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

Archive for the ‘Waiting for love’ 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 :

4098 Post No. : 15244

There are some very special memories related to this song. Memories of certain flights of fancy, associated with the expressions and emotions contained here in.

Greetings to Usha Khanna ji, on her 78th birthday today (7th October). It is sixty years now that she made her debut as a music director, way back in 1959 – ‘Dil Deke Dekho’, a film by Filmalya’s Sashadher Mukherjee. She recounts with a glee now, but then she was very nervous. Of course, just seventeen, recently out of school, and so miraculously given a break for a big name Shammi Kapoor starrer film. The first song recorded was “Megha Re Boley. . .”.  She walked into the recording studio with Sonik, who was the arranger for that film. She recalls that some musicians actually whistled at her as she made her way toward the group. And then Sonik told them that she is the music director. Quite a silence of disbelief followed.

Her nervousness was heightened by the fact that she would be directing Rafi Sb for her first song. The rehearsals and the recordings happened. Then at the end of the recording Rafi Sb asked her whether the song was recorded to her satisfaction. She recounts that she was too dazed and overcome by just his presence, and that she stammered in agreement. Then Rafi Sb told her – you are the music director. No matter who the singer is, but you are the boss. Even if I make a mistake, then you should correct me. Usha Khanna says that she was forever in Rafi Sb’s debt for giving her that encouragement and that advise.

More than 4 decades of active career and about 200 films in her portfolio, there are many a memorable songs and melodies that she has created – one of those music directors who would make you hear again. Ah, this one! Usha Khanna? Wow.

Listening to her music, one feels a lot of similarity with OP Nayyar. Of course that was the era that Nayyar Sb ruled with his rhythmic melodies, and other music directors would try to create music inspired by him. So Usha Khanna was also influenced by that style, but then she is not limited to style alone. There is definitely a lot of her own creativity that has gone into her work, else she would not have survived in this industry for four decades. And that too, being of a gender that generally is not associated with the work of a music director. The earlier names we can think of – Jaddan Bai, Bibbo, Saraswati Devi – all names from 1930s and 40s, when the classical music was the forte, and these ladies were trained and grounded in the classical mould.

Not Usha Khanna. She in fact, has no formal training in music. Her father, Manohar Lal Khanna, a lyricist active in the industry from late 1940s to 1960s, was her segue into music. He would write the lyrics and she would informally compose tunes for his songs at home. It was a creative spark and something special about her melodies that capture attention of her fathers industry friends like OP Nayyar and Indeewar. One thing led to another, and she was placed before Sashadher Mukherjee for an interview. The conversation started uncomfortably with singing, and ended very comfortably with music direction. S Mukherji, impressed with her tenacity and consistency (he had asked her to create two new tunes and present to him every day, for a year – think about doing that!!) gave her the first break with ‘Dil Deke Dekho’, and followed it up with ‘Hum Hindustani’ (1960). After these two films, Usha was quite much on her way. That she was able to sustain her standing in the industry for four decades, speaks volumes about her talent and her approach. Might we also notice that contemporaneous to her, and subsequently, we do not hear of any other lady music director in the industry whose performance has left a mark on the music history of Indian cinema.

Ah yes, about the flights of fancy that I mentioned about, in the first para. Regulars are aware that this song forms a part of a tandem pair. The accompanying song is the hit sung by Mukesh – “Barkha Rani, Zara Jam Ke Barso”. Yes of course, that is the better known and the more popular song in comparison. However, this rendition by Suman Kalynapur is no less pleasant, alluring and engaging. Rather more so. So when this film was released, the teenager in me was still at school. And as with a boy’s fancies at that age, of course, I do not have to put it in words. Suffice to say that right from the time I heard these two songs for the first time, my liking has always been for the Suman Kalyanpur version. The fancy connected with the Mukesh song is that there would be a charming princess for whom the boy in me would sing this song. However, the fancy associated with the Suman Kalyanpur song is that there would be charming beautiful princess who would be singing this song for me. That appealed so much more to me, that my flight of fancy those days was someone singing this song for me. Aaye haaye – the heart still takes a swing at this thought. 🙂

Quick summary – the film is ‘Sabak’ from 1973, produced and directed by Jugal Kishore, songs written by Sawan Kumar and Hasrat Jaipuri, and music by Usha Khanna. The star cast of this film is listed as Shatrughan Sinha, Poonam, Jaishri T, Jugal Kishore, Ranjan, KN Singh, Nazeer Hussain, Master Satyajeet, Chandrashekhar, Brahmchari, Hercules, Mumtaz Begum, Ramesh Dev, Seema, Rajnibala, Maruti, Rajpal, Kishan Kaul, Ved Sharma, Rajan Kapoor, Moolchand, Bholanath, Manohar, Jerry, Omi Chopra, Uma Dutt, Pritam Kumar, Raj Verma, Kishan Billa, and Sundar Singh.

Once again, wishing Usha ji a very happy birthday and praying for many more healthy and comfortable returns of this day.

Ah yes, the lyrics of this song have been sent in by our dear Prakashchandra ji.

 

Song – Barkha Bairan, Zara Tham Ke Barso  (Sabak) (1973) Singers – Suman Kalyanpur, Lyrics – Saawan Kumar Tak, MD – Usha Khanna

Lyrics (Provided by Prakashchandra)

barkha bairan
zara tham ke barso
pee mere aa jaayen to
chaahe jam ke phir barso..oo..oo..oo
barkha bairan
zara tham ke barso
pee mere aa jaayen to
chaahe jam ke phir barso..oo..oo..oo
barkha bairan

pee se hai mera milan
kyon hai ree tujh ko jalan
pee se hai mera milan
kyon hai ree tujh ko jalan
haaye re paapan zaraa ruk jaa
zara tham jaana re
barkha bairan
zara tham ke barso
pee mere aa jaayen to
chaahe jam ke phir barso..oo..oo..oo
barkha bairan

pee ko mere aane de
ang se lag jaane de
pee ko mere aane de
ang se lag jaane de
phir tu dushman
yun barasna
jaane paayen wo na re..e..e
barkha bairan
zaraa tham ke barso
pee mere aa jaayen to
chaahe jam ke phir barso..oo..oo..oo
barkha bairan

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

बरखा बैरन
ज़रा थम के बरसो
पी मेरे आ जाएँ तो
चाहे जम के फिर बरसो॰॰ओ॰॰ओ॰॰ओ
बरखा बैरन
ज़रा थम के बरसो
पी मेरे आ जाएँ तो
चाहे जम के फिर बरसो॰॰ओ॰॰ओ॰॰ओ

पी से है मेरा मिलन
क्यों है री तुझको जलन
पी से है मेरा मिलन
क्यों है री तुझको जलन
हाए रे पापन ज़रा रुक जा
ज़रा थम जा ना रे
बरखा बैरन
ज़रा थम के बरसो
पी मेरे आ जाएँ तो
चाहे जम के फिर बरसो॰॰ओ॰॰ओ॰॰ओ

पी को मेरे आने दे
अंग से लग जाने दे
पी को मेरे आने दे
अंग से लग जाने दे
फिर तू दुश्मन
यूं बरसना
जाने पाएँ वो ना रे॰॰ए॰॰ए
बरखा बैरन
ज़रा थम के बरसो
पी मेरे आ जाएँ तो
चाहे जम के फिर बरसो॰॰ओ॰॰ओ॰॰ओ
बरखा बैरन


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 :

4092 Post No. : 15236

I have been meaning to write a post on Majrooh Sultanpuri for some months now to commemorate the 100th birth Anniversary of a poet and film song writer par excellence.   But as usual one puts somethings on back burner and postpones things for some other time.

