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

Archive for the ‘Shamshad Begam solo’ Category


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3822 Post No. : 14821

Today’s song is from film Wafa-50. The film was made by Good luck Pictures and directed by the veteran expert J.P. Advani. For this film, there were two Music Directors- Vinod and Bulo C Rani. For 11 songs, there were 4 Lyricists. Today’s song is written by Aziz Kashmiri, sung by Shamshad Begum and composed by Vinod. The cast of the film was Karan Dewan, Nimmi, Bipin Gupta, Shyama, Bimla, Anwari, Gope, Yaqub, Cuckoo etc etc. One of the most often seen in films of the 50s but least written about artiste was Bipin Gupta.

Bipin Gupta was born in a Bengali family on 27th August 1905 in Meerut, the 5th child of his parents- Trailokya Nath Gupta and Khemankari Devi.They later moved to Barrackpore. He attended the Chinsura Training School and the Barrackpore Government High School. He was married to Annapurna Devi.

Gupta’s first Bengali film was Chokher Bali directed by Sotu Sen in 1938. Throughout his career he had worked on almost 300 films ( Bangla and Hindi), though only played the hero once, in the film Noori-1934. It was produced by Durga International Films, Calcutta. His Heroine was Sheela Devi. It was a flop movie.

He started working in Radio in 1934 and by 1936 he became a professional stage artist. He stayed for 30 years in Bombay to establish himself in Bollywood. His first film Shri Ramanuj came in 1943 at Calcutta. His last film was in 1979 at Bombay.

In 1964 he produced the film Daal Me Kala, directed by Satyen Bose and starring Nimmi, Kishore Kumar and Abhi Bhattacharya.The film took almost 4 years to make. Bipin Gupta worked in 128 Hindi films. He did 60 films in a period of 10 years-between 1950 and 1960, which is a very high average of one film every 2 months for 10 years !

He generally did the roles of Zamindar, teacher, father, Grandfather etc. All character roles. His voice was very good. Once, in Madras,while shooting for film “Teen Bahuraniya” at Gemini Studios, Prithviraj Kapoor lost his voice, for some time. Bipin Gupta dubbed all his film dialogues.

He died on 8th September 1981 in Calcutta. His son married Kajri- the daughter of Sailesh Mukherjee, actor,singer and composer. She too was an actress.

In Hindi films, for the first 10-15 years of the Talkie era, there were no separate dancers. The Heroines were expected to sing as well as dance, if need be. Somehow, dance was not an essential part of cinema ( except Mythological to some extent), till Azuri and Cuckoo came on the Horizon. It was almost from the mid 40s, the dancers became prominent and dance sequence became a Must in all films.Even in social films, the dance situations were created to include a dance. In crime stories, a Moll was usually a dancer. Azuri was perhaps the lone exclusive female dancer in films of the late 30s. By mid 40s, came Cuckoo and by mid 50s, it was Helen all the way for the next 20 years or so.

Cuckoo Moray, (4th February 1928 – 30th September 1981) was an Anglo-Indian dancer and actress. Cuckoo was the queen of film dancing in Hindi cinema of the 1940s and 1950s. Though unfamiliar in name, she was known as the “rubber girl” of Hindi cinema and her talent made cabaret dancing a must in the Bollywood films during the 1940s and 1950s. She could acrobatically bend her body at great length.

Cuckoo started appearing in films from mid forties. She was seen as a background dancer in film Meghdoot-45. Cuckoo made her screen debut in the film Arab Ka Sitara in 1946. Soon after, in Sona Chandi-46, directors and greater audiences noticed her dancing abilities for the first time. One of her dances in film Parwana-47 with suggestive lyrics to the song was considered vulgar enough to get banned from the film. Then, the turning point in Cuckoo’s career was in Mehboob Khan’s films. Her dance number in his film Anokhi Ada (1948) established her as the lead dancer of the era and in Andaz(1949), a romantic drama starring Nargis, Dilip Kumar, and Raj Kapoor, gave the dancer an opportunity to display her acting skills. In Mehboob Khan’s 1952 technicolor film Aan, which was her first colour film, she had a brief cameo in a dance sequence. She only appeared in 2 colour films in her career- Aan & Mayurpankh. She would charge Rs 6,000 for a dance number, an enviable fee in the 50s.

Usually she is credited with bringing into films 2 Anglo Indian brothers Tony (Krishna kumar) and Robert (Surya kumar). However, Azuri later claimed that it was she who brought them into films from an orphanage and trained them. Dancers first, both became Choreographers of repute later.

Cuckoo remained the best dancer in Hindi films until dancers such as Helen and Vyjayanthimala came into the industry. Cuckoo was a family friend of the Anglo-Burmese dancer and actress Helen. She was also known for helping unknown actors get their break in Bollywood, such as Pran in Ziddi. Cuckoo had introduced a 13-year-old Helen into films as a chorus dancer in films such as Shabistan and Awaara (both 1951). Cuckoo and Helen most notably appeared in song and dance sequences together, such as in Chalti Ka Naam Gaadi(1958) and Yahudi (1958). Her last film appearance was in Mujhe Jeene Do in 1963 after which, she had disappeared from the film industry. She was a Heroine in film Sona Chandi-46, under the name Kishori, but due to her faulty Hindi and pronunciation, she could not continue as a Heroine. She appeared in 155 films and and 67 songs were shot on her.

