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

Archive for the ‘Street singing’ Category


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3496 Post No. : 14053

It would be late 1960s, early 1970s – फिल्में देखने का चस्का चढ़ा था। Did not have much more than some fanciful fancies at that time, and very little understanding. I would fancy the heroes, especially Dev Anand, Rajendra Kumar etc. And I would have lasting crush on the leading ladies; generally lasting for a few weeks. I would fancy them to be my leading ladies 😉 – Sadhna, Asha Parekh, Mumtaz, Saira Banu etc.

Besides these two types of fancies, there was, yes one more. This was not so much of a fancy, rather it was more of an abhorrent fright. Of a special person when he appeared on the screen. And a panic would run through the mind and I would clutch a parent’s hand and whisper “oye, Pran aa gaya”.

Such was the dread in the minds of us pre teen kids. Whenever we saw him enter the frame, our hearts were like – now something bad is going to happen. He is going to bully someone, he is going to beat up someone, he is going to insult someone, he is going to cheat someone, he is going to put his weight on a lady and make her scream. . . Ah yes, these were the type of stereotype images that were associated with Pran, and we despised him for all our childhood.

Fast forward now to mid 1990s. I was in the US, and had a long stint in the city of Lansing in Michigan, working on a state govt. project. Lansing is comparatively a small town, despite the fact that it is the capital of Michigan state. There were only two other things besides the state government – the state university and a cornflakes factory owned by Kellogs. And being in Michigan, we were snowed in for six months, and chilled out for another four. We just got a warm season for two months – July and August.

So there was not much to do in that town, other than concentrate on your work. For me, there was a grand saving grace. The small town had a big video library of Hindi films, run by a Pakistani national and a very dear friend, to date – Akbar Bhai. It was not long before I became his best customer, and just for my sake, he would communicate with other dealers in the country and sometimes even travel out, to get the films that I would be requesting of him. I purchased two Toshiba VCRs, bought many packs of VHS tapes, and spent a lot of time copying videos of songs from the VHS tapes that I rented from him.

Sorry for this longish digression, I am coming to the point. The net is that for the few years that I spent in Lansing, I watched and replayed a ton of Hindi films that were available on VHS – of course my choice would taper off after 1970s. In one set of many weeks together, the movies that I rented from him, were a combination of many leading heros, and many genres. But all of them had one thing in common. The villain was Pran. In each and every one of these films, Pran would be getting a hiding of his life in the last 10 to 15 minutes of every film. After having sat through probably a score of films over a period of 4 to 5 weeks, my mind changed and started sympathizing with him. No matter what the film was, he would get beaten up black and blue at the end. And to add insult to injury, he was forced to apologize and plead for forgiveness, or summarily be taken away by the police.

Really telling you, I started to feel sorry for him. And I started to wonder. Day in and day out, he would be shooting films with his co stars, and on every set and every studio floor, he would be taking a beating in front of hundreds of onlookers, every single time. And my mind started to build upon a psychology of such an individual. Of course it did strike me somewhere within this analysis, that yes, money is also involved. But then I rationalized – if I were given money, just for getting beat up every week and in every film I worked in, I would throw away the money, and walk away. But the money angle aside, I used to wonder at this gluttony for punishment. In every film, he misbehaves with ladies, he cons his own family members, he bullies and beats up people. And then, he gets beat up real good for the happy ending of a film. And my mind was like – does this guy never learn? Does he never give up?

I never did see the film ‘Guddi’ (1971) in its first runs. I would get to see it many years later, maybe on Doordarshan or maybe on a VHS play. An inkling of the true nature of this gentleman – I encountered for the first time in this film. Kusum (a teenager, role played by Jaya), who is smitten with a crush for actor Dharmendra, is taken to Bombay by her uncle, Utpal Dutt, and is given a tour of the film studios – a view of how the films are actually made, and what these stars are in real life behind the scenes. So there is a scene, in which Jaya is with Dharmendra, and Pran walks by. They greet each other; and Kusum is hiding behind Dharmendra in fear. Dharmendra admires Pran’s wrist watch, and Pran immediately takes it off and presents it to Dharmendra. After Pran leaves, Jaya reacts strongly, insisting to Dharmendra to return the watch – “इस में कोई चाल है” is what she says. Dharmendra starts to laugh, and then explains. That Pran Saab in real life is an impeccable gentleman, a complete reverse of what his screen image is. He is an amiable, a very friendly, a very kind and a very helpful person.

Along with Guddi (Kusum), it was also a wiping away of a fanciful sheen in my mind, associated with the person called Pran. Then of course, from 1967 onwards, he had started appearing in character roles other than as a villain, and had a complete makeover of his outward personality over the next few years.

But that image has sustained, because the films exist. That is what typecasting does to you. In reality, Pran is somewhat of a popular name in north India, amongst Punjabi and Hindi speaking families. In the 1950s and 60s, the dread of his roles was so great that actually, families stopped naming their children with the word Pran, and its variations. The Gabbar Singh gloat about “बीस बीस कोस तक॰ ॰ ॰” was still to come many years later. 😀 😀

Today (12th Feb) is the birth anniversary of Pran Saab. I have picked this song from the 1964 film ‘Pooja Ke Phool’ for the anniversary remembrance today. Yes, there is a particular reason. It is one of the rare occasions, when Pran Saab has lip sync-ed a song, and danced on screen, from the era of his continued reign as the arch villain of Hindi films. Of course, after 1967 and ‘Upkar’, when he transitioned into character roles, and that too in a big and significant way, he got to perform many a song on screen. In fact, there was a period of time in 1970s and 80s that specific and meaty roles were written for him, and the screen performance almost always included a song lip synced by him. But in the era till the 1960s, he just has an occasional song assigned to him.

Although I have not made a definitive search for them, I recall the following; the duet “Jise Dhoondhti Phirti Hai Meri Nazar” from the film ‘Sheesh Mahal’ (1950); then the fun song from ‘Munim ji’ (1955) – “Dil Ki Umangen Hain Jawaan”. This latter song is also a unique piece of music – Pran Saab has sung for himself in this song. Yes, of course, the iconic “Hai Aag Hamaare Seene Mein. . . Hum Bhi Hain, Tum Bhi Ho” from the musical bonanza ‘Jis Desh Ganga Behti Hai’ (1960). Sterling performance, as Pran Saab rides two horses simultaneously, standing on the back of the horses, one foot on each horse.

And then we come to today’s song. The song is a dance sequence being performed by Gopikrishan Maharaj and Madhumati. In the three antaraa song, the middle antaraa turns out to be a fantasy play, as Pran, who is actually an audience on the side, daydreams himself to be performing the song, along with Sandhya Roy. the lady companion that I am not able to name. So the middle antaraa is performed on screen by Pran Saab and Sandhya Roy his lady companion. Now this performance, a folk dance type steps, trying to emulate someone none other than the great Gopikrishan Maharaj himself, is a type of performance that one does not associate with him (at least in this phase of his career), and none other that I have seen in any other film. I request our knowledgeable friends and readers on the blog to please add more such instances, if they are aware. And yes, the request also includes help to identify the actress who is his lady companion in this clip.
[Ed Note: The lady companion in this clip is identified as Bengali actress Sandhya Roy, as per the inputs provided by Shri Partha Chanda.]

‘Pooja Ke Phool’ is the typical south Indian family drama that is produced by the prestigious banner of AVM and directed by Bheem Singh. The extreme emotionalism of such family dramas, plus the complexity (zaniness??) of the plots and sub plots, sometimes makes this category of films insufferable. So in this film, Pran is the husband of the niece of Dharmendra. Forget the age factor, even the appearances of the characters do not do justice to them. To top it, he (Pran) is also having an amorous fling on the side. In this song, we see him come to see this street performance along with his lady love from the extra-marital affair. Dharmendra too, chances to be on the spot. He sees the two together, and walks away in anger. A little later in the film, the lady starts to demand rights and shares as a wife. She threatens to kill him. The two meet, and in the melee that ensues, the lady gets killed. Mohan Choti is an eyewitness. However, Dharmendra takes on the blame, just so that his niece’s life and home is not jeopardized. Case comes to the court. Ashok Kumar is the public prosecutor, and he has this personal thing against Dharmendra – he has ditched Ashok Kumar’s daughter, and married someone else. Now enter the daughter, Mala Sinha, who is also a lawyer. She comes to the court as the defense lawyer for Dharmendra. Despite his repeated confessions in the court, the case is made to continue. Dharmendra and Mala Sinha were an amorous pair once, but circumstances led Dharmendra to marry a blind girl (Nimmi). If all this does not sound too complicated yet, maybe it is time to watch the film itself. 😀 😀

Not saying too many things about the film, I must confess that I am quite bowled over by the music and the songs. The list if songs is quite impressive, as given below.

Meri Aankhon Se Koi Neend Liye Jaataa Hai 2861 28-Aug-10
Dil Todna Kisi Ka Ye Zindagi Nahin Hai 2886 1-Sep-10
Ab Do Dilon Ki Mushqil 2892 2-Sep-10
Meow Meow Meri Sakhi Achchi Achchi Meri Sakhi 3345 14-Dec-10
Sanam Apni Palkon Pe Tujh Ko 6824 9-Oct-12
Pehle Meri Aankhon Ke Chiraagon Ko Bujhaaya 12598 21-Nov-16
Banda Parwar. . . Raat Ke Andhere Mein Yun Chori Chori Chale Kidhar 14034 8-Feb-18

The songs of this film have been penned by Rajendra Krishan and the music is composed by Madan Mohan.

I would like to write about one more thing, related to this song. The choreography of this dance is done by Gopikrishan Maharaj himself. And that simply is excellent. The dance movements are very imaginatively sequenced, and very excellently executed, including the facial expressions and the twitching of eyebrows. The pace of the song and the pace of the singing is – fast. And the dance steps themselves are so energetic and so beautifully arranged. Pran Saab surely has his work cut out as he takes on the 2nd antaraa on screen.

So now let us enjoy this wonderful peppy dance number. And remember this very lovable villain of the Hindi cinema.

Song – Hey Jamaalo. . . O Mera Pyaar Meri Jaan Kabhi Aazma Lo  (Pooja Ke Phool) (1964) Singer – Mohammed Rafi, Asha Bhosle, Lyrics – Rajendra Krishan, MD – Madan Mohan
Mohammed Rafi + Asha Bhosle
Male Chorus
Female Chorus
All Chorus

Lyrics

aaaa aaa aaa aaaa
aaaaaa aaa aaaaaaa

hey jamaalo
o wah wah hey jamaalo
haan hey jamaalo
o wah wah hey jamaalo
o mera pyar meri jaan
kabhi aazma lo
o mera pyar meri jaan
kabhi aazma lo
hey jamaalo
hey wah wah hey jamaalo
hey jamaalo
hey wah wah hey jamaalo
ho ye hai teer ye kamaan
zara dil nikaalo
ho ye hai teer ye kamaan
zara dil nikaalo

ho ho ho
ho ho
ho ho ho
ho ho
o ho ho
o ho
ho ho ho
hoye hoye hoye

tere haathon mar jaayenge
naam jahaan mein kar jaayenge
marte marte dil ki jholi
pyaar se tere bhar jaayenge
o ho tere haathon mar jaayenge
bade dekhe marne waale
pyaar ka dum bharne waale
hey jamaalo
hey jamaalo
hey jama..aa..aalo
o mera pyar meri jaan
kabhi aazma lo
hey jamaalo
wah wah hey jamaalo
ho ye hai teer ye kamaan
zara dil nikaalo

ho ho
hummm hummm
ho ho
hummm hummm
o ho
hummm
hummm
o ho
hummm
hummm
hey..ey..ey

dekho kaise deewaane hain
pankh nahin aur parwaane hain
hum se ye kya chaal chalenge
apne jaane pehchaane hain
o ho dekho kaise deewaane hain
jaan le lo gham na hoga
ishq mera kam na hoga
hey jamaalo
hey jamaalo
hey jama..aa..aalo
o ye hai teer ye kamaan
zara dil nikaalo
hey jamaalo
wah wah hey jamaalo
o mera pyar meri jaan
kabhi aazma lo

jeete ji tum kyon maanoge
mar jaayenge pehchaanoge
jaan liya hai pyaar tumhaara
aao pakdo haath hamaara
o ho aao pakdo haath hamaara
muskura ke do sahaare
hum tumhaare tum hamaare
hey jamaalo
hey jamaalo
hey jama..aa..aalo
ho mera pyar meri jaan
kabhi aazma lo
hey jamaalo
hey wah wah hey jamaalo
hey jamaalo
hey wah wah hey jamaalo
ho ye hai teer ye kamaan
zara dil nikaalo
ho ye hai teer ye kamaan
zara dil nikaalo

hey jamaalo
hey jamaalo
hey jamaalo
hey jamaalo

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

आsss आss आss आsss
आssss आss आssssss

हे जमालो
ओ वा वा हे जमालों
हाँ हे जमालो
ओ वा वा हे जमालों
मेरा प्यार मेरी जान
कभी आज़मा लो
ओ मेरा प्यार मेरी जान
कभी आज़मा लो
हे जमालो
हे वा वा हे जमालों
हाँ हे जमालो
हे वा वा हे जमालों
हो ये है तीर ये कमान
ज़रा दिल निकालो
हो ये है तीर ये कमान
ज़रा दिल निकालो

हो हो हो
हो हो
हो हो हो
हो हो
ओ हो हो
ओ हो
हो हो हो
होए होए होए

तेरे हाथों मर जाएँगे
नाम जहान् में कर जाएँगे
मरते मरते दिल की झोली
प्यार से तेरे भर जाएँगे
ओ हो तेरे हाथों मर जाएँगे
बड़े देखे मरने वाले
प्यार का दम भरने वाले
हे जमालो
हे जमालो
हे जमा॰॰आ॰॰आलो
ओ मेरा प्यार मेरी जान
कभी आज़मा लो
हे जमालो
वा वा हे जमालों
हो ये है तीर ये कमान
ज़रा दिल निकालो

हो हो
हुम्ममम हुम्ममम
हो हो
हुम्ममम हुम्ममम
ओ हो
हुम्ममम
हुम्ममम
ओ हो
हुम्ममम
हुम्ममम
हे॰॰ए॰॰ए

देखो कैसे दीवाने हैं
पंख नहीं और परवाने हैं
हम से ये क्या चाल चलेंगे
अपने जाने पहचाने हैं
ओ हो देखो कैसे दीवाने हैं
जान ले लो ग़म ना होगा
इश्क़ मेरा कम ना होगा
हे जमालो
हे जमालो
हे जमा॰॰आ॰॰आलो
ओ ये है तीर ये कमान
ज़रा दिल निकालो
हे जमालो
वा वा हे जमालों
ओ मेरा प्यार मेरी जान
कभी आज़मा लो

जीते जी तुम क्या मानोगे
मर जाएँगे पहचानोगे
जान लिया है प्यार तुम्हारा
आओ पकड़ो हाथ हमारा
ओ हो आओ पकड़ो हाथ हमारा
मुस्कुरा के दो सहारे
हम तुम्हारे तुम हमारे
हे जमालो
हे जमालो
हे जमा॰॰आ॰॰आलो
हो मेरा प्यार मेरी जान
कभी आज़मा लो
हे जमालो
वा वा हे जमालों
हे जमालो
वा वा हे जमालों
ओ ये है तीर ये कमान
ज़रा दिल निकालो
ओ ये है तीर ये कमान
ज़रा दिल निकालो

हे जमालो
हे जमालो
हे जमालो
हे जमालो

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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 : 3491 Post No. : 14025

“Sansaar”(1971) was directed by Dilip Bose for Deluxe Films, Bombay. The movie had Navin Nischhol, Anupama, Nirupa Roy, Abhi Bhattacharya, Jayshree T, Bipin Gupta, Krishna Dhawan, Mohan Choti, Meena T, Chandrima Bhaduri, Asit Sen, Chaman Puri, Jankidas, Mridula, Master Satyajit, Baldev Khosa (New Discovery) etc in it.

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

Here is the sixth song from “Sansaar”(1971) to appear in the blog. The song is sung by Asha Bhonsle. Sahir Ludhianvi is the lyricist. Music is composed by Chitragupta.

Picturisation shows a kid (Master Satyajit ?) missing his school classes and selling toys on streets to earn a living and help his mother (Nirupa Roy) who is ill. His mother of course has no idea and she is informed by the schoolmates of her son that he is not attending school. The picturisation also shows Navin Nischol who is trying on concentrate on something else but the sales pitch song manages to get him distracted.

I have not seen the movie and I have little idea about the background of this song. I request our knowledgeable readers to throw light on what is happening in the picturisation.


Song-Mere baabu khilaune le jaa (Sansaar)(1971) Singer-Asha Bhonsle, Lyrics-Sahir Ludhianvi, MD-Chitragupta

Lyrics

mere baabu khilaune leja
mere baabu khilaune leja
tere nanhe munne khelenge
ho tere nanhe munne khelenge
mere baabu khilaune leja
tere nanhe munne khelenge
haan tere nanhe munne khelenge

pankh waala ghoda
ye chidiyon ka joda
ye natkhat gudiya kaanch ki
pankh waala ghoda
ye chidiyon ka joda
ye natkhat gudiya kaanch ki
haath waala baaja
ye moonchh waala raaja
har ek shai aane paanch ki
ye gandhi ye gautam
ye shyaam salona leja
tere nanhe munne khelenge
ho tere nanhe munne khelenge

naach uthhe bachche khilaune aise achche
main bechoon beech baazaar ke
naach uthhe bachche khilaune aise achche
main bechoon beech baazaar ke
ek bachcha beche aur ek bachcha khele
ajab dhang is sansaar ke
mere baabu mere raaja
sab aune paune leja
tere nanhe munne khelenge
haan tere nanhe munne khelenge

bhaag laaye aisa ke paas nahin paisa
kate hain din faake jhel ke
bhaag laaye aisa ke paas nahin paisa
kate hain din faake jhel ke
maal bike baabu to pet pale baabu
hamen kya lena khel ke
nirdhan ke baalak se sab khel khilaune leja
tere nanhe munne khelenge
ho tere nanhe munne khelenge
mere baabu khilaune leja
tere nanhe munne khelenge
haan tere nanhe munne khelenge


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 : 3489 Post No. : 14015

“Sheroo” (1957) was directed by Shakti Samanta for S P Pictures production, Bombay. The movie had Ashok Kumar, Nalini Jaiwant, Anoop Kumar, Madan Puri, Chaman Puri, Om Prakash, Leela Mishra, Shyam Kumar, Krishn Kant, Rashid Khan etc in it.

The movie had seven songs in it. Five of these songs have been covered in the past.

Here is the sixth song from “Sheroo” (1957) to appear in the blog. The song is sung by Rafi. Kaif Irfani is the lyricist. Music is composed by Madan Mohan.

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


Song-Arre ho ban thhan ke aaya tere dwaare…aaya karke bhes niraala (Sheroo)(1957) Singer-Rafi, Lyrics-Kaif Irfani, MD-Madan Mohan

Lyrics

arre ho o
ban thhan kar aaya tere dwaare
gori ee ee
ik man basiyaa aa aa
ho tera rasiya

aaya karke bhes niraala
le ke kaandhe pe doshaala
tere pyaar ka hai ye maara
tere darshan ka matwaala
aaya karke bhes nirala
le ke kaandhe pe doshaala
tere pyaar ka hai ye maara
tere darshan ka matwaala
aaya karke bhes niraala

koi aaya tere dwaare
leke chaand sitaare
gori ab to samajh le
kisi ke ye ishaare
ha ha
haan
koi aaya tere dwaare
leke chaand sitaare
gori ab to samajh le
kisi ke ye ishaare
sar pe jeet ka sehra
gale phoolon ki hai maala
tere pyaar ka hai ye maara
tere darshan ka matwaala
aaya karke bhes niraala

ho aaya door se chal ke(?) teri nagri
tera saajan albela
laaya sang khushi ka mela
ho bhaag jagaane aaya
tujh se preet nibhaane aaya
o sun le tujhko
pyaar mein doobe geet sunaane aaya
hai ye raagi bada niraala
tere naam ki japta maala
tere pyaar ka hai ye maara
tere darshan ka matwaala
aaya karke bhes niraala
aa ha

tujhe jiski hai aas
aaya wo hi tere paass
zara naina to mila le
bujhe nazron ki pyaas
o tujhe jiski hai aas
aaya wo hi tere paas
zara naina to mila le
bujhe nazron ki pyaas
aaya leke dil ki jholi
maange preet ka ujaala
tere pyaar ka hai ye maara
tere darshan ka matwaala
aaya karke bhes niraala
ha ha ha aa


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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. : 14008

The yippeee film for today the 1972 production by Manoj Kumar – ‘Shor’.

There was a period in the career of Manoj Kumar, where every film he touched has either been a hit, or it has commanded a cult status over the years. Starting with ‘Shaheed’ in 1965, and right up to ‘Kranti’ in 1981, he produced, directed and acted in a string of hit films, that have become memorable icons over the years. It was ‘Shaheed’ in 1965, then ‘Upkar’ in 1967, then ‘Poorab Aur Pashchim’ and ‘Yaadgar’ in 1970, then ‘Shor’ in 1972, ‘Roti Kapda Aur Makan’ in 1974, and then ‘Kranti’ in 1981. Of these, the 1972 production of ‘Shor’ is kind of the odd one out – it is not really a patriotic / nationalist theme, that is Manoj Kumar’s forte, that earned him the nickname of Mr Bhaarat. After 1981, Manoj Kumar seemed to have lost his touch, and after a string of indifferent productions – ‘Painter Babu’ (1983), ‘Kalyug Aur Ramayan’ (1987), and ‘Clerk’ (1989), he kind of let go the production / direction stance.

Coming back to ‘Shor’, not just that it was a little different from the normal ‘nationalist’ genre of Manoj Kumar, it is also counted as the least successful film, commercially, in his career as a producer / director – from the period of ‘Shaheed’ to ‘Kranti’. And then, like a few other handful of examples, this film gained a cult status over the decades. And that was, not in the least due to the fantastic songs and music of this film.

Having said that, it surely needs to be recognized and acknowledged that – looking at the list of his films from ‘Shaheed’ to ‘Kranti’ – he belongs to that select band of producers/directors that have had a Midas touch as far as music and songs are concerned. A quick review of his films listed above will lend credence to this statement. Even if, for the sake of argument only, if this set of films is viewed for quality features and box office attractions, then even if one wants to discount other aspects related to the film, one will not be able to discount these films for the sake of the music and songs.

One reason that ‘Shor’, after its initial lukewarm reception at the box office, continued to build into a cult film status, is its wonderful, and even powerful, music and songs.  Let’s take look at the list of songs of this film. It seems to be short in the list, but the impact and profundity of these songs, stands out all by itself.

 

Song Title

Post No.

Post Date

Paani re paani teraa rang kaisaa 1658 21-Jul-09
Ik pyaar ka naghmaa hai 1675 24-Jul-09
Jeewan Chalne Ka Naam 5555 1-Mar-12
Shehnaai Baje Na Baje 14003 2-Feb-18

 

My favorite amongst these is of course the one that talks about the colors of water – “Paani Re Paani Tera Rang Kaisa”. The words of this song are just so dear. Every line, every stanza has its own flavor, and impact. In the three stanzas, the question posed in the mukhda is answered in different ways. And the last one – which will touch a chord of the life’s hope within each human being – is simply the best – “Sau Saal Jeene Ki Ummeedon Jaisa”.

Then we have the supremely inspirational song of hope and progress – “Jeevan Chalne Ka Naam” – a song that plays through the days of the hopeful endaeavor, as the hero attempts to break a record of continuous cycling effort. An event and a song that bring together an entire community – a pinnacle of synthesis of emotions coming together as one.

And then the song that has, along with “Paani Re Paani. . .”, garnered the cult status – this time in the genre of love songs. Every time I listen to this line – “Zindagi Aur Kuchh Bhi Nahin, Teri Meri Kahaani Hai”, it sends shiver down my spine. The sheer simplicity of words, put together to express one of the most profound essays in the multiplicity of human existence. In eventual analysis, actually in this life, there is nothing more than the self. And practically every tale is eventually a tale of the self. But love changes all that. When there is love, then the tale is of ‘you and me’ put together – and there really is nothing else in life actually. “Ik Pyaar Ka Naghma Hai” – life is but simply a song of love, yours and my love. One of THE best expressions that puts in a definitive and ultimate response to the query of “what is love”.

Another aspect of his musical expression I would like to discuss. What we see here is the shades of Raj Kapoor and Goldie Anand – as far as the construction and the presentation of the song is concerned. Manoj Kumar really has that Midas touch to get the best out of the team of songwriter + music director + singers. The songs of his films are some of the best-in-class creations that will be listed right up there with the ones that are considered as top creations, as well as presentations. He also has a knack of putting together the most appropriate scenario, and most convincingly, to bring the song in and merge it quite so seamlessly with the flow of the story line. His song presentations are simply out of the ordinary, in a special category all by themselves. Take your thoughts back to the songs like “Jogi Hum to Lut Gaye Tere Pyaar Mein” from ‘Shaheed’; “Aayee Jhoom Ke Basant” from ‘Upkar’; “Main Na Bhoolunga. . .” from ‘Roti Kapda Aur Makaan’; “Ab Ke Baras Tujhe. . .” and “Zindagi Ki Na Toote Ladi” from ‘Kranti’. And the one that is the closest to my heart as a special favorite – “Hai Preet Jahaan Ki Reet Sada” from ‘Purab Aur Paschim”. That I am picking these songs as a sampler does not mean that the remaining songs do not jell. Each one does. Just that the space does not permit me to write about each one of them, what all I wish to write.

The song presented today, comes on to the screen with an already prefaced history, in the film. The three stanzas in this song are directed towards three men who are coincidentally present and watching the dance performance, Rani (role played by Jaya Bhaduri), is a worldly wise young lady, and a street urchin at that. To compete with and to secure herself in this most perilous environment in which she exists, she has to become one of them, with a tongue that can abuse an curse the most evil, and hands that are adept in swinging the blade of a deadly knife. Her standard masquerade to cheat people, i.e. men, and rob them, is to appear on a less traversed road in the late evening, and pose as a helpless damsel looking for help. And when a victim gets interested, she will start screaming to draw the attention of whatever is the sparse crowd, crying for help against the man. The poor victim, is painted as a trying to outrage her modesty. She blackmails them to cough up some money, in exchange for her to keep quiet.

Prior to this song, these three men are each party to such encounters with her. The first one – a regular junior artist whose name I am not able to recall right away, is a meek fellow who gets conned by Rani. The second one is Shankar (role played by Manoj Kumar), who turns the tables on her, and dares her to shout and gather attention. And the third one is also local street smart mawaali (role played by Manmohan), who fancies Rani to be easy meat for his spurious intentions. For a change, as Rani does a street dance performance, striving also to make some honest money, the three gentlemen appear one by one, to be dealt with appropriately.

Jaya’s performance as Rani is just superb. In 1972, she is very fresh from IFTI, Pune, and her portrayal of a near vagabond and street smart character is quite so convincing. We also see Premnath as the Pathan friend of Shankar, Master Satyajeet as Deepak, the mute son of Shankar, and Manmohan as the local mawaali. Once again, I request help from the more knowledgeable readers to help identify the very familiar junior artist behind the bespectacled thin old man who appears in the first stanza.

So with this post, we bring to a close, the discussion on this cult classic film from Manoj Kumar. Wonderful songs and music galore from his films. Welcome ‘Shor’ to Yippeee-land.

 

Song – Zara Sa Us Ko Chhua To  (Shor) (1972) Singer – Lata Mangeshkar, Lyrics – Santosh Anand, MD – Laxmikat Pyaarelal
Unidentified Male Voice

Lyrics

zara sa
us ko
chhua to
us ne
haaye us ne macha diya shor
zara sa
us ko
chhua to
us ne
haaye us ne macha diya shor
shor
shor
maine samjha tha ke chal jaayega zor
maine samjha tha ke hongi baaten aur
aur
phir
jaise hi
zara sa
us ko
chhua to
us ne
haaye us ne macha diya shor
zara sa
us ko
chhua to
us ne
haaye us ne macha diya shor

roop ki thandi chhaon mein
armaanon ke gaaon mein
laga hua tha mela re
raahi mila akela re
maari aankh
maari aankh
gaya bhaanp
na us ne ki bas
bas
na maine ki bas
bas
na us ne ki bas
bas
na maine ki bas
bas
aur
phir
jaise hi
zara sa
us ko
chhua to
us ne
haaye us ne macha diya shor

dhum dhum dhum dhum
dhum dhum dhum
dhum dhum dhum dhum
dhum dhum dhum

ta ra ra
ra ra ra
ra ra ra ra ra ra

o jiyo raani jiyo

oo ho oo oo
oo ho oo oo
ho
ho
ho
ho

chalte chalte raah mein
kuchh paane ki chaah mein
maine us ko roka tha
aage badh ke toka tha
phenka daav
phenka daav
bola jaao
na us ne ki tas
tas
na maine ki bas
bas
na us ne ki tas
tas
na maine ki bas
bas
aur
phir
jaise hi
zara sa
us ko
chhua to
us ne
haaye us ne macha diya shor

dhan dhan dhan dhan
dhan dhan dhan

da da da
da da da

koi chhaila mod pe
haath donon jod ke
bola raat ki rani
maan le mujh ko jaani
diya phool
diya phool
gayi bhool
na maine ki tas
tas
na us ne ki bas
bas
na maine ki tas
tas
na us ne ki bas
bas
aur
phir
jaise hi
zara sa
us ne
chhua to
maine
haan maine macha diya shor
zara sa
us ne
chhua to
maine
haan maine macha diya sho..o..o..or

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
ज़रा सा
उसको
छूआ तो
उसने
हाय उसने मचा दिया शोर
ज़रा सा
उसको
छूआ तो
उसने
हाय उसने मचा दिया शोर
शोर
शोर
मैंने समझा था के चल जाएगा ज़ोर
मैंने समझा था के होंगी बातें और
और
फिर
जैसे ही
ज़रा सा
उसको
छूआ तो
उसने
हाय उसने मचा दिया शोर
ज़रा सा
उसको
छूआ तो
उसने
हाय उसने मचा दिया शोर

रूप की ठंडी छांव में
अरमानों के गाँव में
लगा हुआ था मेला रे
राही मिला अकेला रे
मारी आँख
मारी आँख
गया भाँप
ना उसने की बस
बस
ना मैंने की बस
बस
ना उसने की बस
बस
ना मैंने की बस
बस
और
फिर
जैसे ही
ज़रा सा
उसको
छूआ तो
उसने
हाय उसने मचा दिया शोर

ढुम ढुम ढुम ढुम
ढुम ढुम ढुम
ढुम ढुम ढुम ढुम
ढुम ढुम ढुम

ता रा रा
रा रा रा
रा रा रा रा रा रा

ओ जियो रानी जियो

ओ हो ओ ओ
ओ हो ओ ओ
हो
हो
हो
हो
चलते चलते राह में
कुछ पाने की चाह में
मैंने उसको रोका था
आगे बढ़ के टोका था’
फेंका दांव
फेंका दांव
बोला जाओ
ना उसने की टस
टस
ना मैंने की बस
बस
ना उसने की टस
टस
ना मैंने की बस
बस
और
फिर
जैसे ही
ज़रा सा
उसको
छूआ तो
उसने
हाय उसने मचा दिया शोर

ढन ढन ढन ढन
ढन ढन ढन

ढ ढ ढ
ढ ढ ढ

कोई छैला मोड़ पे
हाथ दोनों जोड़ के
बोला रात की रानी
मान ले मुझको जानी
दिया फूल
दिया फूल
गई भूल
ना मैंने की टस
टस
ना उसने की बस
बस
ना मैंने की टस
टस
ना उसने की बस
बस
और
फिर
जैसे ही
ज़रा सा
उसने
छूआ तो
मैंने
हाँ मैंने मचा दिया शोर
ज़रा सा
उसने
छूआ तो
मैंने
हाँ मैंने मचा दिया शो॰॰ओ॰॰ओर


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

Fabulous Foot Tappers – 8
– – – – – – – – – – – – – –

“What a find. Such a rollicking song.”

This the comment by our own Ava Suri ji, that I find on the YouTube upload page of this song. Yes, ‘rollicking’ is just the right word to describe the tenor of this song. By the way, the YouTube channel on which this is posted is titled ‘The Edwina Channel’. And for those who are familiar, this channel is managed by Dan Thomas (aka Thomas Daniel). Dan has been actively collaborating with dear Greta Memsaab, for cleaning and sprucing up digital videos of old Hindi films, subtitling them and putting them up on the YT. Our dear Raja ji is also part of this effort.
Read more on this topic…


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

This post celebrates the 1000th song of Majrooh Sultanpuri on our blog.

rok sakta hamen zindaan e balaa kya majrooh
hum to awaaz hain deewaaron se chhan jaate hain

Powerful lines, written while he was in prison – no, not under the British rule; that happened back in 1946-47. This was a second time he was imprisoned c1950-51, under the regime of a free India. A poet with leftist leanings, his progressive writings were considered a threat by the British regime (which is understandable), and also considered a threat by then government of Morarji Desai (in Bombay). A song titled ‘Aman Ka Jhanda’ was sung at a meeting of poor labor class workers in the Parel area. Being the author, and the on stage presenter of this song, drew the ire of the establishment, and arrest warrants were issued in his name. He was arrested after being underground for some time, and sentenced to one year imprisonment. Morarji Desai suggested that he may render an apology for his writings, and he would be a free man. In response, the young revolutionary poet wrote this couplet.

rok sakta hamen zindaan e balaa kya majrooh
hum to awaaz hain deewaaron se chhan jaate hain

No walls of a prison
No tyranny of a jailer
Has the power to bind me
I am the voice (of conscience)
That permeates through
The walls of confinement
[Note: zindaan = jailer]

Remembering Majrooh Sb on the 98th anniversary of his birth today (1st October).
Read more on this topic…


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.

With this post, the blog has reached yet another very significant milestone – 1000 films Yippeee’d, i.e. all songs covered.
Read more on this topic…


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

One more Yippeee; the yippeee song for today. The film is ‘Gehra Raaz’ from 1971. In all, the film has four songs listed in the Geet Kosh. Today, we get familiar with the fourth song of this film.
Read more on this topic…


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 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.

Mohammed Rafi : The Incomparable (II) – Song No. 02
———————————————————————-

wo dil jo maine maangaa thaa magar gairon ne paayaa thaa
badi shai hai agar, uski pashemaani mujhe de do

Yesterday I visited the page again on the song ‘Tum Apna Ranj o Gham, Apni Pareshaani Mujhe De Do‘. I know the words are ‘badi shai hai agar‘, on which there is the long thread of comments. ‘Shai’, in common urdu is a thing or an object.  ‘badi shai hai ‘ literally means , its a big thing or a big deal.  As it is said in English that ‘its a big deal for me’ or means a lot to me.
Read more on this topic…


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.

“Mehbooba”(1954) was produced and directed by K Amarnath. The movie had Nalini Jaiwant, Shammi Kapoor, Hiralal, Achla Sachdev, Amar, Wazir Mohammad Khan, Ramesh Thakur, Amrit Rana, Gope etc in it.
Read more on this topic…


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(© 2008 - 2018) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 14300 song posts by now.

This blog is active and online for over 3500 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14344

Number of movies covered in the blog

Movies with all their songs covered =1146
Total Number of movies covered =3914

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Active for more than 3500 days.

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