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

Archive for the ‘Shamshad Begam songs’ 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 :

5010 Post No. : 16913

———————————————–—————————————
Blog 10-Year Challenge (2012-2022) – Song No. 42
————————————————————————————–

This date ten years ago (6 April 2012) saw as many as seven songs from seven different movies getting covered in the blog. Here are the details:-

Blog post number Song Movie (Year) Remarks
5740 Tu kaun si badli mein mere chaand hai aa jaa Khandaan(1942) Movie YIPPEED by now
5741 Bol pardesia ye toone kyaa kiya Mangu (1954) 6 songs covered in the blog out of 7
5742 Zara seekh lo ankhiyon sharmaana/a> Vachan (1955) Movie YIPPEED by now
5743 Mubaarak sab to phoolon ka sajaa kar laaye hain sehra Zindagi Ya Toofaan(1958) Movie YIPPEED by now
5744 Maine kaha babuji itna bataaoge Chhoti Bhabhi(1950) 8 songs covered out of 9
5745 Thhoda sa intezaar keejiye Chowkidaar (1974) Movie YIPPEED by now
5746 Manmohana tu jo bhi de Vandana (1975) 2 songs covered out of 5

We can see that four movies (out of 7) whose songs were covered in the blog ten years ago have since been YIPPEED in the blog. That leaves us with three movies that are eligible for Blog Ten Year Challenge today (6 April 2022).

“Chhoti Bhaabhi”(1950) is one of the three movies eligible for BTYC today.

“Chhoti Bhaabhi”(1950) was directed by Shanti Kumar for Filmkar Limited, Bombay. The movie had Nargis, Karan Diwan, Shyam, Kuldip aka Kuldip Kaur, Gulab, Shyaama, Suraiyya chaudhry, Yakub, I.S.Johar, Baby Tabassum, Gyani, Jugnu, G.Sarang, Khushdil etc in it.

Here is the ninth and final song from “Chhoti Bhaabhi”(1950) to appear in the blog. The song is sung by Shamshad Begam and chorus, alongwith one unnown male voice. Qamar Jalalabadi is the lyricist. Music is composed by Husnlala Bhagatram.

The song is picturised as a stage dance song on several female dancers. We can see Nargis, Shyam and GopeYakoob seated in the front row among the housefull audience.

Lyrics of the song were sent to me by Prakashchandra.

With this song, all the songs of “Chhoti Bhaabhi”(1950) are covered in the blog. “Chhoti Bhaabhi”(1950) thus joins the list of movies that have been YIPPEED in the blog.


Song-Tashreef rakhiye jee tashreef rakhiye (Chhoti Bhaabhi)(1950) Singer-Shamshad Begam, Lyrics-Qamar Jalalabadi, MD-Husnlal Bhagatram
Chorus
Unknown male voice

Lyrics(Provided by Prakashchandra)

tashreef rakhiye jee tashreef rakhiye
tashreef rakhiye jee tashreef rakhiye
mere dil ke makaan mein tashreef rakhiye jee
mere dil ke makaan mein tashreef rakhiye
tashreef rakhiye jee tashreef rakhiye
mere dil ke makaan mein tashreef rakhiye jee
mere dil ke makaan mein tashreef rakhiye

khaali hai makaan meraa aake basaao jee ee..ee…eeee
aa aa aa aaa aaa aaaa aa aa aa aa aa aaa
aankhon ki khidkiyon se chori chori aao jee..ee…ee…eeee
aaa aaaa aaa aaaa aaa aaaa aaa aaaa aa aa aaa aa

badey shauq se makaan mein tashreef rakhiye
badey shauq se makaan mein tashreef rakhiye
mere dil ki makaan mein tashreef rakhiye jee
mere dil ki makaan mein tashreef rakhiye

aaa aa aa aaa aaa aaa
oo ooo oo ooo oo
aaa aaa aaaa aaa aa aa aaa aaa aaa
oooo ooo oo ooo oo ooo oo

sarson ka khet hai aey ae ae aey ae
sarson ka khet hai
umangein jawaan hain
umangein jawaan hain aen aen
sarson ka khet hai
umangein jawaan hain
umangein jawaan hain aen
pyaar bharey dil mein mere laakhon armaan hain jee
laakhon armaan hain jee
laakhon armaan hain aen aen aen
deerdeer deerdeer deer/reeraa reeraa reeraaa reeraa
deerdeer deerdeer deer/reeraa reeraa reeraaa reeraa
deerdeer deerdeer deer/reeraa reeraa reeraaa reeraa

mere dil ke har armaan mein tashreef rakhiye
mere dil ke har armaan mein tashreef rakhiye
mere dil ke makaan mein tashreef rakhiye jee
mere dil ke makaan mein tashreef rakhiye

aa aaa aaa aaa aa aaa aaa aaa
aa aaa aaa aaa aa aaa aaa aaa

bujh gaye chiraag raajaa..aa…aaa
o raajaa…aaa..aa..aaa
bujh gaye chiraag raajaa aaa aa aaa aaa aa aa aa aaa
soya durbaan hai
gori gori ret mere pyaar ka jahaan hai
gori gori ret mere pyaar ka jahaan hai/em>

mere pyaar ke jahaan mein tashreef rakhiye
mere pyaar ke jahaan mein tashreef rakhiye
mere dil ke makaan mein tashreef rakhiye jee
mere dil ke makaan mein tashreef rakhiye

nadee kaa kinaaraa haa aaa
tandaa tandaa paani
paani haaa..aaaa…aaa
tandaa tandaa paani
paani haaa..aaaa

tandaa tandaa paani mein aag ka jawaani haa
aag kaa jawaani haa aaa
aajaa mere raajaa aajaa aajaa..aaa
aajaa mere raajaa aajaa aajaa..aaa
tera meharbaanee haa…aaaa…haaa…aaa…aaaa..aa
aake pyaar ke toofaan mein tashreef rakhiye
aake pyaar ke toofaan mein tashreef rakhiye
mere dil ke makaan mein tashreef rakhiye jee
mere dil ke makaan mein tashreef rakhiye


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 :

5007 Post No. : 16907

“Chaar Chaand”(1953) was produced by F M Khan and directed by A Karim for Fine Art Films, Bombay. This movie had Shyama, Bhagwan, Suresh, Altaf, Majnu, Sheikh, Maqbool, Aagha Miraz, Gulaam Rassol, Ameer Baanu, C.L.Shah, Raani Kapoor, Deepmala, Raajina, Cuckkoo etc in it.

The movie had nine songs in it. Four songs have been covered in the past.

Here is the fifth song from “Chaar Chaand”(1953)to appear in the blog.

This song is the title song of the movie. It is sung by Shamshad Begam, Jawar Hussain and chorus. A Karim is the lyricist. Music is composed by Nashaad.

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

Lyrics of the song were sent to me by Prakashchandra.

audio link:

Song-Ek naheen do naheen teen naheen chaar chaand (Chaar Chaand)(1953) Singers-Shamshad Begam, Jawar Hussain, Lyrics-A Karim, MD-Naashaad
Shamshad Begam + Jawar Hussain
Female chorus
Shamshad Begam + Female chorus

Lyrics(Provided by Prakashchandra)

ek naheen do naheen teen naheen chaar chaand
jeevan mein tumne lagaa diye chaar chaand
chaar chaand
ek naheen do naheen teen naheen chaar chaand
jeevan mein tumne lagaa diye chaar chaand
chaar chaand
chaar chaand

sab kuchch main bhool gayee jab tumko paa liyaa
ho o o jab tumko paa liyaa
sab kuchch main bhool gayee jab tumko paa liyaa
duniya ke jhagdon se mujhko chhudaa liyaa
ho o mujhko chhudaa liyaa
naainaa milaake jo tum aaj muskuraa diye ae
chaar chaand
jeevan mein tumne lagaa diye chaar chaand
chaar chaand
ek nahin do nahin teen nahin chaar chaand
jeevan mein tumne lagaa diye chaar chaand
chaar chaand
chaar chaand

bichchdey dilon ko milaaney tum aayee ho
khushiyon ki duniyaa ko sang sang laayee ho o
sang sang laayee ho
sooney mahal se mere
bhaag jagmagaa diye
chaar chaand
jeevan mein tumne lagaa diye chaar chaand

chaar chaand
ek nahin do nahin teen nahin chaar chaand
jeevan mein tumney lagaa diye chaar chaand

chaar chaand
chaar chaand

chandaa saa mukhdaa hai
baaton mein pyaar hai ae
uthh`ti jawaani hai solah singaar hai
ho solaha singaar hai
deepak ummeedon ke tumne phailaa diye chaar chaand
jeevan mein tumne lagaa diye chaar chaand
chaar chaand
ek nahin do nahin teen nahin chaar chaand
jeevan mein tumne lagaa diye chaar chaand

chaar chaand
chaar chaand
chaar chaand
chaar chaand


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 :

4991 Post No. : 16885

Today (18 march 2022), the blog had two guest posts so far, and both pertained to Holi. That created some confusion in my mind. I was under the impression that Holika dahan is on the night of 18/19 march and Holi is on 19 march 2022. To add to my confusion, I found out that Railway HQ in Southern Railway, Chennai was open today on 18 march 2022. It turns out that I was out of phase by one day from others. It turns out that even Chennai celebrates holiday today. It is only Southern Railway HQ in Chennai that has decided to work on this day. 🙂

When one looks at the festival category (on the right side of the blog), one finds that the blog has as many as 67 Holi related songs. The second most popular festival is Deepaawali (38 songs) and then Rakhi (24 songs). Looking at the nature of the festivals, it is not very difficult to guess why Holi is the most popular festival for Hind movie makers. It gives then a genuine reason to indulge in a song and dance sequence full of box office hit ingredients, viz color, revelry, two genders dancing together and getting wet thanks to coloured water sprinkled on them from pichkaari.

Even in real life, this festival is popular for similar reasons. And it is popular among trouble makers as well.