Last week I started the lyrics of this song from ‘Qayaamat Se Qayaamat Tak’ (1988), incidentally on my iPad and saved the file in yahoo mail. But that file is not opening in the any of the computers, so this post again didn’t even start.  Today is 1st October, 2019.  A very nice post by Sadanad Kamath Sir has appeared in the blog, which is quiet inspiring and it gave fresh ammunition to my jaded thoughts to start this write up.

Majrooh Saab’s super success with all music director, big and small, prolific and selective, is not comparable to anyone else.   None of the major song writers in his era can boast a list of composers as comprehensive as him, and more importantly successful, famous and hit songs.  Be it Madan Mohan and SD Burman, Chitragupt and Laxmikant Pyarelal, or RD Burman, Roshan, Rajesh Roshan & Khaiyyam, least of all Naushad & OP Nayyar, C Ramchandra & Salil Chaudhary also. I don’t have to start listing the beautiful lyrical and profound songs, Majrooh Saab wrote with/for all these composers.

Among his contemporaries, Kaifi Azmi, Sahir Ludhianvi, Shailendra, Hasrat Jaipuri, Rajendra Krishnan, Shakeel Badayuni, Qamar Jalaalabadi, later on Indeevar, Anand Bakshi and Gulzar etc., most were aligned with a music director or a film production  group etc.  Music Directors also preferred to work with a single lyricist or a couple at a time.  Among the major composers only SD Burman seemed to have worked with all of the above listed lyricist, as well as Majrooh.

Sahir Ludhianvi was more prone to making tributes to other poets in his songs.  But Majrooh seems to have paid a ‘khiraj-e-aqeedat’ to his fellow progressive poet Faiz Ahmed Faiz in Madan Mohan’s “Chiraag’ song “Teri Aankhon Ke Siwa Duniya Mein Rakha Kya Hai”.  This line is part of the immortal Nazm by Faiz – “Mujh Se Pehli Si Mohabbat Mere Mehboob Na Maang“.

In recent times, I have found that reading good work by others inspires me to write my own thoughts.  This is truer about poetry.  When I listen to some poets work, it given wings to my thoughts too.  I feel like writing something not necessarily on similar lines, better or superior, but some verse, some tributary sentences.

One can only wonder how such great creative minds must have felt when they heard some inspiring work of other greats and felt like expanding on the theme.  In this instance Majrooh Saab has gone on another tangent –

teri aankhon ke siwaa duniya mein rakkha kya hai
ye utthen subha chale, ye jhuken sham dhaley
mera jeena mera marna inhi palkon ke taley

As a poet with a heart that was Majrooh, why won’t he say –

dil me rakh lena ise haathon se ye chhoote na kahin
geet naazuk hai mera sheeshe se bhi toote na kahin

In my earlier tribute post for Majrooh Saab I have stated that just the lyrical poetry in “Rahen Na Rahen Hum, Mehka Karenge” in ‘Mamta’ (1966) is enough to make his place in the ‘Hall of Fame’ of Hindi film music.   Many colourful songs for Nasir Hussain’s films are written by Majrooh Saab for OP Nayyar and RD Burman.

The new age songs written by Majrooh for the film ‘Khaamoshi’ (1996) are among my favourites.  This time I have chosen a song from the 1988 film ‘Qayaamat Se Qayaamat Tak’ produced by Nasir Hussain and directed by his son Mansoor Khan for launching of Tahir Hussain’s son Aamir Khan. Incidentally dialogues, story and screenplay all are credit to Nasir Hussain.  The song starts with prelude music of clocks going “tick tock tick tock” in a departmental store, where Juhi Chawla has come to shop with her parents, Dalip Tahil and Beena.  She accidentally runs into Aamir Khan, who has promised his parent that he will not meet and talk to Juni Chawla for 6 month (?) or so. Aamir Khan and Juhi Chawla belong to two Rajput families who are at logger heads with each other over past broken alliances among the families due to which Dalip Tahil’s sister had committed suicide.

Juhi Chawla and Aamir Khan met during a picnic trip to Mount Abu and fell in love without knowing that their families are having this rivalry.  Due to this, the love story is actually doomed to end in tragedy, but at the time of this song the lovebirds are unaware of this and are happily waiting for the wait period to get over. The singers are Udit Narayan and Alka Yagnik, and the music is by Anand-Milind. The songwriter is one and only Majrooh Sultanpuri.   If I remember correctly, this was the film which started the trend of abbreviating the name of film as QSQT.

A song of hope and happy endings. A song with birthday parties, picnic on cycles and dreamy dates and marking days in the calendar till happy days are here again.

Song – Ae Mere Humsafar, Ek Zara Intezaar (Qayaamat Se Qayaamat Tak) (1988) Singer – Udit Narayan, Alka Yagnik, Lyrics – Majrooh Sultanpuri, MD – Anand Milind

Lyrics 

ae mere
humsafar
ek zara intezaar
sun sadaayen
de rahi hai
manzil pyaar ki
ae mere
humsafar
ek zara intezaar
sun sadaayen
de rahi hai
manzil pyaar ki

ab hai judaai ka mausam
do pal ka mehmaan
kaise na jaayega andhera
kyun na thamega toofaan
ab hai judaai ka mausam
do pal ka mehmaan
kaise na jaayega andhera
kyun na thamega toofaan
kaise na milegi
manzil pyaar ki
ae mere
humsafar
ek zaraa intezaar
sun sadaayen
de rahi hai
manzil pyaar ki

pyaar ne jahaan pe rakkha hai
jhoom ke qadam ek baar
wahin se khula hai koi rasta
wahin se giri hai deewaar
pyaar ne jahaan pe rakkha hai
jhoom ke qadam ek baar
wahin se khula hai koi rasta
wahin se giri hai deewaar
roke kab ruki hai
manzil pyaar ki
ae mere
humsafar
ek zara intezaar
sun sadaayen
de rahi hai
manzil pyaar ki

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

ए मेरे
हमसफर
एक ज़रा इंतजार
सुन सदाएं
दे रही हैं
मंज़िल प्यार की
ए मेरे
हमसफर
एक ज़रा इंतजार
सुन सदाएं
दे रही हैं
मंज़िल प्यार की

अब है जुदाई का मौसम
दो पल का महमाँ
कैसे न जाएगा अंधेरा
क्यूँ न थमेगा तूफान
अब है जुदाई का मौसम
दो पल का महमाँ
कैसे न जाएगा अंधेरा
क्यूँ न थमेगा तूफान
कैसे न मिलेगी
मंज़िल प्यार की
ए मेरे
हमसफर
एक ज़रा इंतजार
सुन सदाएं
दे रही हैं
मंज़िल प्यार की

प्यार ने जहां पे रक्खा है
झूम के कदम एक बार
वहीं से खुला है कोई रस्ता 
वहीं से गिरि है दीवार
प्यार ने जहां पे रक्खा है
झूम के कदम एक बार
वहीं से खुला है कोई रस्ता
वहीं से गिरि है दीवार
रोके कब रुकी है
मंज़िल प्यार की
ए मेरे
हमसफर
एक ज़रा इंतजार
सुन सदाएं
दे रही हैं
मंज़िल प्यार की


This article is written by Pradeep Raghunathan, 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 :

3930 Post No. : 15002 Movie Count :

4107

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Atul Song-A-Day 15K Song Milestone Celebrations – 12
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Cannot believe that we have reached the milestone of 15k on the blog. Just seems like yesterday that we were all waiting with bated breath to reach the 10k milestone. How time flies, and how consistent and persistent all of you have been. No words to express each one of your dedication, passion and labour of love.

