateurishly I must add) that seeing the last scene gives the feeling as if having a child was the only objective of this film. Over the years, I have not only regretted that statement, but have progressively revised my understanding as to what this film is trying to portray and achieve.

And then, just about this juncture, it seems as if Vijay has lost the luster and the touch. His personal inclinations seem to be distracting him more into his inside world. And the personal relationships that he went into and came out, did not help either. He was drawn towards Osho (Bhagwan Rajneesh). He got married to Loveleen, one of the followers of Osho. The marriage did not last long, and was dissolved. Some time passes and he confounds the world with his next marital alliance. He stirred a controversy of Himalayan proportions by marrying the daughter of his own sister.

As these personal travails haunt him, he continues to create more films but then how do you write about them after having talked about his creations till the 1971. No, I am not demeaning the value in the films that follow ‘Tere Mere Sapne’. A sampler follows – ‘Blackmail’ and ‘Chhupa Rustom’ in 1973, ‘Bullet’ in 1976, ‘Ek Do Teen Char’ and Ram Balram in 1980, ‘Rajput’ in 1982, ‘Hum Rahe Na Hum’ in 1984, and ‘Main Tere Liye’ in 1986. All these are as a director. As an actor anther list to talk about – ‘Double Cross’ and ‘Hindustan Ki Kasam’ in 1973, ‘Chor Chor’ and ‘Kora Kaagaz’ in 1974, ‘Main Tulsi Tere Aangan Ki’ in 1978, and ‘Ghunghroo Ki Awaaz’ in 1981. We continue to see glimmers of his old self – the song ‘Pal Pal Dil Ke Paas. . .” in ‘Blakcmail’, and “Jo Main Hota Ik Toota Taara. . .” in ‘Chhupa Rustom’, are a throwback reminder of his prowess as a song director. His performances in ‘Kora Kaagaz’, ‘Main Tulsi Tere Aangan Ki’ and ‘Chor Chor’ are impressive and invite kudos. But with all this even, he seemed to have descended into the valleys. The sparkle that was Vijay – seemed to have been snuffed out.

In 2004 when he passed away, he was preparing to direct another Navketan film for Dev Anand – ‘Jaana Nahin Dil Se Door’. Apparently one (or more songs) were recorded. But it seems that the film was shelved when Vijay passed away. There is no mention of this film on Navketan’s web site.

I feel I have so much to write about this enigma that was Vijay Anand, but I will save that for another post. Coming to the song for today. And yes, by the way, we are Yippeee-ing the film ‘Tere Mere Sapne’ with this post. 🙂

Just this film itself evokes such emotions and memories that I wish I had posted all the songs of this film, and written about them. In the post yesterday, I had written about the celebration dance song, and somewhat of the story till that point in the film. Moving forward from there – the humble and grateful Phoolchand (role played by Sapru) gives a personal gift to Dr. Anand for having saved his newborn child’s life. It is a note of one hundred rupees. Mrs. Prasad (role played by Paro, the wife of Dr. Prasad (role played by Mahesh Kaul), the head of the hospital), takes an offense to this, and demands that Anand hands over that gift to her. Anand refuses. He decides to take on another job at another hospital in a village close by, rather than succumb to Mrs. Prasad’s demands for something he, at that point in time, feels very emotionally attached with.

Anand moves to the other hospital. The expected marriage of Nisha and Anand takes place. Nisha is pregnant for the first time. A mishap occurs. While at the market place, she is hit by a car that is recklessly being driven by an inebriated Seth Madhochand (role played by Premnath), the owner of the mining company in the village. Nisha loses the child. The rich Seth prevails over the judicial system, gets acquitted after producing tutored witnesses to establish that the accident was Nisha’s fault. Anand’s world is shattered. He leaves the village and returns to Bombay. In the starting scene of the film, one of his batch mates is pleading with him not to go the village. Now Anand returns to the same friend, who introduces him to others in the profession, and Anand, capable as he is, becomes one of the most sought after doctors in the city.

Affluence follows, no matter that Nisha’s life becomes a depressing bore. But Anand is so busy making money that he even overlooks the personal issues his beloved is going thru. Back in the village, the senior doctor, Dr. Prasad passes away. The hospital is renovated and expanded, and is to be re-inaugurated as a memorial to Dr. Prasad. Jagan (Dr. Jagannath Kothari, role played by Vijay Anand) comes to Bombay, seeking to convince Anand to return to the village hospital. Anand, flying high with the euphoria of financial success, declines the invite. Jagan returns to the village empty handed.

The day of the inauguration arrives. All arrangements are in place. All the village crowd is collected. But the local leader, who has been invited to do the honors at the inauguration ceremony, is late, with no information as to when he may arrive. At this juncture, I introduce Dr. Bhutani (role played by Agha). Bhutani is the village dentist, apparently the only one in the surrounding 20 some villages. And so a person of quite some eminence. Being in-charge of the ceremonies, he is also panicking with the non-arrival of the chief guest. He complains to Jagan, Jagan tells him to improvise. They enter the pandaal, and seat Mrs. Prasad in the chief guest’s chair. And Bhutani breaks into this song. The crowd present joins in, as does Jagan for the third antaraa, later in the song.

