Archive for the ‘Wedding song’ Category
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- 14 Comments
This article is written by Avinash Scrapwala, 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
This article is the 4900th guest post overall in the blog and 400th guest post by Avinash Scrapwala in the blog.
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Blog Day : |
4727 | Post No. : | 16443 |
Today 27th June 2021 is the eighty-second birth anniversary (27.06.1939 – 04.01.1994) of music composer Rahul Dev Burman or Pancham Da as we fondly know him.
On this occasion we remember him and celebrate his birth anniversary by listening to songs composed by him. That way we pay our humble tributes to this great genius who ruled Hindi Film Music from the seventies to mid-eighties.
Though more than seven hundred R D Burman songs are already showcased in the blog, I was still confused about the song to be selected for today’s presentation, seeing that many of Pancham’s well known songs are still not yet covered on the blog. Nowadays I am listening to Vividh Bharati daily and I am regularly coming across many of his songs on the radio (not yet covered here). whenever I listen to them, I feel like sharing the lyrics of those songs in the blog. Out of 1755 songs estimated to be composed by him in HFM we have posted only 739 songs on the blog so far. So we have yet to reach the halfway mark as far as R D Burman songs in the blog is concerned.
(I have also noted couple of new topics about the songs composed by R.D. Burman and will try to bring them on the blog in future).
As observed above, we are still a long way off from enjoying the ‘music’ of the great genius Rahul Dev Burman fully in the blog.
A lot has already been written about Pancham Da’s music, his geniuses, his ‘era’ of ‘music’, his ‘rise’ in the Hindi Film Music and the days when he was ‘left alone’ by the people in the Film Industry. Few books have also been published about ‘the man and his music’ i.e., R.D. Burman. There have been many articles on him on our blog itself. So I ill not repeat the same details and I will straightway to today’s song now.
Today we will listen to one of the songs composed by R.D. Burman which is from the movie ‘Chalta Purza-1977’. It was produced and directed by Bhappi Sonie for his home productions. This movie had Rajesh Khanna, Parveen Babi, Rakesh Roshan, Ajit, Ranjeet, Asrani, Purnima, Baby Chintu, Sonia Sahni, Sudhir, Manmohan, V. Gopal, Leena Disuza, Kirti Kumar, Kuljit, Dhoomal, Aparna Chaudhary, Madan Keni, Bramha Bharadwaj, Shyam Kumar, Mumtaz Begam, Lalita Kumari, Manorama, Habib, Keshav Rana, Madhup Sharma, Kamal, Kamaldeep, Dilip Dutt, Jankidas and others. Bindu make a special appearance in this movie, while Murad, Raj Mehra, Komila Virk, Keti Mirza and Dev Kumar make a guest appearance in this movie.
Story and Screenplay of this movie was written by Sachin Bhaumick and dialogues were written by Kader Khan. Editing for this movie was done by M.S. Shinde.
This movie was passed by Censor Board on 16.06.1977, that is almost forty-four years back.
There were four songs in this movie composed by R.D. Burman and written by Anand Bakshi. Asha Bhonsle, Kishore Kumar, Lata Mangeshkar and Sushma Shreshtha gave their voices to the songs in this movie.
Following is the list of songs of this movie-
| S.No. | Song Title | Singer | Posted on the blog on |
|---|---|---|---|
| 01 | Ye raat ne rang jamaaya hai, nayaa khilaadi aaya hai | Asha Bhonsle | |
| 02 | Aa gaye ham dildaar teri gali mein dilbar yaar | Kishore Kumar, Lata Mangeshkar | Being presented today |
| 03 | Baby ghar chalo ghar tum bin hai soona | Kishore Kumar, Sushma Shreshtha | 29.12.2016 |
| 04 | Aapne farz nibhaaya hai … band lifaafe mein jaise paighaam likha hota hai | Kishore Kumar, Lata Mangeshkar | 06.02.2013 |
As mentioned above two songs from this movie ‘Chalta Purza-1977’ have been posted on the blog. (We can also see that we are going in ascending order 😊 in posting of the songs of this movie).
Today’s song is the third song from this movie to be posted on the blog. Today’s song is
sung by Lata Mangeshkar and Kishore Kumar and on the screen Bindu and Rajesh Khanna have lip-synced for the voices of Lata Mangeshkar and Kishore Kumar, respectively. The song seems to be happening in a marriage ceremony in the movie, I guess its marriage ceremony of Rakesh Roshan who can be seen with Rajesh Khanna, Bindu, and many others in the picturization of this song.
I would request knowledgeable readers to throw more light on this movie and its songs.
Let us now enjoy today’s song …
Video
Audio
Song-Arre aa gaye hum dildaar teri gali mein dilbar yaar(Chalta Purza)(1977) Singers-Kishore Kumar, Lata Mangeshkar, Lyrics-Anand Bakshi, MD-R D Burman
Lyrics
Are aa gaye ham dildaar
Teri gali mein
Dilbar yaar
Nakhre chhad ho ja tayyar
Gaadi chhoot jaayegi
Arre aa gaye hum dildaar
Teri gali mein
Dilbar yaar
Nakhre chhad ho ja tayyar
Gaadi chhoot jaayegi
O main nahin jana tere saath
Main nahin jana tere saath re
Main nahin jana tere saath
Leja waapas ye baaraat
Phir mat karna aisi baat
Yaari toot jaayegi
Main nahin jaana tere saath
Leja waapas ye baaraat
Phir mat karna aisi baat
Yaari toot jaayegi
Bade naseebon waali hai tu
Lagi hai hamko pyaari
Bade naseebon waali hai tu
Lagi hai hamko pyaari
Ham chal diye to
Reh jaayegi saari umr kunwaari
Are mere liye bahut hain ladke
Laga hua hai mela
Mere liye bahut hain ladke
Laga hua hai mela
Main na mili to reh jaayega
Saari umr akeyla
Taane mat maar
Jhagdaa mat kar beech bazaar
Nakhre chhad ho ja tayyar
Gaddi chhoot jaayegi
Main nahin jana tere saath
Leja waapas ye baarat
Phir mat karna aisi baat
Yaari toot jaayegi
Gali gali phirte hain tere jaise
Kayi deewaane
Mujhe to shaq hai bhool gaya hai
Rastaa tu anjaane
Mujhe kayi khat likhe toone
Gharwaalon se chori
Mujhe kayi khat likhe toone
Gharwaalon se chori
Chupke se mere haathon mein de de haath o gori
Maang na mera haath main na doon tujhko khairaat
Phir mat karna aisi baat
Yaari toot jaayegi
Are aa gaye hum dildaar
Teri gali mein
Dilbar yaar
Nakhre chhad ho ja tayyar
Gaadi
Are
Chhoot jaayegi ee
____________________________________________________________
Devnagri Script lyrics (Provided by Avinash Scrapwala)
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अरे आ गए हम दिलदार
तेरी गली में
दिलबर यार
नखरे छड हो जा तैयार
गाडी छूट जायेगी
अरे आ गए हम दिलदार
तेरी गली में
दिलबर यार
नखरे छड हो जा तैयार
गाडी छूट जायेगी
ओ मैं नहीं जाना तेरे साथ
मैं नहीं जाना तेरे साथ रे
मैं नहीं जाना तेरे साथ
लेजा वापस ये बारात
फिर मत करना ऐसी बात
यारी टूट जायेगी
मैं नहीं जाना तेरे साथ
लेजा वापस ये बारात
फिर मत करना ऐसी बात
यारी टूट जायेगी
बड़े नसीबों वाली है तू
लगी है हमको प्यारी
बड़े नसीबों वाली है तू
लगी है हमको प्यारी
हम चल दिए तो
रह जायेगी सारी उम्र कुंवारी
अरे मेरे लिए बहुत हैं लड़के
लगा हुआ है मेला
मेरे लिए बहुत हैं लड़के
लगा हुआ है मेला
मैं ना मिली तो रह जाएगा
सारी उम्र अकेला
ताने मत मार
झगडा मत कर बीच बाज़ार
नखरे छड हो जा तय्यार
गाडी छूट जायेगी
मैं नहीं जाना तेरे साथ
लेजा वापस ये बारात
फिर मत करना ऐसी बात
यारी टूट जायेगी
गली गली फिरते हैं तेरे जैसे
कई दीवाने
मुझे तो शक है भूल गया हैं
रास्ता तू अनजाने
मुझे कई ख़त लिखे तूने
घरवालों से चोरी
मुझे कई ख़त लिखे तूने
घरवालों से चोरी
चुपके से मेरे हाथों में दे दे हाथ ओ गोरी
माँग ना मेरे हाथ मैं ना दूं तुझको खैरात
फिर मत करना ऐसी बात
यारी टूट जायेगी
अरे आ गए हम दिलदार
तेरी गली में
दिलबर यार
नखरे छड हो जा तैयार
गाडी
अरे
छूट जायेगी
Banne Re Teri Akhiyaan Surmedaani
Posted on: May 30, 2021
- In: Devnagri script lyrics by Sudhir | Folk song | Guest posts | Lyrics contributed by readers | Post by Sudhir | Song not figuring in HFGK | Song not mentioned in Hindi Film Geet Kosh | Songs of 1960s (1961 to 1970) | Songs of 1969 | Wedding reception song | Wedding song | Yearwise breakup of songs
- 7 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4699 | Post No. : | 16393 | Movie Count : |
4456 |
Missing Films of 1960s – 117
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A surprise discovery if ever there was one. And I have missed it all these years, having see this film long back.
‘Saara Akaash’ from 1969 – it has always been represented and listed as a songless film. This impression is so much ingrained into the system and it never came to mind to consider otherwise. So it was a great surprise to come across this clip from the film on YouTube. And suddenly the memories of this film had to be modified.
‘Sara Aakash’ (‘The Whole Sky’) is a film based on the novel of the same name, written by Rajendra Yadav. This was Yadav’s debut novel. The film marks the debut of Basu Chatterjee as director, and was also the first film of cinematographer KK Mahajan. The film has background score by Salil Chaudhry.
The film is regarded as one of those which pioneered the New Wave cinema in India, along with ‘Uski Roti’ and ‘Bhuvan Shome’ which were also released the same year.
The star cast of the film includes Rakesh Pandey, Madhu Chakravarty, Nandita Thakur, AK Hangal, Dina Pathak, Mani Kaul, Shaily Shailendra, Jalaal Agha, Tarla Mehta, Aarti Boley and Om Prakash Gautam amongst others. Renowned film maker Mani Kaul appeared in this film, in what is considered as his only substantial screen appearance.
Set in the contemporary mid 1960s milieu of a traditional middle class joint family in Agra, the film deals with internal conflicts of a newlywed couple, both of whom find themselves unprepared for domestic life. Agra-based collegian, Samar Thakur (Rakesh Pandey), lives in a joint family consisting of his father (AK Hangal), mother (Dina Pathak), brother Amar (Mani Kaul) and his wife (Tarla Mehta); as well as a married sister, Munni, estranged from her husband. Samar is is prevailed upon by the family to marry Prabha (Madhu Chakravarty), a matriculate, much to his chagrin as this interferes with his future plans. The marriage does take place, and he soon finds that they are incompatible. The matters come to a head and Prabha leaves her matrimonial home to return to her parent’s home. She returns after four months. Family tensions continue, but then also we see a bonding emerge between the two, moving towards a healthy understanding.
KK Mahjan received the 1969 National Award for B&W cinematography, and Basu Chatterji received the Filmfare award for best screenplay.
The discovery of this background song in the film changes the status of this film, and it now becomes the 117th episode in the series on Missing Films of 1960s.
The song itself is a piece of traditional music of North India, and is played at wedding time. The words of this song indicate that the ladies on the girl’s side are singing this song, addressing the groom and tell him things about the members of his family, in a good spirited banter.
There is another version of this traditional song – it has been used in the film ‘Dushmani’ (1995). In this version, the song is presented as a praise for the bride, as she gets ready for the wedding ceremony and is being adorned with fine dress and jewellery. The song is available on YouTube as “Banno Teri Ankhiyaan Surmedaani“. On screen this song is performed by Neena Gupta.
A couple of interesting trivia.
The film ‘Saara Akaash’ was shot in the residential house of Rajendra Yadav. On a visit, when Basu Chatterji saw the house, his response was that this is the perfect setting for the film.
Dina Pathak appears in both films – in ‘Saara Akaash’ as the mother of the protagonist. In ‘Dushmani’ she appears at the grandmother of the bride Manisha Koirala.
With this post we have brought on board the 117th film in this series.