What can one say about this haven of ours that has not been said before? For someone like me who has been like a pardesi in some ways (not being active as all the regulars), it is so heartening when all of you still reach out and ask how things are with me and family.

Team ASAD we could equate with the CSK team in IPL, consistent, champions and liked by one and all. Needless to say, we have calm, composed leaders to lead us too 🙂 .

It does feel guilty that our Yippeeee! team could not continue our work after a point of time, and yet there is hope that we would get back to it one day soon and try really hard to get to the ever moving target of the blog :).

These days, the only place I get to listen to songs is the car, and most of the times, it is what my daughter decides to play that we get to listen to. One of the recent numbers that is pretty much on repeat in her current playlist is a lovely song from the upcoming movie that most people are looking forward to called ‘Kalank’.

The song has been picturised so well, and is even better thanks to two amazingly talented actors, Madhuri Dixit and Alia Bhatt. The voice for these two are the versatile Shreya Ghoshal and Vaishali Mhade. For some reason, when you listen to this song multiple times, reminds us of songs sung by the Mangeshkar sisters (the names of the songs do not come to mind).

Though Pritam is accused many a time to blatantly copy songs for his tracks in movies, he does come up with some brilliant numbers that forces you to play them in a loop.

I know I have not done justice to this article celebrating the 15k milestone of the blog, nor the song featured here, but I am hoping the article would be the last thing on your mind after you listen to this beautiful number which has such an amazing tempo and so well rendered.

Wishing Atul ji, Sudhir ji, Arun ji, Khyati Ben, Raja ji and the entire paltan and followers of the blog, a very big Congratulations! This is no mean achievement, and I am sure for the celebration we can expect some amazing trivia and posts to reach even more unique milestones with this one big milestone. Let the force be with our blog.

Video

Audio

Song – Ghar Morey Pardesiya, Aao Padhaaro Piya (Kalank) (2019) Singer – Shreya Ghoshal, Vaishali Mhade, Lyrics- Amitabh Bhattacharya, MD-Pritam
Chorus

Lyrics (Based on Audio Version)

raghukul reet sadaa chali aayi
praan jaaye par vachan na jayi

jai raghuvanshi ayodhyapati
ram chandra ki jai
siyavar ram chandra ki, jai
jai raghuvanshi ayodhyapati
ram chandra ki jai
siyavar ram chandra ki jai

ta di ya na dheem..
de re ta na de re nom
ta di ya na dheem..
de re ta na de re nom
ta di ya na dheem…

raghuvar teri raah nihaarein
raghuvar teri raah nihaarein
saaton janam se siya..aa..aa
ghar more pardesiya
aao padhaaro piya
ghar more pardesiya
aao padhaaro piya

ta di ya na ta de re na dum
ta di ya na ta de re na dheem
ta di ya na ta de re na dheem
ta da re na de dheem ta da ni

maine sudh-budh chain ganvaa ke
maine sudh-budh chain ganvaa ke
ram ratan paa liya
ghar more pardesiya
aao padhaaro piya
ghar more pardesiya
aao padhaaro piya

dheem ta dheem tanana dere na
dheem ta dheem tanana dere na
dha ni sa ma, sa ga ma dha, ni dha ma ga pa
ga ma pa sa sa, ga ma pa ni ni
ga ma pa ni dha pa ma ga re ga ma dha pa
re ma pa dha ma pa ni ni dha pa ma pa ga ma re sa ni sa re re ma ma pa pa dha dha ma ma
ni ni ni re sa ni dha ni dha pa ma pa dha ni dha pa ma ga re ga re sa ni sa re re ga

na to maiya ki lori
na hi phaagun ki hori
mohe kuch doosra na bhaaye re
jab se naina yeh jaa ke
ik dhanurdhar se laage
tab se birha mohey sataye re
haa..
na to maiya ki lori
na hi phaagun ki hori
mohe kuch doosra na bhaaye re
jab se naina yeh jaa ke
ik dhanurdhar se laage
tab se birha mohey sataaye re
duvidha meri sab jag jaane
duvidha meri sab jag jaane
jaane naa nirmohiya
ghar morey pardesiya
aao padhaaro piya
ghar morey pardesiya
aao padhaaro piya

haa, gayi panghat par bharan
bharan paniyaan deewaani
gayi panghat par bharan
bharan paniyaan…

(sargam)

gayi panghat par bharan
bharan paniyaan deewaani
gayi panghat par bharan
bharan paniyaan…
ho naino ke
naino ke tere baan se

murchhit huyi re hiraniya
jhoom jha na na na na…
jhana na na na na…
bani re bani main teri joganiya
ghar morey pardesiya
aao padhaaro piya
ghar morey pardesiya
aao padhaaro piya.

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

रघुकुल रीत सदा चली आई
प्राण जाये पर वचन ना जाई

जय रघुवंशी अयोध्यापती
राम चंद्र की जय
सिया वर राम चंद्र की जय
जय रघुवंशी अयोध्यापती
राम चंद्र की जय
सिया वर राम चंद्र की जय

ता दी या ना धीम॰॰
दे रे ता ना दे रे नॉम
ता दी या ना धीम॰॰
दे रे ता ना दे रे नॉम
ता दी या ना धीम॰॰

रघुवर तेरी राह निहारे
रघुवर तेरी राह निहारे
सातों जनम से सिया॰॰आ॰॰आ
घर मोरे परदेसिया
आओ पधारो पिया
घर मोरे परदेसिया
आओ पधारो पिया

ता दी या ना ता दे रे ना दम
ता दी या ना ता दे रे ना धीम
ता दी या ना ता दे रे ना धीम
ता दा रे ना दे धीम ता दा नी

मैंने सुध बुध चैन गंवा के
मैंने सुध बुध चैन गंवा के
राम रतन पा लिया
घर मोरे परदेसिया
आओ पधारो पिया
घर मोरे परदेसिया
आओ पधारो पिया

धीम ता धीम तानाना देरे ना
धीम ता धीम तानाना देरे ना
धा नी सा मा
सा गा मा धा
नी धा मा गा पा
गा मा पा सा सा
गा मा पा नी नी
गा मा पा नी धा पा
मा गा रे गा मा धा पा
रे मा पा धा मा पा नी नी धा पा मा पा गा
मा रे सा नी सा रे
मा मा पा पा धा धा मा मा
नी नी नी रे सा नी धा नी धा पा मा पा धा नी
धा पा मा गा रे गा
रे सा नी सा रे रे गा

ना तो मईया की लोरी
ना ही फागुन की होरी
मोहे कुछ दूसरा ना भाये रे
जब से नैना ये जा के
इक धनुर्धर से लागे
तब से बिरह मोहे सताये रे
हा॰॰
ना तो मईया की लोरी
ना ही फागुन की होरी
मोहे कुछ दूसरा ना भाये रे
जब से नैना ये जा के
इक धनुर्धर से लागे
तब से बिरह मोहे सताये रे
दुविधा मेरी सब जग जाने
दुविधा मेरी सब जग जाने
जाने ना निर्मोहिया
घर मोरे परदेसिया
आओ पधारो पिया
घर मोरे परदेसिया
आओ पधारो पिया

हा॰॰
गई पनघट पर भरन
भरन पनियाँ दीवानी
गई पनघट पर भरन
भरन पनियाँ॰॰॰

(सरगम)

गई पनघट पर भरन
भरन पनियाँ दीवानी
गई पनघट पर भरन
भरन पनियाँ॰॰॰
हो नैनों के
नैनों के तेरे बाण से
मूर्छित हुई रे हिरणीया
झूम झा ना ना ना ना॰॰॰
झा ना ना ना ना॰॰॰
बनी रे
बनी मैं तेरी जोगनिया
घर मोरे परदेसिया
आओ पधारो पिया
घर मोरे परदेसिया
आओ पधारो पिया


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

Blog Day : 3904 Post No. : 14958

———————————————–
Blog 10-Year Challenge (2009-19) – Song No. 22
————————————————

This day, ten years ago, the songs that we were listening to are listed below,

 

Dukh Ke Ab Din Beetat Naahin Devdas 1935
Antam Fantam Chhod De Babu Hum Sab Chor Hain 1956
Hai Kali Kali Ke Lab Par Lala Rukh 1958
Jaa Re Beimaan Tujhe Jaan Liyaa Private Secretary 1962
Dil Ki Girah Khol Do Raat Aur Din 1967
Apni Aadat Hai Sabko Salaam Karnaa Pyaar Deewaana 1972

 

Six songs were posted, six films represented. Over the past 10 years, four of these films have completed their run of songs – ‘Devdas’ (1935), ‘Hum Sab Chor Hain’ (1956), ‘Lala Rukh’ (1958) and ‘Raat Aur Din’ (1967).

