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

Archive for the ‘Song sung by three or more singers’ 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 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.

Today’s song is from the landmark film ‘Amar Jyoti’ (1936), made by the Prabhat Film company, Poona. It was directed by V Shantaram. It was photographed by his elder brother V Avadhoot and the music was by Master Krishnarao Phulambrikar. All the songs were written by Pandit Narottam Vyas. Today’s song is sung by Vasanti and chorus. The song is also used as a background song few times in the movie since it conveys the essence of the film’s theme- fight against injustice.

This is a significant and a noteworthy film by Shantaram. Durga Khote performed one of her most memorable roles. K Narayan Kaale wrote the story and screenplay, with dialogues by Pt. Narottam Vyas. The cast included Durga Khote, Chandra Mohan, Shanta Apte, Vasanti, Nandrekar, Keshav Narayan Kaale etc. etc. Songs by Shanta Apte, especially “Suno Suno Ban Ke Praani“, whose records sold by thousands and a duet by Apte and Nandrekar, “Aaj Hamen Ban Behad Bhaata” were very popular.

The film was about a rebellious woman turning into a pirate, because of the injustice meted out to her. She was a queen who suffered due to severe male oriented laws and was denied custody of her only son, when she separated from her husband. This outstanding adventure film – the first pirate film in Hindi – was the first Indian film to be screened at the Venice Film Festival. The film became a box office hit because of three reasons. One – Durga Khote’s excellent acting, and two – the special effects and the novel, unusual pirate story and three – it’s popular songs and music.

Durga Khote, in her Autobiography, ‘I, Durga Khote’ has stated the following about this film,

A film like Amarjyoti, an imaginary story and beautiful in every respect, happens only once in a rare while. The cinematography, sets, costumes, jewellery, songs, and backgrounds were so perfectly attuned, that the audience went crazy with every scene. Every element, whether it was shots of ships, surging waves and enormous rocks, or the casting and performances with minute shades of expression, heroism, self-sacrifice, and extreme tyranny—was striking in itself, and in complete harmony with every other element of the complicated plot. Shanta Apte’s songs became very popular. Vasanti’s lovable charm, the harsh anger that I, as Saudamini, expressed against injustice, Chandramohan’s impressive performance, light eyes flashing—were all wonderfully effective. The costumes of the smugglers, their lifestyle, the weapons they carried, were all imaginary, and yet they came through so convincingly on screen. Every costume was so precisely selected that it fitted in its place perfectly, as if carved for that space.

Though Durga Khote was the main and central character of the film, the romantic respite was provided by Shanta Apte and B Nandrekar. Now Shanta Apte is a well known name but who was this Nandrekar ?

In the days of silent movies, the only requirement for males to get into films was that they should be reasonably good looking and must have good height and physique. For the females the requirement was beauty and consent to do romantic scenes, including kisses, if required. If these points were in order, their entry to the films was assured. Due to these conditions, mostly uneducated good looking girls from tawaiaf and kothewali families used to join films. Anglo-Indians, Germans and other foreigner girls too joined film world. For them kissing or romantic scenes were no great issues. In males too, uneducated young men from poor families, having a good muscular body and good looks joined the films.

However, when the talkie films started, the requirements included good Hindi/Urdu/Hindustani speaking skills and ability to sing a song, if needed. Almost all Anglo-Indian, Jew, German and other girls left films as they did not know Hindi language or singing. There were, of course, few dedicated girls who learnt better Hindi and singing to remain in films. Some examples are Savita Devi, Sulochana, Madhuri etc.

In males most actor had no problem, but those who came from regions other than Bombay could not speak Hindi well and had no scope. The most well known example was that of Master Vithal, who excelled in silent films but was a failure in talkie films for his inability to speak Hindi fluently. No doubt he was selected to be the hero in India’s first talkie film, ‘Aalam Ara’ (1931), but when he failed to mouth Hindi dialogues, his role was curtailed and he was portrayed as unconscious for a major part of the film.

Actors like Master Bhagwan had no problem. He had been working in silent films since ‘Bewafa Aashiq’ (1930), and he smoothly walked into talkie films as Hindi speaking skills were good. There was yet another actor who easily transitioned from silent films to talkie films. This was  B Nandrekar or Baba Saheb Nandrekar.

Nandrekar was one of the very few really handsome actors Hindi films ever had. He was born in 1910, in Sangli district of Maharashtra, near Kolhapur. Being a Muslim, he could speak Urdu/Hindi fluently. He completed his schooling from Kolhapur and joined films. Vishnupant Damle (one of the founder partners of Prabhat Films) was making silent film ‘Maharathi Karna’ (1928) for Maharashtra Film Co. He offered Nandrekar a role. Then he worked in other films like ‘Baji Prabhu Deshpande’ (1929), ‘Lanka’ (1930), ‘Kismet’ (1931) and ‘Dushman Ki Raat’ (1931).