The singing voice is that of Manna Dey, which is lip synced both by Jagan and Bhutani on screen.

An important note about the presentation of this song. Originally, in the film, this song is presented as a three antaraa song, two sung by Bhutani, and one by Jagan. As I went back into the online world to search for this song, I am pleasantly surprised to discover a much longer version of this song, which most probably has been taken from the film’s LP. The person who has uploaded this, has put together this entire song as a single video. For the first three antaraas, he has retained the original footage. For the later three antaraas, he has improvised and done an edit / cut / paste to create additional footage from the original footage. So what we see in this clip is three antaraas of the original footage and three additional antaraas of an edited and spliced together footage. The blips are noticeable, but yet the person has done a fair enough job to make is look like a whole single song.

There is enough said, so I will abstain from typing further. Enjoy this song that tells of the ground realities of the social and political woes in our country. Although dated 1971, all the thoughts expressed in this song are still fully representative of what we are going through in current times. The travails are timeless, it seems.

But regardless, enjoy the song. 🙂 And oh yes, a reminder that with this post, ‘Tere Mere Sapne’ is now a part of yippeee-land on our blog. The details of all the songs posted is given below. Close to ten years it took, given that the first song of this film was posted in November of 2008.

 

Hey Mein Ne Kasam Li 227 8-Nov-08
Jaise Radha Ne Mala Japi 559 16-Jan-09
Jeewan Ki Bagiya Mahkegi 571 18-Jan-09
Mera Antar Ek Mandir Hai Tera 7387 22-Jan-13
Ta Thai Tat Thai Ata That Thai Tat 8274 2-Jul-13
Phurr Ud Chala Hawaaon Ke Sang Sang Dil Jaane Kidhar 13870 4-Jan-18
Mera Saajan Phool Kamal Ka, Kali Main Raat Rani Ki 13953 21-Jan-18
Andhi Parja Andha Raja, Takey Ser Bhaaji Takey Ser Khaaja 13960 22-Jan-18

 

Song – Andhi Parja Andha Raja Takey Ser Bhaaji Takey Ser Khaaja  (Tere Mere Sapne) (1971) Singer – Manna Dey, Lyrics – Neeraj, MD – SD Burman
Unidentified Male Voice
Chorus

Lyrics

hey..ey..ey..ey..ey
suno re
suno re
suno re. . . sajjano

andhi parja andha raja
takey ser bhaaji
takey ser khaaja
takey ser janta
takey ser neta
hum to mar gaye haaye
jamaane dhatt tere ki
jamaane dhatt tere ki
arey andhi parja andha raja
takey ser bhaaji
takey ser khaaja
takey ser janta
takey ser neta
hum to mar gaye haaye
jamaane dhatt tere ki
jamaane dhatt tere ki

desh ko kha gayi netagiri
khet ko kha gaya sookha
khet ko kha gaya sookha
hey..ey desh ko kha gayi netagiri
khet ko kha gaya sookha
khet ko kha gaya sookha
arey dharam ko kha gaye pandit mulla
karam hoi gaya bhoosa
karam hoi gaya bhoosa
hey..ey..ey
kauwwe khaayen. . . hey
kya bhaiya
kauwwe khaayen doodh malaai
hans marey haaye bhookha
jamaane dhatt tere ki
jamaane dhatt tere ki

hey ram raaj ke ghaat pe ab to
reh gaye kewal jhande
oy reh gaye kewal jhande
hey ram raaj ke ghaat pe ab to
reh gaye kewal jhande
reh gaye kewal jhande
arey jhandon ko bhi le kar bhaiya
chalen sadak par. . .
dande
chalen sadak par dande
arey kaun desh ka dhyaan karey..ey..ey
kya baat hai
kaun desh ka dhyaan karey
kyaaa
sab hain kursi ke pandey
jamaane dhatt tere ki
jamaane dhatt tere ki
jamaane hatt tere ki

oo oo oo oo
oo oo
oo oo
dar dar maari phire sachchaai
ban kar yahaan bhikhaari
arey ban kar yahaan bhikhaari
ho oo oo
dar dar maari phire sachchaai
ban kar yahaan bhikhaari
ban kar yahaan bhikhaari
are raaj karey mehlon mein baithi
daghabaaj makkaari
daghabaaj makkaari
ey jitney daktar badhe..ey..ey..ey hey
jitney daktar badhe desh mein
utni badhi beemaari
haaye re haaye
utni badhi beemaari
jamaane dhatt tere ki
jamaane dhatt tere ki

arey andhi parja andha raja
takey ser bhaaji
takey ser khaaja
takey ser janta
takey ser neta
hum to mar gaye haaye
jamaane dhatt tere ki
jamaane dhatt tere ki