Cuckoo, the legendary cabaret queen of the Bollywood was one of those film stars who lived ostentatiously, spent extravagantly and died broke and penniless. Her three cars (one for her use, one for taking her dogs for a drive, and the other often used to summon protégée Helen to play with her sister), her flats and whatever jewellery she had, were all taken away because the dancer had evaded income tax. She would charge Rs 6,000 for a dance number, an enviable fee in the ’50s. Cuckoo died of cancer at the age of 52; during her last days she could barely afford to buy painkillers. “She never thought of security, of tomorrow,” Helen recalls. “But what a tremendous lady she was! There wasn’t even a tear in her eye, even when the roles stopped, when the money disappeared. Instead she’d joke about her plight. Some actors did help but it was too late, much too late.”

Cuckoo died on 30 September 1981 due to cancer at the age of 53. She was forgotten and unattended by the film industry at the time of her death. (adapted from wiki,MuVyz, book ‘Edwina’ and cineplot).

I started seeing films since my early childhood in the late 40s. I was lucky enough to see many films of the 30’s too, in their second or third runs. By the early 50s, most films from the 30s were gone but almost all films of the 40s were still available.

English, Hindi, Marathi, Telugu or Kannada- language was no bar as far as watching movies of these languages was concerned . Those were the days when 78 RPM records used to be played by Hotels on gramophone. This helped me to hear the latest songs. In the 1960s Posh hotels had Juke Box. Soon it became common and Juke Boxes were seen everywhere. You needed just a coin of 4 Annas to listen to your desired song on it. Usually 4 songs in a row were lined up and they could all be listed to by putting 4 coins in it.

I liked Shamshad Begum songs from the beginning. Uneducated but immensely talented Shamshad was the reigning queen of the HFM in the 40s and till about ’55. Her seniors and co-singers bowed out, but she continued-first with C. Ramchandra, then with Naushad and later with O P Nayyar. Her Luck began to run out in 1950s and all the composers who previously supported her left her and started using the rising singing stars. From 1949 onwards, C Ramchandra was totally devoted to Lata, Naushad too had realised that the new crop of Heroines wanted only Lata and so he quietly went for her and O P Nayyar-when he found a soulmate in Asha, he simply forgot Shamshad and Geeta. So much for the “professional” composers !

In my opinion, two things went against Shamshad. One, in the early phase of Hindi cinema, the story lines of the films used to be very strong. Consequently, songs were inserted considering the need of the plot and to enhance the value of music in the film. As a result, songs were given to side Hero/heroines, special dancers or character roles. Naturally Shamshad sang for artistes other than the Heroines. The singing Heroines sang their own songs. If an analysis is done, it will be seen that till about early 50s, 70% songs in a film were sung by artistes other than the Lead pairs.

It was only after the new crop of Hero/Heroines came and when they realised ( particularly Dev Anand, for example) that songs can help them become popular, they started demanding more songs on them in the films. Slowly,the ratio reversed and after 1955-56, 80% of songs were picturised on the Lead pairs and the rest-if any-on others. Thus singers like Shamshad, who sang for all and sundry found her singing opportunities dwindling. In those days, Lata, very cleverly, chose to sing only for the Heroines and according to her, for all ‘others ‘ there were Asha, Geeta and Shamshad. This badly affected Shamshad’s career.

Secondly, when Lata came on the scene, the older generation female singers like Ameerbai, Zohrabai etc were already on the wane. Only Geeta and Shamshad were left. Geeta got all songs of Guru Dutt films. Additionally,the Bengali lobby of Burman, Hemant, Salil and A Biswas was in her support. Shamshad had no one to back her up. It was Naushad, who first indicated that he had tilted towards Lata, when Lata sang all songs of Andaz-49 for the heroines and Shamshad sang only for Cuckoo. Next was C Ramchandra, when he fired Shamshad in front of the orchestra players when she could not sing to his satisfaction. She was so much hurt that she closed her song book and walked out. Normally, C Ramchandra would have apologised soon after, but this time nothing like this happened and Shamshad understood that everything was finished. ( Shamshad, however,in a later day interview denied that anything like this had happened). In case of O P Nayyar, in one of the interviews he gave in 2003 to Dr. Mandar, he admitted that “his lead singer” in those days prevented “others” from singing for him.

Shamshad being too gentle and straightforward gave up the fight too meekly, in my opinion. Even her last attempt to remain in Limelight with a ‘Shamshad Stage Show’, did not bear any fruits as she did not do any follow up after that, due to her self respect.

In my opinion, Shamshad could have continued for another 8 to 10 years easily if only she had fought it out, but it was not to be and a vibrant, youthful, solid voice disappeared from the musical scene. I feel that it was not she but millions of music lovers who were the losers because of her ouster from the music scene.

Today’s Shamshad song is one of my most favourite songs. I was actually pleasantly surprised to note that this song was yet to be discussed here. Out of the 100 odd select Shamshad songs in my collection, this song is within the first top 10 songs in my Play list.Great composer Vinod and great singer Shamshad- this sangam providing such a Gem is no wonder. I am sure, you too will fall in love with this song the moment you listen to it. Enjoy….