Song – Banne Re Teri Akhiyaan Surmedaani (Saara Akaash) (1969) Singer – [Unattributed], Lyrics – Traditional, MD – Salil Chaudhary
Lyrics
banne re teri ankhiyaan surmedaani
banne re tere baba laakh hajaari
banne re tere baba laakh hajaari
banne tere taau ka ohda bhaari
banne re teri <??> laal gulaabi
banne re teri taai nakhrewaali
banne re teri ankhiyaan surmedaani
banne re teri ankhiyaan surmedaani
banne re tere chaacha laakh hajaari
banne re tere chaacha laakh hajaari
banne re tere phoopha ka ohda bhaari
banne re teri <??> laal gulaabi
banne re teri bua nakhrewaali
banne re tere baba ka ohda bhaari
banne re teri mausi laakh hajaari
…
…
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
बन्ने रे तेरी अँखियाँ सुरमेदानी
बन्ने रे तेरे बाबा लाख हजारी
बन्ने रे तेरे बाबा लाख हजारी
बन्ने रे तेरे ताऊ का ओहदा भारी
बन्ने रे तेरी <??> लाल गुलाबी
बन्ने रे तेरी ताई नखरेवाली
बन्ने रे तेरी अँखियाँ सुरमेदानी
बन्ने रे तेरी अँखियाँ सुरमेदानी
बन्ने रे तेरे चाचा लाख हजारी
बन्ने रे तेरे चाचा लाख हजारी
बन्ने रे तेरे फूफा का ओहदा भारी
बन्ने रे तेरी <??> लाल गुलाबी
बन्ने रे तेरी बुआ नखरेवाली
बन्ने रे तेरे बाबा का ओहदा भारी
बन्ने रे तेरी मौसी लाखों तारे
॰॰॰
॰॰॰
Maiyya mere bhaiyya na aaye re
Posted on: May 3, 2021
- In: bidaai song | Brother Sister song | Lata solo | Lata song | Lyrics by Prakashchandra | Lyrics contributed by readers | Missing the loved ones | Series of articles | Songs of 1970s (1971 to 1980) | Songs of 1978 | Wedding song | Yearwise breakup of songs | Yearwise review of Lata Mangeshkar HF songs
- 2 Comments
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4672 | Post No. : | 16347 | Movie Count : |
4439 |
Yearwise discussion of Lata Mangeshkar songs in HFM: Part XXXII: Year 1978
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In this episode, we discuss Lata Mangeshkar songs that she sang in Hindi movies released in 1978.
In 1978, 115 Hindi movies containing 558 songs were released. Lata Mangeshkar got to sing in 46 of these movies and she sang 90 songs in these movies. So Lata Mangeshkar’s voice was heard in 40 % of the movies released in 1978. Her voice was heard in 16.1 % of the songs appearing in the movies of 1978.
Here are the details of songs sung by Lata Mangeshkar in Hindi movies released in 1978 :-
| S N | Movie | Music director | Lata song in the blog | Lata HFM songs recorded in the year | Lata solo songs | Male duet | Female duet | Other songs | Lyricists |
|---|---|---|---|---|---|---|---|---|---|
| 1 | Aahuti | Laxmikant Pyarelal | 3 | 3 | 1 | 1 | 0 | 1 | Anand Bakshi |
| 2 | Aakhiri Daaku | Kalyanji Anandji | 0 | 2 | 2 | 0 | 0 | 0 | Anjaan |
| 3 | Anjaam | Kalyanji Anandji | 0 | 1 | 1 | 0 | 0 | 0 | Nandi Khanna |
| 4 | Anjaane Mein | Kalyanji Anandji | 0 | 2 | 2 | 0 | 0 | 0 | Gulshan Baawra |
| 5 | Azaad | R D Burman | 1 | 3 | 2 | 1 | 0 | 0 | Anand Bakshi |
| 6 | Badalte Rishtey | Laxmikant Pyarelal | 1 | 1 | 0 | 1 | 0 | 0 | Anjaan |
| 7 | Besharam | Kalyanji Anandji | 1 | 1 | 1 | 0 | 0 | 0 | Yogesh |
| 8 | Bhola Bhaala | R D Burman | 1 | 1 | 0 | 1 | 0 | 0 | Anand Bakshi |
| 9 | Daakoo Aur Jawaan | Laxmikant Pyarelal | 1 | 1 | 0 | 0 | 1 | 0 | Anand Bakshi |
| 10 | Des Pardes | Rajesh Roshan | 2 | 2 | 1 | 1 | 0 | 0 | Amit Khanna |
| 11 | Devtaa | R D Burman | 3 | 3 | 1 | 2 | 0 | 0 | Gulzar |
| 12 | Dil Aur Deewaar | Laxmikant Pyarelal | 2 | 2 | 0 | 1 | 1 | 0 | Anand Bakshi |
| 13 | Dillagi | Rajesh Roshan | 3 | 3 | 2 | 1 | 0 | 0 | Yogesh |
| 14 | Dil Se Mile Dil | Bappi Lahiri | 0 | 1 | 1 | 0 | 0 | 0 | Amit Khanna |
| 15 | Do Musaafir | Kalyanji Anandji | 0 | 1 | 0 | 1 | 0 | 0 | M G Hashmat |
| 16 | Don | Kalyanji Anandji | 1 | 1 | 0 | 1 | 0 | 0 | Anjaan |
| 17 | Do Shikaari | Chitragupta | 0 | 1 | 1 | 0 | 0 | 0 | Jaan Nisaar Akhtar |
| 18 | Ganga Ki Saugandh | Kalyanji Anandji | 2 | 2 | 2 | 0 | 0 | 0 | Anjaan |
| 19 | Ghar | R D Burman | 4 | 4 | 2 | 2 | 0 | 0 | Gulzar |
| 20 | Heeralal Pannalal | R D Burman | 1 | 1 | 0 | 0 | 0 | 1 | Majrooh Sultanpuri |
| 21 | Karmyogi | Kalyanji Anandji | 1 | 1 | 1 | 0 | 0 | 0 | Verma Malik |
| 22 | Kasme Vaade | R D Burman | 0 | 1 | 0 | 1 | 0 | 0 | Gulshan Baawra |
| 23 | Khoon Ki Pukaar | Bappi Lahiri | 1 | 5 | 3 | 2 | 0 | 0 | Gauhar Kanpuri (3) Hasrat Jaipuri (2) |
| 24 | Main Tulsi Tere Aangan Ki | Laxmikant Pyarelal | 2 | 2 | 1 | 0 | 1 | 0 | Anand Bakshi |
| 25 | Mehfil | Shankar Jaikishan | 0 | 1 | 1 | 0 | 0 | 0 | Majrooh Sultanpuri |
| 26 | Mera Rakshak | Ravindra Jain | 1 | 3 | 1 | 2 | 0 | 0 | Ravindra Jain |
| 27 | Muqaddar Ka Sikandar | Kalyanji Anandji | 3 | 3 | 1 | 1 | 0 | 1 | Anjaan (2) Prakash Mehra (1) |
| 28 | Naalaayak | Kalyanji Anandji | 0 | 1 | 1 | 0 | 0 | 0 | Verma Malik |
| 29 | Nasbandi | Kalyanji Anandji | 0 | 1 | 1 | 0 | 0 | 0 | Indeewar |
| 30 | Naukri | R D Burman | 0 | 1 | 1 | 0 | 0 | 0 | Anand Bakshi |
| 31 | Phaandebaaz | R D Burman | 1 | 2 | 0 | 2 | 0 | 0 | Anand Bakshi |
| 32 | Phaansi | Laxmikant Pyarelal | 1 | 1 | 1 | 0 | 0 | 0 | Majrooh Sultanpuri |
| 33 | Phool Khile Hai Gulshan Gulshan | Laxmikant Pyarelal | 1 | 1 | 1 | 0 | 0 | 0 | Rajinder Krishan |
| 34 | Prem Bandhan | Laxmikant Pyarelal | 1 | 2 | 0 | 2 | 0 | 0 | Anand Bakshi |
| 35 | Qaanoon Ka Shikaar | Meena Mangeshkar | 0 | 1 | 1 | 0 | 0 | 0 | Yogesh |
| 36 | Raam Kasam | Sonik Omi | 1 | 1 | 0 | 1 | 0 | 0 | Verma Malik |
| 37 | Saawan Ke Geet | Laxmikant Pyarelal | 0 | 2 | 1 | 1 | 0 | 0 | Majrooh Sultanpuri |
| 38 | Satyam Shivam Sundaram | Laxmikant Pyarelal | 4 | 4 | 4 | 3 | 0 | 1 | Pt Narendra Sharma (4) Anand Bakshi (1) Vithhal Bahi Patel (1) Unknown (1) |
| 39 | Shalimar | R D Burman | 1 | 1 | 1 | 0 | 0 | 0 | Anand Bakshi |
| 40 | Swarg Narak | Rajesh Roshan | 1 | 1 | 1 | 0 | 0 | 0 | Anand Bakshi |
| 41 | Toote Khilaune | Bappi Lahiri | 1 | 1 | 1 | 0 | 0 | 0 | Kaifi Azmi |
| 42 | Trishna | Kalyanji Anandji | 1 | 1 | 1 | 0 | 0 | 0 | Anjaan |
| 43 | Trishul | Khayyam | 6 | 6 | 1 | 4 | 0 | 1 | Sahir Ludhianvi |
| 44 | Tumhaare Liye | Jaidev | 2 | 2 | 2 | 0 | 0 | 0 | Naqsh Llayalpuri |
| 45 | Tumhaari Kasam | Rajesh Roshan | 1 | 2 | 1 | 1 | 0 | 0 | Anand Bakshi |
| 46 | Vishwanath | Rajesh Roshan | 2 | 3 | 2 | 1 | 0 | 0 | Vitthal Bhai Patel (1) M G Hashmat (1) Anjaan (1) |
| Total | 46 movies | 12 MDs | 58 | 90 | 48 | 34 | 3 | 5 | 22 lyricists |
Lata Mangeshkar worked with 12 music directors and 22 lyricists in these 46 movies released in 1978. This year, Laxmikant Pyarelal the most prolific music directors with Lata, had composed 484 songs in HFM with Lata Mangeshkar by the end of 1978. Shankar Jaikishan with 449 songs in the voice of Lata Mangeshkar were in the second position. Kalyanji Anandji with 292 songs and C Ramchandra with 274 songs ere the next most prolific. Other top music directors for Lata Mangeshkar were Chitragupta (239), R D Burman (195), Madan Mohan (193), S D Burman (179), Roshan (144), Naushad (136), Hemant Kumar (127), Anil Biswas (120), Husnlal Bhagatram (108), Vasant Desai (104) and Salil Chaudhary (104). Together these fifteen music directors composed 3148 songs out of 4275 songs that Lata Mangeshkar had sung in Hindi movies till end of 1978. The top nine lyricists till end of 1978 for Lata Mangeshkar were Rajinder Krishan (552),Anand Bakshi (466), Shailendra (361), Majrooh Sultanpuri (353), Hasrat Jaipuri (297), Prem Dhawan (201), Bharat Vyas (191), Shakeel Badayuni (189), and Sahir Ludhianvi (147). These nine lyricists had penned 2724 songs sung by Lata Mangeshkar till that time.
Lata Mangeshkar collaborated with music director Meena Mangeshkar for the first time in movies of this year. Lyricists Nandi Khanna and Prakash Mehra got to collaborate with Lata Mangeshkar for the first time in movies released this year.