———————-
stanzas not in film
———————-

dus dus saal jo tax nahin de
woh ban jaaye leader
arey wo ban jaaye leader
aaa aaa
dus dus saal jo tax nahin de
woh ban jaaye leader
wo ban jaaye leader
arey khoon pasina ek karey jo
wo ho jaaye phateechar
wo ho jaaye phateechar
kaun akal ki baat karey..ey..ey..ey
kaun akal ki baat karey
bhai sab par chadha shanichar
jamaane dhatt tere ki
jamaane dhatt tere ki

raat mein tha wo
kyaa
raat mein tha wo leegi bhaiya
subeh bana kangressi
arey subeh bana kangressi
arey raat mein tha wo leegi bhaiya
subeh bana kangressi
subeh bana kangressi
dal badlu ne neeti niyam ki
kar di aisi ki taisi
kar di aisi ki taisi
aey jiski laathi..ee
bhains usi ki
jiski laathi bhains usi ki
kya hai democracy
jamaane dhatt tere ki
jamaane dhatt tere ki
jamaane hatt tere ki

hey..ey..ey..ey
hawaa chali pashchim ki aisi
kala hui bedhangi
arey kala hui bedhangi
oo oo oo
hawaa chali pashchim ki aisi
kala hui bedhangi
kala hui bedhangi
arey angreji ka raag alaape
hindi ki saarangi
hindi ki saarangi
azaadi ke baal sanwaare
waah bhaiyaa
azaadi ke baal sanwaare
haaye karze ki kanghi
jamaane dhatt tere ki
jamaane dhatt tere ki

arey andhi parja andha raja
takey ser bhaaji
takey ser khaaja
takey ser janta
takey ser neta
hum to mar gaye haaye
jamaane dhatt tere ki
dhatt tere ki
hatt tere ki
dhatt tere ki
arey hatt tere ki
dhatt tere ki
arey hatt tere ki..ee..ee..ee

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हे॰॰ए॰॰ए॰॰ए॰॰ए
सुनो रे
सुनो रे
सुनो रे ॰ ॰ ॰ सज्जनों

अंधी परजा अंधा राजा
टके सेर भाजी
टके सेर खाजा
टके सेर जनता
टके सेर नेता
हम तो मर गए हाए
जमाने धत्त तेरे की
जमाने धत्त तेरे की
अरे अंधी परजा अंधा राजा
टके सेर भाजी
टके सेर खाजा
टके सेर जनता
टके सेर नेता
हम तो मर गए हाए
जमाने धत्त तेरे की
जमाने धत्त तेरे की

देश को खा गई नेतागीरी
खेत को खा गया सूखा
अरे खेत को खा गया सूखा
हे॰॰ए देश को खा गई नेतागीरी
खेत को खा गया सूखा
खेत को खा गया सूखा
अरे धरम को खा गए पंडित मुल्ला
करम होई गया भूसा
करम होई गया भूसा
हे॰॰
कौव्वे खाएं॰॰॰ हे
क्या भइय्या
कौव्वे खाएं दूध मलाई
हंस मरे हाए भूखा
जमाने धत्त तेरे की
जमाने धत्त तेरे की

हे राम राज के घाट पे अब तो
रह गए केवल झंडे
ओय रह गए केवल झंडे
हे राम राज के घाट पे अब तो
रह गए केवल झंडे
रह गए केवल झंडे
अरे झंडों को भी ले कर भइय्या
चलें सड़क पर॰॰॰
डंडे
चलें सड़क पर डंडे
अरे कौन देश का ध्यान करे॰॰ए॰॰ए
क्या बात है
कौन देश का ध्यान करे
क्या
सब हैं कुर्सी के पंडे
जमाने धत्त तेरे की
जमाने धत्त तेरे की
जमाने हत्त तेरे की

ओ ओ ओ
ओ ओ
ओ ओ
दर दर मारी फिरे सच्चाई
बन कर यहाँ भिखारी
अरे बन कर यहाँ भिखारी
हो॰॰ओ दर दर मारी फिरे सच्चाई
बन कर यहाँ भिखारी
बन कर यहाँ भिखारी
अरे राज करे महलों में बैठी
दग़iबाज मक्कारी
दग़iबाज मक्कारी
ए जितने डक्टर बढ़े॰॰ए॰॰ए॰॰ए हे
जितने डक्टर बढ़े देश में
उतनी बढ़ी बीमारी
हाय रे हाय
उतनी बढ़ी बीमारी
जमाने धत्त तेरे की
जमाने धत्त तेरे की

अरे अंधी परजा अंधा राजा
टके सेर भाजी
टके सेर खाजा
टके सेर जनता
टके सेर नेता
हम तो मर गए हाए
जमाने धत्त तेरे की
जमाने धत्त तेरे की

———————-
अंतरे जो फिल्म में नहीं हैं
———————-

दस दस साल जो टैक्स नहीं दे
वो बन जाये लीडर
are वो बन जाये लीडर
आ आ
दस दस साल जो टैक्स नहीं दे
वो बन जाये लीडर
वो बन जाये लीडर
अरे खून पसीना एक करे जो
वो हो जाये फटीचर
वो हो जाये फटीचर
कौन अकल की बात करे॰॰ए॰॰ए॰॰ए
कौन अकल की बात करे भई
सब पर चढ़ा शनीचर
जमाने धत्त तेरे की
जमाने धत्त तेरे की