For the remaining two films, the score card says –

‘Private Secretary’ (1962) – 4 songs posted out of total 7 listed, and
‘Pyaar Deewaana’ (1972) – 2 songs posted out of total 8 listed.

So in preparation for the Ten Year Challenge post for today, as I started to scan the remaining songs of these two films, I had to stop right at the first song that I checked, for I knew it has to be this one today. The song is a stage dance song from the film ‘Private Secretary’. The listing in the Geet Kosh is not fully informative, because the song title listed is actually the lead in verse to the song. The burden of the song comes later, and it was not apparent when I read the song title. But when I played this song – my goodness, I am amazed that a song of this caliber has been lying unnoticed for all these years. That is the reason for the urgency in my mind to post this.

This song was frequently heard on the air waves during the radio listening days, and so it is a very familiar and a favorite song from that time. After the leading verse, as soon as Lata ji starts to croon “O O O Saanwre. . .”, I just sat up straight with surprise – my God, this song, this lovely melody. Not yet posted. Hiding where all these years. And I knew it has to get posted right away.

The film ‘Private Secretary’ is produced under the banner of Radiant Movies, Bombay and is directed by Chander. The cast of actors is listed as Ashok Kumar, Jaishri Gadkar, NA Ansari, Mohan Choti, Poornima, Raja Gosavi, Neelam, Jerry, TN Sinha, Manohar Geer, Raj Kumar, Ravi Khanna, Kashi, CN Kapoor, Athawale, and Umakant. The seven songs listed are all from the pen of Prem Dhawan, and the music is composed by Dilip Dholakia. The singing voice is of Lata Mangeshkar.

The song is performed by Jaishree Gadkar on screen, as a stage performance. In the beginning of the song, we can see Ashok Kumar and Mohan Choti as part of the audience. A wonderful song and an equally wonderful performance – the song merits to be on the list of best dance songs.

Listen to this charming melody. And tell me. Did you have the same reaction as I did?

Song – O Saanwre, Aa Ja Pyaar Liyei  (Private Secretary) (1962) Singer – Lata Mangeshkar, Lyrics – Prem Dhawan, MD – Dilip Dholakia

Lyrics

pee ke daras ko tarse akhiyaan
bin saawan ke barse akhiyaan

kit gaye rasiya
o mann basiya
kaa se mann ki
boloon re batiyaan

aaaaa aaaaaa aaaaa aaaaaa
aaaaaaaa aaaaaa aaaaaa aaaaa
aaaa aaa aaa aaa aa
aaaa aaa aaa aaa aa
aaaa aaa aaa aaa aa
o saanware
aa jaa pyaar liye
gaati bahaar liye
ke tere bina morey naina huvey
baaware
o saanware
aa jaa pyaar liye
gaati bahaar liye
ke tere bina morey naina huvey
baaware
o saanware

jab se suratiya aankhon mein samaai
hum ko to laage saari duniya paraai
jab se suratiya aankhon mein samaai
jab se suratiya aankhon mein samaai
hum ko to laage saari duniya paraai
milne ki pyaas liye
ek yahi aas liye
baithi rahoon main subah shaam re
ooo ooo ooo
o saanware
aa jaa pyaar liye
gaati bahaar liye
ke tere bina morey naina huvey
baaware
o saanware

dil ko bichhaaya hai
raahon mein tumhaari
jaane kab kismet jaagegi hamaari
dil ko bichhaaya hai
dil ko bichhaaya hai
raahon mein tumhaari
jaane kab kismet jaagegi hamaari
din jaaye raat aaye
dil se na aag jaaye
saanson mein goonje tera naam re
oo oo
o saanware
aa jaa pyaar liye
gaati bahaar liye
ke tere bina morey naina huvey
baaware
oo oo saanware

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

पी के दरस को तरस गई अखियाँ
बिन सावन के बरसे अखियाँ

कित गए रसिया
ओ मन बसिया
का से मन की
बोलूँ रे बतियाँ

आssss आsssss आssss आsssss
आsssssss आsssss आsssss आssssssss
आsss आss आss आs
आsss आss आss आs
आsss आss आss आs
ओ ओ सांवरे
आ जा प्यार लिए
गाती बहार लिए
के तेरे बिना मोरे नैना हुवे
बावरे
ओ सांवरे
आ जा प्यार लिए
गाती बहार लिए
के तेरे बिना मोरे नैना हुवे
बावरे
ओ सांवरे

जबसे सुरतिया आँखों में समाई
हमको तो लागे सारी दुनिया पराई
जबसे सुरतिया आँखों में समाई
जबसे सुरतिया आँखों में समाई
हमको तो लागे सारी दुनिया पराई
मिलने की प्यास लिए
एक यही आस लिए
बैठी रहूँ मैं सुबह शाम रे
ओ ओ ओ
ओ सांवरे
आ जा प्यार लिए
गाती बहार लिए
के तेरे बिना मोरे नैना हुवे
बावरे
ओ सांवरे

दिल को बिछाया है
राहों में तुम्हारी
जाने कब किस्मत जागेगी हमारी
दिल को बिछाया है
दिल को बिछाया है
राहों में तुम्हारी
जाने कब किस्मत जागेगी हमारी
दिन जाये रात आए
दिल से ना आग जाये
साँसों में गूँजे तेरा नाम रे
ओ ओ
ओ सांवरे
आ जा प्यार लिए
गाती बहार लिए
के तेरे बिना मोरे नैना हुवे
बावरे
ओ ओ ओ सांवरे


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

Blog Day :

3898 Post No. : 14948 Movie Count :

4084

Missing Films of 1960s – 98
– – – – – – – – – – – – – – –

It is such a delight to ferret out unheard songs from obscure and unfamiliar films. So many times, I come across the film names and then move on because it is unfamiliar. So many times I pause at a film folder in my collection, thinking whether I have opened it before. But then usually, other pressing matters take precedence and I say ‘oh well’, and move on.

But there are other times, when I have to get inside the folder and check out the contents. Like today’s song. A film like ‘Kaurav Pandav’ from a year like 1970 – never read anything about the film, never heard its music before, not sure what I will find in there, given the names of artists. But you know what, over the years, experience has taught me that the contents of such folders almost always never fail to surprise – with one or more forgotten gems that are almost lost under the sand dunes of time.

What does one say for the song like this post? Remarkable, unheard gem, lovely melodious, rare of the rare, never heard of the film – are some comments I get from friends after they hear my upload on YouTube. What a superlative find this song is. Suman Kalyanpur at her subdued best, meaningful and wonderful lyrics from Anjaan, and a melody that is such a lovely reminiscent throwback on the golden era of melody – from another obscure artist of that era – Suresh Kumar. All the attributes come together to bring out such a lovely song – the type that you won’t even get to hear on Radio Ceylon (now SLBC).