Here is the summary of Lata Mangeshkar’s playback career in Hindi movies till end of 1978 :
| Year | Movie count | Lata song in the blog | Lata HFM songs recorded in the year | Lata solo songs | Male duet | Female duet | Other songs | Remarks |
|---|---|---|---|---|---|---|---|---|
| 1946 | 3 movies | 4 | 4 | 4 | 0 | 0 | 0 | |
| 1947 | 3 movies | 5 | 5 | 3 | 1 | 0 | 1 | |
| 1948 | 16 movies | 50 | 50 | 37 | 6 | 4 | 3 | |
| 1949 | 38 movies | 134 | 157 | 103 | 35 | 12 | 7 | |
| 1950 | 36 movies | 114 | 143 | 93 | 32 | 14 | 4 | |
| 1951 | 49 movies | 189 | 223 | 158 | 52 | 10 | 3 | |
| 1952 | 43 movies | 149 | 177 | 138 | 31 | 4 | 4 | |
| 1953 | 45 movies | 170 | 195 | 149 | 35 | 5 | 6 | |
| 1954 | 43 movies | 140 | 172 | 144 | 23 | 4 | 1 | |
| 1955 | 50 movies | 165 | 218 | 177 | 30 | 10 | 1 | |
| 1956 | 49 movies | 168 | 204 | 153 | 35 | 13 | 3 | |
| 1957 | 47 movies | 129 | 160 | 110 | 38 | 7 | 5 | |
| 1958 | 35 movies | 102 | 132 | 95 | 25 | 10 | 1 | |
| 1959 | 58 movies | 188 | 211 | 130 | 68 | 12 | 1 | |
| 1960 | 48 movies | 139 | 166 | 102 | 50 | 12 | 1 | |
| 1961 | 44 movies | 125 | 152 | 88 | 55 | 5 | 4 | |
| 1962 | 40 movies | 118 | 129 | 84 | 40 | 5 | 0 | |
| 1963 | 37 movies | 103 | 111 | 62 | 38 | 8 | 3 | |
| 1964 | 46 movies | 122 | 133 | 91 | 31 | 8 | 3 | |
| 1965 | 42 movies | 83 | 91 | 71 | 17 | 1 | 2 | |
| 1966 | 49 movies | 104 | 133 | 110 | 14 | 8 | 1 | |
| 1967 | 44 movies | 92 | 106 | 67 | 38 | 8 | 3 | |
| 1968 | 33 movies | 83 | 84 | 59 | 19 | 5 | 1 | |
| 1969 | 43 movies | 77 | 97 | 67 | 27 | 2 | 1 | |
| 1970 | 54 movies | 86 | 130 | 84 | 39 | 3 | 4 | |
| 1971 | 52 movies | 105 | 126 | 71 | 52 | 3 | 0 | |
| 1972 | 62 movies | 96 | 151 | 86 | 60 | 3 | 2 | |
| 1973 | 60 movies | 92 | 138 | 94 | 37 | 3 | 4 | |
| 1974 | 55 movies | 69 | 104 | 66 | 33 | 0 | 5 | |
| 1975 | 45 movies | 60 | 90 | 50 | 35 | 3 | 2 | |
| 1976 | 41 movies | 57 | 97 | 53 | 39 | 1 | 4 | |
| 1977 | 50 movies | 44 | 96 | 59 | 27 | 8 | 2 | |
| 1978 | 46 movies | 58 | 90 | 48 | 34 | 3 | 5 | |
| Total upto 1978 | 1406 movies | 3437 | 4275 | 2916 | 1096 | 194 | 87 |
It can be seen from the table of 1978 that Lata Mangeshkar sang 90 songs in 46 movies released in 1978.
58 songs sung by Lata Mangeshkar in movies of 1978 have been covered in the blog. That leaves us with 32 songs from movies of 1978 that are yet to be covered.
All Lata Mangeshkar songs from 25 movies of 1978 are already covered in the blog. So 32 Lata Mangeshkar songs from 21 movies of 1978 are still available to be discussed.
Alphabetically “Aakhiri Daaku”(1978) is the first movie of 1977 that offers us Lata Mangeshkar songs to cover in the blog.
“Aakhiri Daaku”(1978) was produced by Shanti Sagar and directed by Prakash Mehra for Art Makers, Bombay. The movie had Vinod Khanna (in and as Aakhiri Daaku),
Randhir Kapoor, Rekha, Reena Roy, Achla Peters aka Achla Sachdev, Ranjeet, Jai raj, Sujit Kumar, Helen, Ram Mohan, Ram Sethi, Mumtaz Begum, Pankaj, Agha, Birbal, Bhushan Tiwari, Goga Kapoor, Mohan Sherry, Braham Bhardwaj, C.L.Kavish, Viraj, Dham Mota, Master Sajid, V.Gopal, Dulari, Randhir etc in it.
Friendly appearances:Keshto Mukherjee and Paintal ere in friendly appearances and Padmini Kapila had made a guest apearance.in the movie.
The movie had four songs in it. Two of these four songs are sung by Lata Mangeshkar. None of these songs have been covered so far.
Here is a Lata Mangeshkar solo song from “Aakhiri Daaku”(1978). The song is penned by Anjaan. Music is composed by Kalyanji Anandji.
The song is picturised as a bidaai song playing in the background, where the bride is missing her brother. The song picturisation shows Padmini Kapila (playing the bride), Achala Sachdeva (mother of bride), Vinod Khanna, Agha, Rekha, Randhir Kapoor,Pankaj, Ram Mohan etc.
Lyrics of the song and other details were sent to me by Prakashchandra.
Audio (Partial)
Video (Full)
Song-Maiyya mere bhaiyya na aaye re (Aakhiri Daaku)(1978) Singer-Lata, Lyrics-Anjaan, MD-Kalyanji Anandji
Lyrics(Provided by Prakashchandra)
dwaarey sajee
baaraat to
angnaa roney ae lagee shehnaayi rey
aayee vidaayi to
behana se
rooth gayaa aaa kyun bhai rey ae
maiyyaa mere
bhaiyyaa na aaye ae ree ee ee
kaahey mere bhaiyya na aaye ae ree ee
ke bhaiyyaa binaa aaa aaa aaa
ke bhaiyya binaa
maiyya meri doli eee
kaun uthhaaye ae ae ree ee ee
maiyya mere bhaiyya na aaye ae ree ee ee
aisey vidaa ho behnaa na koyi
doob gayaa dil
aankh yoon royee
bhulaa ke aisey ae ae ae
bhulaa ke aisey behnaa ko bhai ee
kaahey rulaaye ae ae ree ee
maiyyaa mere
bhaiyya na aaye ae ree
khoyaa kahaan maa
deepak woh teraa
khoyaa kahaan maa
deepak woh teraa
jis ke binaa ghar
angnaa aa andheraa
andhere tere ae ae ae
andhere tere
angnaa mein deepak
kaun jalaaye ae ae ree ee
maiyyaa mere
bhaiyyaa na aaye ae ree eee
ke bhaiyyaa binaa aaa aaa aa
ke bhaiyya binaa
maiyya meri doli eee
kaun uthhaaye ae ae ree ee eee
maiyya mere
bhaiyya na aaye ae ree ee ee
Mangal gaao ree mandap chhaao ree
Posted on: March 9, 2021
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4617 | Post No. : | 16258 | Movie Count : |
4418 |
Today’s song is from a relatively obscure film, though it was said to be successful in those days. The song is from the film Prabhat-1941 – made by Tarun Pictures. It was directed by a true professional V.M. Vyas, who knew his job so well that 60% of his films were successful at the Box office. He took the best stars always and major singers and composers worked for him. His own banner was Sunrise Pictures, established in early 1941 and in the first 6 months itself his first film ‘ Ghar ki Laaj’ was completed. Prabhat was his second film as a director in 1941.
Vishnukumar Maganlal Vyas was born on 4-11-1905 in Ahmedabad. He started his career in 1927 as a Cinematographer. His company, Sunrise films was started in 1941. He produced and directed 30 Hindi and many Gujarati films. He died on 24-1-1962 at Bombay. Vyas was a very hardworking person and a man of ‘ never say die ‘ spirit. He was disciplined and did not tolerate any nonsense. He was also known as a very miser. He being a Vaishnav, his stars would get only vegetarian food during shootings. If they wanted Non Veg food, they had to spend for it.
At the time of film Naukar-43, the pair of Shaukat Hussain and Nur jehan troubled Vyas to no end. Not attending the shoots on time, asking for extra money on some pretext or the other and in general giving trouble and mental torture to Vyas were common. Not only this, additionally Nur jehan and Shaukat used to take interesting property materials from the sets to their house-like furniture, decorative vase, cupboards etc. Vyas kept quiet till the film was complete.
Once the film was completed and released, he registered an F.I.R against both of them for stealing studio equipment. To utter dishonour of Noor jehan, a police raid was made on her residence and all the furniture, tables, decorative pieces etc. , which she had taken from the sets were confiscated and the court fined her also.
Thus Vyas did not keep quiet when it was his turn and taught a lesson to Noor jehan and Shaukat Hussain.
Writer Mohanlal Dave was closely associated with the films of Vyas. In almost all of his films, Dave was the story, dialogue and s/p writer. Born in 1883 in Amreli district, Mohanlal Gopalji Dave studied upto 7th standard and became a Teacher on Rs. 5 p.m. salary. To try better prospects, he came to Bombay, worked in a Hotel as a waiter and then got another job. In 1905, he worked on a steamer going to karachi.
He returned to home, got married and went again to Bombay. In 1911 Maek ji Seth started Imperial and employed him to write advertisements and stories. After some time, he started earning Rs. 700 p.m. In 1917, he joined Dwarkadas Sampat for Rs. 1300 p.m. and wrote several stories for silent films.
When Kohinoor Film Company was started, he was contracted to write 2 stories per month. At the same time, he got from Ardeshir irani’s Imperial 30,000 per year to write stories for silent films.This went on for 6 years. In those days his name used to be shown above the titles of Kohinoor films, as per ‘ Encyclopedia of indian Cinema’.
His stories must have had Magic, because most films written by him became hits and his demand increased. Initially he teamed up with Director naqndlal Jaswantlal. From 1918 to 1933, he wrote more than 150 film stories for Silent films. When Talkie started, he worked for Jayant Desai, Imperial, Nagina, Pushpa and especially Sunrise Pictures of V.M.Vyas. he must have written more than 150 Talkie stories.
He was famous among the older stars and they honoured him too. He always used to wear Dhoti , a long shirt and a Pagdi. From his earnings of 50 years, he bought a huge plot in Santacruz, Bombay and build a very big Bungalow named ” Master Bhawan”. He also opened a Jewellery shop which ran for 20 years. He had 1 son and 2 daughters.
His social work and social service was well known in the field of education and promotion of Sanskrit. Anandilal poddar school of Santacruz, Mumbai is established by hi. He also established many schools, libraries, Temples etc. The speciality of his film stories was that they included Camera Movements, Fade outs etc. Secondly, his most Talkie films were repeats of his silent film stories. He also wrote Gujarati film stories. After retirement , he suffered from Cancer. Operation cured him but a fall gave him fractures. He was hospitalised but died on 20-12-1969.
1941 was the first year in the second decade of the Talkie Era and it was the beginning of the emergence of a New film industry. When Talkie started in 1931, for many years after that, the films were made by the people who had done work in the Silent films. These films had a spill over for the silent era artistes. Once the films started talking,most silent artistes who could not speak Hindi or Urdu automatically disappeared. Thus started the influx of new actors who could speak Hindi and sing songs, in whatever way they could. Intelligent directors like V Shantaram,Bhavnani, Sohrab Modi, Chandulal Shah, Himanshu Rai, B N Sircar, L V Prasad and a host of Gujarati directors understood that the Talkie needs a different treatment than silent films. Music directors from stage dramas tried their hand in composing film music.
In the next 8-9 years, there was a perceptible change in the film making, acting, singing, and composing music in the films that were made. Quality artistes from the silent era continued for some more years – finally giving way to the new artistes. The 30s and the 40s mostly differed in film music and story contents. The new blood composers like Anil Biswas, C Ramchandra, Naushad, Ghulam Haider, K Datta, Hansraj Behl, Bulo C Rani, Gyan Dutt and many more replaced the Parsi, Marathi and Gujarati drama music to more acceptable lilting songs. Many musical films were made and some everlasting songs were composed by these people. At the end of the 40’s decade one more major change in the film industry took place due to Partition. More about it when we discuss a song from 1951 in coming times. Let us see some important films.
JBH Wadfia became Chairman of Film Advisory Board. He produced First Sindhi film ‘ Ekta ‘-1940. His film Court Dancer was also in English.
Asra- Debut of actor director N A Ansari.
Behan- Mehboob directed this film having an incest suggestive story.
Chandan- Debut of S N Tripathi as an MD
Chitralekha- First big success of Kidar Sharma. Mehtab’s bath scene caused a ripple.
Dhandhora- Actor comedian Charlie directed the only film.
Doctor- Pankaj mullick gave excellent songs. First popular song with whoof beats-‘ Chale pawan ki chaal ‘.
Jhoola- One of the most successful films like kangan and bandhan, starring Ashok kunmar and Leela Chitnis.
Kanchan- First composed song of naushad-” Bata do koi”
Khazanchi- A milestone in musical revolution with Punjabi Theka, by Ghulam haider. Debut of Shamshad Begum in Hindi films.
Lagan- Saigal, as usual, gives good songs.
Mala- was remade as ‘ Amar-55’ with music again by Naushad only.
Naya Sansar- Story of Newspaper world. A novelty. Ashok kumar’s famous cigarette smoking in films started from this film, solving his problem of ‘ what to do of the hands during acting’ !
Nirdosh- Mukesh sings his first song.
Padosi- Last film of V Shantaram before leaving Prabhat. A Landmark film. ” Kaisa chhaya hai ujala” popular chorus song.
Pardesi- Debut of actress Anjali Devi (not the southwali) with real name ‘Durgesh’
Radhika- Debut of Nalini jaywant.