Song-M m m m m main teri hoon (Wafa)(1950) Singer-Shamshad Begam, Lyrics-Aziz Kashmiri, MD-Vinod

Lyrics

m m m m m m m main teri hoon
m m m main teri hoon
teri hoon o raaja
m m m m m
m m m m m m m main teri hoon
teri hoon ho raaja
m m m m m main teri hoon

kaali kaali ghat khule nainon ke pat
hatt
kaali kaali ghat
khule nainon ke pat
haathon mein haath hua tera mera saath
haathon mein haath hua tera mera saath
m m m m m main teri hoon
teri hoon ho raaja
m m m m m main teri hoon

chori chori aa
mere man mein sama
o raaja
chori chori aa
mere man mein sama
tera mera pyaar hua raaja pahli baar
tera mera pyaar hua raaja pahli baar
m m m m m main teri hoon
teri hoon ho raaja
m m m m m main teri hoon

papeeha bole pee
raaja dhadke mera jee
o papeeha bole pee
raaja dhadke mera jee
ambuwa ki daali pe koyal bole yoon
ambuwa ki daali pe koyal bole yoon
kya
m m m m m main teri hoon
m m m m m main teri hoon
teri hoon ho raaja
m m m m m main teri hoon

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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3808 Post No. : 14804

Today’s song is from film Chand sitare-48. Chand, Chandni, Tare and Sitare are the favourite words of film makers to use in the film titles.As many as 40+ film titles contain these words. The song is sung by Shamshad and chorus, composed by MD-Premnath and written by Lyricist I.C.Kapoor.

My Primary education was in Urdu language. Hyderabad being a Muslim state, learning Urdu had a definite advantage, but there were schools in English, Marathi, Telugu, Kannada and even Hindi mediums as well in Hyderabad and the treatment to all other languages than Urdu, was equal by the Nizam Government. This was because Hyderabad was a Trilingual state, consisting of 8 Telugu speaking Districts, 5 Marathi speaking Districts and 3 Kannada speaking districts, plus the rulers were Urdu speakers. From 5th standard I changed to Marathi Medium and continued till end of schooling. English, Marathi and Hindi were my favourite subjects, but Maths and Geography were my sworn enemies.

Maths particularly, first confused me and then irritated me. I failed to understand a sum like ” If 5 people build a Wall 5 feet X 5 feet in 5 days, how many days 25 people will take to build the same wall. Now, if the wall was already built by 5 people, why should anyone build it again ?

Similarly, A, B and C were hated by me. Sums like ” If A borrows 500 Rupees from B at the rate of 5% interest per month and B borrows 400 rupees from C at the rate of 2% interest per month, what would be A’s loss and B’s profit. I failed to understand, why should A borrow money from B, when C was offering loan at lower rates in the first place ?

Geography was another headache. Size and population of countries, Longitudes and Latitudes, Capitals and Currency of Nations, temperatures in Tundra and Siberia and rainfall in Cherapunjee, were beyond my comprehension. However, in Geography, there used to be some chapters in Astronomy also. I liked them very much. Different Planets ,The Milky Way and Comets fascinated me.

Especially Comets aroused my curiosities no end. I learnt that Comets were Heavenly Bodies, made up of Gases and space debris, which appeared suddenly in the sky, seen for a while and then disappeared. Some Comets created panic by crossing Earth’s passage and such Comets would be featuring in newspapers and on TVs.

Comets are like those friends who walk with us for few years and disappear from this world. Comets are like those personalities who shine for a while and then disappear for ever. In Hindi Music too, there were extraordinarily Talented people, who worked for a short period and then were gone for ever, just like Comets.

Master Madan is a good example in this context. In a short life, he sang immortal Gazals like, ” Yun na rah rah kar hamein tarsaiye” and ” Hairat se tak raha hai “. He was born on 28-12-1927 in Jallunder Dist. and died on 5-6-1942. In a singing career of just 3-4 years he became immortal. He left behind him 3 Bhajans, 3 Gazals and 2 Punjabi song records. He left this world, after shining just like a Comet.

Then there is C. Arjun who composed an eternal song like ” Paas baitho tabiyat bahal jayegi,maut ayee to tal jayegi ” and disappeared like a Comet. There are many such examples in the history of HFM.

In the arena of HFM, there were several such Comets- which came, shone for a while and disappeared. They were small and big Comets. May be good or ordinary too. We do not know. There were few composers who did just 2 or 3 films and some did 15 to 20 films. Still this number was not enough for their hidden talents to showcase. Some names come to mind offhand like Daan singh, Dilip Dholakia, Jamal sen, Chand Pardesi, Sardar Malik, Sailesh Mukherji, Vasant kumar Naidu etc.

One such Comet was Music Director Premnath (Wadhva). Composer Premnath is an ideal case for ” Same Name Confusions’. Since his name coincides with the more well known actor Premnath,operating almost in the same period,people misunderstood that Actor Premnath and composer Premnath were the same persons. Surprisingly,actor Premnath was a good singer himself and had been trained by professional Ustads for classical music,but he could never fulfill his desire of becoming a singer and became an actor instead. However he did a film song,which was posted on this blog by our Sudhir ji,some years back-if I remember right. But the fact remains that both persons 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 Dehati-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, Tarzan in Fairyland-68 and Gyani ji-77 were his last films. He composed 99 songs in all.
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.