This film also has an alternate title – ‘Sampoorn Mahabharat’. The film is produced under the banner of Firdaus Films, Bombay and is directed by S Dosani. The star cast includes Arvind Pandya, Sadhana Khote, Meenakshi, Shyam Irani, Shetty, Shri Bhagwan, Anjum, Fazal Khan, Jilani, Radheshyam, Dinesh Kumar, Pintu, Jagdish Kanwal, Prem Sagar, Amrit Rana, Prakash, RP Kapoor, Champaklala, V Prem, Narbada Shankar, Bihari Singh, Shri And Shrimati Kapoor, Savita, Krishna Duggal, and Vasundhara.

Geet Kosh lists 6 songs for this film, four written by Anjaan and two by Yogesh. This song is from the pen of Anjaan. Music is by Suresh Kumar, a lesser known music director from 1950s and 60s; he also created music as one partner in the duo of Suresh-Talwar.

What else to say – just listen to the song. And the wonder is that this, and many more like this, are still unheard, still hidden, and many may even be lost already. But of course, small mercies to be grateful for, that we find what we can. And we listen and enjoy.

Brief note about the homework assignment from Khyati Ben.  We are now shortly coming to the end of this series – a handful of traceable films remain. We should get the century milestone with this series in a few days. Then we will be able to claim that all possible films of 1960s which can be traced wherever, are now represented here. I will give the specific numbers when I close this series.

So how about someone doing a similar exercise for the 1950s. If someone takes up the task to list out all the pending films of 1950s, I promise that I will go after to locate and trace and bring them up here on our blog. Request is to all members of bandwagon – one enthusiastic volunteer needed. 🙂

 

Song – Pardesi Piya Se Kiya Pyaar  (Kaurav Pandav) (1970) Singer – Suman Kalyanpur, Lyrics – Anjaan, MD – Suresh Kumar

Lyrics

moti chugne gayi re hansini
maansarovar teer
pankh pankh par raajhans ne
likh di preet ki peer

aaaaaaaaa aaaaaaaa
aaaaaaaaaaaaa aaaa

pardesi piya..aa..aa

pardesi piya se kiya pyaar
akele mora jiya na lagey
akele mora jiya na lagey
jaane chhalia darad na hamaar
jaane chhalia darad na hamaar
akele mora jiya na lagey
akele mora jiya na lagey
pardesi piya se kiya pyaar. . .

akhion se bichhda
akhion ka kajra
rootha kalaion se albela gajra
akhion se bichhda
akhion ka kajra
rootha kalaion se albela gajra
ud gai nindiya
bujh gai bindiya
tujh bin o rasia
mora murjhaaye solaa singaar
mora murjhaaye solaa singaar
akele mora jiya na lagey
akele mora jiya na lagey
pardesi piya se kiya pyaar. . .

kuchh to bata ja
bairi sanwariya
kaise kategi akeli umariya
kuchh to bata ja
bairi sanwariya
kaise kategi akeli umariya
chaand jalaaye raat rulaaye
chain naa aaye piya
soona laage re sansaar
soona laage re sansaar
akele mora jiya na lagey
akele mora jiya na lagey
pardesi piya se kiya pyaar. . .

———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
मोती चुगने गई रे हंसिनी
मानसरोवर तीर
पंख पंख पर राजहंस ने
लिख दी प्रीत की पीर

आssssssss आssssss
आssssssssssss आsss

परदेसी पिया॰॰आ॰॰आ

परदेसी पिया से किया प्यार
अकेले मोरा जिया ना लागे
अकेले मोरा जिया ना लागे
जाने छलिया दरद ना हमार
जाने छलिया दरद ना हमार
अकेले मोरा जिया ना लागे
अकेले मोरा जिया ना लागे
परदेसी पिया से किया प्यार॰ ॰ ॰

अखिओं से बिछड़ा
अखिओं का कजरा
रूठा कलईओं से अलबेला गजरा
अखिओं से बिछड़ा
अखिओं का कजरा
रूठा कलईओं से अलबेला गजरा
उड़ गई नींदिया
बुझ गई बिंदिया
तुझ बिन ओ रसिया
मोरा मुरझाए सोला सिंगार
मोरा मुरझाए सोला सिंगार
अकेले मोरा जिया ना लागे
अकेले मोरा जिया ना लागे
परदेसी पिया से किया प्यार॰ ॰ ॰

कुछ तो बता जा
बैरी साँवरिया
कैसे कटेगी अकेली उमरिया
कुछ तो बता जा
बैरी साँवरिया
कैसे कटेगी अकेली उमरिया
चाँद जलाए रात रुलाये
चैन ना आए पिया
सूना लागे रे संसार
सूना लागे रे संसार
अकेले मोरा जिया ना लागे
अकेले मोरा जिया ना लागे
परदेसी पिया से किया प्यार॰ ॰ ॰


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 : 3727 Post No. : 14668

ये किसने गीत छेड़ा॰ ॰ ॰

There is always a freshness – a freshness as fresh as the cool early morning breeze. Pick up any film, and you will find this freshness wash all over you, as the music and the songs of that film play. Be it “Nadiya Kinaare Heraaye Aayi Kangna”, or “Naina Diwaane, Ik Nahin Maanen”, or “Thandi Hawaayen, Lehra Ke Aayen”, or “Ye Raat Ye Chandani Phir Kahaan”, or “Phaili Huyin Hain Sapnon Ki Baahen”, or “O Nigaahen Mastaana”, or “Mehfil Mein Aaye Wo Aaj Dheere Se”, or “Khoya Khoya Chaand”, or “Dil Ka Bhanwar Kare Pukaar”, or “Haule-Haule Jiya Dole”, or “O Mere Bairaagi Bhanwra”, or “Megha Chhaaye Aadhi Raat”, or “Sun Ree Pawan, Pawan Purvaiya”, or “Sandhyaa Jo Aaye Mann Ud Jaaye”. . . the list seems to be endless.

Other authors have written about this; this and the daily routine of his morning walk – creating the rhythm with snapping of his fingers, and humming the melody softly in his breaths. That is where most of his masterpieces have come from – plucked out of the cool and fresh morning breeze during his morning walks. One can almost feel as if he saw the peacock when he contemplated on “Mann Mor Hua Matwaala. . .”. And one can feel the whiff of cold breeze in “Thandi Hawa Ka Shor Hai. . .” as the stanza lines of “Chupke Se Miley Pyaase Pyaase. . .”. Maybe it was an encounter with a dreamy eyed young lady that brought to life “Yaad Aa Gayin Wo Nasheeli Nigaahen. . .”. Or that the “Khoya Khoya Chaand. . .” melody came about on a day when the moon was still visible in the early morning gray skies. Conjectures all, but surely, the music came with the early morning breeze.

One also wonders where the eternity of melancholy came to him – “Pyaar Ne Kitne Sapne Dekhe. . .”, “Dukhi Mann Mere. . .”, “Bharam Teri Wafaaon Ka. . .”, “Badi Sooni Sooni Hai. . .”, “Jaane Wo Kaise Log The. . .”, “Jaayen To Jaayen Kahaan. . .”, “Saathi Na Koi Manzil. . .”, “1 . .”, “Tum Mujhse Door Chale Jaana Na. . .” – and many more. Maybe so, that these compositions simply cannot be believed to exist outside of Sachin Da’s regime.

Celebrating the anniversary of his birth today (1st October), I present this completely forgotten and unknown piece of music that is a very short song that plays when the credits of the film ‘Tere Mere Sapne’ (1971) are rolling on the screen. Practically all the songs that Sachin Da has sung for the screen, have all been accounted for on our blog. But not this one.