On this day, trains remain empty. It is so unlike the occasion of Deepaawali when trains run to full capacity and you cannot have berths in trains. I, not averse to act diferent from the masses, had once (nearly four decades ago)travelled by train on the day of Holi from Jamalpur to Patna and then from Patna to Ranchi. On normal days entering the train itself was a tall order. But on that day, I was perhaps the only occupant of those trains.

With 67 Holi songs under the belt of the blog, some people may feel that we have run out of Holi songs to cover. Nothing can be farther from the truth. There are still lots and lots of Holi songs that are not yet covered in the blog. I have already mentioned it earlier that HOli is the most popular festival among movie makers, and so Holi related songs keep appearing in Hindi movies even today. This genre of song is unlikely to go out of fashion in Hindi movies.

Prakashchandra himself has singlehandedly sent me dozens of Holi realted songs. Moreover, I have discovered some more Holi songs on my own. All these supply of Holi songs will last us for many Holi festivals. 🙂

The Holi song that accompanies this post is from “Banjaarin”(1960). This movie was produced and directed by Ratan KUmar for Ratan Produced by Ratan Kumar for Ratan Pictures, Bombay. The movie had Manhar Desai, Kanchan Kamini (Debutant), Lalita Kumari, Sunder, Indira Bansal, Chetan Kumar, Shree Bhagwan, Dalpat (in triple role), T.N.Sinha, Bagla, Murari, Prayag Dutt, Hari, Kapoor, Polson, Master Papoo, Bela, Paro, Laxminarayan, Rehana, Geeta, Meera etc in it.

The movie had 8 songs in it. Four songs have been covered in the past.

Here is the fifth song from “Banjaarin”(1960). This song is sung by Rafi, Shamshad Begam and chorus. Pt Madhur is the lyricist. Music is composed by Pardesi (or Pardeshi).

The song is picturised as a Holi festivity song on Manhar Desai, Kanchan Kamini, Lalita Kumari Sinha, Indira Bansal etc.

Lyrics of the song and other details were sent by Prakashchandra.

I take this opportunity to wish everyone a (somewhat belated) happy and safe Holi.

Remarks:- It was pointed out by Mr Partha Chanda, our regular visitor with a keen eyae that the same song was discussed under “Janam Janam Ke Phere”(1957) on 5 april 2020. On checking up, that indeed turned out to be the case. On further investigation, it turned out that the song was originally intended for “Janam Janam Ke Phere”(1957), but it could not be accomodated there. Finally this song was included in “Banjaarin”(1960) which had more or less the same starcast as “Janam Janam Ke Phere”(19557) with some changes.

I thank Nahm, our regular contributor, for pointing out this fact. Since this song was composed for “Janam Janam Ke Phere”(1957) so its lyricist is Bharat Vyas and music director is S N Tripathi, unlike other songs of “Banjaarin”(1960) where Pt Madhur is the lyricist and Pardesi is the music director.

I have now replaced the earlier post of 5 april 2020 containing the same song by another Rafi Shamshad Begam duet and penned by the same lyricist (Bharat Vyas).

(colour video link)

audio link:

Song-Aayi mohan milan ki bela (Banjaarin)(1960) Singers-Rafi, Shamshad Begam, Lyrics-Bharat Vyas, MD-S N Tripathi
All chorus

Lyrics(Provided by Prakashchandra)

ho ghanan ghanan ghan baajey mridang
ghanan ghanan ghan baajey mridang
rey jhanan jhanan jhanan jhankey kang
baajey rey sang
chhaayaa hai rang
dekho jamuna ke tat pe aey ae
jamuna ke tat pe
bansi ke bat pe
natkhat natwar bansi bajaaye
gori chori chori chori chori gopiyon ko bulaaye
koyi idhar se aaye
koyi udhar se aaye
koyi goree goreee goree goree gori
koyi kaaree kaaree kaaree kaaree kaari
koyi saanwari saanwari chhoree..eee
koyi saanwri saanwri chhoree
ho koyi saanwri saanwari chhoree
ho brij mein sohey raadhaa mohan
jaisey chaand chakori
ke chaand chakori
ke chaand chakoree..ee

aayee mohan milan ki belaa..aa
laagaa madhuban mein kaisaa melaa

ho o o
raadhaa bhee naachey
mohan bhi naachey
naache rey gaaon albelaa aaa
aayee mohan milan ki belaa
laagaa madhuban mein kaisaa melaa
ho o o
raadhaa bhee naachey
mohan bhi naachey
naache rey gaaon albelaa
aayee mohan milan ki belaa

koyi bajaaye jhaanjh jhamaajham
koyi bajaaye jhaanjh jhamaajham
koyi bajaaye manjeerey

koyi bajaaye jhaanjh jhamaajham
koyi bajaaye manjeerey

raadhaa jee ke pag mein jhanjhar
jhamak rahee dheerey dheerey
jhamak rahee dheerey dheerey
ho jhamak rahee dheerey dheerey

ho o o raadhaa hai naazuk jaisey chameli
mohan hai jaisey belaa

aayi mohan milan ki belaa
aayi mohan milan ki belaa
laagaa madhuban mein kaisaa melaa
ho o
raadhaa bhee naachey
mohan bhi naachey
naache rey gaaon albelaa
aayee mohan milan ki belaa

baaj rahee hai gwaalaniyon ki
paayaliyaa rey chhoom chhanan
paayaliyaa rey chhoom chhanan
ho
paayaliyaa rey chhoom chhanan
ho baaj rahee hai gwaalaniyon ki
paayaliyaa rey chhoom chhanan
oopar chamkey chaand poonam ka
neechey naachey brindaavan

neechey naachey brindaavan
ho o
neechey naachey brindaavan
ho o o bansee ke bat pe kaalindi tat pe
laagaa hai kaisaa jhamelaa
aayi mohan milan ki belaa
aayi mohan milan ki belaa
laagaa madhuban mein kaisaa melaa
ho o o
raadhaa bhee naachey mohan bhi naachey
naachey rey gaaon albelaa
aayee mohan milan ki belaa


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 :

4956 Post No. : 16824

Today’s song is from the film Nirdosh-1950.

There were 4 films with the same title – Nirdosh-1941, Nirdosh-1950, Nirdosh-1973 and Nirdosh-2018. The first film Nirdosh-1941 had singer Mukesh as Hero, opposite Nalini Jaywant and he sang his first film song on the screen. Film Nirdosh- 1950 was a film made by Filmistan Ltd.,Bombay and it was directed by Najmul Hasan Naqvi or simply Najam Naqvi. This shortening of his name had a history behind it.

Initially, when Najam came into the film line, he joined Bombay Talkies as an assistant doing odd jobs. However, soon ,looking at his interests, he was kept as a Continuity man in the direction department. In 1935, a handsome young man joined Bombay Talkies and the first film of Bombay Talkies-” Jawani ki Hawa”-1935 was made with Devika Rani and this young man-Najmul Hasan as the lead pair. The film was a Hit film. During the making of this film, he and Devika Rani fell in love. While their second film-” Jeevan Naiya”-1936 was on the floor, the Love Birds eloped to Calcutta. There was great commotion in the studio and everyone talked about it. The prestige of Bombay Talkies was at stake as the wife of the owner had run away with her lover.Eventually, Devika Rani was persuaded to return to Bombay. Najmul Hasan dared not come back. He continued in Calcutta, did some films and a roaring love affair with actress Kajjan, before migrating to Lahore.

The whole episode of elopement had become a matter of embarrassment for the continuity man; working in the same studio. His name too was Najmul Hasan. Because of the same name, this innocent chap -who had nothing to do with the elopement drama- had to suffer staring eyes and hush hush whisperings within the studio and the film circle of Calcutta !

He was Najmul Hasan Naqvi, born on 11-4-1913 at Moradabad-UP. He was working in Bombay Talkies doing odd jobs-continuity man and even as an actor in Achhut kanya-36. He was a very hardworking person. After this episode he changed his name to a shorter edition- Najam Naqvi.

He worked in the Direction department and his first film as an independent Director was PUNARMILAN-1940. He went on directing films like Raja Rani-42, Tasveer-43, Naya Tarana-43, Panna-44, Prithwiraj Sanyogita-46, Nateeja-47, Parayee Aag-48, Actress-48, Nirdosh-50, Rangili-52 and last film- Samrat-54.

In 1955, Najam Naqvi migrated to Pakistan and directed 7 films- Kunwari Bewa-56, Naghma e dil-59, Dil e nadaan-60, Qaidi-62, Ek manzil do rahein-62, Ek tera sahara-63 and lastly Payal Ki Jhankaar-66. Najam Naqvi died on 26-1-82 at Lahore. Due to the same name, many sites still mix up the filmography of these two artistes.

The cast of the film Nirdosh-1950 was Shyam, Rehana, Kuldeep Kaur, Om Prakash, K N Singh, Mukri and others. 3 Lyricists wrote the 10 songs of the film. They were S H Bihari, Asad Bhopali and RMA Khan. The Music Director was Shyam Sunder-one of my favourite MDs. He is one of the very few old time composers who composed some songs which will never fade away. He was not very prolific- just 20 films in a career of 10 years, but some of his songs are evergreen. he showed his talent right from his first film “Nai Kahani”-1943, by composing the beautiful song ” Neend hamari khwab tumhare”, sung so nicely by G M Durrani and sung on screen by the handsome B. Nandrekar.

To be famous and to shine in this world, mere Talent is not enough. You must also have Lady Luck with you. While it is generally true,it is more true in the case of our Film Industry.

It is said that LAXMI and SARASWATI do not stay together. Laxmi is the Goddess for Wealth and Saraswati stands for Arts,music and Wisdom. We have seen several examples of Actors,singers,Directors and composers,where,despite being talented,the person did not shine in life and had to remain unhonoured and unrecognised. But we have also seen cases where genuinely talented people in various fields do get honoured,recognised and become wealthy too.

So,what is the factor that binds Laxmi and Saraswati together ? It is ,Undoubtedly,LUCK ! Without having Luck,no one can get name,fame and wealth,however talented he may be.

But,what about those talented people who had almost everything coming their way,name,fame and wealth too,but just because of their own egos,bad tempers and bad habits,they lost everything and either died soon or spent their last days in neglect and sorrow ?