Film Chand sitare’s star cast was Jeevan, Manorama, Rajan Haksar, Niranjan Sharma, Anita, Satish, Leela etc. In Hindi films two actresses were known as ” Aunty’. One was actress Shammi and the other was ” Manorama aunty “. Both actresses were Heroines in their early career for few films, but soon accepted character roles. Both were seniors and highly respected in the industry.

During the course of last 80 odd years, thousands of actors came to work in films. Most of them wanted to become Hero or Heroine, but all could not make it. What does it take to become a Hero in a film ? ( Talking only for the period 1931 to 1970 please). Is it good looks ? Then how come Shaikh Mukhtar became a Hero ? or Ranjan ? High education ? Then how come Master Bhagwan became a Hero ? A God Father ? Then how come Motilal or Surendra became Heros ? For girls too same logic applies. In the early era, most Heroines were uneducated, like Meena Shorey, for example- who could not even sign her name. All were not Handsome or beautiful. I sincerely feel, it is neither Talent nor the good looks, it is nothing but the Luck Factor, which helps in making a career in films. This explains why good looking, educated 1 or 2 film’s Heros could not sustain themselves for long. Same way, good looking girls like Vijayalaxmi, Bimla kumari, krishnakumari, Tabassum, Yashodhara katju, Shubha Khote, Shashikala etc could not continue beyond 3-4 films as Heroines.

In the 40’s era, Manorama was one such actress. She had good education, beautiful Punjabi looks, fine acting, but she could not go beyond 3 films as Heroine and to contend with side and character roles in all her career. Manorama was born in Lahore on 16-8-1920,as Irene Issac Daniels, from Punjabi father and Irish mother. She took good looks from the father. While a student, she did some child roles in films from 1926 to 1936 and as an adult, she debuted in Pancholi’s Khazanchi-41 ( when Khazanchi was remade in 1958, she was the only actor who featured in this version also. Some other such examples were Kanhaiyalal acting in film Aurat-40 and Mother India-57 and Jayant in film Mala-41 and its remake Amar-54.Naushad was the same MD for both Mala and Amar.) She then acted in Himmat-41, Khandan-42, Zamindar-42, Poonji-43, Panchhi-44, Patwari-45 in Lahore. Here only she did Heroine’s roles in Khamosh Nigahen, Rehana and Shalimar- all in 1946. After partition, she migrated to India, but she got only side and character roles.

Meanwhile, in 1947, she got married to Rajan Haksar. After coming to India, shortly, their marriage broke. She had one daughter-Roopa from this marriage. Roopa tried her luck in films in 1970, without much success. Then she got married and settled.

Manorama grew in weight. Now she got comic or vamp roles. She did films like Ghar ki izzat, Johari, Hanste aansoo, Ek phool do mali, Shor, karvaan etc etc. In all she acted in 161 films. Her last film was Water-2005. She died on 15-2-2008. She perhaps, had the longest career among actresses-from 1926 to 2005, that is a cool 80 years ! Manorama was a highly respected person in the industry. Neetu singh, Madhuri Dixit, Ram Mohan, Ekta kapoor and others were her fans. Her famous films were Jhanak Jhanak….,Half Ticket, Budtameez,and Seeta aur Geeta.

Film Chand sitare-48 had 8 songs. 7 songs have featured already on this Blog and today’s song is the last song of the film. So, with this song, film Chand sitare-48 joins the list of films who have all songs covered. My thanks to Sudhir ji for providing and uploading the full version of this song from his collection.


Song-Phir chaayi hain kaali ghataayen pardes na jaa (Chaand Sitaare)(1948) Singer-Shamshad Begam, Lyrics-Ishwar Chand Kapoor, MD-Premnath
Chorus

Lyrics

phir chhaayin hain kaali ghataayen
pardes na jaa
lo aayin hain mast hawaayen
pardes na jaa

mere sapnon ki duniya basa ke
yoon jaao na ankhiyaan churaa ke
ankhiyaan churaa ke
mere sapnon ki duniya basa ke
yoon jaao na ankhiyaan churaa ke
ankhiyaan churaa ke
hamen aisi adaayen na bhaayen
pardes na jaa
lo aayi hain mast
lo aayi hain mast hawaayen
pardes na jaa

dekho dekho
kisi ne li angdaayi
dekho dekho
kisi ne li angdaayi
haule haule
jawaani kehne aayi
haule haule
jawaani kehne aayi
haaye naa jaa
suhaani raaten bolein
ke jiya mera doley
naina moti ro len
haaye na jaa
suhaani raaten bolein
ke jiya mera doley
naina moti ro len
mere lab pe hai ye hi sadaayen
pardes na jaa
lo aayi hain mast
lo aayin hain mast hawaayen
pardes na jaa

o jee nainon se behta hai paani
raaja do din ki hai zindagaani
zindagaani
o jee nainon se behta hai paani
raaja do din ki hai zindagaani
zindagaani
ab aa jaa
kaleja munh ko aaye
bin tere raha na jaaye
ab aa jaa
kaleja munh ko aaye
bin tere raha na jaaye
ham raah pe akhiyaan bichhaayen
pardes na jaa
lo aaye hai mast
lo aayi hai mast hawaayen
pardes na jaa
phir chhaayin hain kaali ghataayen
pardes na jaa