His first talkie film was ‘Kurukshetra’ (1933). Prabhat gave him a role in ‘Sant Tukaram’ (1936) (its Hindi version came in 1948). He worked in ‘Amar Jyoti’ (1936) and became quite popular as a hero, opposite Shanta Apte. He was hero in ‘Baghbaan’ (1938) opposite Sitara Devi.

In 1939, he became the first actor to go abroad to shoot scenes in film ‘Africa In Hind’ – ‘हिन्द में अफ्रीका’ (1939). The shooting was done in Africa. Thus this became the first ever Hindi film to shoot in foreign country, and NOT film ‘Naaz’ (1954), as is popularly believed and also as mentioned in HFGK. Nandrekar had become very popular. The chappals he used in film ‘Baghbaan’ became fashionable by the name ‘Nandrekar Chappals‘. This alone is enough to prove his popularity.

His law suit against Prabhat Film Company was a topic of discussion in the industry. There were differences between him and Prabhat over his contract with them. His lawyers were Mr. Jinnah and Mr. Setalwad, who won the case for him. He was also the first actor to work as a freelancer.

Nandrekar appeared in 23 films. His films were ‘Kurukshetra’ (1933), ‘Amar Jyoti’ (1936), ‘Jaadugarin’ (1937) (UR), ‘Baghbaan’ (1938), ‘Africa In Hind’ (1939), ‘Qaidi’ (1940), ‘Hindustan Hamara’ (1940), ‘Alakh Niranjan’ (1940), ‘Chitralekha’ (1941), ‘Mamaji’ (1942), ‘Duniya Tumhari Hai’ (1942), ‘Nai Kahaani’ (1943), ‘Andhi Duniya’ (1943), ‘Swarn Bhoomi’ (1944), ‘Lady Doctor’ (1944), ‘Ismat’ (1944), ‘Bachpan’ (1945), ‘Kamla’ (1946), ‘Jeevan Sikho’ (1946), ‘Parshuram’ (1947), ‘Meri Amaanat’ (1947), ‘Khandani’ (1947), ‘Sant Tukaram’ (1948) and last film ‘Bihari’ (1948).

He passed away in 1949. No definite information is available about his demise.

Another lesser known actress is Vasanti. Vasanti Vinayakrao Ghorpade, was born on 26-3-1924 in Kolhapur. Her father’s sister Tanibai was a famous classical singer. Married to Bapusaheb Kagalkar, she was active in films till 1931 in Kolhapur. Vasanti was trained by Pt. Vamanrao Sadolikar and Ustad Bamman Khan. She first acted in ‘Dharmatma’ (1935) as a child artist. Then came ‘Amar Jyoti’ and ‘Duniya Na Maane’ (1937). Her songs in these films were popular. She left Prabhat in 1939 and joined Ranjit. She appeared in ‘Sant Tulsidas’ (1939), ‘Musafir’ (1940), ‘Diwali’ (1940), ‘Achhoot’ (1940), ‘Beti’ (1941), ‘Sukh Dukh’ etc. She also sang in ‘Aapki Marzi’ (1939), ‘Bhaktaraj’ (1943) and ‘Qurbani’ (1943). Vasanti acted in 15 films. She sang 60 songs in 14 films – all for herself only.

In 1944,she married Indubhai Patel and went to Bangalore. Her last film was ‘Bachchon Ka Khel’ (1946). [Note: In this film Meena Kumari appeared in an adult role for the first time].

The music director of this film, Krishnarao Ganesh Phulambrikar was a Marathi actor, composer, and musicologist. He was an architect of the golden period of Sangeetnatak in Marathi Theatre. He was born in Alandi near Pune in 1898. He was the son of a professional pandit who died when Krishnarao was only 6, reducing the family to abject poverty. He was weak in health. He did not have much formal education, but his sweet, elastic voice facilitated entrance into the Natyakala Pravartak Mandali, where he did small roles. After 1910, he left to learn classical music under Bhaskarbuwa Bakhle in Pune.

In 1918, Bal Gandharva employed him in the Gandharva Natak Mandali as male lead actor and music director, though he did some women’s roles as well. He developed as a most versatile composer who, with Govindrao Tembe, helped Bal Gandharva in spreading Hindustani classical music. He left the Mandali in 1933 to become music director for V Shantaram’s Prabhat Film Company, scoring highly original songs for ‘Dharmatma’ i.e. ‘Soul of Dharma’ in 1935, ‘Maanus’ i.e. ‘Life Is for the Living’ in 1939, and other movies. He gave music to 10 films and composed 104 songs for them. Being a singer, he sang  11 songs in 3 films. Later, he joined MG Rangnekars Natyaniketan. His classical-based light music for Rangnekar’s plays like ‘Kulavadhu’ i.e. ‘Family Bride’ in 1942 and ‘Ek Hota Mhatara’ i.e. ‘There Was an Old Man’ in 1948 is considered a Sangeetnatak landmark. Among his many books on music, he wrote a seven-volume series for vocal and instrumental training, titled Raagsangraha i.e. Raaga Anthology, in 1940-71. He also contributed to popularize the Jaipur gharana. He passed away in the year 1974.