Yes,there are such examples too in the Film Industry. One such glaring example is that of Music Director SHYAM SUNDER. ( Another notable example is that of SAJJAD HUSAIN). Songs composed by Shyamsunder are one of my most favourite ones. His songs from Nai kahani,Bazar,Lahore and Village girl are to be remembered eternally.Bazar -49 song, ” Saajan ki galiyan ” is Lata’s No. 1 favourite song( so is mine ! ). The 6 songs of Noorjehan in Village Girl-45 are simply matchless.

Shyamsunder himself was a highly respected and preferred composer for singers and producers. He had the capacity to scale heights much higher than other composers of his time. But…Alas ! The habit of drinking and talking rubbish when drunk destroyed his career. Here is an anecdote of how much respected and remembered he was by the Ace singers like Noorjehan and Lata Mangeshkar…

Thirty five years after the partition and two wars between India and Pakistan; in the year 1982 the melody queen, Malika-e-Taranum Noorjehan visited India. It was certainly a grand occasion for millions of music lovers of the Indian sub-continent.

In her honour and to facilitate nostalgic music lovers, an impressive show was organised in Shanmukhanand Hall, Bombay which was attended by a large number of luminaries of Indian cinema. Notable amongst them were- Anil Biswas, Naushad, the maestro music composers and matinee idols- Devika Rani, Ashok Kumar, Dilip Kumar & nightingale of India Lata Mangeshkar to name a few.

Noorjehan came to the dais with a thunderous applause from the jam-packed auditorium and after a brief speech; as expected, she sang her most popular melody- ‘Awaaz de kahan hai, duniya meri jawan hei’ she recorded in India for film ‘Anmol Ghadi’ -Music was composed by Naushad.

Thereafter, it was Lata to sing, who found herself in a very difficult situation owing to a completely charged atmosphere all around the auditorium. She kept everyone guessing about the selection of her song.

Lata came out with one of her endearing melodies- ‘Saajan ki galian chhod chaley, dil roya aansoo beh na sakey’ from the film ‘Bazaar’ music for which was composed by Shyam Sunder. The applause was beyond imagination. The memory of the completely forgotten genius music director Shyam Sunder came alive, when in her next round Noorjehan sang– ‘Baithee hun teri yaad ka ley karkey sahara’ another immortal melody from film- ‘Village Girl’, music for which was composed by none other than Shyam Sunder.

The audience was indeed spellbound. Every one thought as to why she chose a completely forgotten Indian melody instead of a large number of songs she recorded in Pakistan after migrating from her performing place of origin- Bombay . Perhaps, it was in view of the fact that the singer and the composer of the film ‘Village Girl’ were from Punjab .

The momentous event continued with lots of nostalgic and tearful exchanges and it became a history in the annals of pre and post partition Indian art, culture, music and all such related aspects of humane

Why such a legendary music- composer has completely been forgotten,who composed music for some of the classics of his time, such as ‘Village Girl’- 1945, ‘Devkanya’ 1946, ‘Actress’ and ‘Ek Roz-1947, ‘Bazaar’ and ‘Lahore’- 1949, ‘Dholak’, ‘Kale Badal and Alif Laila’ -1951 just to name a few.

In 1943, he composed music for the film ‘Nai Kahani’. An alluring song of G.M. Durani and others–‘Neend hamari khwab tumhare, kitne meethe kitne pyare’ which became an instant hit. Even today after a gap of more than seventy years, the melody richly deserves an eloquent place in the list of popular melodies of yesteryears.

In his next film ‘Village Girl’ -1945, Shyam Sunder came with flying colours, wherein Noorjehan sang some of her fabulous melodies viz–‘Baithi hoon teri yaad mein ley karkey sahara’, ‘Kis tarah bhulega dil’ & ‘Sajan pardesi, balam pardesi’. In these vital numbers, the feelings immersed in the lyrics -written by Wali Saheb- she was in her complete command. The singer did not merely sing the words inscribed in the lyrics, but the depth of feelings. The class of accompanying instrumentation and the matching orchestration was superb and the genius of the composer was distinctively visible.

It is needless to reiterate that as and when a list of immortal melodies of previous century of Indian sub-continent in general and Noorjehan in particular will be drawn; these numbers will invariably find a prime place, music for which was composed by a totally forgotten genius called- Shyam Sunder.

For Shyam Sunder, after the exit of Noorjehan from Indian film music, there came the film ‘Actress’ in the year 1948, wherein Mohammad Rafi gave his initial introduction to the music world by singing – ‘Hum apne dil ka fasana unhe suna na sakey’ . This proved to be Rafi’s initial introduction. .

The music-creating journey of Shyam Sunder can be matched with another maestro called Sajjad Husain, who also composed music for just 14 films, but composed some of the finest melodies of his era.

Both the masters were highly perfectionists; but ill-tempered and uncompromising. Shyam Sunder, additionally in view of his addiction to liquor and excessive drinking, occasionally uttered abusive language and consequently used to lose control over his head and heart. During the making of the film ‘ Lahore ’, he had some abusive interaction with Lata Mangeshkar; as such, they were not on talking terms for a considerable time.

In the year 1952, when the film- ‘Alif Laila’ was in making, Shyam Sunder died in the recording studio, owing to excessive drinking and consequent heart attack; the music thereby was completed by his assistant- Madan Mohan. Due to his spat with Lata,she had stopped singing for him,but on his request she sang a song in his last film, Alif Laila-1953. She knew his calibre as a composer !

Shyamsunder was born in Multan (now in Pakistan). He was an expert Violin player and used to play in Jhande Khan’s orchestra in the early stage of his career. He started with Punjabi films from 1939. He gave a break to Mohd. Rafi in Punjabi film ‘Gul Baloch’. Nai kahani-41 was the beginning of his bright career and village girl-45,Lahore-49 and Bazar-49 were his pinnacle. He composed 187 songs in 20 films.

Shyamsundar died on 15-7-1952.

Some years back, Lata Mangeshkar had been interviewed on rediffmail.com, on 7-1-2011, in which she gave some short memory clips of her famous MDs. About Shyamsunder, she had this to say……

” During the period of 1946-1947, I was an employee of Master Vinayak.

One day he summoned me to his house in Dadar and told me that Shyam Sudner had come and wants to hear you sing. I complied and sang a Bandish. There was no reaction on Shyam Sunder’s face. Days passed by. Master Vinayak met an untimely end. I was searching for work.

Then one day, Shyam Sunder called for me.

I have sung many melodious songs for Shyam Sunder. I remember a qawaali from the film Chaar Din. The singers included Rafi, Shivdayal Batish, Rajkumari, Hamida, Johrabai and Iqbal. This qawaali, Haseenon ki adaein bhi by Shyam Sunder was very challenging and consisted of difficult taans.

Our rehearsal was going on. I was the focus of his attention. He was keen to know how I perform on a song which had a Punjabi style. I sang all the taans much to the delight of Shyam Sunder. He told everyone, “This is how to sing a song in Punjabi style.”

Shyam Sunder was a jovial person. Due to some misunderstandings, I was not singing for him for a period of time.

One day, I received a message from him. He had composed a song especially for me. The song Tujhko Bhulana Mere Basme Nahi from the film Alif Laila was the last song that I sang for him. He met a sad, untimely death. The song from his film Bazaar-1949 ” Sajan ki galiyan” is my favourite.”

Today’s song is also a typical Shyam Sunder song, sung by Shamshad Begum. This is the third song from this film here.


Song-Gaye wo mere dil ko veeraan kar ke (Nirdosh)(1950) Singer-Shamshad Begam, Lyrics-S H Bihari, MD-Shyam Sundar

Lyrics

na aaye thhe to zara itminaan thha dil ko
wo aa ke chal diye
phir bekraar karke mujhe ae

gaye wo mere dil ko veeraan kar ke
gaye wo mere dil ko veeraan kar ke
judaai mein rone ka saamaan karke
gaye wo mere dil ko veeraan kar ke
judai mein rone ka saamaan karke

jaate jaate saath apne ae
dil mera lete gaye
dard wo mujhko tadapne ke liye dete gaye ae ae
mila ye humen unse pehchaan karke
mila ye humen unse pehchaan karke
judaai mein rone ka saamaan karke
gaye wo mere dil ko veeraan kar ke
judaai mein rone ka saamaan karke

chaar din ki chaandni thhi ee
phir andheri raat hai ae
phir wahi tanhaaiyaan hain
aur gham ka saath hai
bada dukh hua unko mehmaan karke
bada dukh hua unko mehmaan karke
judaai mein rone ka saamaan karke
gaye wo mere dil ko veeraan kar ke
judaai mein rone ka saamaan karke


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 :

4950 Post No. : 16810

Today’s song is from the film Garma Garam-1957.

The film was made by G.M.Pictures, Bombay. The Producer was Navin C Shah and the Director cum story writer cum Screenplay writer cum Lyricist was P.L. Santoshi. The film had music by Vinod. The 11 songs of the film were written by P L Santoshi, D N Madhok and Raja Mehdi Ali Khan. 3 Songs are already on the Blog and this will be its 4th song. Interestingly, this song is written by Santoshi and RMA Khan jointly, as per a note on HFGK.

Of course, this is nothing new. Such things have happened several times in Hindi films. Here are few examples of joint writing the Lyrics of songs….

1.Footpath-53….The famous song by Talat – ” Shyam e gham ki kasam”….Ali Sardar Jafri and Majrooh Sultanpuri.
2.Miss Bombay-57….” Zindagi bhar gham judai ka….Prem Dhawan and Asad Bhopali
3.Buzdil-51….” Rote rote gujar gayi raat re”….Kaifi Azmi and Shailendra
4.Humlog-51….All songs….Vishwamitra Adil and Uddhav Kumar
5.Pardesi-57….” Rimzim barse paani”….Prem Dhawan and Ali Sardar Jafri

This is one of those strange things that happen in Hindi film industry. Of course, such “Mutual Collaboration” are also found in some cases of Film Direction – where two Directors direct a film jointly (those cases are different where a Director dies and another completed his balance work or where the first director left the film and another took over). This has also happened in Music direction where two MDs jointly gave music (cases of established MD pairs are different).