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

फिर छाईं हैं काली घटाएँ
परदेस ना जा
लो आईं हैं मस्त हवाएँ
परदेस ना जा
मेरे सपनों की दुनिया बसा के
यूं जाओ ना अखियाँ चुरा के
अखियाँ चुरा के
मेरे सपनों की दुनिया बसा के
यूं जाओ ना अखियाँ चुरा के
अखियाँ चुरा के
हमें ऐसी अदायें ना भायें
परदेस ना जा
लो आईं हैं मस्त
लो आईं हैं मस्त हवाएँ
परदेस ना जा

देखो देखो
किसी ने ली अंगड़ाई
देखो देखो
किसी ने ली अंगड़ाई
हौले हौले
जवानी कहने आई
हौले हौले
जवानी कहने आई
हाए ना जा
सुहानी रातें बोलें
के जिया मेरा डोले
नैना मोती रो लें
हाए ना जा
सुहानी रातें बोलें
के जिया मेरा डोले
नैना मोती रो लें
मेरे लब पे हैं ये ही सदाएं
परदेस ना जा
लो आईं हैं मस्त
लो आईं हैं मस्त हवाएँ
परदेस ना जा

ओ जी नैनों से बहता है पानी
राजा दो दिन की ज़िंदगानी
ज़िंदगानी
ओ जी नैनों से बहता है पानी
राजा दो दिन की ज़िंदगानी
ज़िंदगानी
अब आ जा
कलेजा मुंह को आए
बिन तेरे रहा ना जाये
अब आ जा
कलेजा मुंह को आए
बिन तेरे रहा ना जाये
हम राह पे अखियाँ बिछाएं
परदेस ना जा
लो आईं हैं मस्त
लो आईं हैं मस्त हवाएँ
परदेस ना जा
फिर छाईं हैं काली घटाएँ
परदेस ना जा


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 : 3746 Post No. : 14706

“Shole”(1953) was directed by B R Chopra for Hira Films. The movie had Ashok Kumar, Bina Rai, Purnima, Jeevan, Mohana, Manmohan Krishna, Mirza Musharaf, Romi, Naaz, Uma Dutt etc in it.

The movie had eight songs in it. Three songs have been covered in the past, with the third song discussed in 2014 !

Four years later, here is the fourth song from “Shole”(1953) to appear in the blog. This song is sung by Shamshad Begam. Kamil Rashid is the lyricist. Music is composed by Dhaniram.

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


Song-Ghadi ghadi bhar jiya bekaraar ho(Shole)(1953) Singer-Shamshad Begam, Lyrics-Kamil Rashid, MD-Dhaniram

Lyrics

lalalalalalaala
lalalalaa
lalalalalala

ghadi ghadi bhar aaye
jiya bekraar ho
ho jiya bekrar ho
aaja gali baalma to dil se dil ki baat ho
ghadi ghadi bhar aaye
jiya bekaraar ho
ho jiya bekraar ho
aaja gali baalma to dil se dil ki baat ho
aaja gali baalma to dil se dil ki baat ho

ho o o o
bhor suhaani
udta panchhi geet ye gaata jaaye
bhor suhaani udta panchhi geet ye gaata jaaye
dil ki duniyaa jo thhukraaye
jeena usey na aaye
ho o
o o
jeena usey na aaye
aap khilauna tode baalak
aap hi neer bahaaye
ho ho aap hi neer bahaaye
dil ka khilauna kyun toote
tujhko tera gham kyun loote
kaun kahe phir aaye na baalam taaron bhari raat ho
ho taaron bhari raat ho
aaja gali baalma to dil se dil ki baat ho
aaja gali baalma to dil se dil ki baat ho

ho o o
o o o
dil ka taraana lab par aaye
kaanpe aur rah jaaye
dil ka taraana lab par aaye
kaanpe aur rah jaaye
teri javaani man beena per geet adhhoore gaaye ho ho
ho o geet adhoore gaaye
tere dil ke darwaaje par pyaar khada pachhtaaye
ho o pyaar khada pachhtaaye
gham ko meet banaane waale o o
o o
gham ko meet banane vaale ae
pyaar ko uth kar gale laga le ae ae
kaise jiye bemaut ho baalam nainon ki barsat ho
ho nainon ki barsaat ho
aaja gali baalma to dil se dil ki baat ho
aaja gali baalma to dil se dil ki baat ho


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 : 3626 Post No. : 14447

“Rupaya”(1950) was directed by G P Pawar for Vijay Chitra, Bombay. This obscure “social” movie had Shashikala, om Prakash, Manmohan, Naaz, Anwari, P Varne, Nautiyal, Ganpat Rao, Gauli Mota, Ramesh, Mirajkar etc in it.

The movie had nine songs in it. One song has been covered in the past.

Here is the second song from “Rupaya”(1950) to appear in the blog. The song is song by Shamshad Begam. Indeewar is the lyricist. Music is composed by P Ramakant.

