Archive for the ‘“Baaraat” song’ Category
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : |
5457 | Post No. : | 17872 |
Today’s song is from a not so well known but deserving film – Saudamini (1950).
In Hindi (and in almost all indian languages) films, well known and popular dramas, Novels, Stories and the famous writers have played a significant role in providing material to make logical and meaningful films with a message to the people or a particular society. I can say that films based infamous and popular writings have been made into more qualitative presentations than films on Folk stories and Historical Myths.
In the early era of films, as far as I know, Marathi and Bangla films were in the lead in making films based on well known Authors’ works, whether it was a popular book or a not so popular one. Even good short stories made it to be an inspiration for filmmaking. Literature and a habit of reading was prominent amongst these two communities. Tamil and Telugu, who were as old as the Hindi/Marathi/Bengali languages in making films also used the popular stories, but since they came into the All India market only after S.S.Vasan’s adventurous foray into it with his BlockBuster ” Chandralekha” (1948), their numbers were less in this sphere.I have done some work Marathi, Hindi, Telugu and Kannada film Histories and published articles on them, I know for sure that Kannada and Malayalam films were latecomers into the All india picture, comparatively. Of course, when they came up strongly, they too were not anyway less into making films on published popular and famous literature.
In the infant stage of every language filmmaking, the stress was on Mythology and Folk stories, but during the ascent to adulthood, they all graduated to make use of local literature, which appealed to the audiences of their languages. Many authors, poets and dramatists actually joined the film industry and contributed their themes, stories, poems etc. Even the giants like Rabindranath Tagore and Kazi Nazrul Islam, could not stay away from the film industry by participating personally !
All this narration is because today’s film Saudamini(1950) was also based on the short story (later a novel, I believe) by the famous Bengali author Sharad Chandra Chatterjee. The film was made by National Screen Service, Bombay. It was directed by Prabhash Chandra Joshi, who has only this film to his credit as a director, as far as I know. He also acted in this film and wrote a few song/s also for this film. Which ones and how many is not mentioned in the HFGK, however, individual Records may have the Lyricists’ names.
The music Director was S.N.Tripathi, who had also acted in this film. He was a multi-faceted artiste. He acted in 83 films for which he gave music, as an MD he had 107 films, he sang 13 songs in 7 films and he even directed 18 films ! What a varied output !! There were 4 Lyricists in this film – P.C.Joshi, Anjum Pilibhiti, Arjun and B.D.Mishra. The cast of the film was Sona Chaterjee, P.C.Joshi, S.N.Tripathi, Bikram kapoor, Leela Chitnis, Rampyari, Shyamsundar, Cuckoo etc.
The story of this film was very powerful, but this film did not become very successful, for whatever reasons. In fact, later on when the ” Offbeat films” (new wave etc.) started, the same story with some changes were made into films which became Hits. Similar story films (some) were Rajanigandha, Swami, Dhadkan, Hum dil de chuke sanam etc. Here is the film story. After reading this story, readers may remember more films,in different languages too, having almost a similar story…..
Sarat Chandra Chattopadhyay’s Bengali novel by the name Swami, is set in the early 20th century. The word “swami” could be translated as ‘lord and master’, not in the sense of a tyrant but as the traditional master of a Hindu household, based on the concept of an ideal husband: gentle and protective, dependable, and considerate, the perfect grihastha or householder .
Saudamini is an educated girl, a rare phenomenon at the turn of the century. Her uncle and guardian, who has imbibed liberal ideas of the time, offers her a measure of freedom that girls of that time were largely denied. Her widowed mother is critical of the girl’s headstrong nature; she considers the uncle’s handling of the girl indulgent and irresponsible, particularly with regard to marriage.
Saudamini is romantically involved with Narendra, the boy-next-door who is pursuing studies in the nearby city of Calcutta. Under repeated prodding from the mother, the uncle sets out to inspect a prospective groom, Ghanshyam. Though a widower, Ghanshyam is a respectable man who is considered eligible in the marriage market, as the eldest son of a well-to-do business family. Unfortunately, the uncle suffers a heart attack while coming back. As he lays dying, he pleads with his niece to accept Ghanshyam who he feels will make an ideal husband for her.Saudamini, who has been given her way thus far, suddenly finds the reins drawn in. In a desperate bid for freedom, she writes a letter to her lover in Calcutta, asking him to come to her rescue. He does not turn up. In her new household, Saudamini finds Ghanshyam’s shrewish stepmother and step-family – a married brother, and an unmarried sister. Forced into an unwanted relationship, she feels alienated, not only from the family but also from her husband. Ghanshyam, sensing her state of mind, does not force his attentions upon her.