Raj Nartaki- Ambitious Wadia film in English , Bangla and Hindi. Released in USA by Columbia Pictures of Hollywood.
Sangam- Amritlal nagar’s first film as a writer. He did 18 films as writer and Lyricist.
Sikandar- A Magnum-Opus from Minerva. Chorus song- ” Zindagi hai pyar se” very popular.
Taj mahal- Debut of Baby Suraiya as actress.
Sasural and Ummeed were 2 films in which Noorjehan senior acted and sang. Hoiwever these films usually included in filmography of Malika E Tarannum Noor jehan.
Today’s song is sung by Vatsala Kumthekar. Her end was very tragic. VATSALA KUMTHEKAR’s family was originally from Goa, but they shifted to Bombay. She was born in 1909. After primary education she started training under Ustad Barkat ali khan-the elder brother of Bade Ghulam Ali khan.
She became an expert in Thumri singing and started mehfil singing when she was just 16-17.She had a terrific voice which would mystify the listeners. She used to sing in various cities all over India. She got offers to act in Marathi and Hindi films.
Her first Hindi film was Prabhat film co. Poona’s WAHAAN-1937. She started acting and singing in films.
Her some of the films were-Banke Sanwariya, Madhu Bansari, Hurricane special, Zambo ka beta, Aaj ki duniya, Anuradha, Jai swadesh,Aurat-40, Holiday in Bombay-41, Prabhat, Sangam, Lalaji,Aabroo, Zabaan, Aashirwad, Ishara, Raahat, Tatar ka chor, Sher e Bengal, Geeta, Naag panchami, Aflatoon Aurat, Deepak, Jai Mahakali and last film was Toofan aur diya.
She was living with Sheth Ibrahim but he left her for another woman. Then he came back to her and she also accepted him till he died. Then she lived alone. Her financial and mental condition became very bad.
When her Sheth died, She became mad, shaved her head and roamed on Bombay streets begging. one day she was found dead on a bridge. She was cremated by BMC as an unclaimed, unidentified person, but someone from the crowds recognised her and her story came to be known.
With this song, film Prabhat-41 makes its Debut on this Blog.
Song-Mangal gaao ree mandap chhaao ree (Prabhat)(1941)Singer- Vatsala Kumthekar, Lyricist- Ehsan Rizvi, MD- Shanti Kumar Desai
Lyrics
Mangal gaao ri
mandap chhaao ri
Mangal gaao ri
mandap chhaao ri
usha bani hai bahuraani
usha bani hai bahuraani
Mangal gaao ri
mandap chhaao ri
usha bani hai bahuraani
usha bani hai bahuraani
shubh din aaya aanand chhaaya
shubh din aaya aanand chhaaya
sukh sampat ka darshan paaya
sukh sampat ka darshan paaya
Mangal gaao ri
mandap chhaao ri
usha bani hai bahuraani
usha bani hai bahuraani
howe mubaarak
howe salaamat
howe mubaarak
howe salaamat
jug jug jeewe pooton khele
jug jug jeewe pooton khele
raani raaj chalaawe
raani raaj chalaawe
raaja raani
Ram aur Seeta
raaja raani
Ram aur Seeta
Radhe Kanhaiyya
Radhe Kanhaiyya
Radhe Kanhaiyya
Radhe Kanhaiyya
Mangal gaao ri
mandap chhaao ri
usha bani hai bahuraani
usha bani hai bahuraani
shubh din aaya aanand chhaaya
shubh din aaya aanand chhaaya
sukh sampat ka darshan paaya
sukh sampat ka darshan paaya
Mangal gaao ri
mandap chhaao ri
Mangal gaao ri
mandap chhaao ri
usha bani hai bahuraani
usha bani hai bahuraani
Gori dulhaniya ho gori dulhaniya
Posted on: January 26, 2021
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4575 | Post No. : | 16180 |
Today’s song is from the film Bahu Beti-1952.
1952 was an year, when resurgent India was trying to organise itself as an Independent Nation. Jawaharlal Nehru had formed independent India’s first Government after the first General Elections. In the film industry also few milestones were reached.
The first ever international Film Festival was organised in Bombay. The fortnightly magazine FILMFARE was launched. A delegation of Indian film personalities visited Hollywood. Two colour films-Aan and Jhansi ki rani (released in 1953) were censored. Pakistan banned import of Indian films after an agitation of Pakistani Film artistes. Bimal Roy shifted his base from Calcutta to Bombay.
Besides this, Radio Ceylon played a major role in popularising Hindi Film Music almost worldwide. Radio Ceylon Hindi service started before 1950. Hamid Sayani, elder brother of Amin Sayani was involved in Radio Ceylon in early days and Binaca Geetmala started from 1952. The announcers of radio Ceylon like Kamini and Vijaya sisters, Vijay Kishore Dubey, Gopal Sharma, Shiv Kumar Saroj, Sunil Dutt, Manohar Mahajan etc were household names. So were towns like Jhumri Talaiyya, Nanded and few others. Radio clubs cropped up everywhere.
Radio Ceylon got the real boost when HFM stopped playing on A.I.R. in 1952.It is popularly believed that the then Minister for information and broadcasting, V.B.Keskar was against film music, calling it Vulgar and that it was he who banned it on A.I.R.
But it is NOT TRUE !
It is true that Keskar was a Purist and disliked Hybrid Music (i.e. HFM ),but he did not ban it. What actually had happened was that A.I.R. announced its revised policy in July 1952 which said,1) Broadcast time for Hindi film songs will be reduced and 2) Dropping the custom of announcing the name of the Film of the song.
IMPPA or The Indian motion Picture producers’ Association was enraged at this loss of free advertisement opportunity for their films and the producers, in their capacity as Copyright owners, took away the A.I.R. ‘s licences for broadcasting film songs. Thus film songs disappeared from A.I.R.,replaced by sugam sangeet and classical music.
(Ref. ‘‘ Mourning the nation: Indian cinema in the wake of the Partition” by Bhaskar Sarkar,pp 57 and .https://www.livemint.com/…/In-1952-Hindi-film-songs-were-ba… )
So, the truth is Keskar did not ban HFM, it was the producers’ association which withdrew licences to AIR, thus forcing them to stop HFM.
We had a very interesting discussion on RMIM forum on this issue, a few years back. Dr.Surjit singh ji , like a magician, produced several old documents which proved that Keskar was NOT the villain, but popularly he was held responsible by one and all.
Radio Ceylon took advantage of the situation and grew very fast starting programmes like Binaca geetmala and Lipton ke Sitare. They did yeoman service to popularise HFM in south east Asia.
Radio Ceylon’s transmitters were powerful and Boosters were installed in India. The famous Mountaineer Edmund Hillary wrote, ” Soon after Conquering Everest, we turned on our Transmitter Radio and the First thing we heard was an Overseas broadcast of Radio Ceylon Hindi service-from more than 3000 miles away ! ”
The year 1952 also saw some of the outstanding musical films and films with some other importance. Scanning the 105 Hindi films that were censored in 1952, we find that the colour film Aan was made in Hindi, English and Tamil language versions. Anand math-first Hindi film of Hemant Kumar had few eternally famous songs by Lata, Geeta and Hemant himself. Aasmaan was the first film of O P Nayyar, from whose soundtrack, Radio Ceylon picked up one of its programme music. Then there was Anhonee. Baiju Bawra-a musical film which opened the doors of A grade films for its lead pair-Meena kumari and Bharat Bhushan, languishing in B and C grade films hitherto.
Film Chamkee for which actress Ragini came all the way from Pakistan, Film Jaal another musical. Jungle ka Jawahir-last film for the yesteryear stalwart composer Madholal master, who was murdered in his flat in Shivaji park, in 1990. Film Maa- first Hindi film of Bimal Roy in his Bombay career part. Naubahar-a Roshan musical and Neelam Pari- Last film for migrator khwaja Khurshid Anwar, MD. Film Saqi,a musical and Sheesha-first film for Kumkum. Shin shinaki Boobla Boo-strange name film featured in the environs of a Far Eastern country. Film Yatrik-a Himalaya trek religious film by Pankaj Mullik, with some outstanding Bhajans and finally film Zalzala-in which Dev Ananad died on screen for the first time ( He never liked the idea,though). The only Next time he died on screen was in Guide-65.
The music of film Bahu Beti was composed by S D Batish. I have a lot of respect for S D Batish,who did a marvellous job of promoting Indian Music in the UK and USA. He is one of those rare people who left the film world, but continued serving the Music,by turning a corner in Life. Such people are few in this world. The monumental work he did for Indian Music in foreign lands is unparalleled. An important point is that he did not do this service to Music for his personal gains. For his sustenance,he had opened a Restaurant in Santa Cruz,California,which was providing him enough for a comfortable living in the USA.
After his death in 2006, an obituary-cum-short life sketch was published in California. I give below its adapted version for our readers-
” Punjabi master S.D. Batish was a pivotal figure behind the western world’s embrace of Indian music, most notably via his memorable contributions to the Beatles’ film Help! Born December 14, 1914, in Patiala, India, Shiv Dayal Batish abandoned a career in the nascent telephone industry to study devotional song, folk drama, and Indian classical music under his guru Hakim Chandan Ram Charan. In 1934, he relocated to Bombay to try his hand at acting, but roles proved scarce and he returned to Patiala two years later, renewing his focus on music. By 1936 Batish was regularly appearing on All India Radio and recording his first sessions for His Master’s Voice. The film industry nevertheless retained its allure for him, and in 1939 he returned to Bombay, working for a spell under broadcasting legend Z.A. Bokhari. After earning his first film work as an assistant musical director in 1942, Batish later graduated to full-fledged Bollywood musical director, in the years to follow working with playback singer greats including Asha Bhosle, Lata Mangeshkar, and Mohammed Rafi as well as writing now-classic songs like the smash “Manmohan Mana Men,” from the 1945 film Kaise Kahoon.
Batish also moonlighted as a playback singer on more than 40 films, among them 1944’s Daasi and 1948’s Barsaat ki Raat, before relocating to Britain in 1964. After accepting a position with the BBC Immigration Unit, Batish became a regular in British radio and television, most notably composing “Nai Zindagi Naya Jivan,” the theme song to the Beeb’s classic South Asian series Apna Hi Ghar Samajhiye (“Make Yourself at Home”). He also returned to his roots as a live musician, performing Indian folk and classical music on the vichitra veena, a long-necked fretless flute. In 1965 Batish was summoned by percussionist Keshav Sathe to record the Indian-inspired incidental music for the Beatles’ second feature film, Help! — the experience also proved the beginning of his lifelong friendship with BeatleGeorge Harrison, who later hired Batish to teach his then-wife Patti Boyd the stringed dilruba. In 1969 Batish assembled wife Shanta Devi, daughter Vijay Laxmi and sons Ashwin Kumar and Ravi Kumar to record North Indian Folk and Classical Music, which for decades remained the lone Indian release to appear on the seminal folk label Topic Records. A year later, the family emigrated to the U.S., settling in northern California and founding a restaurant, the Santa Cruz-based Krishna Café. Although the restaurant business remained Batish’s primary focus for the remainder of his life, he continued playing live and also cut the occasional LP, most notably 1980s Raga Todi, 1985’s Om Shanti Meditation on Dilruba and 1997’s The 72 Carnatic Melakhartas.
He founded “Batish Institute of Music and Fine arts” in California and wrote about 12 books on Indian Classical music,like Ragopaedia,Raga Channels,Rasik Raga lakshan Manjiri etc. He had also founded Batish Recording Co. He was associated with 102 films in Hindi and gave music to 17 films as S.D.Batish,Master Ramesh and Nirmal Kumar. Some of his songs were famous. He died at age 91 on July 29, 2006.” ( adapted from Jason Ankeny’s Bio )
In my memory,the image of S D Batish is etched as a person with a large Fur Cap. Such a type of cap was worn by Shaikh Abdulla and his son Farooq Abdulla. I saw V.Shantaram too wearing that type of cap. Later his son followed by wearing the same ( I mean similar type) Fur cap like father,as if it was a family tradition ! Of late,I have seen the famous film Historian shri Nalin ji Shah with this cap. When I had met him a few years back,he had jokingly said that this cap is his Trademark !
S D Batish was the cousin brother of Pt. Amarnath and brothers Husnlal-Bhagatram,all bore the same surname – Batish.