If one thought that the song, going by the title, would discuss financial matters, then that is hardly the case. Hindi movies, no matter what their genre andwhat their title, would only have the same kind of songs discussing the same old “mohabbat”. And this song is no exception. 🙂


Song-Mohabbat dard hai (Rupaya)(1950) Singer-Shamshad Begam, Lyrics-Indeewar, MD-P Ramakant

Lyrics

mohabbat dard hai
mohabbat dard hai
dil mein basa le
jiska jee chaahe
ye meethha geet hai ae
ye meethha geet hai
ise gun guna le
jiska ji chaahe
mohabbat dard hai

ajab kya dekh tujhko gar
kisi ki jhuk gayin palken
ajab kya dekh tujhko gar
kisi ki jhuk gayin palken
ye duniya jhukti hai ae
ye duniya jhukti hai ik din
jhuka le jiska ji chaahe
mohabbat dard hai ae
mohabbat dard hai
dil mein basa le jiska ji chaahe
mohabbat dard hai

jawaani dar pe bachpan ke hai
sangam aag paani ka
aa aa aa aa
jawaani dar pe bachpan ke hai
sangam aag paani ka
aa aa aa aa
mita ke apne ko o
mita ke apne ko
armaan nikaale
jiska ji chaahe
mohabbat dard hai ae
mohabbat dard hai
dil mein basa le
jiska ji chaahe
mohabbat dard hai

kahar hain ham to rahmat bhi
zahar hain ham to amrit bhi
kahar hain ham to rahmat bhi
zahar hain ham to amrit bhi
agar ho pyaas honton pe
laga le jiska ji chaahe
mohabbat dard hai
mohabbat dard hai
dil mein basa le
jiska ji chaahe
mohabbat dard hai


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 : 3622 Post No. : 14437

“Saltanat”(1954) was directed by Dwarka Khosla for Vikas Productions, Bombay. The movie had Shyama, Manhar Desai, Anwar, Sulochana, Neeru, Tripathi, BM Vyas, Babu Raje, Shanta Patel, Muhammad Ismail etc in it.

The movie had six songs in it.

One song from the movie has been covered in the blog.

Here is the second song from “Saltanat”(1954) to appear in the blog. The song is sung by Shamshad Begam and chorus. G S Nepali is the lyricist. Music is composed by Chitragupt.

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


Song-Teer na talwaar se duniya maane pyaar se(Saltanat)(1954) Singer-Shamshad Begam, Lyrics-Gopal Singh Nepali, MD-Chitragupta
chorus

Lyrics

ho o o o o
teer na talwaar se duniya maane pyaar se
teer na talwar se duniya maane pyaar se
pyaar se na maane maane nain ki kataar se
nain ki kataar se
pyaar se na maane maane nain ki kataar se
nain ki kataar se
teer na talwaar se
duniya maane pyaar se
teer na talwaar se
duniya maane pyaar se

maara hua nain ka
tarsa kare chain ko
saara din udaas rahe
tadpa kare rain ko
tarsa kare chain ko
tadpa rahe rain ko

maara hua nain ka
tarsa kare chain ko
saara din udaas rahe
tadpa kare rain ko
tarsa kare chain ko
tadpa kare rain ko

o o o
nain se na ghaayal ho
na ghaayal ho to
nain se na ghaayal ho to paayal ki jhankaar se
paayal ki jhankaar se
teer na talwaar se
duniya maane pyaar se

kaanon mein jab ghunghru chham chhammachham bolta
dil ki duniya jhoomti patthar dil bhi dolta
patthar dil bhi dolta
patthar dil bhi dolta

kaanon mein jab ghunghru chham chhammachham bolta
dil ki duniya jhoomti patthar dil bhi dolta
patthar dil bhi dolta
patthar dil bhi dolta

ho o o
paayal se na paagal ho
na paagal ho to
paayal se na paagal ho to chaandi ke kaldaar se
chaandi ke kaldaar se
teer na talwaar se
duniya maane pyaar se

pyaar se na maane
maane nain ki kataar se
nain ki kataar se
teer na talwaar se
duniya maane pyaar se
teer na talwaar se
duniya maane pyaar se
teer na talwaar se
duniya maane pyaar se
teer na talwaar se
duniya maane pyaar se


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 : 3620 Post No. : 14426

“Nisbat”(1949) was directed by S Shamsuddin for Hindustan Art Productions, Bombay. This social movie had Yakoob, Munawwar Sultana, Mirza Musharraf, S Mazhar, Baby Zubeida, H Prakash, Sofia, Jillo etc in it.

The movie had eight songs in it that were penned by three lyricists.

Four song from the movie have bee covered in the blog in the past.

Here is the fifth song from “Nisbat”(1949) to appear in the blog. According to HFGK, this song is sung by Shamshad Begam. Majrooh Sultanpuri is the lyricist. Music is composed by Pt Govindram.

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

The voice of the singer sounds different from Shamshad Begam to me. I request our knowledgeable readers to offer their remarks on this observation.


Khaate hain thokaren kismat ke maare haaye(Nisbat)(1949) Singer-Shamshad Begam, Lyrics-Majrooh Sultanpuri, MD-Pt Govindram

Lyrics

khaate hain thokaren
haaye
khaate hain thokaren
kismat ke maare haaye
khaate hain thokaren
kismat ke maare haaye
kaise katenge
kaise katenge
ab din hamaare
khaate hain thokaren

khwaab sa kuchh aankhon mein basaaye
khwaab sa kuchh aankhon mein basaaye
baithhe hain ham seene se lagaaye
baithhe hain ham seene se lagaaye
jhoothhi ummeeden haaye jhoothhe sahaare
jhoothhi ummeeden haaye jhoothhe sahaare
kaise katenge haaye
ab din hamaare

gham ka falak hai
dukh ki zameen hai
gham ka falak hai
dukh ki zameen hai
apna paraaya koi nahin hai
badlin hawaayen haaye
roothhe nazaare
badlin hawaayen haaye
roothhe nazaare
kaise katenge haaye
ab din hamaare

khaate hain thokaren
kismat ke maare haaye
khaate hain thokaren
kismat ke maare haaye
kaise katenge
kaise katenge
ab din hamaare
khaate hain thokaren


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 : 3614 Post No. : 14409

“Mitti Ke Khilaune”(1948) was directed by Prahlad Dutt for Ranjit Movietone, Bombay. The movie had Karan Dewan, Nigar Sultana, Nirupa Roy, Dulari, Ram Avatar, S N Tripathi, Pandit Iqbal etc in it.