The second notable thing about the film was – the cast consisted of Agha, Gope, Omprakash, Bhagwan, Marutirao, Chhota Gope, Indira Bansal,Nadira, Rajni, Miss Kamal, Maya Das, Krishna kumari and many others. The film was classified as a ” Stunt’ film. I wonder what stunts this band of comedians performed in the film. I saw this film when it was released simultaneously on 5th July 1957 at Lamington Cinema, Bombay as well as in Ashok talkies in Hyderabad. After seeing the film we felt like having got cheated. The film had no stunts and nothing in the film to make the audience ” Garam” either ! In those times while Vinod’s songs of “Ek thi Ladki-1949″ were still echoing in our ears, music of this film made us completely ” Thanda Thanda” and made us wonder if he was the same MD Vinod of Ek thi ladki ? Here is the film’s story which will prove what I have said….

Wealthy Garibdas has no issues, but only 2 Nephews- Banke, a simpleton and Banwari a chaalbaaz, who spends money on dancing girl-Chandni. Knowing this Garibdas makes his will in the name of Banke. While recording his will on camera, he dies without telling location of his wealth halfway.

Banke contacts the photographer-Asha for enquiry. They fall in love. While searching they find that a map and 6 keys hidden in 6 Golden Chairs had the secret. But the chairs are already sold by Banwari to various people in India. They get addresses from the auctioneer who sold these chairs.

Asha and Banke contact all those buyers and get the 6 keys. meanwhile, Banke comes to know all this and catches up with the pair. There is a fight in Banke and Banwari. Banke wins the fight, but magnanimously gives the keys to Banwari. Seeing this generosity, Banwari has a change of heart and both embrace each others.

Finally, they find a Box. Using the keys, they open the Box, only to find only a piece of white paper written ‘ God helps those who help themselves”.
Asha has an idea. She starts pressing the box in different ways and suddenly it opens and the map is found where the wealth is hidden.
The two brothers share the wealth.

The End.

In the cast of the film, there is a name Maruti Rao. He was a comedy actor and father of Comedienne Guddi Maruti. Earlier to him there was another actor called Marutirao Pehelwan ( father of Dancer Gopi Krishna), who operated from Silent films to Talkie films till early 40’s. Although same name, these actors did not cause any ” Same Name Confusion”, because they operated one after another – without overlapping their career period. However, I still found that some sites making a mix up of their Filmography.

His full name was Marutirao Ganpatrao Parab. He was born on 12-2-1927 at Ahmednagar, near Poona. After completing his Matriculation, he came to Bombay to try his luck in film acting. His first few films like Pagli Duniya-44, and Gajre-48 were without his name in credits He got his credits firmly from film Albela-51. Then he faeatured in many many films…Footpath-53, Baap re Baap-55, Baghdad ka chor-55, Chori chori-56, Guest House-59, Opera House-61, parasmani-63, Lutera-65, Ustad 420-69, Shor-72, Kunwara Baap-74, Don-78 etc etc. In the 60’s he mainly worked in Dara Singh films.

He acted in total 221 films and featured in 34 songs on screen. He also directed 7 films, namely Baghi Shehzada-64, Hum sab ustad Hai-65, Killers-69, Bank Robbery-69, Mangu Dada-70, Kahin aar kahin paar-71 and Hum sab chor hain-73. His last film as actor was Bandish – 1980. As an actor he was not much satisfied, but film direction gave him joy and satisfaction. After his last film he retired from films. However several films like karate-83 and Naya Bakra-85 got delayed releases. He died peacefully on 12-3-1981.

he had married his co-star Miss kamal, a small time actress who worked in films like Dashehra-56, Tartar ka chor-55, Garma Garam -57, Darbar-55, Riyasat-56 etc. etc. Their daughter Guddi Maruti had a better luck in films than both of them. ( Thanks to a note by Rajni kumar Pandya ji, book ‘Eena, meena deeka’ by Sanjit Narvwekar, HFGK, muVyz and my notes).

Today’s song is a Qawali sung by Mohd.Rafi, S D Batish, Asha Bhosale and Shamshad Begum with Chorus.


Song- Hum ko to mohabbat hai un se (Garma Garam)(1957) Singers- Rafi, S D Batish, Shamshad Begam, Asha Bhonsle, Lyrics-Lyricist- P L Santoshi, Raja Mehdi Ali Khan (Joint ), MD- Vinod

Lyrics

Humko to mohabbat hai unse
unko bhi mohabbat ho jaati
humko to mohabbat hai unse
unko bhi mohabbat ho jaati
nazron se jo nazren mil jaatin
ae jee mil jaati mil jaati mil jaati
ae jee mil jaati mil jaati mil jaati
nazron se jo nazren mil jaatin
ye duniya jannat ho jaati
ye duniya jannat ho jaati
haan haan
humko to mohabbat hai unse
unko bhi mohabbat ho jaati

aa aa aa aa
aa aa aa aa
chilman uthi bijli chamki
wo ek jhalak dikhlaa ke gaye
jab nazron ne unki balaayen lin
aa aa aa aa aa
jab nazron ne unki balaayen lin
wo saamne thhe sharmaake gaye
din raat tadapne waalon ko
ek baar wo phir tadpaake gaye ae ae
gar hans ke wo saamne aa jaate
haan aan aan aan aan aan aan
gar hans ke wo saamne aa jaate
aji aa jaate aa jaate aa jaate
gar hans ke wo saamne aa jaate
kooche mein qayaamat ho jaati
kooche mein qayaamat ho jaati
aa aa aa aa aa
humko to mohabbat hai unse
unko bhi mohabbat ho jaati
humko to mohabbat hai unse
unko bhi mohabbat ho jaati

aa aa aa
aa aa aa
chilman uthhi jooti chamki
ye sab ke sab ghabraake gaye
haaye
aahen na bhari shiqwe na kiye
darbaan ke dande kha ke gaye
sar pe paanv rakh ke bhaage
thhokar khaayi
uhu
sharmaake gaye
gar thhodi si der ye ruk jaate
in sab ki hajaamat ho jaati
aji ho jaati ho jaati ho jaati
in sab ki hajaamat ho jaati
hajaamat hajaamat hajaamat
humko to adaawat hai inse
unko bhi adaawat ho jaati
haha
humko to mohabbat hai unse
unko bhi mohabbat ho jaati

aa aa aa aa aa
din raat tasawwur hai unka
aur chupke chupke rona hai
ae subah ke taare tu hi bata
aa aa aa
aa aa aa
ae subah ke taare tu hi bata
anjaam mera kya hona hai
unki furkat mein mujhe kab tak
kaanton ke sej pe sona hai ae ae ae
gar phool sa chehra dikhlaate
dikhlaate dikhlaate dikhlaate
gar phool sa chehra dikhlaate
kaanto mein bhi raahat ho jaati
aa aa aa
humko to mohabbat hai unse
unko bhi mohabbat ho jaati

aa aa aa aa
takiye mein apna sar deke
tujhe chupke chupke rona hai
o o o o
aa aa aa aa
aashaon ka kambal odhe huye
tujhe tooti si khatiya mein to sona hai
ya tu jaane ya main jaanoon
anjaam tera kya hona hai ae ae ae
wo tujhpe marte to TB ki shiqaayat ho jaati
aji ho jaati ho jaati ho jaati
TB ki shiqaayat ho jaati
humko to adaawat hai unse
unko bhi adaawat ho jaati
humko to mohabbat hai unse
unko bhi mohabbat ho jaati

aa aa aa aa
aa aa aa aa
hum dil ka chain luta baithhe
ab khoone tamanna peete hain
ji lagta nahin hai ae ae
duniya mein
go jeene ko hum jeet hain
o o o
ye dil ka paan to kha baithhe
ab aahon ke cigarette peete hain
ae doctar aakar tu hi bata aa aa
ye mar gaye hain ya jeete hain
quinine agar na kha lete
in sab ko haraarat ho jaati
aji ho jaati ho jaati ho jaati
in sabko haraarat ho jaati
aa aa
humko to adaawat hai unse
unko bhi adaawat ho jaati


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

Blog Day :

4907 Post No. : 16716

Remembering Mohammed Rafi Sahab ( 97th birth anniversary )
——————————————————————————–

Aaaaaaa
Aaaaaa
Aaaaaaaaaaa
Aaaaaaaaaaa
Mahal udaas aur galiyaan sooni eee
Mahal udaas aur galiyaan aan
sooni eee
Mahal udaa…aas aur galiyaan aaan sooni eeeee
Mahal udaaaaas
Mahal udaaaaas re…
Ea… ea Mahal udaaaaas………s
Mahal udaaaaas
aur galiyaan so………….oni eeeeeeeee
Mahal udaaaas aur galiyaan sooni eee
Mahal udaaaas aur galiyaan sooni eee
Chup chup hain deewaarien ean
Dil kya ujdaa
Duniyaa ujdi ee
Rootth gayee hain bahaarien
Ham jeewan kaise guzaarien
Ho ooo
Mandir girtaa phir ban jaata aa aaa
Dil ko kaun sambhaale ae oo
Duniya ke rakhwaale
Sun dard bhare mere naale
Sun dard bhare mere naale
O Duniya ke rakhwaale ae
Rakhwaale ae ae ae
Rakhwaale ae ae ae
Rakhwaale ae ae ae ae

So many benchmarks and such milestones, no one has set them better than Rafi sahab. The way he touched the lives of each and every urdu/hindi listeners heart and minds, is unmatched and unprecedented, never to be repeated in human civilization. His voice breached the boundaries of languages and cultures too. And his fans following seems to increase over the decades.

His contribution towards the cohesion and integration of the post independent and partitioned India, is unaccountable. No one can even begin to count and record, how many hearts, his voice and his renditions of patriotic songs, religious songs of different belief systems touched. It is no less than what is the contribution of Lata Mangeshkar of Sachin Tendulkar towards the Indian national identity and our ability to hold our head high in front of the world as Indians. There were visionaries, far sighted leaders that gave direction to this country and it was a recognition of Rafi sahab’s calibre and his potential as a voice, to which the nation could relate to and identify, that made Nehru invite Rafi sahab to sing the song “Bapu ki amar kahaani’ at a time of such national turmoil.