The film had a total of 11 songs. Four songs are already on the Blog. This will be the fifth song. The song is having a lilting tune. After you hear it completely, I am sure it will not leave your memory because of the old Natya Sangeet style of singing.

A brief summary of the film is,

Saudamini (Durga Khote) is denied custody of her son by the Queen (Karuna Devi) and Durjaya, the tyrannical Minister of Justice (Chandra Mohan) after she separates from her husband. Durjaya tells her that a woman is the slave of her husband and essentially has no rights. This enrages Saudamini and she vows vengeance and becomes a pirate. She and her pirates capture a ship which is supposed to be carrying the princess Nandini (Shanta Apte). However, she finds her old enemy Durjaya and takes him prisoner cutting off one of his legs. Nandini has been hiding in chest, and when she comes out of it, the imprisoned Durjaya sees her. He falls in love with her and offers her his food. Nandini however falls in love with a young shepherd boy Sudhir (Nandrekar). When she meets Saudamini and her helper Rekha (Vasanti) she joins them as a pirate and tells Sudhir off. Durjaya escapes with the help of Sudhir and arrives to arrest Saudamini. Saudamini is captured, but the others, along with Nandini and Rekha, escape. It is finally revealed that Sudhir is Saudamini’s long-lost son. Nandini and Sudhir marry and Rekha carries forward Saudamini’s legacy.

 

———————————————————
Translation (Provided by Sudhir)
———————————————————

karte rahna mismaar, duniya zulm o jafaa ki
This world is of cruelty and injustice
Demolish it, raze it to ashes
[Notes: mismaar = to demolish, raze]

phir se basaao sansaar
himmat waala, izzat wala, jannat waala
amrit dhaara sukh sansaadi bahe wafaa ki
Let us build a new world again
A world of courage
A world of dignity and esteem
A world that is like heaven
Where flows the elixir of love and justice
Having all happiness and resources
[Note: sansaadi = resources; also means complete, undivided, unified]

lehron mein lehron si shamsheer chamke
paave na mohlat
ladna le lena duniya ki daulat
jawaan mein ho tum veer
rann mein dharo tum dheer
Let the swords shimmer like the waves of the ocean
Let there be no respite (for the tyrannical and the wicked)
Fight, and seize the wealth of this world
You are the brave amongst the young
In the battlefield, be unperturbed and composed

karna duniya mein manmaani
ban jaawo ho jaawo laasaani
tan de dena, dhan de dena
vachan naa apna nishfal karna
Have your own way with this world
Become matchless, unconquerable
Stake your assets, and yourself
But never let your word, your promise be fruitless
[Note: laasaani = matchless, incomparable]

bal dikhlaayenge, mar khap jaayenge
kadam badhaayenge, safal kahaayenge
We shall display our valour, our strength
We may die, may be destroyed
But we shall always move forward
We shall always be known as the victors

[Editor’s Note: As noted by Arun ji, this song appears in the film more than once. As one starts to view this film, this song is the very first thing that plays after the initial credits. In this initial playing, the main singers are Saudamini (Durga Khote) and Rekha (Vasanti), with crew of their pirate ship joining in chorus. Nandini (Shanta Apte) is not yet on the scene. Later in the sequence of events, when Saudamini has been captured by Durjaya (Chander Mohan), this song is initiated once again by Rekha, to bring life and strength to the ship’s crew, who are completely demoralized after the capture of their leader. At this stage, Nandini has also joined the ship. In this reprise of the song, the singing voices are now of Vasanti, Durga Khote and Shanta Apte. The video clip that is accompanying this post, is the clip of this second playing of the song. The song starts as a chorus background. Then the young Rekha starts to sing the initial lines, then there is a flashback as Saudamini is shown being taken away as a prisoner. This part of the song is in Durga Khote’s voice, part of the same lines that she sings in the initial playing of this song. Then Nandini joins the singing, and the voice here is of Shanta Apte. The ship’s crew then steps in once again with chorus. In the initial playing, the lines being sung by Nandini (in this video clip) are also sung by Saudamini.]