The unmistakable folk flavor, that is Sachin Da’s favourite genre, is present predominantly in this music piece. As the prelude of this music plays on, one is struck by how the maestro has melded the music with the sounds of machinery and the hammering sound of the miner’s picks and axes. Really remarkable.

ये किसने गीत छेड़ा
दिल मेरा नाचे थिरक थिरक॰ ॰ ॰

ये किसने गीत छेड़ा

 

Song – Phulwa Mangaao Zara Angna Sajaao Gori (Tere Mere Sapne) (1971) Singer – SD Burman, Lyrics – Neeraj, MD – SD  Burman

Lyrics

hey ey..ey..ey
phulwa mangaao zara angna sajaao gori
bichhde balam ghar aayenge

ye ey..ey..ey
jiyaha ye doley jaise neem ki hi pori
bichhde balam ghar aayenge
bichhde balam ghar aayenge

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

हे ए॰॰ए॰॰ए
फुलवा मंगाओ ज़रा अंगना सजाओ गोरी
बिछड़े बलम घर आएंगे

ये ए॰॰ए॰॰ए
जियाहा ये डोले जैसे नीम की ही पोरी
बिछड़े बलम घर आएंगे
बिछड़े बलम घर आएंगे


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

Blog Day : 3623 Post No. : 14440

Today’s song is from the film ‘Maata’ aka ‘The Mother’ (1942). Not many people know about this film. Made by Kirti films, it was a social film, directed by Dada Gunjal. Music was composed by Vasant Kumar Naidu, for the lyrics by DN Madhok. The cast of the film was Shobhana Samarth, Chandrakant, Mubarak, A. Himalaywala, Urmila Devi, Bhudo Advani, Moti, Bibi Bai, Munshi Khanjar, Suraiya Begum etc.

Chandrakant is a name which appears for a very few films as an actor. In fact, he acted in only 2 films. The other film was ‘Maharathi Karna’ (1944) (he had a small role). Chandrakant Gaur was born in UP in 1929. He was an educated person and knew many languages like Marathi, Gujarati and Punjabi, in addition to Hindi and English. He was a quick learner and a good writer. He came to Bombay to become a director. Instead of that he started as an actor in ‘Maata’.

During the shooting of ‘Maharathi Karna’, Bhalji Pendharkar spotted this young man’s talents and took him to Kolhapur as his assistant. Chandrakant, being a fast learner, became adept at direction. He came back to Bombay and hurriedly directed his first film – ‘Riding Hero’ (1951), a stunt film made by Laxmi Productions of Chimanlal Trivedi. After this, he directed 29 Hindi films, mostly B grade, stunt/action films only.

He also directed a Hit Punjabi film ‘Bhagat Dhanna Jaat’ (1974). According to indiancine.ma, this film is said to have revived Punjabi film industry. He did some Gujarati mythologicals and Marathi films too. Together his tally goes to 45 films. In between he became famous for writing stories of films like ‘Patita’ (1953), ‘Seema’ (1955), ‘Dekh Kabira Roya’ (1957), ‘Kathputali’ (1957), ‘Anita’ (1967) and ‘Mahasati Savitri’ (1973).

From the cast listing, another interesting name is that of A Himalaywala. His name was Mohd Afzaluddin. He was born in March 1916, at Dehradun. After school education he joined his brother, Mohd Misaluddin’s firm – The Himalaya Drug Company, a leading Pharma company of repute (even today). He worked there for 10 years and after a dispute with his brother, left the company. He came to Bombay to join films.

First he had thought of starting a company, but looking at the situation, he decided to do acting only. His first film was ‘Kiski Biwi’ (1942), directed by MA Mirza. His name was changed from Afzal to A Himalaywala (since he came from the Himalayan town of Dehradun, like Kashmiri from Kashmir), by Shaukat Hussain, husband of Noorjehan. However in many films he was credited as Afzal only. He worked in few films like, ‘Vishwaas’ (1943), ‘Ankh Ki Sharm’ (1943), ‘Dost’ (1944), ‘Kismatwaala’ (1944), ‘Zeenat’ (1945), ‘Humayun’ (1945), ‘Nal Damayanti’ (1945), ‘Jagbeeti’ (1946), ‘Samrat Ashok’ (1947) and ‘Elaan’ (1947).

He was an outspoken and straightforward person, fond of hunting, football and travelling by car. He toured all of India twice in his car. In 1943, he married actress singer Amirbai Karnataki. After marriage he banned her from acting in films. Within 2-3 years, on this and other issues, they could not get along. He used to hit her and take all her money. At last, it was rumoured that he gave her talaaq after taking 2 lakh rupees and her car. Even after this he was stalking her. She stayed with her elder sister Ahilya Bai. Then one day, she was kidnapped by Himalaywala, from the recording room. She was kept locked in a room and beaten daily. She somehow managed to inform this to her sister.

Ahilyabai then got in touch with her acquaintance Mr Rasiklal Vyas and his brother Chhailabhai Vyas – one of the best criminal lawyers of Bombay. With their political and social connections, they forced the police to register an FIR, which was refused due to Himalaywala’s bribe. Meanwhile Himalaywala was alerted by his cronies. Within few hours Amirbai was escorted back to her sister’s place, by Himalaywala. All this episode is described in full details in the book ‘Aap Ki Parchhaiyaan’, by Rajnikumar Pandya ji. Amirbai later married Gujarati Journalist Badri Kaanchwala.

After partition, Himalaywala migrated to Pakistan. There the lady luck smiled on him and he did very well. He became successful as an actor and was famous also. His role of Akbar in film ‘Anarkali’ (1957) was particularly appreciated very much. Mohd Afzuluddin Himalaywala died in 1984 in Lahore.

The director of this film was V.M. aka Dada Gunjal, who started his career by directing his first film, ‘Bhakt Ke Bhagwan’ (1934). He went on to direct 38 films in Hindi and Marathi. His last film was ‘Ek Armaan Mera’ (1959). Dada Gunjal was born in Bombay on 25-1-1904 and died also at Bombay on 6-11-1968.

The music director for this film was a less known composer, Vasant Kumar Naidu. He was  born in 1915. His family had settled in Burma like thousands of other South Indian families.  When Burma was struggling for independence, in the 1930s, most Indians left Burma and came to India. Many went to Calcutta and many went to South India. Many families walked for around 6 months from Burma to India.  Vasant Kumar’s family was one among them.  They walked from Rangoon to Madras.  The family settled in Madras for some years.

Vasant Kumar Naidu had come alone to Bombay earlier in search of a career in music. He was an instrumentalist and could play any string instruments and also harmonium. He was also very much interested in reading different languages. There were many books that he read. He was also very keen in dressing up and had several suits in those days. He joined the film industry and started getting established as a music director.  He then called his mother and other siblings to live with him in Bombay along with his eldest brother’s widow and her son. He had 4 brothers. His eldest brother expired in Madras itself. Vasant Kumar was the second eldest. He had two younger brothers as well.  They all lived on Peddar Road. He left his Peddar Road flat and moved to Parel. He lived in Parel until his death on 16-10-1951.

Vasant Kumar got married in Madras. This marriage was a proposed marriage arranged by his mother. Eventually his other brothers also got married. All three brothers and their wives stayed under the same roof in Parel in a joint family which was headed and supported monetarily by Vasant Kumar.  His younger brother Pandurang Naidu was also picking up in music career. He became a musician (he played banjo and mandolin). Vasant Kumar taught several string instruments to him. His youngest brother, Sreenivasan Naidu, in the later part of his life became music composer for Indian Railway Music Academy (Central Railway Cultural Academy).

