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

Archive for the ‘“story” song’ Category


This article is written by nahm, 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 : 3944 Post No. : 15020

Mohammed Rafi : The Incomparable (II) – Song No. 11
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Songs of religious fervor are an integral part of hindi films. This was more prevalent upto 80’s, than I think the trend went downhill. In recent decades this type of songs have made a return in the mainstream film with spectacular bhajans and philosophical/religious flavor.

In Mohammed Rafi Sahab total output of around 5000 songs, I can guess this genre of bhajan/religious/philosophical/naats/qawwali’s accounts for 7-8 % . This is my conservative guess work, this might well turn out to be 10%.

I began this series ‘Mohammed Rafi: The incomparable ‘ with this song . In the revival of the series Part – II so far there was no such song. ‘A – Z of Rafi Songs” series also began with a bhajan .

The holy month of ‘Ramadhan’ is beginning tomorrow. This month is a period of ‘Barakah’ where the almighty’s blessings and sawaab for the believers ibaadat is manifold. I am not mentioning the “na’ymat” that the Allah (swt) has bestowed on the mortals for the worldly needs. The material things and luxuries that we all ask for and get from Allah (swt) are all “faani” (faani – will end one day) and are finite in nature. Allah’s Rehmat and the ability to give/forgive is limitless, infinite. It is our asking ability that is finite. If this simple thing is understood by us mortals, none of us will be jealous of each other. Jealousy is something which is always there among peers or people who are close/known to each other or in the same social circle. No one is ever jealous of the celebrities or those who are far away from us. People need to look far and beyond of their immediate circle’s to realize that God Almighty has so much to give and he has spread the blessings far and beyond. Than what one has to do is ask him to bless us too, becoz his capacity to give is so much far and beyond of what our imagination’s limits will take us. We can also ask him to give us far and beyond of where our imagination is able to imagine. See there is hope here and light at the end of the tunnel.

This is great motivational pitch for counseling people who are dejected due to any reason. If and when I encounter such people, I make it a point to tell them that look towards the whole mankind, how much God Almighty has blessed the people all over the world. People do seemingly impossible things, have achieved so much. Do you think all this happened without the will of God? So, what is your problem? So keep trying and ask of the Almighty. Have faith and trust that the Almighty has blessed the others and he will bless you too.

The song no. 11 I am presenting here is from the film Aalam Ara (1956). This would be the first remake of the first talkie film of India. The lyricist is Shewan Rizvi and the composer if A. R.Qurieshi. Mohammad Rafi Sahab is in element in this religious nazm and telling the story of a youg boy’s quest for the deeds that take him closer to ‘Imaan’ and to the eternal tranquility of heaven. This quest in exemplified in the boy’s wish to keep ‘Roza’ as an obedience and prayer. This story goes on to tell how the child insists on observing the fast and how the parents try to counsel him, thinking in their affection for him that he is too young. Then on to how the child is young and frail, falls down due to dizziness His heart stops beating and he dies.

The parents are both distraught and unable to bear the blow. Just than a ‘Faqeer’ comes to the door asking for food to break the fast. The faqeer is actually a farishta (angel) who has been sent by Allah (SWT) to rescue. This is divine intervention and the farishta keeps his hand on the boys chest and recites something. The child open his eyes and thus alive again. It’s a miracle, the boy and the parents are thus rewarded by the Almighty’s barakah and no harm comes to the believers and the steadfast.

It is said that the age of miracles is long over and there are no more miracles to be found in the present era. In the present context, this story would simply mean that the child’s heart had stopped and a few seconds or minutes later he was given first aid and the heart started beating and a life was thus saved. What is relevant and of utmost importance is the timely action of the faqeer in giving the necessary first aid to the child.

Similarly, may Allah(SWT) help us all in the times of need, this is a prayer. We all have seen several instances of such divine intervention, when help comes from unexpected source and our difficulty or problem is solved. People are known to have come out of dire situations in various strata of life. Even Maradona had a goal by “Hand of God”. 

The lesson here is to believe in the ‘Rehmat’ of Allah (SWT) and always treat each other with respect and love. Because we don’t know when and who are destined to be our ‘Rehmatkafarishta’.


Song-Karta Hai Ek Raavi Ye Dilsoz Ye Bayaan (Aalam Aara)(1956) Singer-Rafi, Lyrics-Shewan Rizvi, MD-A R Qureshi

Lyrics

karta hai ek raavi ye dilsoz ye bayaan
ramzaan ke mahine ki mash-hoor daastaan

mulk-e-yemen meinn ladka thha ek aatth saal kaa aa
charcha thha shehr shehr mein
jis ke jamaal ka aa

rozaa khudaa ke naam pe rakkhne ka shauq thha
ramzaan ka jo chaand nazar uss ko aa gayaa aa
kehne lagaa ye maan se ke rozaa rakkhoongaa main
mujh ko jagaana raat ko sehri karoongaa main

bachche ki baat ka na kiya maan ne kuchh khayaal
ladkaa jo subah uttha to uss ko huaa malaal
samjhaaya maan ne aye mere dilbar na kar malaal
rozaa nahin hai farz abhi tujhpe mere laal
maasoom dil pe thes lagi maan se yoon kahaa
ammi suno ye kehtaa hai Quraan mein khudaa aa
roze ki bhookh pyaas ka jo gham utthaayegaa
uss rozaadaar ko na jahannum jalaayegaa
quraan ka nuzool issi maah mein huaa
tauba qubool kartaa hai iss maah mein khudaa aa

al-qissa raat aayi to woh jaagta rahaa aa
kehna kisi ka kuchh na suna roza rakh liya
sehri wo karke so gayaaaur so ke jab utthaa
bete ka maatha choom ke maadar ne ye kahaa aa
rozaa na rakh sakegaa tu zid apni chhod de ea
de doongi apna rozaa tujhe rozaa tod de ea
ladka ye bolaa khaana main hargiz na khaaungaa
apne khudaa-e-paak ko kya munh dikhaaungaa
dopehar dhal ke asr ka jab waqt aa gayaa
paani begair pyaas se khushk ho gayaa galaa aa
seene mein saans ruk gayi chakkar sa aa gayaa
kamsin thha nazneen thha chakra ke gir padaa
harkat jo dil ki band hui aankh jhuk gayee
nabzen idhar rukin to udhar saans ruk gayee
maa ne kahaa pukaar ke maasoom chal diyaa
aftaar ki khushi se bhi mehroom chal diyaa
maan baap laash dekhte thhe apne laal ki
maiyyat padi thhi saamne ek aatth saal ki
aakhir ko rozaa kholne ka waqt aa gayaa
donon ne gham mein bete ke khaaya na kuchh piyaa

nagaah dar pe aa ke sawaali ne di sadaa aa
saayil ki shakl mein thha farishtaa khadaa huaa
aawaaz di ke le lo faqeeron ki tum duaa
main bhi hoon rozaadaar do Allah ke naam ka
jis dam suni faqeer ki donon ne ye sadaa aa
aftaar ko jo rakkhaa thha saayil ko de diyaa aa
saayil ne bheekh le ke kahaa maajra hai kya
maatam hai ghar mein kaisaa yeh mujh ko bhi do bataa aa
saayil ko apne saath pidarghar mein le gayaa
farzand ke janaaze ko laa kar dikhaa diyaa aa
bachche ki laash dekh ke saayil ne kuchh padhaa aa
seene pe haath rakh ke ye murde ko di sadaa aa
ae nanhe rozaadar tu ab rozaa khol le
ghamgeen maan khadi hai zara maan se bol le ae
jumbish labon pe hone lagi aankh khol di ee
bachche ko zinda dekh ke maadar lipat gayeeee
saayil ye keh ke aankhon se rooposh ho gayaa
bhejaa huaa main aaya thha parwardighar ka aa
thha imtihaan ka waqt museebat ki ye ghadi
jo usspe jaan dete hain marte nahin kabhi eeee
marte nahin kabhi …..

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

Blog Day : 3879 Post No. : 14902

Mohammed Rafi : The Incomparable (II) – Song No. 08
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While I was writing the previous post of this series few days ago, I was maybe suffering from lack of motivation.  So I could not be very expressive and just tried to put together some random thoughts and to start the series again.

Today I am glad that somehow this series has begun again. Simply because I have spent this week in sharing with all those around me with some musical sense, a link I found on YouTube.  Sharing it because that is the only thing I could do short of shouting on rooftops that look what I have found.