Slowly Saudamini observes how Ghanshyam, though he is the actual breadwinner in the family, is treated with neither respect nor care. Even the servants ignore his request for water to wash with or for food, while the stepmother lavishes love and sweetmeats on her own son. Ghanshyam seems to accept this situation with, what may be called, gentle stoicism. Saudamini finds her attitude changing to one of concern for her husband and decides to stand up for his rights. When a prospective bridegroom for Ghanshyam’s step sister ridicules the poor girl, at the same time demanding an exorbitant dowry, Ghanashyam puts his foot down for the first time. She is not a commodity on sale in the market, he says in defiance of his stepmother, who is only too eager to rid herself of her burden.
This is a key incident in Saudamini’s changing attitude towards her husband. Just as prospects seem to be growing pleasant, Narendra enters Saudamini’s life again. Narendra pleads with Saudamini to come away with him, leaving her in a state of conflict. Their tete-a-tete is discovered by the wicked stepmother, who accuses her of infidelity and forces the situation to a point where Saudamini has no choice but to leave. However, there is still one last twist remaining. Waiting for the train at the railway platform, Saudamini recalls the simplicity, gentleness and tolerance of her husband. As she loses herself in memories, her eyes well with tears.
The train arrives. But so does Ghanashyam…She embraces Ghanashyam and he pats her. Streaming tears from her eyes tell him that she is repenting for leaving the home. No words are necessary and both realise their true love. ” A crime is no longer a crime when you ask for forgiveness with a clean heart ! “
After a very long time, the name of actress Rampyari was seen in the cast of this film. Here is some information on her…..
Actress Rampyari’s life story is interesting. Though from a singing family(Tawaif) from Hyderabad, she was quite educated. Fluent in English and Urdu, besides Hindi and mother tongue Telugu, she used to reply in chaste English or Urdu to her fan’s letters. She is also one of the earliest film artistes who did programmes in other countries, in those days.
Rampyari was from Low cast and profession, but was a highly polished and sophisticated actress in those days. Rampyari hailed from a Telugu family of highly skilled professional dancers and singers. She lived in Nagulchinta area of old Hyderabad city.She was born on 27-8-1908 . That year Hyderabad witnessed devastating floods.She was taught Urdu and English. Apart from her mother tongue Telugu she was also proficient in Marathi and Kannada. She was trained in Dancing and singing. In 1918, at the age of 10 years, she was taken to Madras by her aunt, who trained her in Bharatanatyam. After 4 years of rigorous training, she became the best dancer of Madras.
In 1926, a film producer from Kohinoor Film company, Bombay ,visiting Madras, saw her dancing and invited her to Bombay.It was the era of Silent movies. Her first film was Gunsundari, with Miss Gauhar and Raja Sandow. It was directed by Chandulal Shah and was released in 1927. Her supporting role as a dancer in the film was lauded by the audience. Next film Vile woman was also successful. She acted in more than 20 films as a Heroine and dancer and established her name as a seasoned actress of the 30s.
With the advent of Talkies, she easily switched over. She had no difficulty in delivering Urdu dialogues. In 1931, she acted in Paak Daman, Laila Majnu and Ghar ki laxmi, Gunsundari in 1934 and Azad Abla,Meethi Nazar and Hamlet in 1935.
Famous director Debki Bose from New Theatres, Calcutta invited her and signed up for ” Sunehra Sansar”-36 and Vidyapati-37, which was a mega hit. After this, she did few films in Calcutta with other companies. Her film Milap-37 was famous for being the first to show the prototype of a “vamp” in Indian Cinema. Rampyari was shown wearing “an off-shoulder dress” and using a cigarette-holder, with the intent of seducing the hero Prithviraj Kapoor, the scene was later used by Raj Kapoor on Nadira in his film Shree 420 (1955) for the song “Mud Mud Ke Na Dekh”.
She toured the entire south India and gave dance performances in major cities. She became so famous that the Ceylon Labour Union invited her to Ceylon and presented her with Gold Mementos. She also performed in Burma. She was greatly inspired by the acting of Sulochana aka Ruby Meyers and Miss Gauhar of Ranjit, with whom she acted in many films.
She shifted to Bombay permanently in the 30s. Her family also moved out of Hyderabad and came to Bombay. She had a large fan following in Hyderabad. She had a great fan mail too, which she replied in fluent Urdu and English. Later she got married and retired from films.
She acted in 30 films. Her last film was Dak bungla-47. She sang 14 songs in 8 films.
She died on 28-8-1970 at Bombay. There was no news in any paper. (Thanks to P.Kamlakarji’s Blog and his book ” The lost treasure” and my notes ).
Today’s song is the 8th song, out of the total 9 songs from the movie, to feature here. It is sung by Mohantara Talpade and Chorus.