Vasant Kumar is survived by his only daughter, Pramila Naidu, who is a widow now. She lives in Pune with her grown up children. Pramila Naidu was around 5 years old when her father expired.  She has a vague memory of her father. It’s sad to see her struggling now financially. She still gives tuition at the age of 70 to make her living. She lawfully owns all these 3 flats in Parel, Mumbai but the 3rd generation of the family has occupied these flats and are not willing to vacate the property. This property is now worth in crores. The cousins of Pramila Naidu got together and filed a law suit against these 3rd generation greedy family members. The law suit is going on now for the past 3 years.

Vasant Kumar started his career in 1939 by giving music to film ‘Thunder’ (1939) and ‘Pakke Badmash’ (1939). Till 1947, he gave music to 22 films, as per the HFGK entries. He composed 160 songs in these 22 films. He is variously mentioned as Vasant, Vasant Kumar and VK Naidu, in addition to his name Vasant Kumar Naidu. He sang 1 song, a duet with Khan Mastana for film ‘Mere Sajan’ (1941).

His filmography is,

  • Thunder (1939)
  • Pukke Badmash (1939)
  • Rangeela Jawan (1940)
  • Jung-e-Azadi (1940)
  • Desh Bhakta (1940)
  • Suhana Geet (1941)
  • Meri Khwaish (1941)
  • Mere Saajan (1941)
  • Lehri Jawan (1941)
  • Lalaji (1942),
  • Call of youth (1942)
  • Mata (1942)
  • Watan ki Pukar (1943)
  • Nai zindgi (1943)
  • Mohabbat ki jeet (1943)
  • Daawat (1943)
  • Circus Girl (1943)
  • Bhagta Bhoot (1943)
  • Beda Paar (1944)
  • Shahi Khazana (1946)
  • Chamkati Bijli (1946)
  • Toote Di (1947)

Unfortunately, Vasant Kumar got mostly B and C stunt and action films for composing the music. Big banners like National Studios gave him an opportunity with film ‘Lalaji’ (1942), in which Naidu got many songs sung by Anil Biswas, Kusum Mantri, and Vatsala Kumthekar. However such films came to him only as an exception, therefore his exposure to audience was limited and his name did not gain any fame. Actually, many big, well known and popular singers sang for Naidu.

However, without a mentor, Godfather or the support of a big banner, it became impossible for Vasant Kumar to grow further. During the transition period of 1947-48, when many composers migrated to Pakistan, the existing big composers made their positions solid. Thus smaller composers never got any opportunity to benefit from the void created by the exit of composers. This was the case of many small time composers like Vasant Kumar.

The film ‘Maata’ has 7 songs. I have heard 6 of them and feel, he could have done better than this. The selected song is a better one from the lot. The singer’s name is not available.The film makes its debut on the blog.

[Author’s Note: Credits- indiancine.ma, A.I. Film Directory (1946), Aap Ki Parchhaiyaan, Muvyz, HFGK, Shishir Krishna Sharma’s and my notes.]


Song – Mann Ka Mor Mera Kisey Bakhaane (Maata) (1942) Singer – [Unknown], Lyrics – DN Madhok, Music – Vasant Kumar Naidu

Lyrics (Provided by Sudhir)

mann ka mor mera
mann ka mor mera
kisey bakhaane
tum bin aur kaun jaane
mann ka mor mera
mann ka mor mera
kisey bakhaane
tum bin aur kaun jaane

chhod kari
ghar ko aa ja re
saawan ki ritu aayi
jhir jhir baadal
barsan laage
birhan de duhaai
aa tu kisi bahaane
aa tu kisi bahaane
tum bin aur kaun jaane
mann ka mor mera
mann ka mor mera
kisey bakhaane
tum bin aur kaun jaane
mann ka mor mera
mann ka mor mera
kisey bakhaane
tum bin aur kaun jaane

sab ke saajan
ab ghar aaye
baaki ek nigodi
un ka bhala kabhi na hove
preet laga jin todi
jiya laag la
jiya laag la
kisi thikaane
jiya laag la
kisi thikaane
tum bin aur kaun jaane
mann ka mor mera
mann ka mor mera
kisey bakhaane
tum bin aur kaun jaane
mann ka mor mera
mann ka mor mera
kisey bakhaane
tum bin aur kaun jaane

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

मन का मोर मेरा
मन का मोर मेरा
किसे बखाने
तुम बिन और कौन जाने
मन का मोर मेरा
मन का मोर मेरा
किसे बखाने
तुम बिन और कौन जाने

छोड़ करि
घर को आजा रे
सावन की ऋतु आई
झिर झिर बादल
बरसन लागे
बिरहन दे दुहाई
आ तू किसी बहाने
आ तू किसी बहाने
तुम बिन और कौन जाने
मन का मोर मेरा
मन का मोर मेरा
किसे बखाने
तुम बिन और कौन जाने
मन का मोर मेरा
मन का मोर मेरा
किसे बखाने
तुम बिन और कौन जाने

सब के साजन
अब घर आए
बाकी एक निगोड़ी
उन का भला कभी ना होवे
प्रीत लगा जिन तोड़ी
जिया लाग ला
जिया लाग ला
किसी ठिकाने
जिया लाग ला
किसी ठिकाने
तुम बिन और कौन जाने
मन का मोर मेरा
मन का मोर मेरा
किसे बखाने
तुम बिन और कौन जाने
मन का मोर मेरा
मन का मोर मेरा
किसे बखाने
तुम बिन और कौन जाने


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 : 3616 Post No. : 14416

Missing Films of 1960s – 74
– – – – – – – – – – – – – – –

In 1940, a film by the name ‘Thief Of Tatar’ was released. Then in 1955 came another film titled ‘Tatar Ka Chor’. And after another 13 years, in 1968, came the film ‘Tatar Ki Haseena’. Just like the ‘Alibaba’ of Arbian Nights and the ‘Thief Of Baghdad’, the Tatar subject also seemed to hold a special interest for Hindi film makers for some time.

The name Tatar applies to an ethnic community of people, originating from the mountains of Mongolia. Originally, these people formed nomadic tribes that moved westward from the Mongol region and over the centuries, spread out all the way to Central Asia and Eastern Europe. The name Tatar first appeared in the 5th century AD. Tatars are essentially different from Mongols; however historically, they have moved together across the Asian continent. The Tatar tribes accompanied Genghis Khan on his conquest of the central and south Asian territories. They mingled with the tribes of the Central Asia and the Turkish people. For a period of history they formed kingdoms and empires in the regions that are now known as the Central Asian republics. In fact, there continues to be a Republic of Tatarstan as part of the current Russian Federation. Currently, about 6.5 million people spreading from Mongolia, China and Siberia in the east, all the way to Poland and Slovakia in the west, claim Tatar roots and ethnicity.

Just like Genghis Khan, Taimur and Halaku (grandson of Genghis Khan) – the Mongol kings and warriors who became legends that have fascinated the historians and the literati, the stories of the Tatar tribes have held the same romanticism and their legends, tales and histories abound in the Central Asia. And thus, the interest of Hindi film makers and the production of films listed above.

Today, I introduce the 1968 film ‘Tatar Ki Haseena’ on our blog. The film is a costume drama produced under the banner of Daluat Productions and is directed by Aslam Allahbaadi. The cast of actors is listed as Nalini Chonkar, Shah Agha, Sherry, Murad, Preetam, Radhika, Heera Sawant, Jeevankala, Madhumati, Kumud Tripathi, Sadiq, Maqbool, Prince Arjun, Babu Rajpal, Siddi Baba, Anil, Vijay, Meena, Sarosh, Kiran, Raju, and Santosh etc.