Years ago I was a regular visitor http://www.mohdrafi.com.  I was just visiting and reading the various articles that were posted and sometimes making some comments.  Overtime that passivity was a bit tedious and the writings and articles there felt repetitive and somewhat amateurish.  It never inspired any inclination to be more active, though it is a very good site dedicated to the memory of Rafi Sb and full of information about him.

While being a Rafi fan myself, I have often wondered how can people be so over the top in praise and eulogies of some mortals, so as to call him God, Farishta and what not.  The fans of Rafi Sb are so so much – deewane and parwaane on him as if these words were coined for them only, if the readers know what I mean.

Whatsapp university tells me that a human mind can store or process 1 million billion bits of data in a lifetime.  In this same humble brain there are various tidbits of information stored by me too, some which has come to fore during this momentous week.  I have remembered that during the 70’s Rafi Sb used to go on a lot overseas tours to do stage shows.  And years ago I had/heard an audio cassette of one of these shows.  With the advent of YouTube the things and all type of rare and songs and videos became accessible.  Now I remember myself searching for the video clips of stage shows by Mohammed Rafi Sb.  And I found and saw small clips of these shows.  But I had not found any longish recording links of complete stage shows.  Over the years I stopped looking for those.  I can’t recall now when was the last time I really looked for this lost treasure.  I had may be subconsciously given up on ever finding any such thing. It was as if I had convinced myself that they don’t exist.

So It was while just browsing for more inspiring songs by Rafi Sb in the labyrinth of YouTube, I found this video recording of Rafi Sb’s live concert of 1979 at Montreal, Canada.  I was dumb founded that something like this has existed for the last 38 years without being uploaded anywhere and it has surfaced in July 2018.  It was a heaven sent gift for me and it has triggered all sort of memories of all that was there in the deep recess of my mind.  At first I really thought it just cannot be, a video recording of such significance being uploaded now, it was too good to be true.  It is of 1.15 hours.  Here is the link – Mohammed Rafi Live Concert Video – Montreal 1979

As I said above I just couldn’t believe that finally I am seeing something like this.  This is the first time something so comprehensive video is uploaded on the net.  It was a year before the end of the true Golden era of Hindi film music.  And how the maestro is performing, it is to be seen and heard to be believed.  And the singing gets better and better as song after song are getting rendered from his soul.  I have asked this question to many people I have shared the video with, that what do they think that he is singing from his throat, mouth or heart?  Some say that the throw of voice is phenomenal and someone said that this is just not possible to be so much more than the original soundtrack in live performance.

What can one say?  As some of the comments are surmising that “hamaari auqaat nahi hai ke Rafi sahaab ke baare mein kuch keh saken“.  What we can do is just listen to this incredible performance and thank the uploader of this best of the best generosity on his part.  This is a boon to Rafi fans like me 39 year after the event.  But one thing it creates is a hunger for more such recordings, which have started surfacing now.  Let us hope and pray the other such treasures are safe somewhere in the world and will surface in due course, in our lifetime.  I am truly humbled by the good fortune of being able to experience something like this.

Naushad Sb had this to say about Rafi Sb “aaj mausiqui ko tujh pe naaz hai“.  This has made me see that all this highest of high praises were showered on him by various peers and contemporaries were really heartfelt and never were they too much.  I rather think they felt speechless when contemplating what to say about Rafi Sb and took a short cut and called him God of music.

Someone has commented that Rafi Sb does not need the award of ‘Bharat Ratna’ rather the award needs Rafi Sb to mean something.  Not intending to be political, I can but agree with this.  More so with the history and the civilisation from which such a sur samraat has emerged.  Something else I have understood with this ethereal experience is that those who can deny the truth in the statement that “Rafi ko nahi suna to kya suna?” could do so because of their ignorance of the subject matter.

Today I am presenting a rare song by Rafi Sb from the film ‘Duniya Hai Dilwaalon Ki’ (1966).  Music is by Jimmy (aka James Singh) and the lyricist of this qawwali is Anjum Jaipuri.  As can be expected it is a delightful qawwali containing a repertoire of mumbaiyya terminology.  They could have used this one in ‘Munna Bhai MBBS’ series too.

And there is the ‘whistle sound’ in the middle of singing.  Rafi Sb has done this in the live concert too, i.e. whistled in the middle of the Punjabi song and then continued to sing in the same breath.  Unbelievable, that the microphone is able to capture the bass and the echo in the words that are falling from the mouth like precious jewels in a free fall in a hall full of people watching.  Yes there is that ‘goonj‘ in the words as they are resonating from the mike, and the sound of the end of the earlier word still can be head even as he starts the next word.  This is the only explanation of the sound of the word already sung and the start of the next word at the same time.  May be this happened with others also, I don’t know.

The simplicity, humbleness of the person while acknowledging the applause.  The only concession to any showmanship on Rafi Sb’s part is the formal attire, which has to be more as a form of respect for the audience than anything else.  His God gifted ability is there for all to see.  I can empathise with the people who were part of the recording studio set up, witnessing the phenomenal singing day in and day out for all those years, for being in so much in awe of the personality so as to call him God.

Anyways , all we can do is listen and try not to faint with the awesomeness of it all.  And thank the Almighty God for blessing us with this gift just as he blessed Rafi Sb.


Song – Ye To Qismat Hai, Meri Jaan Varna (Duniya Ha Dilwaalon Ki) (1966) Singer – Mohammed Rafi, Lyrics – Anjum Jaipuri, MD – Jimmy
Chorus
Unidentified Male Voice

Lyrics

koyi kuchh bhi kahe pyaare
magar yeh baat pakki hai..ea..eaaaaaaa
yahaan aata hai wo jis per
koyi ilzaam hotaa hai 
haa aaan 
sabab koyi..ee..eeee
na koyi thhaa 
jo yun khinch kar
chale..ea aaye

yeh to qismat hai 
meri jaan varnaa
kaun apni khushi se aaye yahaan
daane daane pe
naam hota hai
wo hi daane hamen le aaye yahaan
yeh to qismat hai 
meri jaan varnaa
kaun apni khushi se aaye yahaan
daane daane pe
naam hota hai
wo hi daane hamen le aaye yahaan
yeh to qismat hai
meri jaan 

yaar apna ik imaamudeen thha
manchala thha aur bahot shauqeen thhaa
haan aaan
saathh choupaati gaye ham ghoomne
arey husnwaalon par lagaa woh jhoomne
to phir
kabhi ladki ko yoon bulaata thha
dheere dheere seeti bajaata thha
(whistle sound)
dheere dheere seeti bajaata thha
ganga jamuna ke gaane gaata thha
raj ki tarha muskuraata thha
ek ladki jo zaraa…
ek ladki jo zara jaadi thhi
pehne huey wo kaali saadi thhi
us ki aankhon mein deep jalte thhe
dekhnewaale aankhen malte thhe
raat soyee thhi us ke baalon mein
chaand hansta thha gore gaalon mein
aayi shaamat usey salaam kiyaa
us ne chappal se apni kaam liyaa
haan aaan
chhed khaani ka mazaa mehenga pada
aur ham ko pyaare
jail mein aana pada
ho ho hoo
yeh to qismat hai 
meri jaan varnaa
kaun apni khushi se aaye yahaan
daane daane pe
naam hota hai
wo hi daane hamen le aaye yahaan
yeh to qismat hai 
meri jaan 

dhoka diya naseeb ne
ban kar bigad gayaa
haay haay hai
arey kadke ki jeb mein
jo mera haath pad gaya
to phir
khol ke dekha paakit khaali thha
paakit wala bhi khud sawaali thha
band kaaghaz mein dil ki tehreeren
husnwaalon ki chand tasweeren
apni qismat ke rang aise thhe
ek sigret thhi chaar paise thhe
chaar paison mein guzar kab hotee
husnwaalon ki nazar kab hotee
inhen daulat se pyaar hota hai
in ki balaa ke koi rota hai
aaya gussa to paakit phaink diya
paakit waale ne mujh ko dekh liya..aa
haan aan
bhaagnaa chahaa magar main gir pada
jaise uttha muhn pe ek thappad padaa
haan aan 
apne peshe se huyi nafrat mujhe 
jail mein karni padi kasrat mujhe
ho ho 
yeh to qismat hai 
meri jaan varnaa
kaun apni khushi se aaye yahaan
daane daane pe
naam hota hai
wo hi daane hamen le aaye yahaan
yeh to qismat hai
meri jaan 

aa aaa aaaa aaaa
aa aaaa aaa
haan aan
baap zinda thha
bohat aaraam thha
ghar mein apna ramchander naam thha
aur ab
hamen ab ramu dada kehte hain
chaal mein gangu ki hum rehte hain
tezi mandi ka dhanda hota thha
apni masti mein banda sota thha
yun hi phokat mein kaam chalta thha
kaale ghode tak naam chaltaa thha
dil mein chaahat thhi badi sehre ki
aane waali thhi ghadi sehre ki ee
haan aan 
maa qasam apna yeh dil kaala nahin 
doston ki baat ko talaa nahin
haan aan
laaye ismuggling ka sona chaal mein
raamchander ko phasaaya jaal mein

haa..aan
o yeh to qismat hai 
meri jaan varnaa
kaun apni khushi se aaye yahaan
yeh to qismat hai 
meri jaan varnaa
kaun apni khushi se aaye yahaan
daane daane pe
naam hota hai
wo hi daane hamen le aaye yahaan
yeh to qismat hai 
meri jaan 