रात में था वो
क्या
रात में था वो लीगी भइय्या
सुबह बना कांग्रेसी
अरे सुबह बना कांग्रेसी
अरे रात में था वो लीगी भइय्या
सुबह बना कांग्रेसी
सुबह बना कांग्रेसी
दल बदलू ने नीति नियम की
कर दी ऐसी की तैसी
कर दी ऐसी की तैसी
ए जिसकी लाठी॰॰ई
भैंस उसी की
जिसकी लाठी भैंस उसी की
क्या है डेमो क्रेसी
जमाने धत्त तेरे की
जमाने धत्त तेरे की
जमाने हत्त तेरे की

हे॰॰ए॰॰ए॰॰ए
हवा चली पश्चिम की ऐसी
कला हुई बेढंगी
अरे कला हुई बेढंगी
ओ ओ ओ
हवा चली पश्चिम की ऐसी
कला हुई बेढंगी
कला हुई बेढंगी
अरे अंगरेजी का राग अलापे
हिन्दी की सारंगी
हिन्दी की सारंगी
आज़ादी के बाल सँवारे
वाह  भइय्या
अरे आज़ादी के बाल सँवारे
हाए करजे की कंघी
जमाने धत्त तेरे की
जमाने धत्त तेरे की

अरे अंधी परजा अंधा राजा
टके सेर भाजी
टके सेर खाजा
टके सेर जनता
टके सेर नेता
हम तो मर गए हाए
जमाने धत्त तेरे की
धत्त तेरे की
हत्त तेरे की
धत्त तेरे की
अरे हत्त तेरे की
धत्त तेरे की
अरे हत्त तेरे की॰॰ई॰॰ई॰॰ई॰॰ई


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 : 3462 Post No. : 13892

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

This movie was one of several “Johar in…” series on movies, a bit like the “Carry on…” series of movies in Hollywood.
In this particular movie, I S Johar ties up with Rajendranath, both playing good for nothing slackers who somehow manage to save the coutry (if not the world) from evil scientists out to destroy the country (if not the world).

The movie had six songs in it. Five of these songs have been covered in the blog. Here is the sixth and final song from “Johar in Bombay” (1967). This song is a rare song in the sense that it is not available as a standalone song on YT as of now. The song is a roadside tamasha song where I s Johar and Rajendranath and seen performing a streetside dance alongwith their love interests- Sonia Sahni and Jeewankala (?). The dance performance have elements of punjabi folk dance followed by Maharashtrian lavani folk dance.

The song is sung by Mahendra Kapoor, S Balbir, Usha Timothy and Krishna Kalle. Qamar Jalalabadi is the lyricist. Music is composed by Usha Khanna.

Today (9 january 2018) happens to be the birth anniversary of Mahendra Kapoor (9 january 1934-27 september 2008). Quite fortuitously, this happens to the 300th song of Mahendra Kapoor in the blog. So this is a perfect tribute to the singer in the blog.

It also happens to be the 15th death anniversary of Qamar Jalalabadi (9 january 2003). So this song serves as a tribute to Qamar Jalalabadi as well.

With this song, “Johar in Bombay” (1967) joins the list of movies that have all their songs covered in the blog.


Song-Naach sasure naach nakhra ab na chalega (Johar in Bombay)(1967) Singers-Mahendra Kapoor, Balbir, Usha Timothy, Krishna Kalle, Lyrics-Qamar Jalalabadi, MD-Usha Khanna
Male singers together
Female singers together

Lyrics

kaise hote khel tamaashe
arre is duniya ke beech
o bandar se insaan bane
to insaan se ban gaye reechh

naach susure naach
nakhra ab na chalega
hoy naach susure naach
nakhra ab na chalega
naacha to haiwaan se insaan banega

hoy hoy
naacha to haiwaan se insaan banega
naach baaba naach
nakhra ab na chalega
naacha to haiwaan se insaan banega
naacha to haiwaan se insaan banega
naach baaba naach
nakhra ab na chalega

baari barsi khatan gaya
te khatak ke lyaanda taala
baari barsi khatan gaya
hoy
hoy baari barsi khatan gaya
te khatak ke lyaanda taala
ho ladki gulaab jaisi
aur ?? reechh hai saala
he ladki gulaab jaisi

baari barsi khatan gaya
te khatak ke lyaanda aara
baari barsi khatan gaya
te khatak ke lyaanda aara

ho taane mujhe dene waale
jaa dekha ishq tumhaara
ho taane mujhe dene waale

naach susure naach
nakhra ab na chalega

naach baaba naach
nakhra ab na chalega

ho saari nagariya
aa aa aa aa aa aa
saari nagariya ruk ruk dekhe
kaisi nautanki aayi
aga bai
kaisi nautanki aayi re
arre dekho yaaron khel naya
sasure ko nachaaye janwaai
sasure ko nachaaye janwaai
janwaai
janwaai