Out of the 8 songs of film Bahu beti-52, 4 songs are already discussed on the Blog. Today’s song, sung by Geeta Dutt and chorus will be the 5th song. It is a good song to enjoy listening…
Song-Gori Dulhaniya mori gori dulhaniya (Bahu Beti)(1952) Singer- Geeta Dutt, Lyrics-Kaifi Azmi, MD-S D Batish
chorus
Lyrics
hoye gori dulhaniya
hoye gori dulhaniya
gori dulhaniya
hoye gori dulhaniya
mori gori dulhaniya
mori gori dulhaniya
mori gori dulhaniya
mori gori dulhaniya
kaise nikhattu pe lattu bhayi
haan kaise nikhattu pe lattu bhayi
mori gori dulhaniya
mori gori dulhaniya
raja atariya pe oonghat hai
haha oonghat hai
sookhat hai sejiya pe raniya
mori gori dulhaniya
mori gori dulhaniya
ho gori dulhaniya
ho gori dulhaniya
damdi kamaai ki ghar mein na laave
damdi kamaai ki ghar mein na laave
hardam badhe pet apna bajaave
hardam badhe pet apna bajaave
paave to kha jaaye ghar bhar ki rotiyaan aan
chada jaaye paniya paniya
mori gori dulhaniya
mori gori dulhaniya
hoy gori dulhaniya
ho gori dulhaniya
roti hai loti to paani hai maani
roti hai loti to paani hai maani
raani ko tutla ke kahte hain naani
raani ko tutla ke kahte hain naani
bhaiya ko bhauji zara kuchh sikha de
chhuda de naadaniya nadaniya
mori gori dulhaniya
mori gori dulhaniya
hoye gori dulhaniya
ho gori dulhaniya
maathhe pe bhaiyya ko pagdi na bhaaye
maathhe pe bhaiya ko pagdi na bhaaye
kaandhhe pe talwaar rakkhi na jaaye
kaandhhe pe talwaar rakkhi na jaaye
balma ko apne odha de odhaniya
pinha de jhulaniya jhulaniya
mori gori dulhaniya
mori gori dulhaniya
ho gori dulhaniya
ho gori dulhaniya
gori dulhaniya
ho gori dulhaniya
gori dulhaniya
ho gori dulhaniya
gori dulhaniya
ho gori dulhaniya
gori dulhaniya
ho gori dulhaniya
Saawan ki aayi bahaar re
Posted on: December 6, 2020
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4524 | Post No. : | 16084 |
Sometime in September 2019, there was an article written by Khalid Mohammed in ‘Mumbai Mirror’ which highlighted the plight of 92 years old music director and musicologist, Vanraj Bhatia. He was penniless and was struggling to meet his daily requirements including his medical expenses. He was mostly bedridden. He had not done his medical check-up for a long time due to paucity of money. To meet his daily expenses, he had started selling his old antique utensils which he had collected over a period of time.
We have heard this type of situation faced by some Hindi film artists earlier also. For instance, film artists like Chandramohan, Master Nissar, Khan Mastana, G M Durrani, Rajkumari Dubey, Sridhar Parsekar, Master Bhagwan, Parshuram, Cuckoo, Bharat Bhushan, Vimi, A K Hangal, Raj Kiran, Satish Kaul etc have gone through such abject poverty. But what is shocking is that in the 21st Century, even a person of the caliber of Vanraj Bhatia has to go through the vagaries of adverse financial conditions. And his precaurious conditions have remained unknown to most of his associates who had worked with him in the past. It was only when journalist, Editor and film director, Khalid Mohammed visited his house, the conditions of the recipient of the Lili Boulanger Memorial Fund Award (1957), National Film Award (1988) for the best music director, Sangeet Natak Akademi Award(1989) and Padma Shri Award (2012) became known.
Fortunately, within 48 hours from the article appearing in ‘Mumbai Mirror’, followed by breaking this news on social media, some of his old friends and admirers promptly raised funds for him. The Indian Performing Right Society (IPRS) chairman, Javed Akhtar also arranged to hand over a cheque to him within a couple of days of breaking the news. During the making of ‘Sardari Begum’ (1996), Vanraj Bhatia has a fight with Javed Akhtar in regard to a song for which Vanraj wanted the lyrics first and Javed Akhtar wanted the tune first. But this incidence did not affect Javed Akhtar in taking a prompt initiative in IPRS for the financial aid to this talented and intellectual musicologist.
Within a week from this news break, Dilip Tahil to whom Vanraj Bhatia gave his first break as a singer in a play, announced a book project on the life of Vanraj Bhatia which will be written by Khalid Mohammed. Amir Khan came forward to sponsor the book. Now, this is an interesting development as I feel that this is in recognition of the immense contributions Vanraj Bhatia has made in the Indian music scene which need to be brought to the notice of people in general and music admirers in particular. Many people may not be aware of his name even though some of his Hindi film songs may be known to them.
I have gone through his interviews in magazines/newspapers/digital newspapers and also on Rajya Sabha TV. Based on these interviews, I am confident that the proposed book on Vanraj Bhatia would not only turn out to be interesting one but would also generate royalty for him. He is not only an unique music director, he also seems to be an independent minded person if I read him correctly.
Vanraj Bhatia (B.31/05/1927) was born in Mumbai in a middle-class family who had shifted to Mumbai from Kutch during the period of boom in textile mills giving opportunity for business in cloth. His father was a cloth merchant. The young Vanraj was enrolled in New Era High School which was set up in 1930. The school also provided some vocational courses in addition to normal syllabus. Vanraj took the vocational course in Hindustani classical music and stood first in every year in the class.
After completion of his high school, Vanraj was enrolled in Elphinstone College with Sanskrit as an additional subject. Knowing his proficiency in Sanskrit, Vanraj’s professor was keen that he chose Sanskrit for his M.A. However, after graduation, Vanraj completed his M.A. in English literature in 1949.
During his teenage days, he had developed an interest in Western classical music. Under Dr. Manek Bhagat, he learned piano and studied the Western classical music for 4 years mastering all the works of Beethoven and Mozart. He wanted to pursue the further study in the Western classical music by going abroad. But his father was not able to financially support him. His close relatives were strongly opposed to his making music as a profession. which was seen by then in low esteem.
Finally, he got permission from his father with a condition that he would support his study abroad only for six months. Fortunately, Vanraj got scholarship to study at the Royal Academy of Music in London for 1951-54. After graduating with a gold medal in 1954, Vanraj got Rockefeller Scholarship for five years from 1954 to 1958 at Conservatoire de Paris.
The first advertising jingle Vanraj composed after returning to India in 1959 was for Shakti Mills which was produced by Durga Khote. The financial condition of Vanraj’s family was not good. He required some steady income to support the family. He took up the assignment in Delhi University as Reader in Western Musicology in 1960. He did not enjoy the work as there was no creativity. In 1964, he resigned from his post in Delhi University and returned to Mumbai to work as a full-time composer for advertising films. He did many advertising jingles which included his popular advertising jingles for Liril soap and Garden Vareli saaris.
During this period, Vanraj came into contact with Shyam Benegal who was also in the field of making advertising films. Vanraj worked for Shyam Benegal for the first time for his advertising film on Finlay Mills for which Vanraj composed advertising jingles. Both of them worked together in many advertising and documentary films. When Shyam Benegal ventured into making his first feature film ‘Ankur’ (1974), he assigned the background music to Vanraj Bhatia (it was a song-less film).
Vanraj Bhatia composed his first filmy songs in Shyam Benegal’s ‘Nishaant’ (1975). His next film. ‘Manthan’ (1976) had only one song, mero gaam kaatha paarey rendered by Preeti Sagar who used to sing for him for his advertising jingles. The song became very popular in which he experimented mixing of various dialects due to which people from Gujarat, Madhya Pradesh and Uttar Pradesh identified themselves with the song. Vanraj Bhatia became the regular collaborator with Shyam Benegal for 16 films until 2000 after which he virtually retired from the films as he had developed other interests in music.
According to Shyam Benegal, he and Vanraj Bhatia often fought during the sessions of song compositions. But at the end, the result was excellent. He created the perfect balance of Hindustani classical music and Western classical music. In an interview, Vanraj Bhatia had said that during his teenage days, he was influenced by the song compositions of R C Boral and Pankaj Mullick. According to him, they were the only music directors at that time who knew the use of harmony in their melodies through orchestration.
There is no indication in any of his interviews as to why he avoided the mainstream Hindi films or it was other way round. But he did take few mainstream Hindi films for background music such as ‘Ajooba’ (1991), ‘Beta’ (1992), ‘Damini’ (1993), ‘Ghatak’ (1996), ‘Pardes’ (1997), ‘Chinagate’ (1998) etc. The work of background music in these films gave him the opportunity and the satisfaction to showcase his talent in Western music.
Vanraj Bhatia, by and large confined himself to music direction of the parallel cinemas. In addition to working with Shyam Benegal, he has also worked with other directors of parallel cinemas such as Aparna Sen (‘36 Chowringhee Lane’, 1981), Kundan Shah (‘Jaane Bhi Do Yaaro’, 1983), Saeed Akhtar Mirza (‘Mohan Joshi Haazir Ho’, 1984), Prakash Jha (‘Hip Hip Hurray’, 1984)), Ashok Tyagi (‘Shurkhiyaan’, 1985), Govind Nihalani (‘Tamas’, 1987) etc.
In a career spanning over 5 decades, Vanraj Bhatia made significant contributions to music across all forms. He started with advertisement jingles which numbered over 6000. He had also provided music to over 50 documentaries. He has been the music director about 35 films. He has also composed music for about a dozen classical TV serials like ‘Khandaan’ (1985), ‘Yatra’ (1986), ‘Bharat Ek Khoj’ (1988), ‘Wagle Ki Duniya (1988) etc. He composed music for many plays – both Hindi and English. He has made a mark in Western classical music by cutting about a dozen each of albums on his solo piano and chamber music. He composed the spiritual music albums like ‘Indian Meditation Music’ (1999), ‘Anant’ (2001), ‘The Bhagavad Gita’ (2002), ‘The Spirit of Upanishads’ (2007) etc.
One of Vanraj Bhatia’s musical work which was very close to his heart was producing an opera, ‘Agni-Varsha’ in English, based on Girish Karnad’s Kannada play ‘Agni Mattu Male’ (1995). The first two acts were staged in Mumbai in 2017. Later, one lady, Judith Kellock did two performances in New York. The opera received good response. He was working on the third act of the opera which appears to be ready. Unfortunately, due to his medical condition, the work has remained to be staged.
Unfortunately, most people are unaware of Vanraj Bhatia’s contributions in the field of music probably because he was not associated with mainstream Hindi films.
For Vanraj Bhatia, ‘Junoon’ (1978) was his first high budget film produced by Shashi Kapoor and directed by Shyam Benegal. The high budget of the film allowed him to engage the top playback singers, Mohammed Rafi and Asha Bhosle for the first time for him besides the luxury of having a higher number of musicians than what he normally uses in low budget films. The film had 4 songs written by Amir Khusro, Jigar Muradabadi, Yogesh Praveen and 16th Century English poet, Christopher Marlowe (for English song). One song has been covered on the Blog.
I am presenting the 2nd song, a kajri, ‘saawan ki aayi bahaar re’ written by Yogesh Praveen and set to music by Vanraj Bhatia. The record version has 4 stanzas with orchestration, rendered by Asha Bhosle. The sound track version in the film has first, second and fourth stanzas of which first two stanzas are sung by Varsha Bhosle (Asha Bhosle’s daughter) without orchestration. Varsha Bhosle’s part of the song is picturised on Dipti Naval while Nafisa Ali is helping her in swinging. Jennifer Kapoor and Sushma Seth are sitting on the ground. The second stanza is again repeated by Asha Bhosle in the film in a different situation. She also sings the 4th stanza in another situation.
Although it is a ‘saawan’ song, it is also presented as ‘pre-marriage’ song in the second stanza and ‘separation’ song in the 4th stanza in the film. The 3rd stanza has not been included in the filmy version.