Song – Karte Rehna Mismaar Duniya Zulm o Jafaa Ki (Amar Jyoti) (1936) Singer – Vasanti, Durga Khote, Shanta Apte, Lyrics – Pt Narottam Vyas, MD – Master Krishna Rao
Chorus

Lyrics 

karte rahna mismaar
duniya zulm o jafaa ki
karte rahna mismaar
duniya zulm o jafaa ki
phir se basaao sansaar
himmat waala
izzat wala
jannat waala
amrit dhaara
sukh sansaadi
bahe wafaa ki
karte rahna mismaar
duniya zulm o jafaa ki
karte rahna mismaar
duniya zulm o jafaa ki

lehron mein lehron si shamsheer chamke
lehron mein lehron si shamsheer chamke
paave na mohlat
ladna le lena duniya ki daulat
jawaan mein ho tum veer
rann mein dharo tum dheer
baala ji
ladna le lena duniya ki daulat
jawaan mein ho tum veer
rann mein dharo tum dheer
baala ji

karna duniya mein manmaani
karna duniya mein manma..aani
ban jaawo ho jaawo laasaani
ban jaawo ho jaawo laasaani
tan de dena
dhan de dena
tan de dena
dhan de dena
vachan naa apna nishfal karna
bal dikhlaayenge
mar khap jaayenge
kadam badhaayenge
safal kahaayenge
karte rahna mismaar
duniya zulm o jafaa ki
karte rahna mismaar
duniya. . .
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
करते रहना मिस्मार
दुनिया ज़ुल्म ओ जफा की
करते रहना मिस्मार
दुनिया ज़ुल्म ओ जफा की
फिर से बसाओ संसार
हिम्मत वाला
इज्ज़त वाला
जन्नत वाला
अमृत धारा
सुख संसादी बहे वफा की
करते रहना मिस्मार
दुनिया ज़ुल्म ओ जफा की
करते रहना मिस्मार
दुनिया ज़ुल्म ओ जफा की

लहरों में लहरों सी शमशीर चमके
लहरों में लहरों सी शमशीर चमके
पावे ना मुहलत
लड़ना ले लेना दुनिया की दौलत
जवां में हो तुम वीर
रण में धरो तुम धीर
बाला जी
लड़ना ले लेना दुनिया की दौलत
जवां में हो तुम वीर
रण में धरो तुम धीर
बाला जी

करना दुनिया में मनमानी
करना दुनिया में मनमा॰॰आनी
बन जावो हो जावो लासानी
बन जावो हो जावो लासानी

तन दे देना
धन दे देना
तन दे देना
धन दे देना
वचन ना अपना निष्फल करना
बल दिखलाएंगे
मर खप जाएँगे
कदम बढ़ाएँगे
सफल कहायेंगे
करते रहना मिस्मार
दुनिया ज़ुल्म ओ जफा की
करते रहना मिस्मार
दुनिया॰॰॰


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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 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.

Today’s song is from film Nishan-49. the film was made by Gemini Studios,Madras and the Director was S.S.Vasan. Music for this costume drama was by a team of 3 Gemini composers,namely – Rajeshwar rao,M.D.Parthasarathy and B.K.Kalla. For the song under discussion, the composer was B.K.Kalla.

As many as three films named “Nishaan” have been made over the years, in 1949, 1965 and 1983.

Initially, in the early era, Bombay was the biggest centre for film making. When the Talkie films started, other smaller centres in those times, like Lahore and the South woke up. For Lahore, language was not a problem and so there was a traffic between Lahore and Bombay film people for work and technology. Thus few centres for film production prospered in Lahore-like Pancholi and Shorey etc.

But for South, Language was the biggest hurdle in having connections with Bombay. For the first few years, some Tamil and Telugu films were made in Bombay. Some southern film makers like L.V.Prasad worked in Bombay in their initial career and learnt the tricks of the trade-as they say. Later on L V Prasad became one of the biggest film producers in South owning Studios, Laboratories and related industries. Incidentally, while in Bombay, L V Prasad became the only actor who worked in the First Hindi Talkie, Alam Ara-31, First Tamil Talkie,Kalidas-31 and First Telugu Talkie, Bhakta Prahlad-32 all made at Bombay !

However soon the South established its own production centre at Madras and made Tamil, Telugu, Malyalam and Kannada films. In 1948, S.S.Vasan of Gemini Studios, released his ambitious Tamil/ Hindi film ” Chandralekha ” all over India with 600 film prints. The extraordinary success of ‘Chandralekha’-48 gave a clear idea to South producers how hugh the Hindi market was. With a 3 million investment, Vasan earned 20 million from ‘Chandralekha’.

After the unprecedented foray of Gemini’s Vasan’s hit film Chandralekha-48. Subramaniam Srini Vasan or simply S S Vasan, became aware of the unlimited scope of the Hindi belt market for south-made Hindi films.

Vasan was a writer, Editor, producer and Director, but above all, he was a Business Tycoon. He had established the popular Tamil magazine “Anand Vikatan”, and owned Gemini studios, Gemini Laboratories and Gemini distribution circuits. He soon decided to take advantage of the success of Chandralekha and made another Trilingual film . In Tamil it was called “Apoorva sahodarargal”, in Telugu, it was “Apoorva Sahodaralu”, and in Hindi it was called “Nishan”-49. This film too was a great success.