aga bai
ji ji ji ji ji ji
aga bai
ji ji ji ji ji

dil mein chhupaa hai
ae ae ae ae
dil mein chhupaa hai
pyaar kisi ka
karne chale hain bhalaai
haay raam
karne chale hain bhalaai

sasure ka bahaana hai
tere dil mein basi hai lugaai
lugaai
tere dil mein basi hai lugaai
lugaai
lugaai

ji ji ji ji ji ji ji
aga bai
ji ji ji ji ji ji ji

naach susure naach
nakhra ab na chalega

naach baaba naach
nakhra ab na chalega

oy naach sasure
naach baaba
naach sasure
naach baaba


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 : 3461 Post No. : 13889

“Kaamchor”(1982) was directed by K Vishwanath. This movie, a remake of Telugu hit “Subhodayam”(1980) had Rakesh Roshan, Jaya Prada, Tanuja, Sujit Kumar, Suresh Oberoi, Shreeram Lagoo, Nita Mehta, Pinchoo Kapoor, Asrani, Bhagwan Dada etc in it.

The movie had six songs in it that became quite popular during its time.

Five songs from the movie have bee discussed in the blog in the past.

Here is the sixth and final song from the movie. It is a roadside tamasha song which is sung by Kishore Kumar and it is picturised on Rakesh Roshan, Asrani (playing an astrologer and carrying a forune telling parrot with him) and a female dancer whom I am unable to identify.

Indeewar is the lyricist. Music is composed by Rajesh Roshan.

With this song, “Kaamchor”(1982) joins the list of movies that have all their songs covered in the blog.


Song-Jogi o jogi bhaag mein mere likkha hai (Kaamchor)(1982) Singer-Kishore Kumar, Lyrics-Indeewar, MD-Rajesh Roshan

Lyrics

jogi o jogi
bhaag mein mere likha hai
ek din main raaja banoonga
tera hi tota kehta hai
ek din main raaja banoonga
tera hi tota kehta hai
jogi o jogi
bhaag mein mere likha hai
ek din main raaja banuga
tera hi tota kehta hai
laa
lalalala
lalala

sooraj ho balwaan
tez chandar
yaaron banta hai wo sikandar
sooraj ho balwaan
tez chandar
yaaron banta hai wo sikandar
powerful hon grah
tabhi to kar lenge maal andar
jogi
jogi o jogi
bhaag mein mere likha hai
ek din main raaja banoonga
tera hi tota kehta hai
ek din main raaja banoonga
tera hi tota kehta hai

mitne ko har cheez mit jaaye
haathon se rekha na jaaye
mitne ko har cheez mit jaaye
haathon se rekha na jaaye
aji mutthi mein hai kismat apni
phir tu kyon ghabraaye
jogi
jogi o jogi
bhaag mein mere likha hai
ek din tu raaja banega
tera hi tota kehta hai
ek din main raaja banoonga
tera hi tota kehta hai
laa
lalalala lalla
laa lalalalala


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 : 3458 Post No. : 13877

Hullo to Atuldom

Today’s song from a film called “Daal-me-kala” (that is how it was spelt in the titles, when I saw the movie yesterday) which released in 1964. It had a star cast of Kishore Kumar, Nimmi, Agha, Shammi, Abhi Bhattacharya, Bepin Gupta, Om Prakash, Mumtaz Begum, Sulochana Chatterjee, Tun Tun, Sunder, Keshto Mukherjee etc. the movie had four lyricists- Raja Mehdi Ali Khan, Bharat Vyas, Santoshi (again as shown in the titles, must be P.L. Santoshi) and Majrooh Sultanpuri. The playback singers used were Kishore Kumar, Asha Bhonsle, Manna Dey and C. Ramchandra. Music director was C. Ramchandra. The movie was produced by Bepin Gupta and directed by Satyen Bose.

Going by the fact that Kishore Kumar and Agha are in the lead it should have been a musical comedy, it was- very enjoyable. It had a simple story line where Bepin Gupta mistakes Kishore Kumar for a Professor which Abhi Bhattacharya was supposed to be and Om Praskash mistakes Abhi Bhattacharya for a third person who is supposed to be a theatre artist. That means the movie had mistaken identity as its story and this confusion leads to a lot of funny situations. Another thing unusual (by my experience in movie watching) was Nimmi paired with Kishore Kumar. Then I thought it was unusual for C. Ramchandra to take Kishore Kumar as singer and then I remembered an earlier movie called “Aasha”.

Two songs from this movie have been posted in the past. Chaand chupchaap hai and in aankhon ko tumhen apna banaane ki. Today on the occasion of the music director’s death anniversary here is the third song. It is sung by Kishore Kumar as a street side tamasha song. He is dressed as a pathan (a disguise) and is showing a Bhaalu ka khel, with Agha in Bhaalu’s disguise. A very enjoyable song.

Lets enjoy the song and remember Annasaheb- Chitalkar- C. Ramchandra.