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

कोई कुछ भी कहे प्यारे
मगर ये बात पक्की है॰॰ए॰॰ए॰॰ए
यहाँ आता है वो जिस पर
कोई इल्ज़ाम होता है
हाँ॰॰आं
सबब कोई॰॰ई॰॰ई
ना कोई था
जो यूं खिच कर
चले आए

ये तो किस्मत है
मेरी जाँ वरना
कौन अपनी खुशी से आए यहाँ
दाने दाने पे
नाम होता है
वो ही दाने हमें ले आए यहाँ
ये तो किस्मत है
मेरी जाँ वरना
कौन अपनी खुशी से आए यहाँ
दाने दाने पे
नाम होता है
वो ही दाने हमें ले आए यहाँ
ये तो किस्मत है
मेरी जाँ

यार अपना इक इमामुद्दीन था
मनचला और बहोत शौकीन था
हाँ॰॰आं
साथ चौपाटी गए हम घूमने
अरे हुस्न्वालोन पर लगा वो झूमने
तो फिर
कभी लड़की को यूं बुलाता था
धीरे धीरे सीटी बजाता था
(सिटी का स्वर)
धीरे धीरे सीटी बजाता था
गंगा जमुना के गाने गाता था
राज की तरह मुसकुराता था
एक लड़की जो ज़रा॰॰॰
एक लड़की जो ज़रा जाड़ी थी
पहने हुए वो काली साड़ी थी
उसकी आँखों में दीप जलते थे
देखनेवाले आँखें मलते थे
रात सोई थी उसके बालों में
चाँद हँसता था गोरे गालों में
आई शामत उसे सलाम किया
उसने चप्पल से अपनी काम लिया
हाँ॰॰आं
छेड़खानी का मज़ा महंगा पड़ा
और हम को प्यारे
जेल में आना पड़ा
हो हो हो॰॰ओ
ये तो किस्मत है
मेरी जाँ वरना
कौन अपनी खुशी से आए यहाँ
दाने दाने पे
नाम होता है
वो ही दाने हमें ले आए यहाँ
ये तो किस्मत है
मेरी जाँ

धोखा दिया नसीब ने
बन कर बिगड़ गया
हाय हाय हाय
अरे कड़के की जेब में
जो मेरा हाथ पड़ गया
तो फिर
खोल के देखा पाकिट खाली था
पाकिट वाला भी खुद सवाली था
बंद काग़ज़ में दिल की तहरीरें
हुस्न्वालोन की चंद तस्वीरें
अपनी किस्मत के रंग ऐसे थे
इक सिगरेट थी चार पैसे थे
चार पैसों में गुज़र कब होती
हुस्नवालों की नज़र कब होती
इन्हें दौलत से प्यार होता है
इनकी बला से कोई रोता है
आया गुस्सा तो पाकिट फेंक दिया
पाकिट वाले ने मुझे देख लिया॰॰आ
हाँ॰॰आं
भागना चाहा मगर मैं गिर पड़ा
जैसे उठा मुंह पे एक थप्पड़ पड़ा
हाँ॰॰आं
अपनी पेशे से हुई नफरत मुझे
जेल में करनी पड़ी कसरत मुझे
हो हो
ये तो किस्मत है
मेरी जाँ वरना
कौन अपनी खुशी से आए यहाँ
दाने दाने पे
नाम होता है
वो ही दाने हमें ले आए यहाँ
ये तो किस्मत है
मेरी जाँ

आ आs आss आss
आ आss आs
हाँ॰॰आं
बाप ज़िंदा था
बोहत आराम था
घर में अपना रामचंदर नाम था
और अब
हमें अब रामू दादा कहते हैं
चाल में गंगू की हम रहते हैं
तेज़ी मंडी का धंधा होता था
अपनी मस्ती में बंदा सोता था
यूं ही फोकट में काम चलता था
काले घोड़े तक नाम चलता था
दिल में चाहत थी बड़ी सेहरे की
आने वाली थी घड़ी सेहरे की॰॰ई
हाँ॰॰आं
माँ कसम अपना दिल काला नहीं
दोस्तों की बात को टाला नहीं
हाँ॰॰आं
लाये इस्मग्लिंग का सोना चाल में
रामचंदर को फसाया जाल में

हाँ॰॰आं
ये तो किस्मत है
मेरी जाँ वरना
कौन अपनी खुशी से आए यहाँ
ये तो किस्मत है
मेरी जाँ वरना
कौन अपनी खुशी से आए यहाँ
दाने दाने पे
नाम होता है
वो ही दाने हमें ले आए यहाँ
ये तो किस्मत है
मेरी जाँ


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 : 3641 Post No. : 14467

Today (7 july 2018) is the birth centenary of lyricist Saraswati Kumar Deepak (7 july 1918-8 july 1986). His name is mostly associated with songs from religious/ mythological movies. He penned some 400 odd songs in movies in his four decades long career spaning from 1940s till 1970s). This blog has 54 songs penned by him.

On this occasion, here is a song from “Keechak Vadh”(1959). This movie was produced in Marathi and Hindi by Balasaheb (P K) Pathak and directed by Yeshwant Pethekar for Manik Studios, Bombay. The movie had Baburao Pendharkar (Keechak), Sumati Gupte (Draupadi), Shobhna Samarth (Sudeshna), Vishwas Kunte, Vimla Kumari, Helen etc in it.

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

Here is the second song from “Keechak Vadh”(1959) to appear in the blog. The song is sung by Lata. Saraswati Kumar Deepak is the lyricist. Music is composed by Master Krishnarao. It is a lovely song that describes the well known mythological tale of matsyabhed during the swayamwar of Draupadi.

This movie is available on internet and some of our regulars have seen it as well. I request them to tell us who lip syncs this song on screen.


Song-Juda swayamwar huyi sayaani jis din paanchaali(Keechak Vadh)(1959) Singer-Lata, Lyrics-Saraswati Kumar Deepak, MD-Master Krishnarao

Lyrics

Juda swayamwar hui sayaani jis din paanchaali
kaha drupad ne suno sabha ke raaja balshaali
ghoom rahi khambe par machhli
tel bhara neeche
parchhaai ko dekh dhanush koi aakar ke kheenche
jiska teer lage machhli par uski paanchaali
kaha drupad ne suno sabha ke raaja balshaali

desh desh ke rajaaon ki bheed huyi bhaari
bhaanti bhaanti ke yodha aaye raaj mukut-dhaari
bhaai ke sang varmala le aayi paanchaali

uski shobha raajsabha mein daamini si damki
soot putr ke uthhte hi wo jwaala si chamki
kaha nahin adhikaar sabha mein
goonj uthhi taali ee
kaha drupad ne suno sabha ke raaja balshaali

khoj rahi hirni si aankhen jeewan ka sathi ee
vipr vesh mein arjun dekha chamk uthhi baati
in aankhon ne un aankhon ko di amrit pyaali ee
kaha drupad ne suno sabha ke raaja balshaali
uthha dhanajay dhanush uthhaaya dekhi parchhai ee
dekhi parchhaai
matsy bhed ho gaya
dwaar par goonji shahnaai

juda swayamwar hui sayaani jis din paanchaali
kaha drupad ne suno sabha ke raaja balshaali


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.