He was the voice of pathos, the hope of values, the epitome of ‘watan parasti’, a cultural mixture of a binary, where he could keep his soul pure and his singing from the heart, in a country, which needed his punjabi large heartedness. And foremost of his qualities, which still oozes out of his resonating voice, singing praises to the hero’s love interest, singing songs of devotion and story-telling, reciting ghazals of classic and modern poets, in his honied sometimes velvety and sometimes silky and yet rustic, when the situation required, is his humbleness, sharaafat and purity of intentions.

During the last one and half year many things have changed in this world. At the peak of these changes, someone thought to make a video of the deserted places of a historical / romantic city of Venice. Its streets canals boats, by-lanes and loggias totally bereft of humans, as a backdrop to Rafi Sahab’s rendition of the final stanza of this iconic song, recorded in a live show. I have seen other live show renditions of the same song, where Rafi Sahab is giving this same unbelievably fantastic performance. The clip was widely shared on whatsapp, where I first saw it. The video is available on youtube, with the title “Mahal udaas aur galiyaan sooni”.

Live show cilps are given below:
Mahal udaas aur galiyaan sooni – live singing
Full song “O duniya ke rakhwaale” live

Both the above renditions and the recording in the doordarshan show, make it clear that, this was definitely a song, which was a regular in the riyaaz list of Rafi sahab. To sing it so consistently with the same dedication and voice for 3 decades is a miracle and yet not a miracle. Also, in the stage shows he is singing this ‘raag darbari’ bhajan maintaining the higher octave through-out, and playing the harmonium at the same time. The special prolonged aria of the last stanza was not part of original film song, but it was made so especially for the live shows on stage. It was the discipline and simplicity, which makes such great artists immortal.

I am giving here a list of some of the iconic songs rendered by Rafi sahab which I find unforgettable.
1. Basti basti parbat parbat gaata jaaye banjara
2. Yeh zindagi ke mele duniya mein kam na honge
3. Ramaiyya wasta waiyya
4. Watan ki raah mein watan ke naujawan shaheed hon
5. Raahi manwa dukh ki chinta kyun sataati hai
6. Zindabaad zindabaad ae muhobbat zindabaad
7. Woh jab yaad aaye bahot yaad aaye
8. Kar chale ham fidaa jaan-o-tan saathiyo
9. Tum jo mil gaye ho to yeh lagtaa hai
10. Na to kaarvaan ki talaash hai
11. Dil ke jharoke mein tujh ko bitthaa kar
12. Nain lad jaiyi hain to manwaa maan kasak hoibe kari
13. Tere mere sapne ab ek rang hain
14. Saathhi na koyi manzil
15. Apni to har aah ek toofan hai
16. Tu ne mera yaad na milaaya
17. Yehan badla wafaa ka bewafaai ke siwa kya hai
18. Tu ganga ki mauj main jamuna ka dhara
19. O duniya ke rakhwale
20. Tu kahan yeh bataa iss nasheeli raat mein
21. Aap ne yaad dilaaya to mujhe yaad aaya
22. Man re tu kaahe na dheer dhare
23. Din dhal jaaye haay raat na jaaye
24. Raha gardishon mein har dam mere ishq ka
25. Baar baar dekho hazaar baar dekho
26. Jiya ho jiya ho jiya kuchh bol do
27. Sar jo teraa chakraaye ya dil dooba jaaye
28. Jinhen naaz hai hind par wo kahaan hain
29. Bichhde sabhi baari baari
30. Chaudhvin ka chaan ho ya aaftaab ho
31. Zindagi bhar nahin bhoolegi wo barsaar ki raat
32. Heuy hain tum pe aashiq ham bhala maano buraa maano
33. Teri zulfon se judaayi to nahin maangi thhi
34. Apni to har aah ek toofan hai
35. Dil ki aawaaz bhi sun mere fasaane pe na jaa
36. Ehsaan tera hogaa mujh par dil chahta hai woh
37. Tum mujhe yoon bhulaa na paaoge
38. Aanchal mein sajaa lenaa kaliyaan zulfon mein sitaare bhar lenaa
39. Taarif karun kya uss ki jis ne tujhe banaaya
40. Nafrat ki duniyaa ko chhod ke pyaar ki duniya mein
41. Kya huaa teraa wadaa woh qasam woh iraada
42. Dar-e-dil dard-e-jigar dil mein jagaaya aap ne
43. Sukh ke sab saathhi dukh mein na koyi
44. Bichhde sabhi baari baari
45. Hai agar dushman dushman zamaana gham nahin
46. Chura liya hai tum ne jo dil ko
47. O haseena zulfon waali jaan-e-jahan
48. Kahaaniyan sunaati hai pawan aati jaati
49. Mera man teraa pyaasa mera man teraa
50. Badi door se aaye hain pyar ka tohfa laaye hain
51. Teri bindiya re aaye haaye teri bindiyaa re
52. Bahaaron phool barsaao mera mehboob aaya hai
53. Jo waada kiyaa wo nibhaana padegaa
54. Aap ke pehloo mein aa kar ro diye
55. Chalo dildaar chalo chaand ke paar chalo
56. Baabul ki duaaen leti jaa jaa tujh ko sukhi sansaar mile
57. Ye des hai veer jawaanon ka albelon ka mastaaon ka
58. Maan mera ehsaan ari naadaan ke main ne tujh se kiya hai pyaar
59. Deewaane hain deewanon ko na dar chahiye
60. Chaahunga main tujhe saanjh savere
61. Koyi jab raah na paaye mere sang aaye
62. Mere dost qissa yeh kya hogayaa
63. Suhaani raat dhal chuki
64. Huye ham jin ke liye barbaad woh ham ko chaahe karenna yaad
65. Meri kahaani bhoolne waale tera jahan aabaad rahe
66. Ek dil ke tukde hazaar huey koyi yehan gira koyi wahan gira
67. Apni aazaadi ko ham hargiz mitaa sakte nahin
68. Sarfroshi ki tamanna ab hamaare dil mein hai
69. Ho ke majboor mujhe uss ne bhulaaya hogaa
70. Rut hai milan ki saathhi mere aa re
71. Tum bin jaaun kahaan ke duniya mein aa ke
72. Patthar ke sanam tujhe ham ne muhobbat ka khudaa jaana
73. Tere bina soone sayan hamaare
74. Chale thhe saathh mil ke chalenge saathh mil ke
75. Aawaaz de ke hamen tum bulaao
76. Aisa mauqa phir kahan milegaa hamaare jaisa dil kahan milegaa
77. Banda parwar thaam lo jigar ban ke pyaar phir aaya hoon
78. Hai duniyaa ussi ki zamaana ussi ka mohobbat mein jo ho gaya ho kisi ka
79. Chhupne waale saamne aa chhup chhup ke mera jee na jalaa
80. Mere mehboob tujhe meri muhobbat ki qasam
81. Khoya khoya chaand khula aasmaan
82. Main zindagi ka saath nibhaata chala gayaa
83. Zara saamne to aao chhaliye chhup chhup chhalne mein kya
84. Kaali ghataa chhaayi prem rut aaye aayi aayi aayi aayi teri yaad aayi
85. Tasveer teri dil mein jis din se utaari hai
86. Chhup gaye saare nazaare oye kya baat ho gayi
87. Jo unn ki tamanna hai barbaad ho jaa
88. Tu hindu banegaa na musalmaan banegaa
89. Ek thha gul aur ek thhi bulbul
90. Dil mein chhupa ke pyar ka toofan le chale
91. Aaj mausam badaa beimaan hai badaa
92. Muhobbat kar ko jee bhar lo aji kis ne roka hai
93. Sun sun sun sun zaalimaa pyar ham ko tum se hogayaa
94. Insaaf ka mandir hai yeh bhagwaan ka ghar hai
95. Rim zhim ke geet saawan gaaye haaye bheegi bheegi raaton mein
96. Dil jo na keh sakaa wohi raaz-e-dil kehne ki raat aayi
97. Ae ji dil par huaa aisa jadoo tabiyat machal machal gayi
98. Udhar tum haseen ho idhar dil jawaan hai
99. Kahaan jaa raha hai tu ae jaane waale
100. Jab bhi yeh dil udaas hota hai jaane kaun aas paas hotaa hai
101. O door ke musaafir ham ko bhi saathh le le re
102. Duniya na bhaaye mohe ab to bulaa le charonon mein
103. Ae dil hai mushkil jeena yehaan zara hat ke zara bach ke yeh hai bambai meri jaan

I have missed scores of my personal favourites in the above list. For example, I have mentioned very few duets and few group songs.

The song I am presenting on this memorial day is from the 1946 film Sona Chandi. Tufail Faarooqui is the music director and Wali Sahab. This is a duet with Shamshad Begum having some conversation and the words in English “I am sorry”. This reminds me of an “once upon a time” famous quote; Angez chale gaye, yeh sorry aur thank you chhod gaye. Quite contrary to this saying, I found on my visit to UK, that the British never left it here, they gifted the etiquette’s (a legacy) to us and continued to make them their ‘takiya kalaam’.

It is true, the denizens of the old blighty are so polite that these words keep falling from their lips, what ever is the situation or occasion. They have kept quite and listened to Shashi Tharoor making those demands. I have every hope that the apology is a given. It’s taking its time, but it should be on the way. More on this topic in another post, as here we have a birthday event to celebrate.

This is short and sweet duet song with the nok-jhonk, which became more prevalent in the 60’s songs. But this is a 40’s song, making clear, the potential of a powerful voice which was to become a backbone of future playback singing.

My list of iconic Rafi songs is incomplete, so the readers and commentators can help me complete the list.