Encouraged by this, S S Vasan made his 1943 Tamil Hit film “Mangamma Sapatham”-43, into a remake in Hindi with the name “Mangala”-50.
Not by coincidence, but by design, the Hero for all these 3 remakes and the originals was Ranjan. (This film was remade in Sinhalese as “Mathalan” in 1955 and in Telugu as “Mangamma shapatham”in 1965- featuring N T Ramarao, later the Chief Minister of erstwhile Andhra Pradesh, and Jamuna).

Encouraged with all this, the enthusiastic adventurer called Vasan took his 1949 hit Tamil film ” Vazhakan ” and made a Telugu remake, “Jeevitham”-50 and a Hindi remake,” Bahar-51″, introducing Vyjayanti mala. ‘Bahar’ was a box office hit. Vasan next made ” Ladki-53″ in Hindi, with simultaneous remakes in Tamil (Penn) and Telugu (Sangham).

Today’s film under discussion, Nishan-49 is a remake of original Tamil film, ‘ Apoorva Sahodarargal ‘-49. It was based loosely on Douglas Fairbanks’ film ” The Corsican Brothers “-41. The inspiration came from Alexander Duma’s novel of the same name published in 1844.

When the Tamil film was being made, the Hero was decided as M.K.Radha of Chandralekha fame, Heroine was P.Bhanumathy, but an actor for the Villain’s role was not decided. Many actors were considered, but finally Vasan decided on R.Nagendra,a veteran of Kannada stage. Vasan’s judgement proved correct. Nagendra acted so well that all critics were full of praises. Vasan continued Nagendra for the Telugu remake( Apoorva Sahodaralu) and for Hindi version-Nishan. It is to the credit of Nagendra that he picked up fluent Tamil, Telugu and Hindi pronunciations quickly and with great accuracy too in no time !.

Today’s song is sung by Shamshad Begum and many male voices and it is a Multi language song , having few lines in Bangla, Punjabi, Gujarati and Tamil language also. The original song in Tamil was also a Multi language one having few lines in Malyalam, Telugu, Kannada and Hindi in it. The song had become quite popular in south during that time.

The cast of the film was P.Bhanumathy, Ranjan, Nagendra Rao, J.S.Kashyap, Maya Banerjee, B.K.Kalla, Narayan Rao etc etc. The story of the film was….

Mahendra and Martand are rival kings. When Mahendra’s wife gives birth to conjoined twins, Dr. Nanji separates them skillfully. In a surprise attack, Martand and his men set fire to Mahendra’s fort thinking that the entire Mahendra clan perishes. But the good doctor has taken the babies to the safety of his house. And thereafter the elder twin Vijay grows up in the city, while the younger twin Vikram is brought up in the forest by the loyal Maruti.

When they are 25 years old, the doctor sends for them and introduces them to each other and makes them aware of their history. The twins swear to avenge the dastardly killing of their father and restore the glory of their kingdom. Meanwhile, Vijay saves the beautiful Ranjana from the aging yet lust-filled Martand and his men. Vijay and Ranjana fall in love in due course.

Problems arise between the brothers in the forest, as Vikram too falls for Ranjana. And being the younger of the conjoined twins, Vikram aches with frustrating feelings of physical desire whenever Vijay and Ranjana are together. Not wanting to be the cause for the brothers turning against each other and in order to enable them to reach their avowed objective without further distraction, Ranjana leaves Vijay in the forest, only to fall straight into the clutches of Martand. The rescue of Ranjana, and Martand getting his retribution form rest of the exciting tale.

Editor’s note-While most words in Bangla, Punjabi and Gujarati have been noted down with reasonable accuracy, Tamil words are required to be deciphered. I request our Tamil language experts to help fill in the Tamil lyrics. Readers are also requested to suggest corrections/ help fill in the words wherever applicable in the lyrics, and especially in the non Hindi lyrics.


Song-Jaiyyo jaiyyo sipahiya baazaar (Nishaan)(1949) Singers-Shamshad begam, Sundar, Lyrics-Pt Indra Chandra, MD-B K Kalla

Lyrics

mooli
matar
tamaatar

aur gaajar
haan haan gaajar
aaloo
mooli
matar
tamaatar
gaajar

paapad aur pakaudi chatni
chatpat garam masaala
haan chatpat garam masaala
garmaa garam jalebi ho to
haazir khaanewaala

haaye
bhookhe khade sipahiya mere
main kya karoon akeli

ham sab madad karenge teri
ae naazuk albeli

haan
to aao aao
aao aao

jaiyo jaiyo
o jaiyo jaiyo
sipaiya baazaar
daal meri chulhe chadhi
o laiyo laiyo
laiyo laiyo ji nimbu achaar
daal meri chulhe chadhi
o jaiyo jaiyo

aeji thaanedar ji chulha jalaao
chulha jalaao phoonke lagaao
aji jamedar ji haldi milaao
haldi milaao chhaunk lagaao
ham hain chowkidar sabka ?? ji
ho ?? ji