Acknowledgements of sources for the article:
Table border=”1″>
Audio Clip:
Video Clip:
Song-Saawan ki aayi bahaar re (Junoon)(1978) Singer-Asha Bhonsle, Lyrics-Yogesh Praveen, MD-Vanraj Bhatia
Lyrics (Based on Audio Clip)
ghir aayi kaari ghata matwaari
ghir aayi kaari ghata matwaari
saawan ki aayi bahaa aar re
saawan ki aayi bahaa aar re
bela chameli ki kaliyaan chatak gayin
bela chameli ki kaliyaan chatak gayin
mahkat ban ki bayaa aar re
mahkat ban ki bayaa aar re
saawan ki aayi bahaar re
saawan ki aayi bahaar re
khil gaye hatheli pe mehandi ke boote
khil gaye hatheli pe mehandi ke boote
lachkat jhoolan ki daal re
dhaani chunar morey sar pe na thahare
dhaani chunar morey sar pe na thahare
choodiyaan karen jhankaa aar re
choodiyaan karen jhankaa aar re
saawan ki aayi bahaar re
saawan ki aayi bahaar re
baadal beech bijuriya chamke ae
baadal beech bijuriya chamke
dhoondoon mein balma ke baakh(?) re
aadhi rain jab boley papeeha
aadhi rain jab boley papeeha
jiyara pe lagte kataar re
jiyara pe lagte kataar re
saawan ki aayi bahaar re
saawan ki aayi bahaar re
angana mein bheeji atariya pe bheeji
angana mein bheeji atariya pe bheeji
bheeji sajanwa ki sej re
bheej gayi mori haay kori chunariya
bheej gayi mori haay kori chunariya
rimjhim ras ki phuhaa aar re
rimjhim ras ki phuhaa aar re
saawan ki aayi bahaar re
saawan ki aayi bahaar re
saawan ki aayi bahaar re
Shaadi mubaarak bole shehnaayi
Posted on: November 13, 2020
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4501 | Post No. : | 16038 | Movie Count : |
4386 |
I am not well-informed about Hindi films of 1980s and beyond, except about those that I have watched in the theatres or on Video sharing platforms. Between the late 1960s and early 1970s, I used to watch almost one film every week either on Saturdays or Sundays. My ‘over-exposure’ to films, mostly masala films, during this period created an aversion in me that discuraged me from watch theese films in the later years. Probably the theory of diminishing marginal utility was being applied to me. Over a period of time, my quota of watching films came down from once a week to 2-3 films a year which is still in force. Because of this, I have missed many entertaining and a few quality films released especially in 80s and 90s.
It may sound strange but until yesterday, I was not aware that there was a film titled ‘Swati’ (1986). I do not recall having heard about this film from any one of my relatives and friends who have interest in Hindi films. What attracted me to know more about this film was that first, it was a film from a well-known banner, Prasad Productions. Secondly, its ensemble of star cast included Shashi Kapoor, Sharmila Tagore, Meenakshi Seshadri, Madhuri Dixit, Vinod Mehra, Sarika, Akbar Khan among others. I was not aware that Meenakshi Seshadri and Madhuri Dixit had worked together in a film. I came to know later that both of them had earlier worked together in ‘Aawaara Baap’ (1985).
From the synopsis of the film’s story, it appeared that Shashi Kapoor and Sharmila Tagore worked in this film in the role of an elderly couple. The combination of the actors under a well-known film production banner motivated me to watch the film, the DVD of which was available on-line. The film was a remake of a Telugu film of the same title which was released in 1984 and became the box office hit. The film was also remade in Kannada as ‘Usha’ (1986). The story of the film is as under:
Dr. Rajendra (Shashi Kapoor) is a doctor who runs a nursing home. Sharda (Sharmila Tagore) works as a nurse with Rajendra. An event in her life has happened which has forced her to live a life in anonymity and as a single mother (I will not go into the details). She has a grown up daughter, Swati (Meenakshi Seshadri). She is under the impression that her father has deserted her mother which had made her a feminist and outspoken. She hates hypocrisies and prejudices which dominate our society.
During one of her argumentative encounters with a group of males, Swati meets Ram Mohan (Akbar Khan) who is associated with some leftist group and always seen with writing slogans on the walls. After the initial hate relations with Ram Mohan, Swati falls in love with him. Dr. Rajendra has been a widower with a grown-up daughter, Anandi (Madhuri Dixit), a tomboyish type girl. She is in love with Kapil (Raja Bundela) simply because her idol is cricketer, Kapil Dev. She is also fond of asking her father as well Kapil puzzles to solve.
Swati thinks that after her marriage with Ram Mohan, her mother will be left alone. She needs a companion. Swati knows that her mother and Dr Rajendra like each other but due to societal constraints, both can not think of upgrading their fondness into a life partnership. Swati persuades her mother and Dr Rajendra to get married. His daughter, Anandi is happy that she would get a mother. The marriage takes place and Swati and her mother shift to Dr. Rajendra’s house. Things are now well settled. Both Swati and Anandi gel very well too. Anandi’s marriage with Kapil is also fixed.
One day, Swati finds an old man lying on the road unconscious. She takes him to Dr. Rajendra’s nursing home. The patient come into consciousness and tells his life story to Swati. It becomes apparent that he is Satya Prakash, Sharda’s fiancé and Swati’s real father. If the real story comes into light, it may affect the marriage of Anandi with Kapil. It is also likely to affect the relations of Rajendra and Sharda. But Swati steers the unforeseen problem taking into the confidence Rajendra after revealing him the real story and taking a promise from him that he would not reveal his patient’s identity to her mother. Satya Prakash knows that he has no chance of survival. His wish is to see Sharda for the last time.
On the day of marriage of Anandi with Kapil, Both Rajendra and Swati arrange to bring Satya Prakash to the marriage venue. He gets to see Sharda during the marriage ceremony from a balcony. After the kanyadan ceremony is over, Satya Prakash is happy to see Sharda. With happiness displayed over his face, Satya Prakash dies.
I found the film in keeping with tradition of Prasad Productions which is known for producing films in the genre of family drama. In the standard of 1980s, the story of the film is bold and broad-minded. From the title of the film, it is apparent that it is Meenakshi Seshadri’s film. I have not seen any film of Meenakshi Seshadri. So, it is the first time I am watching her performance in this film which is outstanding. She has displayed all the moods of her character in the film – from a hard-core feminist, a kind hearted daughter for her mother as well for those affected by the prejudice towards them in the society. Her best scene is the poignant moments in the film when she has to solve the issues arising out of a sudden appearance of real father. Madhuri Dikshit as a step sister of Meenakshi Seshadri has a light comical role which she performs very well. She has a lively presence in the film. Shashi Kapoor and Sharmila Tagore in the role of elderly couple look elegant. Dialogues by Rahi Masoom Reza is catchy.
Despite having good share of melodramatic contents, the film is not a tear-jerker. I found the film absorbing.
‘Swati’ (1986) had 5 songs none of which has been represented in the Blog. I present the first song from the film ‘shaadi mubaarak bole shehnaayi’ to appear on the Blog. The song is sung by Anuradha Paudwal and Alka Yagnik. The words are that of Anand Bakshi which are set to music by Laxmikant-Pyarelal. It is a marriage song picturised on Meenakshi Seshadri and Madhuri Dixit on the occasion of the marriage of their parents Sharmila Tagore and Shashi Kapoor.
With this, ’Swati’ (1986) makes its debut on the Blog.
Video Clip:
Song-Shaadi mubaarak bole shehnaayi (Swati)(1986) Singers-Anuradha Paudwal, Alka Yagnik, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Both
Lyrics
shaadi ke din mummy daddy sun lo baat hamaari
ek dooje ke aaj huye tum chhod ke duniya saari
samjhe
shaadi mubaarak bole shehnaayi
o bole shehnaayi
badhaayi badhaayi badhaayi
shaadi mubaarak bole shehnaayi
badhaayi badhaayi badhaayi
dulhe ka sehra
dulhan ki doli
gaaye pawan purwaayi ee
badhaayi badhaayi badhaayi
shaadi mubaarak bole shehnaayi
badhaayi badhaayi badhaayi
ye baat hai yaad rakhne waali
ye shaadi sab shaadiyon se niraali
ye baat hai yaad rakhne waali
ye shaadi sab shaadiyon se niraali
jannat mein jode bante hain sabke
ye jodi humne banaayi ee
banaayi banaayi banaayi
shaadi mubaarak bole shehnaayi
badhaayi badhaayi badhaayi
aapas mein tum na
takraar karna
ik doosre se bahut pyaar karna
aapas mein tum na
takraar karna
ik doosre se bahut pyaar karna
koi na maane
koi na jaane
tum aise karna ladaayi
ladaayi ladaayi ladaayi
shaadi mubaarak bole shehnaayi
badhaayi badhaayi badhaayi
jeete raho tum
hanste raho tum
doodho nahaao phoolo phalo tum
jeete raho tum
hanste raho tum
doodho nahaao phoolo phalo tum
dil se dua lab pe aayi
badhaayi badhaayi badhaayi
shaadi mubarak bole shehnaayi
o bole shehnaayi
badhaayi badhaayi badhaayi
dulhe ka sehra
dulhan ki doli
gaaye pawan purwaayi ee
badhaayi badhaayi badhaayi
shaadi mubaarak bole shehnaayi
badhaayi badhaayi badhaayi
badhaayi badhaayi badhaayi
badhaayi badhaayi badhaayi
Chhoone na doongi main haath re
Posted on: November 4, 2020
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4492 | Post No. : | 16019 |
Today (4 November 2020) is the 91st birth anniversary of Jaikishan Dayabhai Panchal (4 November 1929 – 12 September 1971), one half of the legendary Shankar Jaikishan musical duo. The golden era of HFM started in 1949. Shankar Jaikishan were there right from the beginning. They ruled the roost in HFM for two decades. After that, the duo got separated in unfortunate circumstances, with the untimely death of Jaikishan at the the age of just 41. It is unbelievable but true that he had started at the age of 19 and he had achieved so much by the time he was 41 that the body of his work has gone on the become some of the best and immortal music that the golden era of HFM had given us.
After the demise of Jaikishan, Shankar continued giving music with the same brandname of Shankar Jaikishan. But the music created without Jaikishan was not the same.