Song-Baithhe hain tere dar pe (Sona Chaandi)(1946) Singers-Rafi, Shamshad Begam, Lyrics-Wali Sahab, MD-Tufail Farooqui
Both

Lyrics

Baithhe hain
tere dar pe
kuchh kar ke uthhenge ae
police uthhaayegi yaa ham
mar ke uthhenge
ya ham
mar ke uthhenge
ya ham
mar ke uthhenge

(knock knock)
Kya hai
Zara didi ko bulaao
Achchha
!

Didi
Woh majnu aaye hain

Arey keh do ham ghar pe nahin hain
Achchha…

Wo kehte hain
ham ghar pe nahin hain

Achchha, yeh baat hai.
Haan haan, yahi baat hai

Teri deewaar pe
Teri deewaar pe
Hasrat ki nazar karte hain
Teri deewaar pe
Hasrat ki nazar karte hain
Khush raho ehl-e-watan
Ham to safar karte hain
Khush raho ehl-e-watan
Ham to safar karte hain

Tumhen kya ho gaya kya pyaare
Tumhen kya ho gaya kya pyaare

Dil ki raftaar balaa ho gayaa
I am sorry
Dil ki raftaar balaa ho gayaa
I am sorry
baithhe bithhlaaye ye kya ho gayaa
I am sorry
baithhe bithhlaaye ye kya ho gayaa
I am sorry

Ee ee ee
Main ne to
Aankh machauli hi kari
Thhee eee lekin
Khwaa-ma-khwaa mujh pe fidaa ho gayaa

I am sorry
Khwaa-ma-khwaa mujh pe fidaa ho gayaa
I am sorry
Khwaa-ma-khwaa mujh pe fidaa hogayaa
I am sorry

Haa aaaan
Teri nazron ne kiyaa
Mujh pe yoon kaalaa
haa…aan jaadoo oo
Aadmi se tu gadhaa ho gayaa
I am sorry
Aadmi se tu gadhaa ho gayaa
I am sorry
Aadmi se tu gadhaa ho gayaa
I am sorry

Tere chehre pe
?? huaa jaata hai
Tere chehre pe
?? huaa jaata hai

Jaise ke ghat ke diya
Jaise ke ghat ke diya
ho gaya
I am sorry
Jaise ke ghat ke diya ho gaya
I am sorry eee eeee


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 :

4884 Post No. : 16680

“Waaman Avtaar” (1955) was directed by Raman B Desai for Bombay Films production, Bombay. The movie had Trilok Kapoor, Nirupa Roy, Bipin Gupta, Sapru, Roop Kumar, Yashodhara Katju, Jankidas , Jagdeesh Kanwal, Babu Raje, Gadadhar Sharma, Bheem, Rooplaxmi,Mayadas, Kanchan Mala, Heera Sawant,Roopmati etc in it.

The movie had nine songs in it. Five songs have been covered in the past.

Here is the sixth song from “Waaman Avtaar” (1955) to appear in the blog. The song is sung by Shamshad Begam. Gopal Singh Nepali is the lyricist. Music is composed by Avinash Vyas.

The song is picturised as a dance song on a female dancer whom I am unable to identify. I request our knowledgeable readers to help identify.


Laga kaun sa nasha jee nas nas mein nahin (Waaman Avtaar)(1955) Singer-Shamshad Begam, Lyrics-Gopal Singh Nepali, MD-Avinash Vyas

Lyrics

laga kaun sa nasha ji nas nas mein nahin
aji aaj mera man mere bas mein nahin
laga kaun sa nasha ji nas nas mein nahin
aji aaj mera man mere bas mein nahin

maine dekha hi nahin kab savera ho gaya
maine dekha hi nahin kab savera ho gaya
mere kaanon ne suna koi mera ho gaya
haaye mera ho gaya
hua aaj jo solah baras mein nahin
aji aaj mera man mere bas mein nahin
laga kaun sa nasha ji nas nas mein nahin
aji aaj mera man mere bas mein nahin

ho o o o
o o o
mila chaand mujhe sitaaron ke peechhe kyun padoon
mila chand mujhe sitaro ke peechhe kyun padoon
laga ek se dil hazaaron ke peechhen kyu padu
tum lakho me ek panch dus mein nahin
aji aaj mera man mere bas mein nahin
laga kaun sa nasha ji nas nas mein nahin
aji aaj mera man mere bas mein nahin

chalo chaandni mein
chalo chaandni mein
hum aankh michauli khelenge
aankhon se man mein utre
ghar se jaane na denge
ghar se jaane na denge
hogi baat kaunsi aapas mein nahin
aji aaj mera man mere bas mein nahin
laga kaun sa nasha ji nas nas mein nahin
aji aaj mera man mere bas mein nahin


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

Blog Day :

4845 Post No. : 16633

Today’s song is from the film Leela-1947. The film was made by Filmistan. The film was directed by Dattaram Pai. He was essentially a film editor and did editing in several films including Achhut Kanya,Jagriti,Nastik,Kismet,Samadhi,Sargam,Woh kaun thi,Chingari etc.He did editing in 24 films from 1936 to 1998-a span of 62 years.He died in 2000. He had earlier directed the film Eight Days-1946, which was actually directed by Ashok Kumar, but Pai’s name was advertised as a Director. In the case of the film Leela -47, he tried on his own but the result was not so good. He went back to his job of Editing quietly.

Lyricists were Qamar Jalalabadi and G.S.Nepali. The music was by C.Ramchandra. For C Ramchandra, finding Filmistan was a goal achievement, because those days he had left Jayant Desai’s company and was looking for another film company.His good old friend Kavi Pradeep, who was close to S.Mukherjee from their Bombay Talkies days, brought in a very lucrative offer from Filmistan and C Ramchandra joined it with pleasure.

Though C Ramchandra had begun his career in 1942 with Sukhi Jeevan, his first Hindi film as a MD, his music had not flourished till he joined Filmistan. The 5 films he had made with Jayant Desai were reasonably good but they were not Hits. It was only in Filmistan he achieved what one would call-Success. Out of the 11 films that he made here. His success rate was more than 50%. Especially, the music of films like Shehnai-1947, Saajan-1947, Khidki-1948, Nadiya ke paar-1948, Patanga-1949, Samadhi-1950 and Anarkali-1953 created songs which are remembered even today. To make songs whose popularity lasted for more than 70++ years, is surely an achievement.

It was also when he was with Filmistan that people were comparing him and Naushad and a discussion always circulated who was the Numero Uno as an MD. Though I am a C Ramchandra Fan, I am of the opinion that in the race of creating everlasting Hit songs, C Ramchandra was no match to Naushad. The strike rate of Naushad’s Hit films was much much more than that of C Ramchandra.

In the year 1946, C Ramchandra gave music to 4 films(1 for Filmistan), in 1947 it was 7 films (4 for Filmistan) and in 48 films were 8 (2 for Filmistan). So, in these 3 years, he did 19 films (7 for Filmistan). The rest consisted of stunt films of Master Bhagwan and other social films. Hit films were -5, all for Filmistan. If you see data for Naushad in the same period i.e. 1946,1947 and 1948, Naushad did only 8 films, but in these, 6 celebrated Silver Jubilee and 1 Golden Jubilee. Only Elan-1947 did not do well musically, though it was a hit film by Mehboob khan. The record of Naushad in success is unique. Out of the 64 films of Naushad (I am not counting Pakiza), there were 3 Diamond Jubilee films, 6 Golden Jubilee films and 23 Silver jubilee films ! I am sure no one can surpass the success of Naushad. His average number of songs per film comes to 10 songs, while for CR it is 8.4 only.

In the 40’s and 50’s decades many films were made on the background of play theatres and dance theatres. There were 2 possible reasons. One- prior to the advent of Silent and Talkie films, the main entertainment source for common people was Stage dramas. Despite the films, the stage dramas and dance troupes thrived. Hence it was used as a base for film stories. Secondly, this automatically provided plenty of scope for songs in the film. The last such film, in which a Drama company was the base of the film story I remember having seen was ” Hum sab chor hain ”-1956. After this film, at least I have not seen any such other film.

So, according to this norm, the film Leela-47 was about Drama companies and their artistes etc. The story was by Uma Devi-the singer, s/play by producer Gyan Mukherjee and Dialogues by Rajendra Shankar.

LEELA is a story of Naresh(Kanu Roy) and Leela(Shobha),their love,separation and union.

Naresh runs “Vidya Mandir” an institute where Mahabharat is made in several languages. Mrs Lal(Sunalini Devi) is the owner of “Kala bhavan”.She has a daughter Indira(Veera),whom she wants to marry Naresh.Once she arranges a show in aid of Vidya Mandir-Shakuntala.

Leela who is aspiring starlet approches Naresh who recommends her to the show and she is taken,but when Mrs.Lal knows that she came thru Naresh,Leela is not only removed from the show but also thrown out of the hostel.

Naresh, through his friend Shastriji(Agha) brings her to Vidya Mandir and gets her into another show.They fall in love and decide to marry.Naresh goes to his village and tells his mother(Leela Mishra) about Leela,but she wants only Indira.Feeling unwanted and rejected,Leela goes away.
Shatriji finds her and explains the love of Naresh for her and brings her back and the lovers are united forever.

The Heroine of this film, Shobha, unfortunately remains an actress about whom no information is available. On going through the HFGK, I find her name in at least 20++ films. Sometimes she is listed as Shobha Devi. Another bit of information about Shobha was that the actress Lata Sinha, who started as a child star (as Baby Lata) in Riyasat-55 and Nau Do Gyarah-1957 etc. was her daughter. Lata did a good role in Bees saal baad-1962. She mainly acted in action/stunt, costume and other B and C grade films only. She was also in the film Bhoot Bungla-1965.

The Hero of this film was Kanu Roy. The name KANU ROY is another instance of ” Same name confusion “. There was a composer also by the name Kanu Roy who gave music in a few films, in the same period. Most people and many internet sites, including IMDB,consider these two different persons as one and claim films for acting and music together,as if he was an actor and a composer. In Hindi films this happened routinely, but in the early era of Talkie films. Master Krishnarao, Vinayakrao Patwardhan, Master Mohammed, Badriprasad, Vithaldas Panchotiya etc can be quoted as actors/composers. Lately only the name of Kishore Kumar comes to mind in this category. Let us see who these two Kanu Roys were…..