Blog Day : 3626 Post No. : 14447

hullo Atuldom

“Thevar Magan” was a 1992 Tamil movie produced by Kamal Hassan and directed by Bharathan with music by Ilaiyaraja and a cast of Sivaji Ganesan, Kamal Hassan, Revathi, Gouthami and Nassar. The story in one line is thus- a reluctant educated son ascending a throne full of thorns. This movie was remade in Hindi in 1997 by Mushir-Riaz produtions with Priyadarshan as the director. Here the cast was headed by Anil Kapoor and Amrish Puri with Milind Gunaji, Tabu and Pooja Batra. Both movies credited Kamal Hssan as the storywriter.

Whenever I hear of a remake either from Hindi to any language that I understand – Tamil, Malayalam, Marathi, Gujarati or even say Telugu or Punjabi (both of which I have limited knowledge of) I make it a point to see both versions. The vice-versa also happens i.e. from regional language to Hindi, then too I see both versions, it is enlightening to see how actors understand the same character and portray them. To this end I have seen Drishyam in three languages and I felt that Mohanlal in Malayalam was good and Ajay Devgan in Hindi did not disappoint though Kamalhassan in Tamil failed to impress (my view which I feel the others may not agree to) in Papanasam (that was the title in Tamil). I have seen many other remakes too, the last one being a remake of Bhagwan Dada’s “Albela” in Telugu and Sachin Pilgaonkar’s “Ashi Hi Banwa Banwi” which I discovered was a remake of Hrishikesh Mukherjee’s “Biwi Aur Makaan”.

So, coming back to “Thevar Magan” and “Virasat” both were engrossing movies with good songs and lot of action. And it can be safely said that Amrish Puri’s version of the Raja Thakur matched Sivaji Ganesan’s Periya Thevar. And Anil Kapoor matched Kamalhassan in portraying the educated foreign-returned Thakur/ Shaktivel Thevar. Added to all this Anu Malik gave music almost at par with Ilaiyaraja, reusing some of the original tunes. Today’s song is one of the reused tunes. It has Amrish Puri lip-syncing in Hariharan’s voice. The song runs with the opening titles. There are two other portions of the song; one after the Thakur comes home angry after facing humiliation in the village panchayat and another portion of the song plays when the Thakur dies of a heart attack and the whole village is sad.

Today(22 june 2018) it is the birth anniversary of Amrish Puri. He was an all-round entertainer. He had acted in about 400 films between 1967 and 2005. I suppose the first time I took note of him was in the movies ‘Dostana’ where he played the villain’s henchman in Prem Chopra’s gang and ‘Naseeb’ where he was one among a horde of villains like Prem Chopra, Kadar Khan, Shakti Kapoor and Amjad Khan. Of course, at the same time we saw him in some Rajshri Production movies as a Chowdhary who refuses to acknowledge that his family is on bad times and his daughter needs to work to run the house as in “Saawan Ko Aane do”. He was a tyrant village head in Bapu’s “Hum Paanch”; numerous movies where he was the dreaded bad character his best being the memorable Mogambo in “Mr. India”. In the 90s he also became a loving father, grandfather; displayed his comic timing in movies like “Chachi420” and “Jhooth Bole Kauwa Kate” etc. I have sat through many movies that I have mentioned just to enjoy Amrish Puri whether as Durgaprasad Bharadwaj (Chachi 420) or Retired Inspector Abhyankar (Jhooth Bole Kauwa Kate) or Chaudhry Baldev Singh (DDLJ) or Thakur Durjan Singh (Karan Arjun) to name a few.

Remembering Mogambo on his birth anniversary with this song from “Virasat” which is written by Jaaved Akhtar.

Video
(video)
Audio version

Some more portions of song


Song-Ek thha gaanv jahaan ka ek aisa thhaa raaja (Viraasat)(1997) Singer-Hariharan, Lyrics-Jawed Akhtar, MD-Anu Malik

Lyrics

hey ae
ek tha gaanv jahaan ka
dooma chikka chikka doom
doo doom doom doom
ek aisa tha raja
dooma chikka chikka doom
doo doom doom doom
ek tha gaanv jahaan ka
ek aisa thha raaja
sabke dilon mein woh rahta thha
uske jaisa koi nahin thha
ek thha gaanv jahaan ka
dooma chikka chikka doom
doo doom doom doom
ek aisa thha raaja
dooma chikka chikka doom
doo doom doom doom

gaanv mein sabhi ke chehre
dinga danga dinga danga
dinga danga do
phoolon ki tarah khilte thhe
dinga danga dinga danga
dinga danga do
gaanv mein sabhi ke chehere
phoolon ki tarah khilte thhe
khushiyon bhari thhi duniya
pyar ke diye jalte the
har ghar uska thha apna ghar
sabke liye woh ek baraabar
sukh aur dukh mein sabka
saathi woh banta thha
uske rehte har din mela thhe

ek tha gaanv jahaan ka
dooma chikka chikka doom
doo doom doom doom
ek aisa tha raaja
dooma chikka chikka doom
doo doom doom doom
ek thha gaanv jahaan ka
ek aisa thha raja
sabke dilon mein woh rahta thha
uske jaisa koi nahin tha
ek tha gaanv jahaan ka
dooma chikka chikka doom
doo doom doom doom
ek aisa thha raaja
dooma chikka chikka doom
doo doom doom doom

————————————-
sabke dilon mein woh rehta tha
(arri pagli shuroo se)
sabke dilon mein woh rehta thha
(mm hmm
maine kahaa na shuru se
)
kaise dadaji)
Ek tha gaanv jahaan ka
Ek tha gaanv jahaan ka
(Haan shabaash
Ab sab aise hi gaao
)
ek tha gaanv jahaan ka
ek aisa thta raaja
ek tha gaanv jahaan ka
ek aisa tha raaja
sabke dilon mein woh rahta tha
uske jaisa koi nahin tha

——————————-
zindagi ka sapna
ek din toota aa
band kar aankhein
sabse woh roothha
band kar aankhein
sabse woh rootha
usski yaadein dil se na jaayein
humko rulayein humko sataayein
chhaaya andhera
jab woh gaya
ab kehti har ek ki zubaan


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 : 3611 Post No. : 14404

“Bezubaan”(1962) was directed by Ram Kamlani for Gope Productions, Bombay. The movie had Ashok Kumar, Nirupa Roy, David, Helen, Vishwa Mehra, Shammi, Ishwar Lal, Paro, Jamal, Genius, Umesh Sharma, Ramesh Rai, Baby Anita, Kathana, Prem Sagar, Rammurti, Hamid, Majnu etc in it.

The movie had six songs in it. Two of these songs have been covered in the past.

Here is the third song from “Bezubaan”(1962) to appear in the blog. This song is sung by Lata. Prem Dhawan is the lyricist. Music is composed by Chitragupta.

Picturisation shows Nirupa Roy with Baby Anita, who have been thrown out of home by Ashok Kumar. The kid, too young to realise what is going on, wonders why her father is not with them. Nirupa Roy tries to put the kid to sleep by singing this “story” song which also doubles up as a lullaby.


Song-Ek thha raaja ek thhi raani ek thha raajkumaar (Bezubaan)(1962) Singer-Lata, Lyrics-Prem Dhawan, MD-Chitragupta

Lyrics

hmm hmm hmm
hmm hmm hmm
ek thha raaja
ek thhi raani ek thha raajkumaar
pyaar bhari thhi duniya unki
sukh se bhara ghar baar
raaja ke man me ik din jaane kaisa lobh samaaya
bhool gaya wo pyaar ke naate
dekh ke jhoothi maaya
raaja nikla desh paraaye
laane heere moti
tab se pukaare saanjh sakhaare
raani roti roti
aaja re aaja
pardesi raaja
munna tujhko bulaaye
ro ro ke haari raani bechaari
munne ko neend na aaye

mujhse to tum roothhe sahi
bhoole ho munne ka pyaar kya
mujhse to tum roothhe sahi
bhoole ho munne ka pyaar kya
pahunchi nahin kaanon talak
nanhe si dil ki pukaar kya
aaja re aaja
pardesi raaja
munna tujhko bulaaye
ro ro ke haari raani bechaari
munne ko neend na aaye

kehta hai dil
aaoge tum
sone ki nagri ke paar se
kehta hai dil
aaoge tum
sone ki nagri ke paar se
hoti nahin daulat badi
sacche dilon ke pyaar se
aaja re aaja
pardesi raaja
munna tujhko bulaaye
ro ro ke haari raani bechaari
munne ko neend na aaye


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 : 3561 Post No. : 14280

“Maaya Baazaar”(1958) was directed by Babubhai Mistri for Basant Pictures Bombay. The movie had Anita Guha, Rajkumar Pandey, Ulhas, B M Vyas, Ram singh, Ramesh Sinha, Mahipal, Vasant Rao Pahalwan, Babu Raje, Dalpat, shree Bhagwan, Samar roy, Ratnamala, Krishn Kumari, Sulochana, Kanchanmala, Pal Sharma, Uma Dutt, Master Prithvi, Premlat, Geeta < Ratan, Rajni, Neelophar, Manda, Bhumiya, Ajit Kumar, R S Dubey, T N Sinha, Korega etc in it.