Here is the full filmography of Shankar Jaikishan as music directors in Hindi movies :-
| Movie name | Year | Songs covered in the blog | Songs in the movie | |
|---|---|---|---|---|
| Barsaat | 1949 | 11 | 11 | |
| Aawaara | 1951 | 11 | 11 | |
| Baadal | 1951 | 8 | 8 | |
| Kaali Ghata | 1951 | 6 | 6 | |
| Nageena | 1951 | 8 | 8 | |
| Daag | 1952 | 9 | 9 | |
| Parbat | 1952 | 7 | 7 | |
| Poonam | 1952 | 8 | 8 | |
| Aah | 1953 | 9 | 9 | |
| Aas | 1953 | 7 | 7 | |
| Aurat | 1953 | 9 | 9 | |
| Boot Polish | 1953 | 7 | 7 | |
| Naya Ghar | 1953 | 7 | 7 | |
| Patita | 1953 | 6 | 6 | |
| Shikast | 1953 | 11 | 11 | |
| Baadshah | 1954 | 8 | 8 | |
| Mayurpankh | 1954 | 6 | 6 | |
| Pooja | 1954 | 9 | 9 | |
| Seema | 1955 | 8 | 8 | |
| Shri 420 | 1955 | 8 | 8 | |
| Basant Bahaar | 1956 | 9 | 9 | |
| Chori Chori | 1956 | 9 | 9 | |
| Halaaku | 1956 | 8 | 8 | |
| Kismat Ka Khel | 1956 | 7 | 7 | |
| New Delhi | 1956 | 9 | 9 | |
| Patraani | 1956 | 9 | 10 | |
| Raajhath | 1956 | 11 | 11 | |
| Begunaah | 1957 | 6 | 6 | |
| Kathputli | 1957 | 7 | 7 | |
| Baaghi Sipaahi | 1958 | 8 | 8 | |
| Yahudi | 1958 | 7 | 7 | |
| Anaadi | 1959 | 7 | 7 | |
| Chhoti Behan | 1959 | 9 | 9 | |
| Kanhaiyya | 1959 | 8 | 8 | |
| Love Marriage | 1959 | 8 | 8 | |
| Main Nashe Mein Hoon | 1959 | 9 | 9 | |
| Sharaarat | 1959 | 9 | 9 | |
| Ujaala | 1959 | 8 | 8 | |
| College Girl | 1960 | 7 | 7 | |
| Dil Apna Aur Preet Paraayi | 1960 | 7 | 7 | |
| Ek Phool Chaar Kaante | 1960 | 9 | 9 | |
| Jis Desh Mein Ganga Behti Hai | 1960 | 11 | 11 | |
| Singapore | 1960 | 8 | 8 | |
| Aas Ka Panchhi | 1961 | 7 | 7 | |
| Boyfriend | 1961 | 7 | 7 | |
| Jab Pyaar Kisi Se Hota Hai | 1961 | 9 | 9 | |
| Junglee | 1961 | 7 | 7 | |
| Krorepati | 1961 | 9 | 9 | |
| Roop Ki Raani Choron Ka Raaja | 1961 | 9 | 9 | |
| Sasuraal | 1961 | 8 | 8 | |
| Aashiq | 1962 | 8 | 8 | |
| Asli Naqli | 1962 | 7 | 7 | |
| Dil Tera Deewaana | 1962 | 7 | 7 | |
| Hariyaali Aur Raasta | 1962 | 9 | 9 | |
| Professor | 1962 | 6 | 6 | |
| Rangoli | 1962 | 9 | 9 | |
| Dil Ek Mandir | 1963 | 7 | 7 | |
| Ek Dil Sau Afsaane | 1963 | 7 | 7 | |
| Hamraahi | 1963 | 8 | 8 | |
| Aayi Milan Ki Bela | 1964 | 7 | 7 | |
| Apne Huye Paraaye | 1964 | 7 | 7 | |
| April Fool | 1964 | 7 | 7 | |
| Beti Bete | 1964 | 9 | 9 | |
| Rajkumar | 1964 | 7 | 7 | |
| Saanjh Aur Sawera | 1964 | 7 | 7 | |
| Sangam | 1964 | 8 | 8 | |
| Zindagi | 1964 | 11 | 12 | |
| Aarzoo | 1965 | 7 | 7 | |
| Gumnaam | 1965 | 8 | 8 | |
| Jaanwar | 1965 | 7 | 7 | |
| Amrapaali | 1966 | 5 | 5 | |
| Badtameez | 1966 | 7 | 7 | |
| Gaban | 1966 | 7 | 7 | |
| Love in Tokyo | 1966 | 8 | 8 | |
| Pyaar Mohabbat | 1966 | 9 | 9 | |
| Suraj | 1966 | 7 | 7 | |
| Teesri Kasam | 1966 | 12 | 12 | |
| Aman | 1967 | 7 | 7 | |
| An Evening in Paris | 1967 | 9 | 9 | |
| Around the World | 1967 | 9 | 9 | |
| Chhoti Si Mulaaqaat | 1967 | 7 | 7 | |
| Deewaana | 1967 | 9 | 9 | |
| Gunaahon Ka Devta | 1967 | 6 | 7 | |
| Hare Kaanch Ki Choodiyaan | 1967 | 6 | 6 | |
| Laat Saahab | 1967 | 6 | 6 | |
| Raat Aur Din | 1967 | 9 | 9 | |
| Brahmchaari | 1968 | 7 | 7 | |
| Duniya | 1968 | 6 | 6 | |
| Jhuk Gaya Aasmaan | 1968 | 7 | 7 | |
| Kanyaadaan | 1968 | 7 | 7 | |
| Mere Huzoor | 1968 | 7 | 7 | |
| Sapnon Ka Saudaagar | 1968 | 6 | 6 | |
| Shikaar | 1968 | 6 | 6 | |
| Kahin Aur Chal | 1968 | 6 | 6 | |
| Bhai Bahan | 1969 | 2 | 7 | |
| Chanda Aur Bijli | 1969 | 3 | 6 | |
| Jahaan Pyaar Miley | 1969 | 6 | 6 | |
| Prince | 1969 | 7 | 7 | |
| Pyaar Hi Pyaar | 1969 | 4 | 6 | |
| Sachchaai | 1969 | 6 | 6 | |
| Shatranj | 1969 | 4 | 8 | |
| Tumse Achcha Kaun Hai | 1969 | 7 | 7 | |
| Umang | 1969 | 6 | 6 | |
| Yakeen | 1969 | 5 | 5 | |
| Bhai Bhai | 1970 | 3 | 6 | |
| Bombay Talkie | 1970 | 1 | 4 | |
| Dharti | 1970 | 7 | 7 | |
| Mera Naam Joker | 1970 | 12 | 12 | |
| Pagla Kahin Ka | 1970 | 6 | 6 | |
| Pehchaan | 1970 | 8 | 8 | |
| Tum Haseen Main Jawaan | 1970 | 4 | 6 | |
| Albelaa | 1970 | 5 | 5 | |
| Andaaz | 1971 | 8 | 8 | |
| Balidaan | 1971 | 3 | 6 | |
| Duniyaa Kyaa Jaane | 1971 | 1 | 7 | |
| Ek Naari Ek Brahmchaari | 1971 | 2 | 5 | |
| Elaan | 1971 | 3 | 5 | |
| Jaane Anjaane | 1971 | 7 | 7 | |
| Jwaala | 1970 | 1 | 8 | |
| Jawaan Mohabbat | 1971 | 8 | 8 | |
| Kal Aaj Aur Kal | 1971 | 4 | 6 | |
| Main Sundar Hoon | 1971 | 6 | 6 | |
| Naadaan | 1971 | 6 | 6 | |
| Parde Ke Peeche | 1971 | 2 | 6 | |
| Patanga | 1971 | 8 | 8 | |
| Preetam | 1971 | 6 | 6 | |
| Seema | 1971 | 5 | 6 | |
| Yaar Mera | 1971 | 2 | 5 | |
| Aan Baan | 1972 | 6 | 6 | |
| Aankhon Aankhon mein | 1972 | 6 | 6 | |
| Bandagi | 1972 | 2 | 6 | |
| Beimaan | 1972 | 3 | 7 | |
| Dil Daulat Duniya | 1972 | 4 | 5 | |
| Jungle Mein Mangal | 1972 | 3 | 7 | |
| Laal Pathar | 1972 | 6 | 7 | |
| Naina | 1972 | 5 | 7 | |
| Rivaaz | 1972 | 2 | 6 | |
| Aaj Ki Taaja Khabar | 1973 | 1 | 5 | |
| Archana | 1973 | 1 | 6 | |
| Chori Chori | 1973 | 1 | 6 | |
| Daaman Aur Aag | 1973 | 1 | 5 | |
| Door Nahin Manzil | 1973 | 3 | 5 | |
| Pyaar Ka Rishta | 1973 | 5 | ||
| Chhote Sarkaar | 1974 | 4 | 4 | |
| International Crook | 1974 | 6 | ||
| Insaaniyat | 1974 | 1 | 3 | |
| Reshan Ki Dori | 1974 | 3 | 6 | |
| Tarzan Mera Saathi | 1974 | 2 | ||
| Vachan | 1974 | 6 | 6 | |
| Do Jhooth | 1975 | 2 | 6 | |
| Neelma | 1975 | 3 | ||
| Saazish | 1975 | 5 | ||
| Sanyaasi | 1975 | 5 | 9 | |
| Dhoop Chhaaon | 1977 | 2 | 5 | |
| Duniyadaari | 1977 | 2 | 6 | |
| Mera Vachan Geeta Ki Kasam | 1977 | 1 | 5 | |
| Mehfil | 1978 | 2 | 5 | |
| Atmaaraam | 1979 | 2 | 5 | |
| Ganga Aur Geeta | 1979 | 4 | ||
| Salaam Memsaab | 1979 | 1 | 7 | |
| The Gold Medal | 1979 | 6 | ||
| Garam Khoon | 1980 | 3 | 5 | |
| Chorni | 1981 | 1 | 6 | |
| Naari | 1981 | 6 | ||
| Eent Ka Jawaab Patthar | 1982 | 6 | ||
| Film Hi Film | 1983 | 3 | ||
| Paapi Pet Ka Sawaal Hai | 1984 | 7 | ||
| Inteqaam Ki Aag | 1986 | 4 | ||
| Kaanch Ki Deewaar | 1986 | 7 | ||
| Gori | 1991 | 7 | ||
| Love in Bombay | 2013 | 1 | 6 | |
| 985 | 1200 |
Overall, Shankar Jaikishan composed about 1200 songs in all. 985 of these songs, including bulk of their golden era compositions from 1949 till early 1970s are already covered in the blog. The gave music in 169 movies. 112 of these movies have already been YIPPEED in the blog.
As a tribute of Jaikishan, here is a song from “Zindagi”(1964). It is one of the few unYIPPEED movies of Shankar Jaikishan from the golden era. This movie was directed by Ramanand Sagar for Gemini , Madras. This “social” movie had Vyjyanti Mala, Rajendra Kumar, Raj Kumar, Mehmood, Jayant, Jeewan, Kanhaiyalal, Dhumal, Hiralal, Master Shahid, Prithviraj Kapoor, Helen, Leela Chitnis, Mumtaz Begam, Pushpawalli etc in it.
The movie had twelve songs in it. Eleven of these songs have been covered in the past. Here is the twelfth and final song from the movie.
This song is sung by Lata and Asha Bhonsle. Hasrat Jaipuri is the lyricist.
The song is picturised as a synchronised mujra dance song at a wedding reception. I am unable to identify the two female dancers. I request our knowledgeable readers to help identify them.
The picturised version is partial. The audio version is longer. Still, the picturised version has a stanza that is not there in the audio version.
With this song, all the twelve songs from “Zindagi”(1964) are covered in the blog and the movie joins the list of movies that have been YIPPEED in the blog.
Video
Audio
Song-Chhoone na doongi main haath re (Zindagi)(1964) Singers-Lata, Asha Bhonsle, Lyrics-Hasrat Jaipuri, MD-Shankar Jaikishan
Lyrics
chhoone na doongi main haath re
najariyon se dil bhar doongi
chhoone na doongi main haath re
najariyon se dil bhar doongi
baithhi rahoongi saari raat re
najariyon se dil bhar doongi
baithhi rahoongi saari raat re
najariyon se dil bhar doongi
main tumhaari hoon
mujhe paas bulaa kar dekho
meri raahon mein zara khud ko mitaa kar dekho
apne daaman pe koi aanch na aane doongi
chaahe har din mujhe pehlu mein bithhaa kar dekho
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa
aage badhe na koi baat re
najariyon se dil bhar doongi
chhoone na doongi main haath re
najariyon se dil bhar doongi
baithhi rahoongi saari raat re
najariyon se dil bhar doongi
meri mehfil mein ye mat aane chale aate hain
chhod(?) kar shamma ko parwaane chale aate hain
main wo baazi hoon jise koi na jeeta ab tak
khelne phir bhi ye deewaane chale aate hain
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
khaayenge ye sab maat re
najariyon se dil bhar doongi
chhoone na doongi main haath re
najariyon se dil bhar doongi
baithhi rahoongi saari raat re
najariyon se dil bhar doongi
dil ki hasrat na kabhi dil se nikalne doongi
pyaar kaa koi bhi jaadu ko na chalne dungi
ishq ki aag badi tez hai humne maanaa
dil ke moti ko main hargiz na pighalne doongi
aa aa aa aa
aa aa aa aa
hoti rahegi mulaakaat re
najariyoo se dil bhar doongi
chhoone na doongi main haath re
najariyon se dil bhar doongi
baithi rahoongi saari raat re
najariyo se dil bhar doongi
Sasuraal mein hogi tu akeli
Posted on: September 16, 2020
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4443 | Post No. : | 15891 |
In my last post on the Blog, I had written about Mohana Cabral, the dancer who had ruled Hindi film industry during 1949-55. After writing this post, I thought that I should do, more or less, a similar exercise on another well- known dancer who was one of the much sought-after dancers during 1955-60, now almost forgotten. She had worked in the films of big banners like R.K. Films, Navketan Films Guru Dutt Films, Filmistan etc. The dancer is Sheila Vaz. And what a coincidence! Both Mohana and Sheila Vaz had Goan background. When Mohana ‘vacated her seat’ from Hindi films in 1955, Sheila Vaz stepped in to fill the vacant seat in 1955.
While Mohana came from theatre background and became dancer in Hindi films, Sheila Vaz came from a dancing background having learnt dancing, especially folk dancing during her teenage days in Mumbai. But unlike Mohana, Sheila Vaz had tough competitions from reigning dancers like Cuckoo, Roopmala and the emerging dancers like Helen, Kumkum, Minoo Mumtaz etc. But Sheila Vaz created a niche for herself among her contemporary dancers in Hindi films. Like Mohana who bid adieu to Hindi films in 1955 after her marriage, Sheila Vaz too left Hindi films in 1960 after her marriage and remained in Mumbai as a housewife keeping aloof from the Hindi film industry.
I could not get much information about Sheila Vaz on the internet or articles in the newspapers/film magazines as to her background, upbringing and as to how she got associated with Hindi films. Some bare information about Sheila was available in an article ‘Dances with Sheila’ written by Karan Bali which appeared in upperstall.com. The article was based on an interview of Sheila Vaz conducted by him in 2009. Since he had interviewed her for his project on the golden age of Hindi cinema, he shared only some background information and her dance songs in the article.
Sheila Vaz’s family hailed from Goa. She was born on October 18, 1934 in Dadar, Mumbai. Her schooling was completed in Mumbai. Simultaneously, she learnt dances especially Indian folk dances. Initially, she had to face some resistance from the family who were against her joining films but eventually she got permission to dance in Hindi films. She began her filmy career with Kishore Sahu’s ‘Mayur Pankh’ (1954) as dancer though Kidar Sharma’s ‘Gunaah’ (1953) was released first. [According to me, she seems to have acted as a chorus dancer in Kidar Sharma’s ‘Shokhiyaan’ (1951) followed by a full-pledged dancer in ‘Maa’ (1952)]. In the interview, Sheila Vaz had said that she was extremely fortunate enough to have worked with legends like Kidar Sharma, Raj Kapoor and Guru Dutt. Her active years in Hindi film industry was during 1955-60. She got married sometime in 1960 after which she quit her filmy career. After marriage, she became Rama Lakhanpal.