ham hain hawaldar
kehte sab humko sarkaar ji

aao ji sarkar ??
kakdi majedaar le lo
chakku chowkidar rakhiyo
rakhiyo ji door talwaar
daal meri chulhe chadhi
ho jaiyo jaiyo
jaiyo jaiyo
sipaiya baazaar
daal meri chulhe chadhi
o jaiyo jaiyo

waah waah waah
??
?? thhaako
?? thhaako
chomotkaar
chomotkaar

main bangaalan ban jaaun
gol gol rasgulle tumhen chakhaaun
main bangaalan ban jaaun
o ji dharamtalle waali
rongeela rongeela rongeela re
rongeela
rongeela rongeela rongeela re
aamaare chhadiya bondhu
koi koi bela re
rongeela rongeela rongeela re
rongeela
aami hobo chaand bandhu
tumo hoyo paani eee
aami hobo chaand bondhu
tumo hoyo paani ee
tumaa de aamaa de tobe hobe jaanaa jaani
tumaa de aamaa de tobe hobe jaanaa jaani

o ho rongeela rongeela rongeela re
rongeela

hen
soniyo
aidar ni takna
main kya
asi bhi aa gayaan

main punjaaban ban jaaun
thhandi meethi lassi tumhen pilaaun
main punjaaban ban jaaun
o ji anarkali waali

bedi lagiye kinaare se oye
bedi lagiye kinaare se oye
duniya main vaar lutaa
tere ik we ishaare pe oye
duniya main vaar lutaaun
haan aan
tere ik we ishaare pe
asmaani te in phir di oye
asmaani te in phir di oye
teri meri ik jindadi
haan ?? vich nit mil di
?? nit mil di oye

teri meri ik jindadi ee
khwaabe wich nit mil di

arre ame to aain aache
tame koi na lassi na
koi na rasgulla aapo chhu
ame su ??
aam aawne

main gujraatan ban jaaun
chaupathi ka chuda bhel khilaaun
main gujraatan ban jaaun
o ji kalbadevi waali
bhaari beda na hu to naazuk ?? naar
oy maa bhaari beda na hu to naazuk ?? naar
khem kari paani ?? bharaaye re
panmariya kunwaaa ne ?? re
sau sau ??
thaara sansaar
haay
sau sau ??
thaara sansaar
?? nazar na laagi jaaye re

banmariya kunwaaa ne paat re
?? nazar na laage jaaye re
banmariya kunwaaa ne paat re

Tamil words..

main madrasan ban jaaun
idli dosa samber tujhe khilaaun
main madrasan ban jaaun
o ji mylopore waali
( Tamil words )

aise dekhe sune na ganwaar
daal meri chulhe chadhi
o jaiyo jaiyo
jaiyo jaiyo sipaiya bazaar
daal meri chulhe chadhi
o jaiyo jaiyo
o jaiyo jaiyo
sipaiya bazaar
daal meri chulhe chadhi
o jaiyo jaiyo
o jaiyo jaiyo
sipaiya baazaar
daal meri chulhe chadhi
o jaiyo jaiyo
o laiyo laiyo jee neembu achaar
daal meri chulhe chadhi
o laiyyo laiyyo
o laiyyo laiyyo jee neemboo achaar
daal meri chulhe chadhi
o laiyyo laiyyo
o laiyyo laiyyo jee neemboo achaar
daal meri choolhe chadhi


This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Hullo Atulwaasis

Today’s(3 september 2017) post is inspired by this post of Atulji. To be more exact I have been saving up this post ever since this was posted and this was mentioned in the comments by Bharatji and Maheshji.

I was saving this song to present it on the occasion of the birthdate of two people involved in this song.

(1) The music director Shri Pyarelal Ramprasad Sharma son of a renowned trumpeter Ramprasad Sharma also known as Babaji. I am sure regular visitors of this blog will know that I am talking of Pyarelal of the Laxmikant- Pyarelal duo. Today(3 september 2017) is his 78th birthday. Happy Birthday Pyarelalji and thank you for making our life musical.

(2) The multi-talented actor who started his career doing villainy and went on to excel even in comedy and also the lovable uncle and best friend in a lot of movies has his birthday today. I am talking of our pyaara “Nandu, sabka Bandhu” alias Sunil Sikanderlal Kapoor who was given his screen name by Sunil Dutt that his name will not do justice to his villainous stint in movies and so Shakti Kapoor was born.

Today’s song is from the 1989 Prakash Jha directed “Chaalbaaz”. It starred Sridevi in a double role with Rajnikant and Sunny Deol, with Anupam Kher, Rohini Hattangadi and Shakti Kapoor heading the villain gang and Annu Kapoor and Aruna Irani being nice to the separated at birth twin sisters- Anju and Manju. It is sung by Jolly Mukherjee Amit Kumar and Kavitha Krishnamurthy with Anand Bakshi as the lyricist.