Song-Duniya ke baazaar mein kaise khel tamaashe chaaloo (Daal Mein Kaala)(1964) Singer-Kishore Kumar, MD-C Ramchandra

Lyrics

hey
brr brr brr
ae mera bhaaloo bada hoshiyaar
iski keemat paanch hazaar
arre dekhe isko sab sansaar
ye dekho itna makkaar
is’se darta thaanedaar
samjhe sab kuchh mera yaar
ishaara kar doon jab ek baar
chhamaa chham naache beech bazaar
naach naach re naach ke
Bitua
bmm pk pk
ke bituwa
bmm pk pk
ke bituwa

duniya ke bazaar mein
kaise khel tamaashe chaalu
duniya ke bazaar mein
kaise khel tamaashe chaalu
insaanon ne insaanon ko
aaj banaaya bhaalu
dekho ji
dekho ji
dekho ji aaj banaaya bhaalu

reechh mera garib hai
par jaat ka nawaab
dekho jaat ka nawaab
mere har sawaal ka
ye deta hai jawaab
dekho deta hai jawaab
bataa bhagwaan kidhar hai
bataa insaan kidhar hai
bataa iran kidhar hai
bataa afghan kidhar hai
bata imaan kidhar hai
bata haiwaan kidhar hai
mujhko bhi haiwaan bataaye
ye shaitaan ka khaalu
mujhko bhi haiwaan bataaye
ye shaitaan ka khaalu
insaanon ne insaanon ko
aaj banaaya bhaalu
dekho ji
dekho ji
dekho ji aaj banaaya bhaalu

ha aa aa
film mein jaake dhoond rahaa hai
heero ka ye chance
arre aapko ye dikhta hai
ramba samba dance
hoyyy

gore gore
o baanke chhore
kabhi meri gali aaya karo
gori gori
o baanki chhori
chaahe roz bulaaya karo
gore gore
o baanke chhore
kabhi meri gali aaya karo
gori gori
o baanki chhori
chaahe roz bulaaya karo

arre bas bas bas bas
Bas kar bas kar bas kar
Haa aa aa
main to maangu duaa tumhaari ee ee ee
main to maangoon duaa tumhaari
paisa mange kaalu
main to maangoon duaa tumhaari
paisa mange kaalu
dekho ji
dekho ji aaj banaaya bhaalu


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 : 3456 Post No. : 13863

“Baghdad Ka Jaadoo”(1956) was directed by John Cawas for Basant Pictures production, Bombay. The movie had John Cawas and Nadia in lead roles alongwith Krishna Kumari, Sheila Kashmiri, Habib, S Advani, Vijaya Chaudhary, Azeem, Nazeer Kashmiri, Poonam, Dalpat, Abdullah, Neeta Roy, H Prakash, Julien, Shanta Patel, Shree Bhagwan, Korega, Baby Rehana, Ismail, Yadav, Prithvi, Munshi Munaqqa, Ratan Kumar, Sikandar, Mitthoo Miyaan, Sardar Mansoor, M K Hasan etc in it.

The movie had five songs in it. Four of these songs have been covered in the past. So that leaves just one song from the movie.

The remaining song is a rare song, as can be expected. The song is sung by Khursheed Bawra. Preetam Dehalvi is the lyricist. Music is composed by Shafi M Nagri, who was also known as Mohammad Shafi.

The song is picturised as a roadside tamasha song where the lip syncer (I am unable to identify him) sings this song while people gather around him.

I request our knowledgeable readers to help identify the actors in the picturisation.

With this interesting song, “Baghdad Ka Jaadoo”(1956) joins the list of movies that have all their songs covered in the blog.


Song-Meri paheli koi na boojhe…suno bhai duniya waalon (Baghdad Ka Jaadoo)(1956) Singer-Khursheed Baawra , Lyrics-Preetam Dehalvi, MD-Shafi M Nagri

Lyrics

ha aa aa
meri paheli koi na boojhe
duniya zor lagaaye ae ae ae ae
jo sun le wo hansta jaaye
jo samjhe pachhtaaye

suno bhai duniya waalon
suno bhai duniya waalon
sunlo zara
hosh sambhaalo zara
hosh sambhaalo sambhaalo sambhaalo zara
suno bhai duniya waalon o o o o

ek din khwaab ye dekha ke
main gulshan mein gaya
dekhta baag ki raunak jo zara aage badha
thhodi si der mein ek simat se ye aayi sada
ek kali ne muskura ke
mujhse phir ye kaha
kya kaha
ek lutera shaah ke darbaar mein
jaana chaahta thha
bhesh badalkar shaahi khazaana
lootke laana chaahta thha
bhai wayi wayi wayi wayi wayi wayi
ho o o o
lekin shaahon
aji lekin shaahon
jaisa uske pass na koi kapda thha
isi fikar mein
bhai isi fikar mein
thha wo hardam
isi baat ka jhagda tha
bhai wayi wayi wayi wayi wayi wayi
phir kya hua

phir chala aisi wo chaal
aa gaya usko khayaal
aisa bichhaya usne jaal
kar diya usne kamaal
ho saka na paayamaal
baaton mein lagaa ke
kapde churaake
hanske hansaa ke ji hi hi hi
chala wo jhoomta aur gaata hua
are matwaalon zara
hosh sambhaalo sambhaalo sambhaalo zara
suno bhai duniya waalon o o o