Song-Saj ke aaye baalam ban thhan ke aaye baalam (Saudaamini)(1950) Singer- Mohantara Talapade, Lyricist- Not known, MD- S N Tripathi
chorus
Lyrics
Saj ke aaye baalam
ban thhan ke aaye baalam
goree ko lene aaj
aaj saj ke aaye baalam
ban thhan ke aaye baalam
goree ko lene aaj
jaao re
jaao re
jaao re jaao goree
baalam ke ghar
apne saajan ke ghar
apne preetam ke ghar
aaj saj ke aaye baalam
ban thhan ke aaye baalam
goree ko lene aaj
saj ke aaye baalam
ban thhan ke aaye baalam
goree ko lene aaj
haathh lagee mehandi
aur paaon mein mahaawar
aur paaon mein mahaawar
haathh lagee mehandi
aur paaon mein mahaawar
aur paaon mein mahaawar
bholee bhaalee soorat pe
chaand bhee nichaawar
ho chaand bhee nichaawar
bholee bhaalee soorat pe
chaand bhee nichaawar
ho chaand bhee nichaawar
o o o o
keh de zara goree
o o o o
keh de zara goree
saajan se kaise bole
baalam se kaise bole
saj ke aaye baalam
ban thhan ke aaye baalam
goree ko leke aaj
saj ke aaye baalam
ban thhan ke aaye baalam
goree ko lene aaj
maa kee dulaar
dulaar ki saakee(?)
raanee ban rehnaa tu
apne piyaa kee
apne piyaa kee
soona soona laage ab angna hamaara
soona soona laage ab angna hamaara
hamko rulaaye hansna tumhaara
hansna tumhaara
Saj ke aaye baalam
ban thhan ke aaye baalam
goree ko leke aaj
saj ke aaye baalam
ban thhan ke aaye baalam
goree ko leke aaj
laaj bhare nainan mein
pyaar bharee ghaaten
hai pyaar bharee ghaaten
laaj bhare nainan mein
pyaar bharee ghaaten
hai pyaar bharee ghaaten
laal laal honthon pe
pyaar bharee baaten
hai pyaar bharee baaten
laal laal honthon pe
pyaar bharee baaten
hai pyaar bharee baaten
soch rahee man mein ab
kaise kate raaten
goree kaise kate raaten
soch rahee man mein ab
kaise kate raaten
goree kaise kate raaten
o o o
dulhan albelee
o o o
dulhan albelee
ho zara nakhre sambhaal goree
nakhre sambhaal
bhed tere dil ka
ab hamne liyaa jaan
goree hamne liyaa jaan
bhed tere dil ka
ab hamne liyaa jaan
goree hamne liyaa jaan
saj ke aaye baalam
ban thhan ke aaye baalam
goree ko leke aaj
saj ke aaye baalam
ban thhan ke aaye baalam
goree ko lene aaj
Meri dooron se aayi baaraat
Posted on: December 15, 2018
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3802 | Post No. : | 14794 |
“Kaala Patthar”(1979) was directed by Yash Chopra for Yashraj Films Bombay.
This movie was a multi starrer movie and it had Shashi Kapoor, Rakhi, Amitabh Bachchan, Shatrughan Sinha, Neetu Singh, Parveen Babi, Prem Chopra, Parikshat Sahni, Romesh Sharma, (special apopearance), Poonam Dhillon (special appearance), Manmohan Krishan, Madan Puri, Ifthikar, Satyen Kappu, Yunus Parwez, Geeta Sidharth, Gautam Sareen, Sharat Saxena, MacMohan, Mahaan, Sudhir Dalwai, Sudha Chopra, Harish, Mohan Sherry, Vikas Anand, Jagdeesh Raj, Suresh Oberoi, Prem Sagar, Pardesi, Nazir Kashmiri, Ashok Rajdan etc in it.
The movie was released with great fanfare and it was expected to be a blockbuster. But the movie received lukewarm response from the movie goers, much to the surprise of experts. Subsequently it was concluded that Indian audience do not patronise movies that depict disasters. They are into escapist stuff rather than into tales based on real life disaster. “Kaala Patthar”(1979) was inspired from the Chasnala mine disaster that had taken place on 27 december 1975.
Chasnala mine was located adjacent to an abandoned mine (separated by a wall of coal) that tended to get filled with rain water. A panel of experts had recommended that water accumulation in that abandoned mine was required to be avoided and secondly the barrier of coal separating this abandoned mine from adjacent locations was to be left untouched.
The recommendations were disregarded. Permission was sought and obtained to mine coal from the barrier.
As coal from this barrier was being mined, the coal wall separating this mine from the abandoned water filled mine caved in and water flooded the Chasnala mine, killing 372 miners who were working inside the mine.