Let us enjoy this fun song where suddenly in the middle the playback singers get interchanged between the artists so much so that we find even Rohini lip syncing to Jolly Mukherjee.

Audio (Longer)

Video

Song-Socha thha kya kya ho gaya…gadbad ho gayi (Chaalbaaz)(1989) Singers-Amit Kumar, Kavita Krishnamurthi, Jolly Mukherji, Lyrics-Anand Bakshi, MD-Lamikant Pyarelal
All

Lyrics

hoo hoo hoo hoo
socha tha kya
kya ho gaya,
kya ho gaya
dhoondho mujhe
main kahin kho gaya
main bhi kahin kho gayi
chhutti ho gayi
chhutti ho gayi
dhinaka dhin tinaka dhin
dhinaka dhin tinaka dhin
arey gadbad ho gayi
arey chhutti ho gayi
arey gadbad ho gayi
arey seeti baj gayi

ara ra ra mujhko sambhaalo main chala
gadbad ho gayi
seeti baj gayi
ara ra ra mujhko sambhaalo main chala
rok sako to rok lo
o saalon main chala
o ho gadbad ho gayi
arey seeti baj gayi
apna jooloos tum nikaalo
main chali
arey kahaan chali tu,
arey laut ke aaja
arey ruk jaa pagli
o gadbad ho gayi

sun o o o
sun o bhateeji
chaachi chaacha ji
aaye chakkar
maaro takkar
tan man doley
man kya boley
jaan bachaao
lo pi jaao
ismein kya hai
tumhen pata hai
pi ke maroon kya
yeh bairi
aur karoon kya
mere sar pe thhanda paani daalo main chala
o gadbad ho gayi
are seeti baj gayi
ara ra ra mujhko sambhaalo main chala
arre rok sako to rok lo
o saalon main chala

dharti ghoome ambar jhoome
ho gaya ghapla
baj gaya tabla
lag gayi hichki
hichki hik hik
hik hik
arre baj gayi seeti
(turrr turr)
josh mein aao
zara hosh mein aao
mujhko chadh gayi
mahangi pad gayi
vaidya bulaao
aisa karo balmaa
tum mar jaao
haan
raam kaa naam lo duniyawaalo main chala
o ho gadbad ho gayi
arey chhutti ho gayi
a ra ra mujhko sambhaalo main chala
arre rok sako to rok lo o saalo mai chala

arey gir gaya jhanda
rah gaya danda
arrey ho gaya thanda
murgi kaa anda
daude tattoo ghoome lattoo
bhang ki goli
aakhir boli
bhimpalasi
ghor udaasi
shaam ki bela
panchhi akela
arey majnu chhaila
mar gayi laila
bhool bhulaiya
natkhat sainyya
arey premi paagal
aaj nahin kal
taash ka patta
ho chol kolkota
dekho ye tamaasha dekhane waalon main chali
o ho gadbad ho gayi
arey seetti baj gayi
ara ra ra mujhko sambhaalo main chala
rok sako to rok lo o saalon main chala
gadbad ho gayi
haan arey seeti baj gayi
arey apna jooloos tum nikaalo main chali
o ho gadbad ho gayi
arre seeti baj gayi
arey gadbad ho gayi
arrey dhin tinaka dhin
arrey seetti baj gayi
ho gadbad ho gayi
haan


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.

Today (15 august 2017) is the 71st independence day of India.

This is the 10st independence day for this blog. We have discussed all well known independence day songs during the past occasions. But no, we have not run out of songs for the occasions. We still have quite a few such songs up our sleeve.

Some of these songs are rare songs and most music lovers will hear them for the first time.

“Aahuti”(1950) also known as “Anokhi Qurbaani” was directed by Kulbhushan for Sansaar Movietone Limited, Bombay. This by now forgotten movie had Mumtaz Shanti, Ranjeet Kumari, sapru, Premkant, Kesari, Bikram Kapoor, Cuckoo, Nautiyal, Sudhir, Pitu, Khan Chaand, Mukul, Ratan Gaurang, Bhajanlal, Shyama, Krishna Rani, Neelam, Indra, Indubala, Uma, Gulnar Shirazi, Kathana etc in it.

This social movie had twelve songs in it, and they are as obscure as the movie itself.

Two songs from “Aahuti”(1950) have been covered in the past. While going through the other songs of the movie, I came across this patriaotic Aazaadi song from the movie and kept it in hold to be discussed during the independence day.

HFGK mentions this song as sung by Geeta Roy and chorus. On listening t the song, I feel that this song has two male voices as well, which are that of S D Batish annd Shankar Das Gupta, apart from chorus. I request our knowledgeable readers to help confirm/ refute my identification of the male voices.

Tandon is the lyricist. Music is composed by D C Dutt.

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

I take this opportunity to greet one and all and wish them a very happy independence day.


Song-Taaron bhari chundariya odhe aazaadi aayi(Aahuti)(1950) Singers-Geeta Dutt, S D Batish, Shankar das Gupta, Lyrics-Tandon, MD-D C Dutt

Lyrics

taaron bhari ee
taaron bhari chundariya odhe
aazadi aayi
aayi aazaadi
haan aazaadi aayi
aayi aazaadi

naye dhol sang nayi saanjh
aur nayi raat laayi
aayi aazaadi
haan aazaadi aayi
aayi aazaadi

khushi bhi aaj khushi ko choome
khushi ko choome
khushi ko choome

phool to kya sang bagiya jhoole
bagiya jhoole
bagiya jhoole

ho o o
tooti bediyaan
?? ke sang
?? ko mili rihaai
tooti bediyaan
?? ke sang
?? ko mili rihaai
aazadi aayi
aayi aazaadi

andhiyaara
andhiyaara
andhiyaara
apne hi ghar ko apne diye se
kisne aag laga di
kisne aag laga di
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
gairon ne bhi jise bachaaya
wahi jyot bujha di
kisne aag laga di

kaun sikhaayega jeewan mein
kaun sikhayega jeewan mein
hans hans kar kaanton pe chalna
kaanton pe chalna
satya ahinsa vishvprem
ab kis’se seekhegi duniya

ab kis’se seekhegi duniya
kaun sikhaayega bhaai ko
kaun sikhaayega bhaai ko
bhai se ab karna pyaar
ab karna pyaar
poochh rahe hai bharat mata ke
aankh ke aansoo baarambaar

aankh ke aansu baarambaar
baarambaar baarambaar

jo raah dikhaai thhi tumne
hum raah wahi apnaayenge

hum raah wahi apnaayenge
aazaadi di thhi tumne
hum aazaadi bachaayenge

hum aazaadi bachaayenge
hum aazaadi bachaayenge


This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Hullo to all in Atuldom

Year- 1999. Months- June/ July. Region- Snow-clad Himalayas. Kashmir to be more precise. Kargil- Dras sector to be even more exact. Aim- to control the Siachen Glacier by establishing military outposts on the surrounding mountains ridges. This has often resulted in military skirmishes in the 1980s and tensions only escalated in the 1990s. In an attempt to defuse the situation, both countries signed the Lahore Declaration in February 1999, promising to provide a peaceful and bilateral solution to the Kashmir conflict.
Read more on this topic…


This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Hullo to all in Atuldom

On this blog, Atul has a page for birthdays of various Hindi film artistes. He has meticulously kept track of these dates and makes it a point, as much as possible, to post a song honouring the artiste on the concerned date. That is like a doctor treating his patients.
Read more on this topic…


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 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.

Today’s song is from film ‘Anban’ (1944) (pronounced as un-bun). So far, only one song from this film has been discussed on our blog in 2011. This is, therefore, the second song from this film. No songs of this film are available anywhere like You Tube etc. Then, how did I get introduced to  this song ? There is a story behind this.
Read more on this topic…


This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Hullo to all in Atuldom

Today we will have a song from the 1957 L.V. Prasad directed Meena Kumari- Raj Kapoor- Shyama starrer ‘Sharada’ – written as ‘Shaarda’ by Atulji in the ‘List-of songs-moviewise’. It is mentioned as ‘Sharada’ in the filmography of Meena Kumari (a rule in English grammar says that proper nouns can be written with any spelling, specially there is no right or wrong spellings as far as Indian words are concerned).
Read more on this topic…


This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Here is a song from Muqaddar Ka Sikandar. It is written by Anjaan and Kalyanji Anandji are the music directors. It is sung by Asha Bhonsle, Mahendra Kapoor and Lata Mangeshkar.

This movie had great songs. All Eight of them. But a lousy story line (I can see a whole lot of Atulites chuckling right Rajaji?)
Read more on this topic…


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 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.

REPORT ON MUMBAI GANGOUT – Part 2
—————————————–

……Javed ji was introduced to Sadanand ji, as they were meeting each other for the first time. Even I had met him for the first time, though we had E-mail communications earlier. It so happened that, in the last Mumbai Gangout which Sudhir ji attended, he had gifted all of us a copy of Javed ji’s first Hindi book ( he has more books in Urdu), ” Kuchh kalaakaar-kuchh yaden “. After reading that book, I wrote a mail to Javed ji about certain discrepancies, I had found in the book. Actually I was hesitant whether to write such a mail to him, but my adventurism won over me and the mail was sent finally.
Read more on this topic…


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 13500 song posts by now.

This blog is active and online for over 3300 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13579

Number of movies covered in the blog

Movies with all their songs covered =1015
Total Number of movies covered =3721

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Blog Start date: 19 july 2008

Active for more than 3250 days.

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