The movie was about Ghatotkach, the “raakshas” son of Bhim from the mythological tale of Mahabharat.

The movie had eight songs in it. Six songs from the movie have been covered in the past.

Here is the seventh song from the movie to appear in the blog. This song is sung by Asha Bhonsle. Saraswati Kumar Deepak is the lyricist. Music is composed by Chitragupta.

This song tells the story of Lord Krishna.

I am unable to identify the lady lip syncing the song. I request our knowledgeable readers to help identify the lady and the other actors seen in the picturisation.


Song-Jaa jaa re chhaliya (Maaya Baazaar)(1958) Singer-Asha Bhonsle, Lyrics-Saraswati Kumar Deepak, MD-Chitragupta

Lyrics

ja ja re chhaliya kanhaiya
ja ja re chhaliya
kaisa jaadu kiya man moh liya
toone aisi bajaai baansuri
ja ja re chhaliya kanhaiya
ja ja re chhaliya

thha andhiyaara
gahri dhaara
thha andhiyara
gahri dhaara
aage badha na jaaye
badli ghumdi yamuna umdi
pita bahut ghabraaye
pair chhuye aur raah dikhaaye
pair chhuye aur raah dikhaaye
kaisi hai ye jaadugari
ja ja re chhaliya kanhaiya
ja ja re chhaliya
kaisa jaadu kiya
man moh liya
toone aisi bajaai baansuri
ja ja re chhaliya kanhaiya
ja ja re chhaliya

chheen ke baalak abhimaani ne
jabhi maarna chaaha
tabhi aag maaya ki vaani
sun ke kans ghabraaya
nat-naagar ka khel na jaane
nat-naagar ka khel na jaane
duniya badi hai baawri
ja ja re chhaliya kanhaiya
ja ja re chhaliya

ik din toone maati khaai
leela nayi dikhaai
ho o
ik din toone maati khaayi
leela nayi dikhaai
mukh mein teenon lok dekh kar
chaunki yashoda maai
tera bachpan hai man bhaawan
tera bachpan hai man bhaawan
soorat hai teri saanwri
ja ja re chhaliya kanhaiya
ja ja re chhaliya

kaaliayadah ke naag se gopi gokul ke nar naari
naagnaath ne jal mein koode baalak krishn muraari
apne bhakton ki raksha mein
apne bhakton ki raksha mein
deri kabhi bhi na kari
ja ja re chhaliya kanhaiya
ja ja re chhaliya
atyaachaari kans ko jaakar mohan ne lalkaara
paap mita kar is dharti ka
prabhu ne bhaar utaara
ja ja re chhaliya


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 : 3530 Post No. : 14179

“Anokhi Ada”(1973) was produced and directed by Kundan Kumar for Kundan Films, Bombay. The movie had Jeetendra, Rekha, Vinod Khanna, Mehmood, Padma Khanna, Nazeer Hussain, Manmohan Krishn, Kanhaiyya Lal, Brahmchaari, Praveen Pal, Keshav Rana, Sanjana, Shetty, Abhimanyu Sharma, Narbada Shankar, Anand Joshi, Deenanath, Ajit Soni, Bihari, Vijendar Bannerji etc with guest appearances by Manmohan and Jeevan.

The movie had five songs in it. Three of these songs were covered in the blog in 2008. After than nearly ten years have passed without another song from the movie being discussed.

Here is the fourth song from “Anokhi Ada”(1973) to appear in the blog. The song is sung by Asha Bhonsle. Majrooh Sultanpuri is the lyricist. Music is composed by Laxmikant Pyarelal.

The song is picturised as a dance song on Padma Khanna and other female dancers with village folks watching the performance. In the past, we had Sadhana losing her jhumka. Here Padma Khanna has lost her Nathhni. In both these occasions, it is Asha Bhonsle, who reports about the missing ornament.


Song-Ho gayi gum gayi gum gayi gum gayi gum gayi(Anokhi Ada)(1973) Singer-Asha Bhonsle, Lyrics-Majrooh Sultanpuri, MD-Laxmikant Pyarelal

Lyrics

ho
gayi gum gayi gum gayi gum gayi gum gayi
ho
gayi gum gayi gum gayi gum gayi
ho meri nathhni hi gum gayi neem tale
ho gayi gum gayi gum gayi gum gayi
kaahe ko dol gayi shaam dhale neem tale
ho
gayi gum gayi gum gayi gum gayi
thhi main akeli na koi saath
ik chhore ne dhar linho haath
chheen jhapat mein ho gayi raat
ho meri nathni gum gayi neem tale
ho gayi gum gayi gum gayi gum gayi
kahe ko dol gayi sham dhale neem tale
ho gayi gum gayi gum gayi gum gayi
thi mai akeli na koi saath
ik chhore ne dhar li no hath
chheen jhapat mein ho gayi raat
ho meri nathhni gum gayi neem tale
ho gayi gum gayi gum gayi gum gayi
kaahe ko dol gayi shaam dhale neem tale
ho gayi gum gayi gum gayi gum gayi

khoyi sone ki nathhani raam bhayi
upar se haan
upar se haan haan
upar se badnaam sakhi
haaye mohe dar laage
hoga kya aage
khoyi sone ki nathhani raam bhhayi
upar se haan
upar se haan haan
upar se badnaam sakhi
haaye mohe dar laage
hoga kya aage
haaye haaye raama yoon bebasi
ankhiyan aansu mukh pe hansi
yahi ab sochoon baithhi aaj
baat to phaili ban ke aag
laga re baalepan mein daag
hayae re meri nathni hi gum gayi neeme tale
ho
gayi gum gayi gum gayi gum gayi
kaahe ko dol gayi sham dhale neem tale
ho
gayi gum gayi gum gayi gum gayi

gayi thhi taaron ki chaanv mein hallaa
mach gaya re haan
mach gaya re haan haan
mach gaya re
gaanv mein bairi haaye wahi dabka thha
jaane kab se re
gayi thi taro ki chaanv mein
halla mach gaya re haan
mach gaya re haan haan
mach gaya re
gaanv mein bairi haaye wahin dabka thha jaane kab se re
haaye haaye raama yoon bebasi
ankhiyan aansu mukh pe hansi
yahi ab sochoon baithhi aaj
baat to phaili ban ke aag
laaga re baalepan mein daag
ho haye re meri nathni hi gum gayi neeme tale
ho gayi gum gayi gum gayi gum gayi
kaahe ko dol gayi shaam dhale neem tale
ho gayi gum gayi gum gayi gum gayi
kahaan gum gayi gum gayi gum gayi
dhoondhho re gum gayi gum gayi gum gayi
o kahaan gum gayi gum gayi gum gayi
haay haay gum gayi gum gayi gum gayi


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

Blog Day : 3526 Post No. : 14163

Pandit Narayan Prasad ‘Betaab’ (1872-1945), Agha Hashr Kashmiri (1879-1935) and Pandit Radhe Shyam Katha Vaachak (1890-1963) are regarded as a troika of Parsi theatre. They were the most popular among the playwrights of their time. Their works took the Parsi theatre to the zenith of its glory. This is well recognised in most of the literature on the history of Indian theatres. While Betaab and Radhe Shyam have been credited for popularising plays in Hindi, Agha Hashr Kashmiri had done the pioneering work in Urdu drama.

However, all the three playwrights switched over to Hindustani in the peak of their careers in theatres for easy understanding as they found larger audience for such plays than before. Probably, this might be the one of the reasons as to why in the era of talkies, most of the films were made in Hindustani instead of pure Hindi or Urdu. In fact, in the initial period, talkie films were an extension of Parsi theatre dramas.

I have already covered in our blog, the life sketches of Pandit Narayan Prasad ‘Betaab’ in Abroo Ki Kamaanon Mein and of Agha Hashr Kashmiri in Yaad Mein Teri Jahaan Ko Bhoolta Jaata Hoon Main. In today’s post, I propose to cover the biography of Pandit Radhe Shyam Katha Vaachak, which is very interesting.

Pandit Radhe Shyam Katha Vaachak (25/11/1890 – 26/08/1963) was born in Bareilly in a poor Brahmin family. His father, Pandit Bankelal was a good singer and used to sing in Ram Lila. From the childhood, Radhe Shyam used to accompany his father to Ram Lila. At the age of 8, Radhe Shyam learnt playing harmonium from his father and started singing during Ram Lila along with his father.  Most of the time, Ramayan and other mythological stories were sung. Growing up in this environment made the young Radhe Shyam to pursue the vocation of Katha Vaachak (story-teller).

Though Radhe Shyam seems to have left the school before completing his primary level, he was well versed with Urdu, Awadhi and Brijbhasha besides Hindi . By the age of 12, Radhe Shyam started composing poems and also performing as a Katha Vaachak. Simultaneously, he learnt music from Ustad Rahat Ali Khan.

By the turn of the 20th Century, theatre companies in India had made their presence felt, mostly in urban and semi-urban centres. The Parsi theatres played an important role in staging dramas all over India. The New Alfred Theatrical Company of Bombay (now Mumbai) used to visit Bareilly every year  to stage their popular plays. The themes of the plays were mostly historical and mythological stories though some time social and political issues were also covered in the plays. Radhe Shyam was exposed to these types of  plays as his father usually took him to watch the plays staged by The New Alfred Theatrical Company.

Meanwhile, Radhe Shyam’s performance as a Katha Vaachak and his father’s singing drew attention of Pandit Motilal Nehru who was looking for a Ramayan singer to entertain his ailing wife. Both father and son spent over a month in Pandit Motilal Nehru’s residence, Anand Bhawan in Allahabad singing the story of Ramayan. With this kind of accreditation, Radhe Shyam started performing as  Katha Vaachak at various places in North India.

Around 1910, Radhe Shyam’s career as story-teller took a turn when he got interested in theatre. The inspiration for this change came from the play ’Khoobsoorat Bala’ written by Agha Hashr Kashmiri and directed by Soharabji Ogra. He liked the play so much that he decided to become a playwright. An opportunity came to him when The New Albert Company of Punjab came to Bareilly and visited Radhe Shyam’s house to enlist his services for revising the script of their play ‘Ramayan’. While staging this play in the royal palace, the Maharaja of Jaipur had found faults and his secretary had recommended Radhe Shyam’s name  for the revision.

After a month’s work, The New Albert staged the revised ‘Ramayan’ for which Radhe Shyam was given the additional responsibility of directing the play in place of Abdul Rehman Kabuli who was an actor in the play.  Master Nisaar played the role of Seeta. The play became successful and Radhe Shyam’s name became well known in the theatre circle.

Some of Radhe Shyam’s famous and hit Hindi/Hindustani plays were ‘Veer Abhimanyu’ (1916), ‘Shravan Kumar’ (1916), ‘Parivartan’ (1925), ‘Shri Krishnavtaar’ (1926), ‘Rukmini Mangal’ (1927), ‘Ishwar Bhakti’ (1928), and ‘Draupadi Swaymvar’ (1929). He also wrote an Urdu play ‘Mashriqui Hoor’ (1926). Most of his plays were staged by The New Alfred Theatrical Company. He became New Alfred’s full time employee as a playwright. During his theatre days, Pandit Radhe Shyam continued to perform as Katha Vaachak. In fact, he  used to devote time for the theatre works only when he was free from his main vocation.

However, due to his frequent bout of illness, Pandit Radhe Shyam’s long stint with New Alfred ended in August 1930 when he resigned from the Company. After recovery from his illness, Pandit Radhe Shyam got the offer from Maadan Theatres (of Calcutta (now Kolkatta)) to write dialogues and songs from their second talkie film ‘Shankutala’ (1931). The film was directed by JJ Maadan who wanted as many songs in this film, as in their first talkie film ‘Shirin Farhad’ (1931).  Pandit Radhe Shyam had to work the long hours for writing the songs which were picturised on the same day as he completed each song of the

Being a puritan in nature Pandit Radhe Shyam could not adjust to the working environment in the theatre and film studios, in which actors were smoking and drinking. In 1933, Pandit Radhe Shyam left Calcutta for Bareilly. Though offers were coming to him from the film production companies, he selected very few films such as ‘Shri Sataynarayan’ (1935) ‘Khudai Khidmatgar’ (1937), ‘Usha Haran’ (1940, as story and screen-play writer), ‘Jhansi Ki Raani’ (1952) and ‘Krishna Sudama’  (1957). He took all  these assignments when he was on private visits to Bombay.

In 1940, Pandit Radhe Shyam decided to stop earning money and to devote most of his time as Katha Vaachak free of cost. He became the disciple of Pandit Madan Mohan Malviya in pursuit of his social activities including Ganga Mahasabha. He toured the entire north India to propagate the use of Hindi. After the death of his elder son in October 1947 and of his wife sometime in 1957 Pandit Radhe Shyam fully devoted his time to the reading of Holy Scriptures and performing as a Katha Vaachak.

Pandit Radhe Shyam left for the heavenly abode on 26th August 1963 in Bareilly leaving his legacy in Radhe Shyam Ramayan and a dozens of his popular dramas.

Sometime in 1920s, Pandit Radhe Shyam Katha Vaachak,  wrote the epic poem ‘Ramayan’ for the masses in the simple language (in Hindustani). He wrote the epic poem in 24 parts and got published in his own printing press set up for this purpose in 1939. To make the print copies of his version of Ramayan affordable to the masses, he fixed a nominal price of  Re.1/-. The Radhe Shyam Ramayan as it is known today became so popular that almost all Ramlilas were staged based on his Ramayan in the Hindi belt.  In Ramanand Sagar’s TV serial ‘Ramayan’ telecast during 1987-88, one of the sources mentioned in the credit title was Radhe Syham Ramayan. Later on. with his involvement in propagating Hindi, Pandit Radhe Shyam converted the language from Hindustani to pure Hindi.

In 1947, Pandit Radhe Shyam thought of producing a film based on his Ramayan, titled ‘Ram Janm’. He had roped in his close friends Prithviraj Kapoor and Chandramohan for the main roles who had agreed to work free of cost  for him. First, the film was to be shot in the studios of Kolhapur/Poona. The cost worked out much higher than the budget. On the suggestion of some of his well-wishers, he decided to produce the film in a Calcutta studio where the cost would have worked out within his budget. A financier from Calcutta was found and Rameshwar Sharma was taken as the director.

Before, the film’s shooting could commence, Hindu-Muslim riots broke out in Bengal. After a few days, Pandit Radhe Shyam had to rush back to Bareilly to attend to his elder son who was seriously ill. He later died of illness. Around the same time, his film’s financier as well as the director, Rameshwar Sharma, also passed away. Ultimately, the film ‘Ram Janm’ was scrapped. Pandit Radhe Shyam’s wish to produce a film on Ramayan story remained unfulfilled.

Today’s generation may not know much about Pandit Radhe Shyam  Katha Vaachak of  his contributions to the Indian theatre. However, I am sure he is well known especially in the Hindi belt for his Radhe Shyam Ramayan through Ram Leela.

As mentioned earlier, Pandit Radhe Shyam  had decided in 1940 that he would stop working for money. So the films for which he worked as a dialogue writer/lyricist in 1940 and thereafter was free of charge to the producers.

One of Pandit Radhe Shyam’s earliest films in Bombay was ‘Khudai Khidmatgar’ (1937). The film was produced under the banner of Bharat Lakshmi Pictures and was directed by Vithaldas Panchotia. The star cast included Mazhar Khan, Sarla Devi, Vithaldas Panchotia, Khalil Ahmed,  JN Dar (Kashmiri), Shayam Sunder, Rampiyari, Radha Rani, Fida Hussain, Nand Kishore, Vilayat Hussain etc. The film had 10 songs, out of which this one is written by Pandit Radhe Shyam. As for the remaining nine, the Geet Kosh lists the lyricist name as Tanveer. However, some online sources credit the songwriting of these 9 songs to Aarzoo Lakhnavi. The songs were set to music by Nagar Das Nayak.

I am presenting the first song ‘Ye Suna Hai Maine Jaadu Hai Rajaji Ke Pad Pankaj Mein’ written by Pandit Radhe Shyam. The complete song is of the duration of more than 6 minutes, and it is published on two sides of the 78 rpm record no. N 16020.

It is in the fitness of thing that this song has been sung by Fida Hussain who was discovered by none other than Pandit Radhe Shyam in 1918 as actor-singer for female roles for plays staged by The New Alfred Theatrical Company.  An autobiography of  Fida Hussain was written by Pratibha Agrawal under the title  ‘My 50 Years in Parsi Theatre’ (1986) on the basis of a series of interviews with him. Since this article has already become too long, I will not add the life sketch of Fida Hussain. One important note about him – in 1939 he donned the title role of Narsi Mehta in the play ‘Narsi Mehta’. The play became a hugely popular hit and it ran for over 1000 nights. Because of this, Fida Hussain was honoured with the title ‘Narsi’ which he proudly used as suffix to his name as  Fida Hussain ‘Narsi’.

The song under discussion is one episode taken from Radhe Shyam Ki Ramayan and it has been rendered as katha vaachan (story-telling). It describes the episode from the initial days of banwaas when Lord Ramchandra, Seeta and Lakshman were required to cross the river Ganga. The boatman recognising Lord Ram said that he would like to wash Lord Ram’s feet before he allowed Him to step on to his boat as he had heard that with the dust of His feet, a statue made of stone turned into a woman. So he does not want his wooden boat turned into many women. With his meagre earnings as a boatman, he does not have enough to take care of them. Pleased with the innocence of the boatman, Lord Ram permitted him to wash His feet.

After washing Lord Ram’s feet, the boatman ferried them across the Ganga river. As they alighted, Seeta Maata handed over Her ring to Lord Ram to pass on to the boatman as the payment for ferry as they had no money to offer. The boatman refused to accept the ring. He then explained to Lord Rama that people from the same profession do not take the payment for the services rendered to each other. A labourer would not accept payment from another labourer and a boatman would not accept payment from another boatman.

Lord Ram responded that He and the boatman were not in the same profession. To which, the boatman further explained that both of them did the same service. The boatman ferried people from one shore to another and Lord Ram ferried people across the ocean of this world (bhavsaagar) during the journey of life. The boatman further said that if Lord Ram did not want to feel obligated to him, He can pay His debt by taking the boatman across the ocean of world.

Since Fida Hussain acted in this film, it is apparent that the song was picturised on him. Incidentally, the role of Fida Hussain in the film was that of a Hindu Commander to the Muslim King.

With this song, ‘Khudai Khidmatgar’ (1937) makes its debut on our blog.

[Author’s Note: Acknowledgements: The bio sketch of Pandit Radheshyam Kathavaachak is based on the English translation of his autobiography ‘Mera Natak Kaal’ (1957), incorporated in the book, ‘Stages of Life – Indian Theatre Autobiographies’ (2011) by Kathryn Hansen; plus inputs from a couple of articles on him which appeared in Hindi/English newspapers.]


Song – Ye Suna Hai Maine Jaadu Hai Raja Ji Ke Pad Pankaj Mein (Khudai Khidmatgaar) (1937) Singer – Master Fida Hussain, Lyrics – Radheyshyam Kathaavaacha, MD – Nagar Das Nayak
Unidentified Male Voice

Lyrics

kevat yun kehne lagaa..aa
zara sakuch ke saath
kehni to hai baat par
kahi na jaati naath
 
ye suna hai maine jaadoo hai
raja ji ke pad pankaj mein
raja ji ke pad pankaj mein
pathhar mein jaan daalne ki
hai shakti mahaan charan raj mein
 
jo hai so. . .
ramji ki ichchaa se phir kya hua
 
nahi jab tak charan loon pakhaar
chadhaaun na raja
chaahe roothho karo chaahe pyaar
chadhaaun na raja
 
rahe jo bhed to howe mujhe aadi ganga
tumhaare mere hain dono ke agaadi ganga
ghule jab tak na mann ka vikaar
chadhaaun na raja
 
jo hai so phir kyaa hua?
 
tab shri ramchandra ji ne kaha
kaho tumhaara jaaye yadi
sanshay isi prakaar
to hum bhi taiyyaar hain
lo ye charan pakhaar
 
unn charon kaa mal kyaa dhoya
dhoya kevat ne mal apna
kar liya janm janmaantar tak
us kevat ne ujawwal apna
jo charan anekon tap kar ke
muniyon ko drishti na aaate hain
kyaa taajjub hai kevat dwaara
is prakaar dhoye jaate hain
 
yun hi naavik kar chuka
jab apna uddhaar
jaa pahunchi nauka udhar
ganga ji ke paar
jaa pahunchi nauka udhar
ganga ji ke paar
jaa pahunchi nauka udhar
ganga ji ke paar
 
kevat ne udhar bida maangi
teenon ko sheesh nawaa kar ke
teenon ko sheesh nawaa kar ke
bhagwaan us samay mann hi mann
rah gaye zara sakucha kar ke
 
apne swami ki sakuchaahat
jis samay nihaari seeta ne
jis samay nihaari seeta ne
ungli se apni mani mundri
us samay utaari seeta ne
 
seeta ki mundri lage ae
dene seeta nath
tabhi kahaa mallaah ne
wahin nawaa kar maath
 
mazdoori to main ne apni
hey nath peshkar le li hai
aur wo bhi apni muhn maangi
apna jee bhar kar le li hai
chuk gayi mazoori jab  meri
to raha aap par bhaar nahi
uddhaar ho gaya jab mera
to kaudi rahi udhaar nahi
 
main ganga ghaat kaa maanjhi hoon
tum bhavsaagar ke kevat ho
main is dhaara ke teer pe hoon
aur tum us dariya ke tat ho
 
mazdoor kahin mazdooron ko
mazdoori dete hain bhaiyya
mallaah kahin mallaahon se
mallaahi lete hain bhaiyya
 
apne ko rini samajhte ho to
rin tum wahin chukaa dena
apne ko rini samajhte ho to
rin tum wahin chukaa dena
maine hai tumko paar kiya
tum mujhko paar lagaa dena
maine hai tumko paar kiya
tum mujhko paar lagaa dena
 
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
केवट यूं कहने लगा
ज़रा सकुच के साथ
कहनी तो है बात पर
कही ना जाती नाथ

ये सुना है मैंने जादू है
राजा जी के पद पंकज में
राजा जी के पद पंकज में
पत्थर में जान डालने की
है शक्ति महान चरण राज में

जो हैं सो॰॰॰
रामजी की इच्छा से फिर क्या हुआ

नहीं जब तक चरण लूँ पखार
चढ़ाऊँ ना राजा
चाहे रूठो करो चाहे प्यार
चढ़ाऊँ ना राजा

रहे जो भेद तो होवे मुझे आड़ी गंगा
तुम्हारे मेरे है दोनों के अगाड़ी गंगा
घुले जब तक ना मन का विकार
चढ़ाऊँ ना राजा

जो है सो फिर क्या हुआ

तब श्री रामचंद्रा जी ने कहा
कहो तुम्हारा जाये यदि
संशय इसी प्रकार
तो हम भी तैयार हैं
लो ये चरण पखार

उन चरणों का मल क्या धोया
धोया केवट ने मल अपना
कर लिया जन्म जन्मांतर तक
उस केवट ने उज्ज्वल अपना
जो चरण अनेकों तप कर के
मुनियों की दृष्टि ना आते हैं
क्या ताज्जुब है केवट द्वारा
इस प्रकार धोये जाते हैं

यूं ही नाविक कर चुका
जब अपना उद्धार
जा पहुंची नौका उधर
गंगा जी के पार
जा पहुंची नौका उधर
गंगा जी के पार
जा पहुंची नौका उधर
गंगा जी के पार

केवट ने उधर बिदा मांगी
तीनों को शीश नवा कर के
तीनों को शीश नवा कर के
भगवान उस समय मन ही मन
रह गए ज़रा सकुचा कर के

अपने स्वामी की सकुचाहट
जिस समय निहारी सीता ने
जिस समय निहारी सीता ने
उंगली से अपनी मणि मुद्रि
उस समय उतारी सीता ने