The Geet Kosh lists 6 songs for this film, five of which are written by Aslam Allahbaadi and one by M Yusuf. Music direction is by S Kishan. It seems that this probably is the solitary film that Aslam Allahbaadi wrote for. Another name, simply as Aslam appears in the Geet Kosh listings but whether it is the same as the lyricist of this film, is not known definitely. S Kishan as a music director is known to the readers of this blog. He has about a dozen films to his credit in the 1960s and 70s, including four which remained unreleased. Four of his films are already represented on our blog.

Today’s selection from this film is rendered by Suman Kalyanpur. The music is a reminder of the Middle Eastern melodies. The song is an assertion of love. The protagonist, a lady, is addressing her lover, telling about the feelings of her heart – that she would readily give up her life even for him, that she is restrained and helpless and is seeking solace in his benefaction.

Only the audio of this song is available. I request other readers and friends who may have seen this film in its time, to kindly add more information about this film and this song.

‘Tatar Ki Haseena’ makes a debut on our blog today, with this song. Listen to this poignant rendition, and enjoy.

Song – Ho Gayi Tum Se Mohabbat Jaan Bhi Qurbaan Hai  (Tataar Ki Haseena) (1968) Singer – Suman Kalyanpur, Lyrics – Aslam Allahbaadi, MD – S Kishan
Suman Kalyanpur + Chorus
Chorus

Lyrics

ho gayi tum se mohabbat jaan bhi qurbaan hai
tu mera mehboob hai
tu hi mera imaan hai
ho gayi tum se mohabbat jaan bhi qurbaan hai
jaan bhi qurbaan hai

dil ke haathon aaj main majboor hoon
paas reh kar bhi main tujh se door hoon
dil ke haathon aaj main majboor hoon
aaa aaa aaaa aaa
paas reh kar bhi main tujh se door hoon
aaa aaa aaaa aaa
ishq mein mar mar ke jeena aashiqon ki shaan hai
tu mera mehboob hai
tu hi mera imaan hai
ho gayi tum se mohabbat jaan bhi qurbaan hai
jaan bhi qurbaan hai

aap ki nazr e inaayat mujh pe gar ho jaayegi
zindagi araam se meri basar ho jaayegi
aap ki nazr e inaayat mujh pe gar ho jaayegi
zindagi araam se meri basar ho jaayegi
dil mein mere bas yahi ik aakhiri armaan hai
ho gayi tum se mohabbat jaan bhi qurbaan hai
jaan bhi qurbaan hai

dil dhadakta hai mera bas aap ke aa jaane se
dil dhadakta hai mera
shamma bhi jal jaati hai parwaane ke jal jaane se
shamma bhi jal jaati hai
dil dhadakta hai mera bas aap ke aa jaane se
shamma bhi jal jaati hai parwaane ke jal jaane se
bewafaa tujh par nichhaawar aaj meri jaan hai
tu mera mehboob hai
tu hi mera imaan hai
ho gayi tum se mohabbat jaan bhi qurbaan hai

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हो गई तुमसे मोहब्बत जान भी क़ुरबान है
तू मेरा महबूब है
तू ही मेरा ईमान है
हो गई तुमसे मोहब्बत जान भी क़ुरबान है
जान भी क़ुरबान है

दिल के हाथों आज मैं मजबूर हूँ
पास रह कर भी मैं तुझसे दूर हूँ
दिल के हाथों आज मैं मजबूर हूँ
आ आ आ आ
पास रह कर भी मैं तुझसे दूर हूँ
आ आ आ आ
इश्क़ में मर मर के जीना आशिक़ों की शान है
तू मेरा महबूब है
तू ही मेरा ईमान है
हो गई तुमसे मोहब्बत जान भी क़ुरबान है
जान भी क़ुरबान है

आप की नज़र ए इनायत मुझ पे अगर हो जाएगी
ज़िंदगी आराम से मेरी बसर हो जाएगी
आप की नज़र ए इनायत मुझ पे अगर हो जाएगी
ज़िंदगी आराम से मेरी बसर हो जाएगी
दिल में मेरे बस यही इक आखिरी अरमान है
हो गई तुमसे मोहब्बत जान भी क़ुरबान है
जान भी क़ुरबान है

दिल धड़कता है मेरा बस आप के आ जाने से
दिल धड़कता है मेरा
शम्मा भी जल जाती है परवाने के जल जाने से
शम्मा भी जल जाती है
दिल धड़कता है मेरा बस आप के आ जाने से
शम्मा भी जल जाती है परवाने के जल जाने से
बेवफा तुझ पर निछावर आज मेरी जान है
तू मेरा महबूब है
तू ही मेरा ईमान है
हो गई तुमसे मोहब्बत जान भी क़ुरबान है


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 : 3504 Post No. : 14076

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

There were nine songs in it.

Here is the first song from “Rupaya” (1950) to appear in the blog. HFGK is silent about the singer of this song. Listening to the song leaves no doubt in anyone’s mind that the song is sung by Geeta Dutt.

Indeewar in the lyricist. Music is composed by P Ramakant.

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

Wit this rare song, “Rupaya” (1950) makes its debut in the blog.


Song-Tiki huyi thhin jinpe nazren (Rupaya)(1950) Singer-Geeta Dutt, Lyrics-Indeewar, MD-P Ramakant

Lyrics

tiki huyi thhin jin par nazren aen
tiki huyi thhin jin par nazren
doob gaye wo taare ae ae
aaye na meet hamaare
ho o o
aaye na meet hamaare
tiki huyi thhin jin par nazren
doob gaye wo taare ae ae
aaye na meet hamaare
ho o o
aaye na meet hamaare

kaate kat’ti nahin ye raaten
o o o
kaate kat’ti nahin ye raaten
kab tak karoon main din se baaten
paapi duniya peer na jaane
paapi duniya peer na jaane
bigdi kaun sanwaare ae
aaye na meet hamaare
ho o o
aaye na meet hamaare
tiki huyi thhin jin par nazren
doob gaye wo taare ae ae
aaye na meet hamaare
ho o o
aaye na meet hamaare

baaqi ab na rahi ummeeden
o o o o o
baaqi ab na rahi ummeeden
nainon ki ud gayi hai neenden
tum tak ud na saken ye naina
tum tak ud na saken ye naina
palkon ke pankh pasaare
aaye na meet hamaare
ho o o
aaye na meet hamaare
tiki huyi thhin jin par nazren
doob gaye wo taare ae ae
aaye na meet hamaare
ho o o
aaye na meet hamaare


This article is written by Bharat Upadhyay, 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 : 3456 Post No. : 13860

Lata’s Songs NOT YET covered on our Blog – 21
———————————————–

The last post I had posted on our wonderful musical blog was on 11th October 2017 !! After such a looooooooong gap, I am encouraged by what Sadanand Bhai has started and being one of the contributors (though a minor one) I am trying to post one song in this new year in my series ‘Lata’s Songs NOT YET covered on our Blog’.

This reminds me of a funny proverb in Gujarati, ‘Mai Bhi Dich’. In olden days there were community dinners for various castes and there was a dinner hosted for Brahmins. All will sit on cleaned ground in rows and the host will come to each with salt in the hand and ask for the sub-caste of Brahmins. The town had maximum Audichya Brahmins, so the major response from the row will be ‘AauDICH’, which sounded ‘Dich’ ‘Dich’ on the whole. One Miyabhai was tempted to taste the wonderful smelling food, also set down in the row. When the host came to him he said ‘Ma Bhi Dich’ and exposed himself that he was not a Brahmin. (ha ha ha ha )
Read more on this topic…


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for 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

15327

Number of movies covered in the blog

Movies with all their songs covered =1180
Total Number of movies covered =4221

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