Since Sheila Vaz could neither read or understand Hindi, she was given the songs in Roman script and explained their meaning so that she would know what expressions to give. One of many interesting anecdotes revealed during the interview was the shooting of the song ‘leke pehla pehla pyaar’ from CID, which was choreographed by Zohra Sehgal. The song was shot at Worli Sea face and was completed in two days.
I have been working on the filmography of Sheila Vaz and on the songs picturised on her in Hindi films. But I found collating her filmography somewhat a hard task. The reasons were that in some films, she was not accredited. And if accredited, her name appeared as ‘Sheila Vaz’, ‘Sheela Vaz’. ‘Shela Vaz’, ‘Shila Vaz’ or simply ‘Sheela’. In this context, Sudhir ji helped me by sending a list of her films by culling out information from HFGK which has listed 61 films between 1955 to 1961. I compared the HFGK list with my list which I had compiled from checking on the internet with different spellings of Sheila Vaz and also from our Blog which has tagged her songs under the category ‘Sheila Vaz Dance Songs’. With these, my revised list merging with HFGK list provided by Sudhir ji came to a whooping 70 films in about 6 years of her Hindi film career.
Year-wise details of Sheila Vaz’s 70 films are as under:
1952 (1): Maa
1954 (1): Mayur Pankh
1955 (4): House No.44, Sardaar, Shree 420, Tees Maar Khan.
1956 (8): Anokha Jungle, Basre Ki Hoor, CID, Durgesh Nandini, Jallad, Kaarwaan. Patraani, Shatranj.
1957 (23): Abhimaan, Agra Road, Bade Sarkaar, Bansari Bala, Begunaah, Ek Saal, Hill Station, Johny Walker, Maya Nagri, Mirza Sahibaan, Miss India, Mr. X, Nausehrwaan-e-Adil, Pawan Putra Hanuman, Ram Hanuman Yudha, Sant Raghu, Sati Pareeksha, Shaahi Baazar, Sharada, Silver King, Tumsa Nahi Dekha, Ustaad, Yahudi Ki Ladki.
1958 (9):Chaubees Ghante, Hathkadi, Light House, Mr. Qartoon MA, Paravrish, Raj Sinhaasan, Sawera, Solva Saal, Taqdeer.
1959 (11): Bus Conductor, Chaand, Chhoti Bahen, Guesh House, Jagga Daaku, Jaagir, Kaagaz Ke Phool, Madaari, Madhu, Naya Sansaar, Samraat Prithviraj Chauhan.
1960 (8): Bade Ghar Ki Bahu, Bahaana, Duniya Jhukti Hai, Kala Aadmi, Laal Quila, Manzil, Miyan Biwi Razi, Superman.
1961 (5): Batwaara, Chhote Nawab, Modern Girl, Ramlila, Ramu Dada.
Our Blog have listed 33 songs picturised on Sheila Vaz under the category Sheila Vaz dance songs for which video clips are available to watch. There would have been more of her dance songs if the VCDs/DVDs of her other films were available on video sharing platforms. I have listed some of her popular dance songs with links below:
sach keh den gar bura na maano – ‘Maa’ (1952)
tandaana tandaana tandaana – ‘Mayur Pankh’ (1954)
ramaiyya vastavaiyya – ‘Shree 420’ (1955)
leke pahla pahla pyaar – ‘CID’ (1956)
thandi thandi hawa pooche unka pataa – ‘Johny Walker’ (1957)
jaane kaisa jaadoo kiya re – ‘Parvarish’ (1958)
akeli mujhe chhod na jaana – Madaari’ (1959)
suna hai jab se mausam hai pyaar ke kaabil – ‘Ramu Dada’ (1960)
With 70 films to her credit in a short filmy career of 6 years, Sheila Vaz was in great demand for her dance songs. I have watched almost all of her dance songs for which video clips are available. One thing comes out clearly from her dance songs is that she has an electrifying presence in almost all her dance songs. For example, in dil ka haal sune dilwaala, though Sheila Vaz presence in the song is less than one minute out of 5 minutes of song, when she dances with Raj Kapoor, the attention of the audience would be more on her rather than on Raj Kapoor. Similarly, in the song, thandi thandi hawa pooche unka pataa, in my view, Sheila Vaz outperformed Shyama. When the old timers listen to the songs like leke pahla pahla pyaar, they are likely to remember more of Sheila Vaz though Dev Anand and Shakila were also present in the song sequence.
On the basis of my searches, I think only 3 dance songs of Sheila Vaz for which video clips are available are remained to be covered in the Blog. Of the three songs, I present one of her dance songs, ‘sasuraal mein hogi tu akeli’ from the film, ‘Mirza Saahibaan’ (1957). The song is sung by Shamshad Begum and picturised on Sheila Vaz. The song is written by Verma Malik which is set to music by Sardul Singh Kwatra. The audio clip has a shorter version of the song without the second stanza of the video clip.
This song ia probably based on a Punjabi traditional pre-wedding song. And what a guidance to the ‘would be bride’ from her friends!
ban jayiyo na saas ki cheli
saheli zara dat ke rahiyo
Enjoy the dance song.
Video Clip (Longer)
Audio Clip:
Song-Sasuraal mein hogi tu akeli (Mirza Saahibaan)(1957) Singer-Shamshad Begam, Lyrics-Verma Malik, MD-Sardul Kwatra
Chorus
Lyrics(Based on Video Clip)
akadi to akadi leke aaya kakdi
gupchup khaane laga saari
Razia Saeeda aur Fatima ko chhod kar
aayi hai Julekha sarkaari
sasuraal mein tu hogi akeli
saheli zara dat ke rahiyo
teri ulfat hai nayi naveli
saheli zara dat ke rahiyo
sasuraal mein tu hogi akeli
saheli zara dat ke rahiyo
teri ulfat hai nayi naveli
saheli zara dat ke rahiyo
ban jayiyo na
ho ban jayiyo na saas ki cheli
saheli zara dat ke rahiyo
teri ulfat hai nayi naveli
saheli zara dat ke rahiyo
har raat nayi
har baat nayi
har raat nayi ji har baat nayi
ik baat mein sau sau baat nayi ji
ik baat mein sau sau baat nayi
wo raat bhi hogi paheli
haay
wo raat bhi hogi paheli
saheli zara dat ke rahiyo
teri ulfat hai nayi naveli
saheli zara dat ke rahiyo
dildaar mila
tujhe pyaar mila
dildaar mila ji tujhe pyaar mila
gharbaar mila sansaar mila ji
gharbaar mila sansaar mila
mili balam ki oonchi haveli
haay mili balam ki oonchi haveli
saheli zara dat ke rahiyo
teri ulfat hai nayi naveli
saheli zara dat ke rahiyo
phoolon mein pali
naazuk si kali
phoolon mein pali naazuk si kali
lekar khushiyaan ban thhan ke chali ji
lekar khushiyaan ban thhan ke chali
maa baap ko chhod akeli
haay maa baap ko chhod akeli
saheli zara dat ke rahiyo
teri ulfat hai nayi naveli
saheli zara dat ke rahiyo
ban jayiyo na saas ki cheli
saheli zara dat ke rahiyo
teri ulfat hai nayi naveli
saheli zara dat ke rahiyo
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4421 | Post No. : | 15833 |
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Blog 10-Year Challenge (2010-2020) – Song No.58
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25 August 2010 saw this musical wagon chugging along nicely, with its customary six songs in a day getting posted. The first post of the day appeared at 7:40 while the sixth and final post appeared at at 8:14 AM. Six posts within 34 minutes !
Here are the details of the six songs, that appeared in the blog on 25 August 2010:-
| Blog Post number | Song | Movie | Year | Remarks |
|---|---|---|---|---|
| 2840 | Aadhi tum khaa lo aadhi ham khaa len | Fifty Fifty | 1956 | 6 songs out of 8 covered |
| 2841 | Aaja ke intezaar mein | Halaaku | 1956 | YIPPEED (all 8 songs covered) |
| 2842 | Ye jo muhabbat hai ye unka hai kaam | Kati Patang | 1970 | YIPPEED (all 7 songs covered) |
| 2843 | Main jatt yamla paglaa deewaanaa (Pratigyaa) | Pratigyaa | 1975 | Movie made its debut. 2 songs out of 4 covered |
| 2844 | Ankhiyon mein chhote chhote sapne sajaay ke (Naukar) | Naukar | 1979 | Made its debutwith this . 2 songs out of 5 covered so far |
| 2845 | Meri qismat mein tu nahin shaayad | Prem Rog | 1982 | Movie made its debut 3 sons covered out of 6 |
Only two of these six movies have been YIPPEED. So, today four movies are eligible to be covered under Blog ten year challenge.
Three out of these four movies made their debuts in the blog on this day ten years ago.
“Prem Rog”(1982), which made its debut on 25 august 2010 saw two more songs from the movie getting covered later.
Here are the details of these three songs from “Prem Rog”(1982):-
| Song | Date posted | Remarks |
|---|---|---|
| Meri qismat mein tu nahin shaayad | 2 August 2010 | Debut of the movie in the blog |
| Ye pyaar thhaa ya kuchh aur thhaa | 2 June 2012 | |
| Muhabbat hai kyaa cheez hamko bataao | 20 May 2013 |
As blog ten year challenge today, I had some superb songs to chose from. I have gone with this Lata Mangeshkar solo. I have vaguely listened to this song, but when I went through the lyrics of the song, I realised what superb lyrics this song has. It must be one of the best lyrics that Santosh Anand has penned in his HFM career. Music is composed by Laxmikant Pyarelal.
The song is lip synced on screen by Padmini Kolhapure. One can also see Nanda, Sushma Seth, Kiran Vairale, Rishi Kapoor and Bindu in the picturisation.
Lyrics of this song were sent to me by Prakashchandra.
audio link:
video link:
Song-Ye galiyaan ye chaubaara yahaan aana na dobaara (Prem Rog)(1982) Singer-Lata, Lyrics-Santosh Anand, MD-Laxmikant Pyarelal
Lyrics ( audio link) (Provided by Prakashchandra)
ye galiyaan ye chaubaaraa
yahaan aanaa na dobaara
ye galiyaan ye chaubaaraa
yahaan aanaa na dobaara
ab hum to bhaye ae pardesi
ke tera yahaan koi nahin..een
ke tera yahaan koi nahin
le ja rang birangi yaadein
hansne rone ki buniyaadein
ab hum to bhaye ae pardesi
ke tera yahaan koi nahin..een
ke tera yahaan
koyee..ee nahin
meri haathon mein bhari bhari choodiyaan..aaan
mujhe bhaa gayeen hari hari choodiyaan aan
dekh milti hain teri meri choodiyaaan..aaan
tere jaisi saheli meri choodiyaan
tooney peessee woh mehandi rang laayee
meri gori hatheli rachaa..aaayee
teri aankh kyun laadho bhar aayee
tere ghar bhi bajegi shehnaayi
saawan mein baadal se kehna
pardes mein hai meri behna
ab hum to bhaye pardesi
ke tera yahaan koi nahin..een
ke tera yahaan koi naheen
aa Maaye aen
mil lein galey ae
chaley hum
sasuraal chaley
tere aangan mein ae ae apnaa
bas bachpan chhod chale
kal bhi sooraj niklega
kal bhi panchhi gaayenge
sab tujhko dikhaayi denge
par hum na nazar aayenge
aanchal mein sanjo lena hamko
sapnon mein bulaa lena hamko
ab hum to bhaye ae pardesi
ke tera yahaan koi nahin..een
ke tera yahaan koi naheen
dekh tu na..aa hamein aen bhulaanaa
maanaa door hamein hai jaanaa
meri allhhad si athkheliyaan
sada palkon beech basaanaa
jab bajne lagey baajey gaajey
jag lagne lagey khaali khaali
uss dum tu itna samajhna
meri doli…ee
utthhi hai phoolon waali..eee..eee
thhodey din ke ye naate the
kabhi hanste the gaate the
ab hum to bhaye ae pardesi
ke tera yahaan koi naheen
ke tera yahaan
koi naheen
ye galiyaan ye chaubaaraa
yahaan aanaa na dobaara
ab hum to bhaye ae pardesi ..ee
ke tera yahaan koi naheen..een
ke tera yahaan ko..o oyi nahin
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