Kanu Roy (the Actor) was in reality a name for Nalini Ranjan Roy, born at Jabalpur. He was very fond of acting and so landed at Bombay Talkies,a company started by 2 Benagalese- Himanshu Roy and Devika Rani. Those days many people from Bengal used to come to Bombay Talkies, but only the capable ones like Amiya Chakravarty, Shashadhar Mukherjee or Ashok Kumar etc could make their careers here. Kanu Roy started his acting career with the film Basant-1942. His name Nalini was sounding like a Girl’s name in Bombay ( there were already half a dozen Nalini’s working in films those days), so it was changed and he opted for Kanu, his pet name in the house. Thus Kanu Roy came into films. Due to his good looks, he even became a lead actor in a few films. Nazrana-46 (UR) was one such film where he was working opposite Kamini Kaushal. Kanu Roy worked in about 46 films from 42 to 83 ( kisi se naa kehna). Kanu Roy also left Bombay Talkies along with S.Mukherjee and others and joined Filmistan. He was in many Filmistan films like, Munim ji, Nastik, Naagin, Jagriti etc. He acted in a Bangla film ‘Samar’too in 1950. ( I have his full Filmography.)

Kanu Roy (the Composer) gave music to very few films like Uski Kahaani-66, Anubhav-71, Avishkar-74, Tumhara Kallu-76, Grih pravesh-79, Mayuri-81 and Shyamla-79 which was re-censored in 1981 as Woh phir na aayee. Some people and sites describe him as Geeta Dutt’s brother, but he was not her brother. Her brother was Mukul Roy. Kanu Roy, the composer died in Bombay on 20-12-1981.

Today’s song is a very good song, sung by Shamshad begum. Somehow I get reminded of another 1947 film song ” maari katari mar jaana” after listening to today’s song. That song is also composed by CR only- from film Shehnayi-47. There were 9 songs in the film. 8 songs were already discussed. Today’s song is the 9th and the last song of this film. The film gets YIPPEED !


Song- Piya kaisa mila hamein haay (Leela)(1947) Singer- Shamshad Begum, Lyricist- Qamar Jalalabadi, MD- C Ramchandra

Lyrics

Piya kaisa mila hamein haay
mila hamein haay
ke jisko pyaar na karna aaye
haaye re haaye
Piya kaisa mila hamein haay
Piya kaisa mila hamein haay
mila hamein haay
ke jisko pyaar na karna aaye
haaye re haaye
Piya kaisa mila hamein haay

Main usey pyaar karna sikhaaun
Main usey pyaar karna sikhaaun
dil ki baaten nazar se sunaaun
dil ki baaten nazar se sunaaun
wo dulhan ki tarah sharmaaye
haan wo sharmaaye
haaye re haaye
Piya kaisa mila hamein haay

kar ke apni nazar neechi neechi
kar ke apni nazar neechi neechi
baat karne lage pheeki pheeki
baat karne lage pheeki pheeki
meethhi baaten tujhe kaun sikhaaye
tujhe kaun sikhaaye
haaye re haaye
Piya kaisa mila hamein haay

baat chhedo koi muskuraa ke
baat chhedo koi muskuraa ke
door baithhe ho kyun paas aa ke
door baithhe ho kyun paas aa ke
apna ban kar huye kyun pare
huye kyun pare
haaye re haaye
Piya kaisa mila hamein haay

kya mila humko aankhen milaa ke
kya mila humko aankhen milaa ke
main to keh doongi ghar ghar mein jaa ke
main to keh doongi ghar ghar mein jaa ke
koi aison se dil na lagaaye
haan dil na lagaaye
ke jisko pyaar na karna aaye
haaye re haaye
Piya kaisa mila hamein haay


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

Blog Day :

4767 Post No. : 16516 Movie Count :

4492

Today’s song is from film Pehla Pyar-1947. Pehla pyar means First Love. Pehla is Pehla. I could never understand why it has to be called Pehla Pehla Pyar (1958 & 1994). Does it not make it Doosra Pyar ?

Everything First time in life is memorable. This is reflected in the film titles of Hindi cinema too. Pehla Pyar, Pehli Nazar, Pehli Jhalak, Pehli Pehchan, Pehli Shaadi, Pehli Mulaqat and even Pehli Raat. Pehli Tareekh, Pehla Aadmi, Pehla Aashiq, Pehla Qadam, Pehla Aadhyaya and Pehla Paisa is acceptable, but Pehla Nashaa and Pehla Qatil ? Then there was Pehli Bhool, Pehli Shaadi, Pehli Aurat and even Pehla Aadmi !

Funniest thing is there were also Doosra Aadmi, Doosri Aurat, Doosri Shaadi, Doosra Pati, Doosri Bibi etc.etc. I did not check if there was Teesra….something something ! Hamraz ji’s book of Film Index can be a good Time Pass, really ! But I know there was a film Teesra Kaun ?

Coming back to today’s film Pehla Pyar-47, HFGK mentions it as a film made under the banner of ” Sagar Movietone co. Bombay “. Actually, Sagar was closed in 1940, then came National Studio and finally it was Amar Pictures from 1942 onwards. This also closed in 1946 with their last film ” Gwalan”-46 (of Baburao Patel and Susheela Rani). Then, from where did this filmcame and how it claims to be from an extinct ‘ Sagar movietone Co.’ ?

I rummaged through the entire book “Sagar Movietone” written by Biren Kothari ji, but nowhere could I find any reference or information on this film. Finally, I spoke directly to Biren kothariji today to ask about this film. Here too the door was closed. According to Biren ji, it is difficult to say anything about this film. He was , however, sure to say that it had no connection whatsoever with the original ‘Sagar Movietone’.

At the moment it is an unsolved mystery. Maybe in future, some explanation or information on this film will appear to clarify this issue. This is not impossible. In last few years, several such ‘ riddles ‘ have been successfully solved with new evidence, when it cropped up. Some of the riddles which were solved with such new evidence were-
1. Who sang” Bharat ki ek sannari ki katha” from film ‘Ram Rajya’-1943
2. Who sang ‘ Dilli se aaya bhai Tingu’ from film ‘Ek thi Ladki’-1949
3. If Shashi Kapoor acted as a child artiste in 20 films and
4. Is Arjun-Hero fof film ‘Malhar ‘-50 the same as MD C.Arjun

The list is too big to be given here fully, but the point is proved with these examples.

Film Pehla Pyar-47 was directed by A.P. aka Anand prasad Kapoor. he was a well known director of early cinema. He had directed 14 silent before trying his hand at a Talkie film. He was born in 1892 at benares. After matriculation, he came to Bombay and joined film industry doing all odd jobs. His first silent film as a director was Fairy of the Flute-1927 made by Sharda Film Co. His first talkie film as a director was Radhesham-1932, jointly directed by R.L.Shorey. This was a film made in Lahore.

He directed 18 talkie films. He acted also in 2 films. He wrote 32 songs in 3 films as a Lyricist. He also sang 6 songs in 5 films. His last film as a director was Chor-1950. At this stage he realised that his old style was no more acceptable with the new set up. So he retired. A.P.Kapoor died on 16-9-1966 at Bombay.

The cast of the film was Vanmala, Aghajan, Sulochana Chaterjee, K.N.Singh, Sunalini Devi etc etc. Agha or Aghajaan (21-3-1914 to 30-4-1992) was a popular hero in his early career period In film Jwar Bhata-1944, he was the Hero and the Debutante Dilip Kumar was the side Hero ! His career spanned over 50 years-1935 to 1989. He worked in 328 films Pehla pyar was his last film as a hero.

The music was composed by Premnath. This is a case of Same name Confusion. many people think that the actor Premnath had also given music as a MD. Both were different.

PREMNATH the Music Director was born on 5-7-1918 in Gujranwala, Punjab. He learnt music from experts in Amritsar,Multan and Lahore.He acted in films like Shahr-e-khamoshi and also sang in Sohni Mahiwal-1938.

After marriage, he moved to Bombay. His first film as a Music Director was Rangbhoomi-1946. In this film, a novice Mohd. Rafi sang many songs for him. His other films were Dharti-47, Chandrahas-47, Sagar’s Pehla pyar-47. He then produced a film “Chand sitare”-48 under the banner of Ravindra Art productions. Mukesh, Lata and Geeta Roy sang in it. In film ‘Alakh Niranjan’-50,he used Mohd. Faruqi, Sulochana Kadam and Rajkumari.

Premnath gave music to many films of Super pictures of Aspy Irani like Bade Bhaiya-51 and Maya Machhindra-51, in which Surendra, Geeta,Rafi and Shamshad sang. His another film ‘Qatil kaun’ in late 50s was not released. For this film, Rafi, Asha, Manna Dey, Mubarak Begum and Shamshad had given songs.

His films diminished. Sati Vaishalini-59,Main hoon jaadugar-65 and Tarzan in Fairyland-68 were his last films.
After he stopped work as MD,he devoted his time for the welfare of Cine Artists as a trade union leader. As a Secretary,he served the music Directors Assn. for 30 years.
He died on 27-4-1993 at the age of 75 years.

I find that many people mistakenly credit actor Premnath as a MD for his films. Some sites include these films to the filmography of actor Premnath.

It is now clear that actor Premnath and MD Premnath were 2 different persons.

Today’s song is sung by Shamshad Begum. With this song, film Pehla Pyar-47 makes its Debut on this Blog.