सीता की मुंदरी लगे
देने सीता नाथ
तभी कहा मल्लाह ने
वहीं नवा कर माथ

मजदूरी तो मैंने अपनी
हे नाथ पेशकर ले ली है
और वो भी अपनी मुंह मांगी
अपना जी भर कर ले ली है
चूक गई मजूरी जब मेरी
तो रहा आप पर भार नहीं
उद्धार हो गया जब मेरा
तो कौड़ी रही उधार नहीं

मैं गंगा घाट का मांझी हूँ
तुम भवसागर के केवट हो
मैं इस धारा के तीर पे हूँ
तुम उस दरिया के तट हो

मजदूर कहीं मजदूरों को
मजदूरी देते हैं भैया
मल्लाह कहीं मल्लाहों से
मल्लाही लेते हैं भैया

अपने को ऋणी समझते हो तो
ऋण तुम वहीं चुका देना
अपने को ऋणी समझते हो तो
ऋण तुम वहीं चुका देना
मैंने है तुमको पार किया
तुम मुझको पार लगा देना
मैंने है तुमको पार किया
तुम मुझको पार लगा देना


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Blog Day : 3502 Post No. : 14069

“Miss Frontier Mail”(1936) was produced under the banner of Wadia Movietone and was directed by Homi Wadia. The star cast included Fearless Nadia, Sardar Mansur, John Cawas, Sayani Atish, Jaal Khambata. Gulshan,  Jaidev, Master Mohammed, Meenu Cooper, Bashir Qawwal, Munchi Thoothi etc.

Mr Sadanand Kamath, our beloved inhouse HFM researcher has given some interesting information about this movie. He informs that the movie was originally named “Frontier Mail”. Frontier mail which used to run between Bombay and Peshawar was the most prestigious train of BBCI Railways. The promotional posters of the movie carried the picture of a train crash. BBCI offcials took exception to that. In order not to displease the BBCI officials, The movie makers changed the name of the movie to “Miss Frontier Mail” and carried the disclaimer that the movie was about the adventures of a lady and had nothing to do with the train.

The story of the movie, as reconted by Mr Sadanand Kamath is as following:-

The Deputy Station Master at a railway station is murdered by a masked man. He escapes from the scene just before the Station Master Maganlal (Master Mohammed) arrives. Maganlal touches the knife which has been used by the masked man to kill the deputy. The police arrest Maganlal for the murder. His daughter Savita (Nadia) and son Jayant (Jaidev) is informed by their uncle, Shyamlal (Sayani Atish) about the news of their father’s arrest.

Savita is fond of hunting, playing tennis and racing fast cars while Jayant is an amateur film maker. Soon Jayant and his friend (Munchi Thoothi) get involved in the villain’s evil design and manage to film the mask man’s gang readying to blow up a bridge. The masked man dynamites the bridge as he has been contracted to do so by a man who wants to promote his airline business. However, Shyamlal tries to implicates Sunder (Sardar Mansur), son of a railway official, for the crime.

There is also a gangster’s moll, Gulab (Gulshan) who is romantically linked first with Shyamlal and then with Kishore (John Cawas), one of the gang members of the masked man. Both Gulab and Kishore are reformed and they side with Savita and her brother, Jayant in hunting down the masked man.

Sunder has a soft corner for  Savita and rushes to help her in dealing with rail gangs and murders. He and Savita are involved in several chases culminating in a fight scene on top of a speeding train where Savita fights the gang alongside Sundar on her bare hands successfully. At last, the identity of the masked man is revealed. He is none other other than Savita’s uncle Shyamlal. Ultimately, Shyamlal is killed by the police while he is trying to escape in a plane.

This movie had four songs in it. Three of these songs have been covered in the blog in the past. Here are their details:-

Song Title

Post No.

Post Date

Gaawo gaawo ae mere saadhu 6147 29-Jun-12
Bhar bhar ke jaam pila de 10977 26-Mar-15
Karega har ek qadr jaani tumhaari 13032 12-Mar-17

Here is the fourth and final song from the movie to appear in the blog. This song is sung by Meenu Cooper, credited as Meenu the mystic. Lyricist is not known. Music is composed by Master Mohammad.

All the four songs in the movie, including the one under discussion were picturised on the same set. The song is a light hearted song where the artist talks about his experiences of betting on horses in the race course.

I have failed to get many words right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.

With this song, “Miss Frontier Mail”(1936) joins the list of movies that have all their songs covered in the blog.


Song-Favourite main ghode khela (Miss Frontier Mail)(1936) Singer-Meenu the Mystic, MD-Master Mohammad
Chorus

Lyrics

Favourite main ghode khela
arabi weller sab purzor
Favourite main ghode khela
arabi weller sab purzor
?? pe jocky jaawe
?? pe jocky ??
Favourite main ghode khela
arabi weller sab purzor
Favourite main ghode khela
arabi weller sab purzor
hahahaha

seep mein moti bhi
meri kismat se niklega koi ??
seep mein moti bhi hai ??
meri kismat se niklega koi ??
sab ko ??? lagaao
??? hi lagaao

arre ?? tak main pahunch jaaunga
?? tak main pahunch jaaunga
joda badal ke
joda badal ke
Favourite main ghode khela
arabi weller sab purzor
Favourite main ghode khela
arabi weller sab purzor
first class se first class tak
ghoda aaya shor
arre ?? se first class tak ghoda aaya shor
jocky ne jab side dabaayi
jocky ne jab side dabaayi
nikla number four
jocky ne jo side dabaayi
nikla number four
jab ?? pe jaa ke dekha
ye kismat ka andher
jab ?? pe jaa ke dekha
ye kismat ka andhera
ghoda mera thha nowhere


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3487 Post No. : 14007

“Do Bhai”(1969) was directed by Brij for Dynamo International, Bombay. The movie had Ashok Kumar, Mala Sinha, Jeetendra, Jagdeep, Chaand Usmani, Malika, Sheikh Mukhtaar, Hercules, Asit Sen, Maruti, Pal Sharma, Gautam Mukherji, Vinod Sharma, Radheshyam, Ratan Gaurang etc in it.

This social movie had five songs in it. Three of the songs have been covered in the past.

Here is the fourth song from “Do Bhai”(1969) to appear in the blog. This song is sung by Asha Bhonsle and an unknown child voice. Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal.

The playful sawaal-jawaab song is picturised on Mala Sinha, where a child (I am unable to identify her) get quite confused from the questions which have only two options viz Good/Bad. 🙂

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


Sonng-Main sunaati hoon ik baat (Do Bhai)(1969) Singer-Asha Bhonsle, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Unknown child voice
All

Lyrics

aa aa aa
main sunaati hoon ik baat
main sunaati hoon ik baat
bolo bura hua ke bhala hua
main sunaati hoon ik baat
bolo bura hua ke bhala hua
didi didi
kya hua

ho o o
mujhe neend aayi na saari raat
mujhe neend aayi na saari raat
bolo bura hua ke bhala hua
didi didi
ye to bahut bura hua

bura nahin
bhala hua

saari raat guzaari jaag ke
ek chor ko dekha bhaagte
saari raat guzaari jaag ke
ek chor ko dekha bhaagte
maine uthh ke usko pakad liya
usey hathhkadi mein jakad liya
baandhe rassi se uske haath
hi
hi

bolo bura hua ke bhala hua
ye to bhala hua
ye to bhala hua

bhala nahin
hat pagle
ye to bura hua

na wo chor thha
na wo mor thha
na wo chor thha
na wo mor thha
wo bechaara to koi aur thha
padi muft mein itni maar usey
thhaane le gaya chowkidaar usey
hua julam ye uske saath
bolo bolo bolo
bura hua ke bhala hua
didi
ye to bhala hua
nahi nahi nahin
ye to bahut bura hua

hahahahaha
pagli
bura nahin
bhala hua

ho oo oo
lalalalalaa
lalalalalaa
laalaallaa
laalaa

oo hoo
usey jaana thha kahin rail se
takra gayi jo ke mail se
usey jaana thha kahin rail se
takra gayi jo ke mail se

oo oo
dhadaam
saare shahar mein shor sa mach gaya
sabhi mar gaye wo bach gaya
didi’phir kya hua
bas hui khatam ye baat
na bhala hua
na bura hua
na bhala hua
na bura hua
lalalalalalala
lalalalalalala


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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 over ELEVEN years. This blog has more than 15300 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Total number of songs posts discussed

15301

Number of movies covered in the blog

Movies with all their songs covered =1180
Total Number of movies covered =4215

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