saari duniya dekh rahi thhi
koi na samjha uske dhang
sun’ne waale
bhai sunne waale
sun rahe the
ho rahe the saare dang
bhai wayi wayi wayi wayi wayi wayi
ab shahzaadon
bhai ab shahzaadon
jaisi pagdi aur joote ka thha sawaal
is dhun mein wo
aji is dhun mein wo
aage jaaker chala doosri chaal
dhaagi tit
dhaagi tit
udan khatola upar jaakar
ban gaya gola
pakad le bam bam bam
pakad le bam bam bam
pakad le bam bam ha
saamne dukaan par baitha tha
ek bekhabar
uski pad gayi najar
dekh kar idhar udhar
tay kiya apna safar
dhoom machaake kaam banaake
rang jamaake ji hi hi hi

raste par
bhai raste par
ek jaadugar ko dekh ke
uske paas gaya
jaadugar ko
jaadugar ko
bhi usne phir apna jaadu dikhlaaya
kya dikhaaya
karke makkar
deke chakkar
jaadu ki koi cheez udaakar
ho gaya wo to rafoochakkar
dekhta rah gaya wo ghanchakkar
chhoom chhaank chhu chhnak chhnak chhu
chhoom chhaank chhu chha
chhoom chhaank chhu chha
chhoom chhaank chhu ha


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.

Yesterday (24 december 2017) was Rafi’s birth anniversary and today (25 december 2017), apart from being Christmas, is the birth anniversary of Naushad.

We in the blog try to combine such anniversaries and discuss songs that such artists may have combined to create. And it goes without saying that the collaboration of Rafi and Naushad has been a long and fruitful one.

I counted each and every song that had the voice of Rafi and which was composed by Naushad. I found that the two were associated in 40 movies and 160 songs, beginning from “Pahle Aap”(1944) and ending with “Love and God” (1986).

Contributors may think that they have such a large number of Rafi-Naushad songs to chose from if they have to sent their guest articles, or lyrics, but that is not so.

All songs created by Rafi and Naushad beginning from “Pahle Aap”(1944) upto “Ganwaar”(1970) have already been covered in the blog. This 16 year span covers all the magnum opus that Naushad created (and utilised Rafi’s voice in them) viz. Pehle Aap , Anmol Ghadi, Shahjahaan, Mela, Andaaz, Chaandni Raat, Dillagi, Dulaari, Baabul, Daastaan, Deedaar, Jaadoo, Aan, Baiju Baawra, Deewaana, Amar, Shabaab, Udan Khatola, Mother India, Sohni Mahiwal, Kohinoor, Mughal e Azam, Ganga Jamuna, Son of India, Mere Mehboob, Leader, Dil Diya Dard Liya, Saaz Aur Aawaaz, Paalki, Ram aur Shyam, Aadmi, Sangharsh and Ganwaar have already been YIPPEED and so all Rafi songs in these movies have been covered as well.

In fact, 146 out of 160 songs created by the collaboration of Rafi and Naushad have already been covered in the blog.

By 1970, Naushad and his generation of oldtimer music directors were already upstaged by the new generation of music directors led by R D Burman. Naushad collaborated with Rafi in seven more movies during 1970s and 1980s. And it is in these movies that offer us the remaining Naushad compositions with Rafi’s voice.

Following are the movies that offer us the last remaining Rafi songs under Naushad’s baton.

Movie Year No of songs in the blog with Rafi No of songs in the movie with Rafi Remarks
Taangewaala 1972 1 4 The song under discussion in the writeup
My Friend 1974 1 4
Sunahra Sansaar 1975 0 1
Chambal Ki Raani 1979 0 1
Love and God 1986 1 6
Total 3 16 13 songs remaining

Peevesie’s mom discussed a Rafi-Naushad song from “Dharam Kaanta” (1982) and all Rafi songs of this movie thus got covered. So this movie just avoided getting figured in the table above.

The table above mentions that no Rafi songs from “Taangaawaala”(1972) has been covered. That was before the song under discussion. This song under discussion is a Rafi-Asha Bhonsle duet from “Taangewaala”(1972). the song is penned by Majrooh Sultanpuri. Music is composed by Naushad.

The song is picturised as a roadside tamasha song on Rajendra Kumar and Mumtaz. They are shown doing publicity for a movie called “Kaala Chor”. People who lived through that era will recall that movies that were being shown in the local movie halls were given street to street publicity. A man, fancying himself to be the local version of Ameen Sayani would announce about the movie seated on a cycle rickshaw. He would play songs as well (not necessarily from the movie being advertised). Kids were especially interested in the pamphlets of the movie that he would distribute among people.

The picturisation is a filmy version of those days of door to door publicity campaigns for movies. 🙂 This picturisation would certainly bring back fond memories for those who lived through that era. The lyrics by Majrooh Sultanpuri are truly outstanding.

With this song done and dusted, now just 13 more Rafi-Naushad songs are left to be covered before we raech what can be described as a mega YIPPEE landmark of all Rafi-Naushad songs getting covered in the blog.


Song-Do deewaane aaye ek tamaasha laaye (Taangewaala)(1972) Singers-Rafi, Asha Bhonsle, Lyrics-Majrooh Sultanpuri, MD-Naushad

Lyrics

aao aao
aao aao
are aao aao
are aao aao
aao aao

do deewaane
aaye
ek tamaasha
laaye
dekho sau feesdi film ye
bole naache gaaye
kaho kya jhoothh baat hai
nahin
to bas phir dekho bhaalo
jawaani ke gun gaa lo
ho do deewaane
aaye
arre ek tamaasha
laaye
dekho sau feesdi film
ye bole naache gaaye
kaho kya jhoothh baat hai

nahin
to bas phir dekho bhalo
jawaani ke gun gaa lo

aao dekho pyaare
ye khel tumhen lalkaare
naam hai kaala chor
ye picture bhaaraat ki mashoor

laaraa loo
laaraa loo
arre
laaraa loo
laaraa loo
laaraa loo
dushman se wo fight
jo huliya kar de tight
are scene hazaaron ismein
maara maari se bharpoor
huntar kadke
paanch aane mein
ghoda bhadke
paanch aane mein
chhaati dhadke
paanch aane mein
dekho mere yaar jawaani khel ajab dikhlaaye
haa haa
do deewaane

aaye
arre ek tamasha
laaye
dekho sau feesdi film ye
bole naache gaaye
kaho kya jhoothh baat hai

nahin
to bas phir dekho bhaalo
jawani ke gun gaa lo

kismat unki phooti
ye picture jinse chhooti
biwi bachchon ko dikhla
aur tu bhi jaldi dekh
laara loo
laara loo
arre
laara loo
laara loo
laara loo
kaam mera samjhaana
phir peechhe na pachhtaana
touring talkie ke jaane mein
din hain bas do ek
aao dekho

paanch aane mein
aankhen senko
paanch aane mein
dil bhi phenko
paanch aane mein
jo mukhda parde par dekho
sapne mein bhi aaye

arre do deewaane
aaye
ek tamasha
laaye
dekho sau feesdi film ye bole naache gaaye
kaho kya jhoothh baat hai
nahin
to bas phir dekho bhalo
jawani ke gun gaa lo

Indian news reel

khel se pehle logon
duniya ki khabren dekho
dekho kaise sailaabon mein bahte hain ghar baar

kahin kaal
bhoochaal
arre laaraloo laaraloo laaraloo

kaise milta ration
ration ke oopar bhaashan
bhaashan jispe hoti hai
neta ki jai jai kaar

Paris London
paanch aane mein
Turkey German
paanch aane mein
chal Washington
paanch aane mein
dekh le apni aankh se koi chaand pe kaise jaaye
ho o
do deewaane aaye
ek tamaasha laaye
dekho sau feesdi film ye bole naache gaaye
kaho kya jhoothh baat hai
nahin
to bas phir dekho bhalo
jawaani ke gun gaa lo


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.

Hullo to Atuldom

2nd November is the birthdate of Anu Malik, son of famous yesteryear music director Sardar Malik. Sardar Malik who is one among the forgotten stars of yesteryears and is not counted among the top five, but his works are still remembered. How can one forget “main gareebon ka dil hoon watan ki zuban” or “saranga teri yaad mein” or the Talat Mehmood classic “ae gham-e-dil kya karoon”; every one of them dipped in pure emotion and melody.
Read more on this topic…


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.

This post celebrates the 1000th song of Majrooh Sultanpuri on our blog.

rok sakta hamen zindaan e balaa kya majrooh
hum to awaaz hain deewaaron se chhan jaate hain

Powerful lines, written while he was in prison – no, not under the British rule; that happened back in 1946-47. This was a second time he was imprisoned c1950-51, under the regime of a free India. A poet with leftist leanings, his progressive writings were considered a threat by the British regime (which is understandable), and also considered a threat by then government of Morarji Desai (in Bombay). A song titled ‘Aman Ka Jhanda’ was sung at a meeting of poor labor class workers in the Parel area. Being the author, and the on stage presenter of this song, drew the ire of the establishment, and arrest warrants were issued in his name. He was arrested after being underground for some time, and sentenced to one year imprisonment. Morarji Desai suggested that he may render an apology for his writings, and he would be a free man. In response, the young revolutionary poet wrote this couplet.

rok sakta hamen zindaan e balaa kya majrooh
hum to awaaz hain deewaaron se chhan jaate hain

No walls of a prison
No tyranny of a jailer
Has the power to bind me
I am the voice (of conscience)
That permeates through
The walls of confinement
[Note: zindaan = jailer]

Remembering Majrooh Sb on the 98th anniversary of his birth today (1st October).
Read more on this topic…


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has exactly 14100 song posts by now.

This blog is active and online for over 3500 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14100

Number of movies covered in the blog

Movies with all their songs covered =1087
Total Number of movies covered =3846

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Blog Start date: 19 july 2008

Active for more than 3500 days.

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