Song- Haay re ghir ke baadal aaye jiya ghabraaye (Pehla Pyaar)(1947) Singer- Shamshad begum, Lyricist- I.C.Kapoor, MD- Premnath

Lyrics

haay re ghir ke baadal aaye ae
jiya ghabraaye
haay re ghir ke baadal aaye
jiya ghabraaye

naina maane na kehnaa aa
kaaboo mein nahin hai mera haay dil
naina maane na kehnaa aa
kaaboo mein nahin hai mera haay dil
jhoom ke lehraaye jiya
doley re boley re
aa mil
aa mil
jhoom ke lehraaye jiya
doley re boley re
aa mil
aa mil
birha mein yaad jalaaye
jiya ghabraaye
haay re ghir ke baadal aaye
jiya ghabraaye

ghanghor ghataayen chhaayin
laut aayin phir jawaaniyaan
ghanghor ghataayen chhaayin
laut aayin phir jawaaniyaan
aao jee sunaayen tumhen
meethi meethi dil ki kahaaniyaan
kahaaniyaan
aao jee sunaayen tumhen
meethi meethi dil ki kahaaniyaan
kahaaniyaan
haay teri yaad sataaye
jiya ghabraaye
haay re ghir ke baadal aaye
jiya ghabraaye

sapnon mein aane waale
dekh dekh haari teri raahen
sapnon mein aane waale
dekh dekh haari teri raahen
aao galey aan milo
poochh rahin dil mera aane
haay aane
aao galey aan milo
poochh rahin dil mera aane
haay aane
tere bin jiya nahin jaaye
jiya ghabraaye
haay re ghir ke baadal aaye
jiya ghabraaye


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

Blog Day :

4739 Post No. : 16463

Blog 10-Year Challenge (2011-2021) – Song No.30
——————————————————————

In Hindi film industry, the experiences of lyricists turning producer/director have not been generally good barring very few exceptions like P L Santoshi and Gulzar. Dr. Safdar Aah Sitapuri, after successfully writing lyrics for 25 films during 1939-1945, turned director with ‘Bhook’ (1946). The film flopped at the box office. With this, he reverted to song writing until 1954 when he directed ‘Maan’ (1954). This film also flopped. After this, he went back to his teaching profession.

Nakshab Jarchvi, who started his filmy career as lyricist in 1945, turned producer-director with ‘Nagma’ (1953) which was a successful film at the box office, He produced and directed his next, ‘Raftaar’ (1955) which flopped. Next, he directed ‘Zindagi Ya Toofaan’ (1958) which did not do well on the box office front. After this film, he migrated to Pakistan.

Ishwar Chand Kapoor directed two films – ‘Chaand Sitaare’ (1948) and ‘Tarang’ (1952) after which he was absent from Hindi film industry between 1952-57 to resurface as lyricist in 1957. J S Kashyap, the writer and lyricist, directed the only film ‘Anyaya’ (1949). Bharat Vyas, after directing his first film, ‘Rangeela Rajasthan’ (1949), refrained from directing any film thereafter. Aziz Kashmiri directed his first film, ‘Sabz Baag’ (1951). After about a decade, he directed his second and the last film, ‘Pathan’/’Rang Raliyaan’ (1962). Both the films were failures at the box office.

The hardship experienced by Shailendra when he produced ‘Teesri Kasam’ (1966) is well known. Jaan Nisar Akhtar produced ‘Bahu Begum’ (1967). Despite having top actors and excellent music, the film failed at the box office. Probably, he may have realised that producing a film was not his cup of tea. He, therefore, concentrated only on song writing thereafter. There may be some more examples of lyricists turning producer/director and failed. Kavi Pradeep was one among them.

Kavi Pradeep started his career as lyricist with Bombay Talkies and wrote lyrics for six films between 1939-43. The tremendous success of ‘Kismet’ (1943) with its songs, all written by Kavi Pradeep becoming very popular, took his career as a lyricist took a great height. In 1943, because of the internal rift, Ashok Kumar, Shashdhar Mukherjee, Gyan Mukherjee, Rai Bahadur Chunnilal and a few more left Bombay Talkies to form Filmistan. Kavi Pradeep also joined them with a 5-year contract.

‘Chal Chal Re Naujawaan’ (1944) was the first film produced under Filmistan banner whose all songs were written by Kavi Pradeep. The film failed at the box office. It appears that after this, Kavi Pradeep was sidelined in Filmistan. Except for ‘Shikari’ (1946), Kavi Pradeep did not get to write songs for Filmistan’s other films like ‘Mazdoor’ (1945), ‘Eight Days’ (1946), ‘Do Bhai’ (1947), ‘Nadiya Ke Paar’ (1948) and ‘Shaheed’ (1948). Since he was under contract with Filmistan and was almost inactive, Kavi Pradeep wrote for films made outside Filmistan such as ‘Kadambari’ (1944), ‘Amrapali’ (1945), ‘Sati Toral’ (1947) and ‘Veerangana’ (1947) under an assumed name of ‘Miss Kamal B.A.’

After the end of his contract period with Filmistan in 1948, Kavi Pradeep became a freelancer. During this period, he decided to turn producer with a newly set up film production company, Lokmanya Productions along with Amiya Chakrabarty and produced the first (and the last) film, ‘Girls’ School’ (1949) which was directed by Amiya Chakrabarty. The film’s star cast included Geeta Bali and Sohan in lead role with Sajjan, Shashikala, Ram Singh, Mangala, Vimala Vashisht, Haroon, in subsidiary roles.

The film’s synopsis is as under:

Meena (Geeta Bali) leaves home when she is forced to accept an arranged marriage. She comes to a village and set up a girls’ school which is opposed by local landlord. Bipin (Sajjan), the landlord’s brother-in-law has an eye on Meena. The school is in need of a teacher. In response to an advertisement, Shanti Kumar Majumdar appears for an interview and gets selected as teacher in the girls’ school. The landlord’s widowed sister Sumitra Devi (Vimla Vashisht), a supporter of the school, objects because he is not married. Meena and Shanti Kumar fall in love but he realises the damage he may cause to her school and leaves. Bipin then spreads rumours about Shanti Kumar’s morals, which cause a further difficulty that has to be resolved before both the future of the school and of the loving couple may be assured. (Source: https://indiancine.ma/FLM).

The film failed miserably at the box office and Kavi Pradeep lost his good amount of money which probably made him realised to settle for only the song writing for the rest of his life. Amiya Chakravarty started his own banner ‘Mars & Movies’ and successfully produced and directed films like ‘Daag’ (1952), ‘Patita’ (1953) and ‘Seema’ (1955).

‘Girls’ School’ (1949) had 9 songs of which 7 songs have been covered in the Blog, details of which are given below:

Sr. No. Details of Songs Date of Posting
1. Tumhi kaho mera man kyun rahe udaas nahin 25/04/2011
2. Baar baar tum soch rahi ho…chaar din ki chaandni hai 09/07/2011
3. O shahar ke baanke baaboo…zara dil pe rakhiyo qaaboo 19/05/2015
4. Kuchh sharmaate huye aur kuchh saham saham 06/02/2016
5. Raam bharose meri gaadi 25/10/2016
6. Danke ki chot par kehta hoon main 11/12/2017
7. Phoolon ka sapna dekhne waalon 01/05/2021

Generally, Kavi Pradeep was known for his patriotic, inspirational and religious songs. In ‘Girls’ School’ (1949), he had written some light-hearted songs such as songs at Sr. Nos. 4 and 6 in the above table. I am presenting one more light-hearted song, ‘gori ek baat sun badi mazedaar hai’ from the film sung by Chitalkar (C Ramchandra) and Shamshad Begum. The song is set to music by C Ramchandra. I had uploaded the video of the song more than 4 years back with a view to posting the song on the Blog. It is only today, the song got a muharat to be presented under ‘Blogs 10-Year Challenge (2011-2021)’.

Enjoy this ‘nok jhok’ song.

Lyrics of the song were provided by Prakashchnadra.

Audio Clip:

Song-Gori ek baat sun badi mazedaar hai (Girls’ School)(1949) Singers-C Ramchandra, Shamshad Begam, Lyrics-Kavi Pradeep, MD-C Ramchandra
Both

Lyrics(provided by Prakashchandra)

gori ek baat sun
badi mazedaar hai
kyaa
teri takraar mein bhi pyaar hai
teri takraar mein bhi pyaar hai

piya tum kitne samajhdaar ho
ha ha
kaun kehta hai ki tum ganwaar ho
kyon gori kaisi kahi
badi mauke ki rahi
magar ye baat tumhaari nahin
magar ye baat tumhaari nahin
udhaar hai

haain
teri takraar mein bhi
uun hoon

teri akal se das guni hai gori
mujh mein akal
zara sheeshe mein dekho apni shakal
jyaada bak bak mat kar
jyaada bak bak mat kar
bas ho jaa chupchaap
baap re baap
ghadi ghadi mujhko sata mat
lagega paap
baap re baap
mere bhagwaan bata…aa
mere bhagwaan bata
ye kya chamtkaar hai
mera baalam hai
ya police ka zamadaar hai

teri takraar mein bhi pyaar hai
teri takraar mein bhi pyaar hai

aaj se sun papeeha
aaj se sun papeeha
teri meri kutti
apne naihar ko chali ja
hai tujhe chhutti
aisa mat bolo piya
dhak dhak hoye jiya
aisa mat bolo piya
dhak dhak hoye jiya

phir kaahe ko akadti
meri sarkaar hai
teri takraar mein bhi pyaar hai
teri takraar mein bhi pyaar hai

teri meri preet gori
kabhi nahin chhoote
kabhi nahin chhoote
hato ji hato balam
hato ji hato balam
tum ho bade jhoothe

meri dugdugi baje dug dug
o mere saiyyaan jio jug jug
meri dugdugi baje dug dug
o mere saiyyaan jio jug jug
tera mera jhagda mita
ab to beda paar hai
tera mera jhagda mita
ab to beda paar hai
teri takraar mein bhi pyaar hai
teri takraar mein bhi pyaar hai
teri takraar mein bhi pyaar hai


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 THIRTEEN years. This blog has over 16900 song posts by now.

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

Important Announcement

(© 2008 - 2022) 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

16949

Number of movies covered in the blog

Movies with all their songs covered =1313
Total Number of movies covered=4587

Total visits so far

  • 15,232,598 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,977 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Historical dates

Blog Start date: 19 july 2008

Active for more than 5000 days.

Archives

Stumble

visitors whereabouts

blogadda

blogcatalog

Music Blogs - BlogCatalog Blog Directory
%d bloggers like this: