Archive for the ‘Shamshad Begam solo’ Category
- In: "neend na aaye" song | Calling the beloved | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lover's Complaint | Lyrics contributed by readers | Missing the loved ones | Post by Sudhir | Shamshad Begam solo | Shamshad Begam songs | Songs of 1940s (1941 to 1950) | Songs of 1946 | Yearwise breakup of songs
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.
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Blog Day : |
4279 | Post No. : | 15519 |
Saga Of Sleepless Nights – 6
– – – – – – – – – – – – – – –
un aankhon mein neend kahaan
jin aankhon se preetam door base
The contest between a heart in love and the nights of loneliness is as ancient as the written word itself. Poets of yore, across the ages, and to the present times, have all written about the tribulations of the nights of loneliness. Time does pass at its own pace, but for a lonely heart pining for love, it is as if the time has come to a standstill.
The acute anxiety of the empty moments wherein apparently nothing is happening, is something that cannot be explained in words. It is a sensation that has to be experienced, to get the true flavor of the feelings that are ensconced in the words ‘hijr’ (“हिज्र”) and ‘firaaq’ (“फ़िराक़”) – the feelings of separation, the feelings of being incomplete, the feelings of anticipation, waiting, the feelings of incessant yearning that seems to rend the heart asunder.
Philosophers and poets have ruminated over this experience, and have recommended certain pursuits. There is that famous rhyme that talks about counting green bottles standing on a wall. It is based on the children’s counting nursery rhyme – “Ten Bottles on the Wall”. Folks who cannot sleep are recommended to start from, well, maybe a thousand bottles, keep knocking them down one at a time, and keep a count of the bottles left on the wall. Starting from thousand, this process is bound to get drowsy some way through getting to the target of downing all the thousand bottles from the wall.
The other, of course is counting sheep, jumping over a fence. So just keep a count of the imaginary sheep that are jumping over the make believe fence, and continue counting till the senses give way.
The more esoteric recommendation from the poets, especially for forlorn lovers longing for their mate, is to count the stars. Now this remedy may not work in urban habitats in current times – in best of times with normal pollution levels, about a score stars maybe visible. So this poetic bulwark of heartening proportions does not work in a city like Delhi. Ah yes, but in locales where the skies are clear, this assignment can be undertaken in real earnest. On a clear moonless night, the sky looks so crowded with stars, that the mission of counting stars can be a humbling task. And very well suited for the lonely hearts stricken with the malady of separation and longing.
The beauty of the poet’s mind is simply fantastic and out of this world. It goes even beyond this imagination of being assigned the task of counting the stars. Let me borrow some lines from my own article that I wrote for the song “Aaj Unke Paay e Naaz Pe Sajdaa Karenge Hum”. The lyrics of this song dwells on this task of ‘अख्तर शुमारी’ – the act of counting stars (‘अख्तर’) in the sky. The relevant portion of the lyrics goes like this,
maana shab e firaaq bhi
hoti hai is liye
har nabz e gham isi ke
sahaare guzar sakey
naqaam e ishq hijr mein
taare gina karey
hum intehaa e shauq ki
hadd se guzar gaye
lo aaj hum ne saare
sitaare bhi gin liye
ab ae shab e firaaq bataa
kya karenge hum
And I quote from my write up,
The poet has surpassed many superlatives to weave the fabric of words that makes up this song. Let me give you an example. It is quite a traditional concept in poetry, that a lonely lover in the long nights of wait and anticipation, is advised to count the stars in the sky – a metaphor that implies that neither the stars in the sky will ever be counted, and nor the wait for the beloved ever end. This refrain is encountered often in romantic poetry. But the poet of this song does one better, and goes a step beyond. He says that all the stars are now counted, and so tell me o night of long wait what should I do.
lo aaj hum ne saare sitaare bhi gin liye
ab ae shab-e-firaaq bataa kya karenge hum
A superlative expression that rises to defeat even the task of counting the stars. And poses the question, that in my crazed passion, I have even gone ahead and actually counted all the stars, so tell me what should I do now.
The poet’s imagination is endless, and so this discussion can, and will be continued elsewhere. For now, I present this oh so wonderful song rendered so lovingly by Shamshad Begum, that tells about the nights of loneliness and longing. The film is ‘Sona Chaandi’ from 1946. The lyrics are written by Wali Sahab and the music is composed by Tufail Farooqui.
The film is produced under the banner of New Bombay Theatre, Bombay and is directed by RD Pareenja. The star cast is listed as Chandni, Suresh, Kishori, Saroj Borkar, Kamla, Ghulam Rasool, Amrit Lal, Radha Kishan amongst others. There is a total of 12 songs in this film penned by three songwriters – Wali Sahab, Shamim and Khawar Zamaan. This song is written by Wali Sahab.
So let’s listen to this heartwarming winner in the ‘खनकती हुई’ voice of Shamshad Begum. The protagonist is blaming her beau for her sleeplessness – “तेरे बिना नींद ना आई रे”.
Song – Baalam Harjaai Re, Tere Bina Neend Na Aayi Re (Sona Chaandi) (1946) Singers – Shamshad Begum, Lyrics – Wali Sahab, MD – Tufail Farooqui
Lyrics
baalam harjaai re
baalam harjaai re
tere bina neend na aayi re
neend na aayi re
o neend na aayi re
baalam harjaai re
tere bina neend na aayi re
neend na aayi re
o neend na aayi re
baalam harjaai re
bhool gaye baalam nibhaane ki rasmen
bhool gaye baalam nibhaane ki rasmen
nindiya ne kha leen na aane ki kasmen
nindiya ne kha leen na aane ki kasmen
nainon mein ratiyaan
nainon mein ratiyaan ganvaai re
tere bina neend na aayi re
neend na aayi re
ho neend na aayi re
baalam harjaai re
baalam harjaai re
mukh se na bolun
pyaare mukh se na bolun
pyaare
roye roye jaaun main
dil ki kahaani
dil ki kahaani najar se sunaaun main
dil ki kahaani najar se sunaaun main
nainon mein
nainon mein ghat ghir ke aai re. . .
nainon mein ghat ghir ke aai re
tere bina neend na aayi re
neend na aayi re
ho neend na aayi re. . .
baalam harjaai re
baalam harjaai re. . .
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
बालम हरजाई रे
बालम हरजाई रे
तेरे बिना नींद ना आई रे
नींद ना आई रे
ओ नींद ना आई रे
बालम हरजाई रे
तेरे बिना नींद ना आई रे
नींद ना आई रे
ओ नींद ना आई रे
बालम हरजाई रे
भूल गए बालम निभाने की रस्में
भूल गए बालम निभाने की रस्में
नींदिया ने खा लीं ना आने की कसमें
नींदिया ने खा लीं ना आने की कसमें
नैनों में रतियाँ
नैनों में रतियाँ गँवाई रे
तेरे बिना नींद ना आई रे
नींद ना आई रे
हो नींद ना आई रे
बालम हरजाई रे
बालम हरजाई रे
मुख से ना बोलूँ
प्यारे मुख से ना बोलूँ
प्यारे
रोये रोये जाऊँ मैं
दिल की कहानी
दिल की कहानी नजर से सुनाऊँ मैं
दिल की कहानी नजर से सुनाऊँ मैं
नैनों में
नैनों में घट घिर के आई रे
नैनों में घट घिर के आई रे
तेरे बिना नींद ना आई रे
नींद ना आई रे
हो नींद ना आई रे॰ ॰ ॰
बालम हरजाई रे
बालम हरजाई रे॰ ॰ ॰
Chhup chhup ke re chupke chupke
Posted on: April 14, 2019
This article is written by Mahesh Mamadapur, 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 : | 3922 | Post No. : | 14987 |
Shamshad Begum, a name too familiar to music lovers of the golden era was born on this day 100 years ago (on 14 april 1919). Her voice, much distinct from all others had that metallic as well as melodious touch which brought her fame from all over the country.
April 14 did ring a bell, but I was not very much aware that it was her birth centenary this year. A comment from one of the regulars Partha Chanda ji on the anniversary pages was enough for me to get this post going.
As I have said earlier, the expectations of music lovers from this blog continues to grow. Music lovers are aware that probably nothing new may be written about such great artists, but they know that this is one of the few places on the internet, where legends are often celebrated and discussed. Apart from hearing these golden compositions and voices, reading about other people’s views and appreciations especially of our favourites has become an enthusiastic habit.
Since, I got to get this post really fast, I would only like to restrict my views on a composer collaboration of Shamshad Begum, which I have no hesitation in considering as the best. Shamshad Begum sang many songs for almost all the composers of her era. Her singing to a few of such composers made her songs ever more popular. So popular that to this day some of these songs are re-mixed and enjoyed by a different class of people. However, it’s my personal opinion that the very songs which made her more popular with these composers were responsible for her fading away from the playback scene. It’s because she sort of got trapped with these special group songs and the more serious songs meant for the lead actresses went to Lata. I would love to write more elaborately on this subject and my views on it some other time.
Avid music lovers can easily understand which composers I am referring to in the above para, but in this post I would like to talk about her playback for composer Naushad Ali.
I mean no discredit to other great composers like Anil Biswas, Ghulam Haider and Ghulam Mohammed etc. for whom Shamshad Begum sang some really good songs.
Naushad saab, created gold with every singer who sang for him and Shamshad Begum was no exception. Shahjehan, Dard, Anokhi Ada, Mela, Andaz, Chandni Raat, Dulari, Babul, Deedar, Jadoo, etc. stand tall in some of the best creations of Naushad’s career. And, Shamshad Begum was associated in a big way in the songs of all these films.
AK ji’s blog has very elaborate post on her songs with Naushad. Yours truly, in fact has the first comment on the post.
Talking about a few of these films, Shahjehan, the first film of the combo had very interesting numbers by Shamshad Begum. Dard was always a Suraiya, Munawar Sultana film, but Shamshad Begum carves a special place for herself with two great songs. Ye afsana nahi zaalim mere dil ki haqeeqat hai is my all time personal favourite.
Mela and Anokhi Ada will always remain special to me for the Mukesh connection. Just listen to Shamshad Begum singing …..ooooooo……. in Mohan ki muraliya baaje from Mela. I think the rendering cannot be appreciated with mere words. The effortless and elegant way with which the solo is sung makes me dumbstruck to this day.
I have fond memories of songs from Chandni Raat. During the good old cassette era, my parents and obviously I had not heard songs from this film quite too often. On a visit to Bombay, I had carried back this cassette. On playing at home, the songs from the film and especially the wonderful duets with Rafi saab became instant craze and are heard to this day.
Babul, Deedar etc, will also be remembered for the contrasting voices of Lata-Shamshad in duet songs and elegant composition by Naushad saab.
It would not be out of place or wrong to say that she was sort of side-casted in favour of Lata, but even in the latter films of Naushad whenever she rendered the odd songs or supported in duets, the class and elegance remained.
Writing about her last days in her singing career will yield nothing. The metallic and melodious voice with crystal clear diction will remain ringing in our ears for decades to come.
On her birth centenary, I pay my humble tributes to Shamshad Begum and would like to represent a song from Aadmi (1957)
Song-Chhup chhup ke re chupke chupke yaad aayi (Aadmi)(1957) Singer-Shamshad Begam, Lyrics-Sartaj Rahmani, MD-Ramnath
Chorus
Lyrics
Chhup chhup ke re chupke chupke
chhup chhup ke re chupke chupke
yaad aayi
chhup chhup ke re chupke chupke
yaad aayi
haay dil dhadka
aankh lajaai
aayi re
aayi re
aaaayi
yaad aayi
chhup chhup ke re chupke chupke
chhup chhup ke re chupke chupke
yaad aayi
aankhon mein pyaar liye
aaye sanwariya
aaye sanwariya ji
aaye sanwariya
loot ke chale gaye
man ki nagariya
man ki nagariya
ho man ki nagariya
kaisa ye dhokha khaaya
lut gayi raam duhaai
lut gayi raam duhaai
lut gayi raam duhaai
ho o o o
chhup chhup ke re chupke chupke
chhup ke re chupke chupke
yaad aayi
chhup chhup ke re chupke chupke
yaad aayi
marzi tumhaari piya
aao na aao
aao na aao ji
aao na aao
dil ko sambhaaloon kaise
ye to bataao
ye to bataao ji
ye to bataao
kaise wo aag bujhaaoon
tumne jo aag lagaayi
tumne jo aag lagaayi
tumne jo aag lagaayi
ho o o o
chhup chhup ke re chupke chupke
chhup chhup ke re chupke chupke
yaad aayi
chhup chhup ke re chupke chupke
yaad aayi
kaise kahoon sakhiyon se
dil pe tera raaz hai
dil pe tera raaz hai ji
dil pe tera raaz hai
jhuki jhuki ankhiyon mein
duniya ki laaj hai
duniya ki laaj hai ho
duniya ki laaj hai
bedardi tu na aaya
ho gayi preet paraayi
ho gayi preet paraayi
ho gayi preet paraayi
ho o o o
chhup chhup ke re chupke chupke
chhup chhup ke re chupke chupke
yaad aayi
chhup chhup ke re chupke chupke
yaad aayi
haay dil dhadka
aankh lajaai
aayi re
aayi re
aaayi
yaad aayi
chhup chhup ke re chupke chupke
chhup chhup ke re chupke chupke
yaad aayi
chhup chhup ke re chupke chupke
chhup chhup ke re chupke chupke
Baalam Pardesia Saajan Pardesia
Posted on: April 5, 2019
- In: Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Guest posts | Lyrics contributed by readers | Missing the loved ones | Post by Arunkumar Deshmukh | Rare song | sad song | Separation song | Shamshad Begam solo | Shamshad Begam songs | Songs of 1940s (1941 to 1950) | Songs of 1947 | Yearwise breakup of songs
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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 : | 3913 | Post No. : | 14973 |
Today’s song is from the film Dekho ji-47.
The film was made by Punjab Film Corporation and was produced and directed by its owner Wali Sahab. He also wrote the lyrics. The music was by Tufail Faruqi and his assistant Sabir Hussain ( 5 and 6 songs credited respectively).
This was one of the films of 1947, from which almost everyone- the cast, producer, director, lyricist, composers etc etc all migrated to Pakistan after Partition- some immediately and few after some time. This was of course not unusual. As the year 1947 began, news was circulating about the partition. Like many other industries, Film industry was also worried. There was an air of uncertainty. Who will stay and who will migrate was hotly debated in the privacy of homes, studios and clubs. People looked at each others with suspicion. Muslims were worried about their safety in India, in spite of the assurances by Gandhi and Nehru.
Crores of rupees were invested in films. After the second world war started in 1939, lot of Black money was generated and much of it came to Film industry. Investors, Financiers and producers were worried about half made films. Everybody seemed to be in a hurry to finish his assignment on hand. Due to this the quantity of films increased,sadly at the cost of quality. 1947 saw a record number of films made in 1947- 181 Hindi films, the highest ever since films were made. It took another 40 years to break this record in 1988, when 185 films were made.
Almost 75 to 80 % films of 1947 were obscure and forgotten within a short time. Films like Aisa Kyun, Atom Bomb, Barrister, Beete Din, Chalte chalte, Chandrahaas, Dehati, Daulat Ke Liye, Extra Girl, Farz, Gaurav, Gudiya, Heera, Janata, Jhalak, Khandaani, Lalat, Manmani, mere Bhagwan, Mohan, Nai Baat, Pehla Pyar, Paro, Riwaz, Shabari, Shahkaar, Tohfa, Toote Dil, Veerangana are some of the films made in 1947. How many of us even know about them ? Actually, some of these were films in which well known and major stars of the times had acted. For example, Mohan had Dev Anand as Hero, Lalat was the debut film of Usha Kiran (as Usha Marathe), Prem Adib and Vanmala had acted in Chandrahaas etc etc.
Not that ALL films were bad. Certainly some famous and excellent films providing some Milestones of Hindi cinema were also made in 1947, like Aapki Sewa Mein (First playback song of Lata M), Bela (all 10 songs by Zohrabai Ambalawali), Dard (Debut song of Umadevi), Elaan (a bold Muslim social film by Mehboob Khan), Jugnu (the only film of Dilip kumar and Noorjehan), Meera (all 18 songs by MS Subbulaxmi), Mirza Sahibaan (last film of Noorjehan in India), Neel Kamal ( debut of Raj kapoor and Madhubala as lead pair), Parwana (Last film of KL Saigal), Shadi Se Pehle ( first duet of Rafi and Lata) and Shehnai (epoch making music by C Ramchandra).
Nevertheless partition did have an impact on the Film industry, due to the migration of artistes from both countries. LAHORE an important city in the undivided Punjab in the pre-independence days was one of the major Film making Centres in India. Talented actors and musicians from all Punjab and Sindh area tried their luck in the Cine Industry at Lahore. Nevertheless, the biggest centre of film production was Bombay and it was every aspiring artiste’s dream to go to Bombay and shine there. The film activity at Lahore increased considerably in the early 40s in terms of film production and Music. Those days Lahore was called ” a supply source” for Bombay, as many actors and musicians shifted their base to Bombay from there.
In the communal frenzy, polarisation of artistes took place. Hindus shifted to Bombay and Muslims left for Lahore. But there were some reverse migrations also in this period. One example each is of Sahir Ludhiyanvi who migrated to India, and Deebo Bhattacharya from Calcutta migrated to Karachi and prospered in Pakistan as a successful music director.
Some of the families got divided, like Mehboob Khan opted to remain in India, but his brother MR Khan remained in Pakistan and worked as a well known producer. Juhi Chawla’s grandfather JC Anand and uncle Satish Anand stayed in Lahore. Consequently they became the pioneers of Pakistan Film Industry. After the divorce Rafi’s first wife also migrated to Pakistan with her children.
At the actual time of Partition some artists were in Lahore for film work. They were BR Chopra, Ramanand Sagar, IS Johar, Gulshan Rai, Omprakash, Jeevan, OP Nayyar, Rajinder Singh Bedi, Naqsh Lyallpuri, Surinder and Prakash Kaur and Pushpa Hans. They all left Lahore hurriedly and reached Bombay safely.
However this journey was not so safe for one actor – comedian Durga Prasad, known as Durga Mota. He was very fat. In the melee, he reached the Lahore station and somehow boarded the train to Bombay. Suddenly a group of mad rioters entered the Lahore station and started killing the travelers. Most people ran helter skelter, but due to his heavy body, Durga Mota could not run and was cut into pieces on the Lahore station platform itself !
Same way many artistes from Bombay left for Lahore and ALL of them reached safely.
With so many people migrating to Pakistan at a time and the condition of Pakistan Film Industry then, it is a moot question, whether all these migrants could get work there and shine ?
There were 2 types of people who migrated-
1. Those who had achieved their peaks already in India and
2. Those who had just started their careers.
Obviously the second group, at least some of them, could do well there eventually.
Some of the successful migrants there were – Noor jahan, Khursheed Anwar, GA Chisti, Nissar Bazmi, Firoz Nizami, Najam Naqvi, Nakshab Jarachavi, Sibtain Fazli, Wali Saheb, Manto, Rashid Atre, Sudhir, Santosh, Asha Posley, Shameem, Najma, Yasmeen, Ragini, Zahoor Shah, Shaikh Iqbal, Himalaywala, Nazar, Rafiq Gaznavi, Tanvir Naqvi, Iqbal Bano etc.
Some of the unfortunate ones were – Meena Shorey, Ratan Kumar, M Sadiq, Charlie, Ghori, Kumar, Sheikh Mukhtar, Najmul Hussain, Neena, Kalavati, Maya Devi, Ghulam Hyder, Nashaad, Premlata etc.
Almost all the artists who shifted to Bombay prior to Partition did very well here.
There was a second wave of Migration in the 50s, during which many artistes like Veera, Rattan Kumar, Rehana, Mumtaz Shanti, Meena Shorey, Wali Sahib, K Anwar etc migrated to Pakistan.
Partition did some damage to India, but as there was a second line waiting to take over, the impact was negligible. However, Pakistan had to build a new film industry with the help of the migrant artistes in almost all departments of film making. Once this generation ended their career,unfortunately there was not much of a second line to take over in Pakistan.
Like many top class composers who migrated to Pakistan, there were some small time or recently started composers who also left, like Inaayat Hussain (only 1 Punjabi film Kamli), Fateh Ali Khan (2 films- Aaina-44 and Director-47), Tufail Farooqi (2 films-Sona Chandi-46 and Dekho Ji-47). Inayat Hussain of course became a Legend in Pakistan.
Today we will talk about TUFAIL FAROOQI.
Tufail was born in Taran Taaran, Amritsar, Punjab, in 1918. After taking musical lessons from Ustad Abdul Waheed Khan for several years, he joined All India Radio, Lahore. He also worked with many composers. Finally, he got his first film, ‘Sona Chaandi‘-46. Out of 12 songs of the film, he composed 10 songs and 2 were composed by DC Dutt. In this film Tufail gave opportunity to a young but promising new comer, who was struggling to get established as a playback singer – Mohammed Rafi. Rafi got 4 songs in this film and he was overjoyed at this break.
Later Tufail gave music to his second film- ‘Dekho Ji’-47. Here too he composed 6 songs and the other 6 were composed by composer Sabir Hussain. Actually, Sabir Hussain was his assistant and just to encourage him, Tufail credited these songs to him.
After partition, Tufail migrated to Pakistan, along with family and Sabir Hussain in tow, but had to struggle hard there too. His first film was ‘Barkha’ in 1953. Tufail gave music to 37 films, mostly Punjabi films and less Urdu. His film, ‘Bahadur Kissan’ -1970 had a song- ”Mera sona des kissan da”, sung by singer Masood Rana. This tune was a blatant direct copy of the song ”Ye desh hai veer jawanon ka” from ‘Naya Daur’-57. The Pakistani song became a tremendous hit, not only with the Punjab farmers but also was played on Radio and TV often.
Tufail Farooqi’s sister was Master Ghulam Haider’s first wife (Umrao Zia Begum was his second wife), from whom he got a son-Saleem Haider. Later Saleem joined Pakistan Army and rose upto the rank of Lt. General. He retired in 2000.
Tufail worked till early 80s. He had married the famous Pak singer Pappu Pukhraj in 1953. He passed away in Lahore on 25-3-1988.
Film ‘Dekho Ji’s cast was Mumtaz Shanti, Anjum, A Shah, Khatoon, Haroon, Afzal, Dilshad, Mintobai, Gulnar etc. Anjum was the hero in this film. From his photos in Film India issues of 1946, he looked to be a very handsome young man. He was also seen in 2 more films-‘Bichhade Balam’ and ‘Rehnuma’, both of 1948. After this, I guess, he migrated to Pakistan like many other artistes, because now his name appears in many films made in Pakistan, during the period 50s to the 80s. Some of his films made there are, ‘Waada’-57, ‘Nai Ladki’-58, ‘Beqasoor’-69, ‘Shami’-89 etc.
Another actor in the cast, who was quite a popular comedian those days was A Shah aka Aziz Shah. He was born in 1910, at Sialkot. He did not have much schooling, except primary education at Lyallpore and at Islamia High School, Lahore. Due to his rich and sweet voice, he used to recite Holy Quran, on farmaish. He wrote poetry also.
He joined Saroj Movietone in 1930, under Mohan Bhavnani as an artiste at Rs.40 p.m. He acted in ‘Shakuntala’-31 and ‘Gul Bakavli’-32. He had to take a 2 year break, due to an illness. Back in Bombay, he worked in film ‘Fidai Tohid’-34 as a hero. He gave music to film ‘Gunehgar’-36. He wrote dialogues for ‘Mother India’-38 and ‘Daughters of India’-39. His first comic role was in Ranjit’s ‘Mirza Sahiban’-35. He became famous with his role in Punjabi film ‘Kurmai’-41.
His best role came in ‘Sharada’-42, as Munshi Udharchand Shikarpuri. This was repeated by him in film ‘Keemat’-46. Some of his 11 films were, ‘Dhandora’-41, ‘Armaan’-42, ‘Sukh Dukh’-42, ‘Kanoon’-43, ‘Sanjog’-43, ‘Geet’-44 and ‘Ek Din Ka Sultan’-45. After 1947, he stopped acting and wrote lyrics in films like ‘Raat Ki Rani’-49, ‘Namoona’-49 and ‘Ek Teri Nishani’-49. After this he possibly migrated to Pakistan and we have no further information about him anymore. Baburao Patel of Film India magazine was his fan.
I have no idea whatsoever about the story line of this film. From the various photographs and comments in Film India 1946 issues, the film seemed to be interesting and entertaining with dance, drama and songs. It seems the film was completed in record time, but it was not released in 1947 for sure. Actually, most of the 1947 censored movies got released in 1948, due to the disturbed political atmosphere in the country in 1947.
Here is a very melodious song from this film, sung by Shamshad Begum.
Song-Baalam Pardesia Saajan Pardesia (Dekho Jee)(1947) Singer- Shamshad Begum, Lyrics- Wali sahab, MD-Tufail Farooqui
Lyrics
baalam pardesia
saajan pardesia
kaali ghataayen ghir ghir aayin
ghir aayin
duhaayi re
duhaayi re
baalam pardesia
saajan pardesia
jhool rahi jhoola
saajan sang sajni ee
jhool rahi jhoola
saajan sang sajni
aur main akeli
jaloon bin agni
aur main akeli
jaloon bin agni
haaye raam
kaun sautan man bhaayi re
duhaayi re
duhaayi re
baalam pardesia
saajan pardesia
chhod gaye jab se
baalam harjaai re
chhod gaye jab se
baalam harjaai re
nainon mein tab se hi
nindiya na aayi re
nainon mein tab se hi
nindiya na aayi re
ansuwan se ho gayi
sagaai re
duhaayi re
duhaayi re
baalam pardesia
saajan pardesia
poochh rahi tum se
kadamb ki chhaiyyaan
poochh rahi tum se
kadamb ki chhaiyyaan
akeli ko chhod ke
kahaan gaye sainyya
akeli ko chhod ke
kahaan gaye sainyya
teri khabariya na aayi re
duhaayi re
duhaayi re
baalam pardesia
saajan pardesia aa aa
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
बालम परदेसिया
साजन परदेसिया
काली घटाएँ घिर घिर आईं
घिर आईं
दुहाई रे
दुहाई रे
बालम परदेसिया
साजन परदेसिया
झूल रही झूला
साजन संग सजनी
झूल रही झूला
साजन संग सजनी
और मैं अकेली
जलूँ बिन अग्नि
और मैं अकेली
जलूँ बिन अग्नि
हाए राम
कौन सौतन मन भाई रे
दुहाई रे
दुहाई रे
बालम परदेसिया
साजन परदेसिया
छोड़ गए जब से
बालम हरजाई रे
छोड़ गए जब से
बालम हरजाई रे
नैनों में तब से ही
नींदिया ना आई रे
नैनों में तब से ही
नींदिया ना आई रे
अंसुवन से हो गई सगाई रे
दुहाई रे
दुहाई रे
बालम परदेसिया
साजन परदेसिया
पूछ रहीं तुमसे
कदम्ब की छईंयां
पूछ रहीं तुमसे
कदम्ब की छईंयां
अकेली को छोड़ के
कहाँ गए सैंयां
अकेली को छोड़ के
कहाँ गए सैंयां
तेरी खबरिया ना आई रे
दुहाई रे
दुहाई रे
बालम परदेसिया
साजन परदेसिया
M m m m m main teri hoon
Posted on: January 4, 2019
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
- In: "Please don't go" song | Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Guest posts | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Rare song | Shamshad Begam solo | Shamshad Begam songs | Songs of 1940s (1941 to 1950) | Songs of 1948 | Yearwise breakup of songs
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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
Mohabbat dard hai
Posted on: June 22, 2018
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
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