The movie had eleven songs in it. Two songs have been covered in the past.

Here is the third song from “Mitti Ke Khilaune”(1948) to appear in the blog. This song is sung by Shamshad Begam. Butaram Sharma is the lyricist.

Bulo C Rani and Hansraj Bahl were the two music directors in this movie. This song is composed by Bulo C Rani.

Only the audio of the song is available. It appears almost certain that this song was lip synced by the lreading lady of the movie, namely Nigar Sultana. Nevertheless, i request our knowledgeable readers to throw light on the picturisation of the song.

This lovely joie de vivre song becomes the 400th song from movies of 1948 to appear in the blog. This year thus joins years from 1949 till 1961 that already have more than 400 songs each in the blog. Movies released in all years from 1948 till 1961 with 400 plus songs in the blog- this is a nice little achievement for us. Movies of these 14 years combine to have as many as 6584 songs in the blog !


Song-Pyaar kiya tab jaana (Mitti Ke Khilaune)(1948) Singer-Shamshad Begam, Lyrics-Butaram Sharma, MD-Bulo C Rani

Lyrics

pyaar kiya tab jaana ho jaana re
pyaar kiya tab jaana
pyaar kiya tab jaana ho jaana re
pyaar kiya tab jaana
hai dil ka chain ganwaana
aur apna aap mitaana mitaana re
pyaar kiya tab jaana
pyaar kiya tab jaana ho jaana re
pyaar kiya tab jaana

kyun kyun bairan raat sataati hai
kyun bairan raat sataati hai
kyun aah nikalti
kyun bhaaye neer bahaana bahaana re
pyaar kiya tab jaana
pyaar kiya tab jaana ho jaana re
pyaar kiya tab jaana

kyun dil mein dard sa rehta hai
kyun dil mein dard sa rehta hai
kyun chehra zard sa rehta hai
kyun chehra zard sa rehta hai
kyu bhool gaye muskaana muskaana re
pyaar kiya tab jaana
pyaar kiya tab jaana ho jaana re
pyaar kiya tab jaana

kyun baadal ghir ghir aate hain
kyun badal ghir ghir aate hain
kyun jee mein aag lagaate hain
kyu jee me aag lagaate hain
saawan kyun hai suhaana suhaana re
pyaar kiya tab jaana
pyaar kiya tab jaana ho jaana re
pyaar kiya tab jaana


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 : 3610 Post No. : 14397

“Rangeen Zamaana” (1948) was produced and directed by M Bhavnani. The movie had Premnath, Monica Desai, Gope etc in it.

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

Here is the third song from this movie. This song is sung by Shamshad Begam. Pt Phani is the lyricist. Music is composed by Pt Govindram.

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


Song-Jawaani na aati na dil hi lagaate (Rangeen Zamaana)(1948) Singer-Shamshad Begam, Lyrics-Pt Phani, MD-Pt Govindram

Lyrics

jawaani na aati
jawaani na aati
na dil hi lagaate
jawaani na aati
na dil hi lagaate
tadapte na armaan
na aansu bahaate
tadapte na armaan
na aansu bahaate
jawaani na aati
na dil hi lagaate

na ummeed badhti
na bechain hote
ae ae ae ae ae
na ummeed badhti
na bechain hote
meri zindagi mein agar tum na aate
meri zindagi mein agar tum na aate
tadapte na armaan
na aansu bahaate
jawaani na aati
na dil hi lagaate

sitaaron se karte na raaton mein baaten aen aen aen aen
sitaaron se karte na raaton mein baaten
sitaaron se karte
na raaton mein baaten
kahaani na apni kisi ko sunaate
kahaani na apni kisi ko sunaate
tadapte na armaan
na aansu bahaate
jawaani na aati
na dil hi lagaate
jawaani na aati


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 : 3597 Post No. : 14357

Today (24 may 2018) is the 18th remembrance day of Majrooh Sultanpuri (1 October 1919 – 24 May 2000).

Majrooh Sultanpuri was active in Hindi movies from 1946 till he passed away in 2000. He had the longest knock of them all as far as lyricists were concerned. He was not slow and steady as one would expect, rather he was quite fast and steady. That way he was like a hare that never relaxed and maintained a furious pace throughout. While doing that, he maintained a very high quality throughout.

One great quality of people with long innings is that they are great man managers. Majrooh sultanpuri was no exception. He got along well with most colleagues, including even temperamental colleagues.

According to my calculations, Majrooh Sultanpuri penned 2168 lyrics in 328 movies right from “Shahjahaan”(1946) till “One Two Ka Four”(2001). This blog has 1040 of these songs. Majrooh Sultanpuri is the number one lyricist in the blog and he is followed by Rajinder Krishan, another “lambi race ka ghoda”.

The first two movies of Majrooh Sultanpuri were “Shahjahaan”(1946) and “Qeemat”(1946). Majrooh Sultanpuri penned 7 (out of 10) songs in “Shahjahaan”(1946) and penned all the nine songs of “Qeemat”(1946). Both these songs had music by Naushad. These two movies are already YIPPEED. so one can say that all the songs penned by Majrooh sultanpuri in his debut year are already covered in the blog.

The next Majrooh Sultanpuri movie was “Doli”(1947). “Doli” (1947) was directed by S K Ojha. The movie had Amar, Jayant, Madhuri, Pratima Devi, Shashikala, Sulochana Chatterji, Wasti, Sushil Kumar, Putli Bai, Nand Kishore, Chopra, Amir Ali etc in it.

There were nine songs in the movie that were penned by three lyricists,

Four songs from the movie have been discussed in the past.

Majrooh Sultanpuri had written the lyrics for four of these songs. Two songs penned by Majrooh Sultanpuri are among the songs covered in the blog.

As a tribute to Majrooh Sultanpuri, here is another song from the movie which is penned by him.

This is the fifth song from “Doli”(1947) to appear in the blog. This rare song is sung by Shamshad Begam. Majrooh Sultanpuri is the lyricist. Music is composed by Ghulam Mohammad.

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

PS-It appears that the song has another stanza that is missing from the song. Till a longer version of this rare song becomes available, we have to make do with the version which is available as of now.

I have not been able to get a few words right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.


Song-Kis deepak ki dhun mein bechaara jalta hai patanga pyaara (Doli)(1947) Singer-Shamshad Begam, Lyrics-Majrooh Sultanpuri, MD-Ghulam Mohammad

Lyrics

Kis deepak ki dhun mein bechaara
jalta hai patanga pyaara
Kis deepak ki dhun mein bechaara
jalta hai patanga pyaara
aa tujh ko behna
rasta dikhaaa den
ho o
raste mein laakhon
deepak jala den
aa tujh ko behna
rasta dikhaaa den
ho o
raste mein laakhon
deepak jala den
ye chaand taare
la kar bichha den
ye chaand taare
la kar bichha den
jaan gayi
jaan gayi
bhed saara aa aa
jalta hai patanga pyaara
jaan gayi
jaan gayi
bhed saara aa aa
jalta hai patanga pyaara
Kis deepak ki dhun mein bechaara
jalta hai patanga pyaara

iske siwa kuchh nahin mere bas mein
ho o
do chaar mein kya
keh doon main das mein
iske siwa kuchh nahin mere bas mein
ho o
do chaar mein kya
keh doon main das mein
behna waari
?? mein
behna waari
?? mein
dikhlaa doon main deepak tihaara
haay raam
dikhlaa doon main deepak tihaara aa aa
jalta hai patanga pyaara


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 : 3572 Post No. : 14313

“Raftaar”(1955) was produced and directed by Nakshab for Fimco, Bombay. The movie had Nadira, Talat Mehmood, Lotan, Baby Naaz, Meenakshi, Bikram Kapoor, Hublikar, Raju, Abbas, Tariq, Mahesh, Swami, Ameena Bai, Mohan etc in it.

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

Here is the fifth song from “Raftaar”(1955) to appear in the blog. The song is sung by Shamshad Begam. Nakshab is the lyricist. Music is composed by Shivram.

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


Song-Jaadu bhare naina tihaare balam (Raftaar)(1955) Singer-Shamshad Begam, Lyrics-Nakshab, MD-Shivram

Lyrics

ho o o
ho o o

jaadu bhare naina
jaadu bhare naina tihaare balam
jaadu bhare naina tihaare balam
tore sar ki kasam jaadu daar gaye
haan haan
tore sar ki kasam jadu daar gaye
haye humen maar gaye
ho hume maar gaye ae
jaadu bhare naina

bholi bhaali nazar gayi dil mein utar
bholi bhali nazar gayi dil mein utar
hua wo hi ki jiska thha pahle se dar
chupke chupke ae
chupke chupke
idhar lut gayi zindagi
idhar lut gayi ee zindagi
aur udhar bekhabar hi raha bekhabar
banki tirchi najariya ke teer
gaye manva ko cheer
karejwa ke paar gaye
haaye haaye raam
karejwa ke paar gaye
haaye re humen maar gaye
ho humen maar gaye ae
jaadu bhare naina

pyaari pyari ada le gayi dil chura
pyaari pyaari ada le gayi dil chura
kaisa aankhon hi aankhon mein jaadu kiya
chori chori ee
chori chori
huyi saari rasm e ada
huyi saari rasm e ada aa aa
dil ki baazi mein dil par na kaabu raha aa
dekho dekho muhabbat ki reet
gaye duniya se jeet
sajanva se haar gaye
haaye haaye raam
sajanva se haar gaye
haaye re humen maar gaye
ho humen maar gaye ae
jaadu bhare naina


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(© 2008 - 2019) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 14900 song posts by now.

This blog is active and online for over 3800 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14949

Number of movies covered in the blog

Movies with all their songs covered =1164
Total Number of movies covered =4085

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