This incident was the biggest industrial tragedy of India till that time and subsequently it was overtaken by Bhopal gas tragedy on 2 and 3 december 1984.
Coming to the movie, the movie had six songs in it. Five songs have been covered in the past. Here are their details:-
|
Song Title |
Post No. |
Post Date |
| Ik raastaa hai zindagi | 2970 | 15-Sep-10 |
| Ishq aur mushq kade na chhupde | 5273 | 9-Jan-12 |
| Baahon mein teri masti ke ghere | 6005 | 24-May-12 |
| Mujhe pyaar ka tohfa de ke | 14337 | 12-May-18 |
| Dhoom mache dhoom | 14761 | 24-Nov-18 |
The sixth and final song from the movie is sung by Lata and chorus. Sahir Ludhianvi is the lyricist. Music is composed by Rajesh Roshan.
The song is picturised as a wedding ritual song where Neetu Singh lip syncs the song. The picturisation shows Poonam Dhillon playing the bride and Romesh Sharma the groom while almost the entire starcast seems to be attending the wedding function.
This song has gone on to become one of several must sung songs in Indian weddings.
Lyrics of this song were sent to me by Avinash Scrapwala long long ago in 2013.
With this song, all the songs of “Kaala Patthar”(1979)have been covered and the movie joins the list of movies that have all their songs covered in the blog.
Video
Audio
Song-Meri dooron se aayi baaraat (Kaala Patthar)(1979) Singer-Lata, Lyrics-Sahir Ludhianvi, MD-Rajesh Roshan
chorus
Lyrics(Provided by Avinash Scrapwala)
meri dooron se aayi baaraat
maiya main to paauni
meri dooron se aayi baaraat
maiya main to paauni
balma chhail chhabeela
mann ko mohe
joda rang rangeela
tan pe sohe
balma chhail chhabeela
mann ko mohe
main to waari jaaun
balihaari jaaun
pada paaon yeh kiska aangan mein
phool khile phool se mere tan mann mein
chhoota mayke ki galiyon kaa saath
maiya main to paauni
meri dooron se aayi baaraat
maiya main to paauni
le gaye dil ko loot ke tere bol raseele ae
ghaayal kar gaye haay
ghaayal kar gaye jaan ko tere nain kateele ae
le gaye dil ko loot ke tere bol raseele
main toh waari jaaun
balihaari jaaun
jab mukhda dekhoon darpan mein
teri soorat ubhre nainan mein
bhali laage naa naihar ki baat
maiya main to paauni
meri dooron se aayi baaraat
maiya main to paauni
waar diya maine tujh par
dil waar diya
haar diya maine sab kuchh
are haar diya
maar diya toone julmi
haay maar diya
main to waari jaaun balihaari jaaun
teraa naam base meri dhadkan mein
teraa roop hanse mere sapnan mein
liya saajan ne haathon mein haath
maiya main to ho paauni
meri dooron se aayi baaraat
maiya main to paauni
meri dooron se aayi baaraat
maiya main to paauni
Ghodi pe hoke sawaar
Posted on: April 26, 2018
- In: "Baaraat" song | "Horse" song | "This song is from THIS film ?" | Century songs for the blog | Guest poster century song | Guest posts | Lyrics by Prakashchandra | Lyrics contributed by readers | Post by Raja | Rafi solo | Rafi songs | Songs of 1970s (1971 to 1980) | Songs of 1973 | Wedding song | Yearwise breakup of songs
- 9 Comments
This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
This article is the 200th writeup of Raja in the blog.
| Blog Day : | 3569 | Post No. : | 14303 |
It’s been exactly five weeks since my last post here – but somehow it feels much longer. I’m reminded of that famous dialogue from Aandhi (1975) – “waise to ammavas pandrah din ki hoti hai, lekin is baar bahut lambi thi.” 🙂 These five weeks felt like five months.
One possible reason for this is that this happens to be my 200th post on this blog. So I’ve been on 199 for 5 weeks. Even Mudassar Nazar would be proud of my achievement. 🙂 Since this is IPL season, it’s also safe to say that franchisees wouldn’t exactly be falling over each other, outbidding each other to try to buy me at an IPL auction. 🙂
Not that I haven’t been nudged or reminded about this.
When I sent in my previous post, Atul told me it was my 199th and nudged me to get the 200th soon.
Peevisie’s Mom called me a while ago and reminded me of this.
One of Atul’s recent posts also nudged me (hint, hint!) to run that quick single.
And our Atulite whatsapp group also decided that it was high time.
And so I too decided today – yes, it is high time. This is unacceptable, even by Mudassar standards.
So here is the post – with due apology to everyone for this 5-week delay. And thanks to all who nudged me along the way. I needed it.
Actually, I had planned this 200th much earlier. Since I usually pick anniversaries for my posts, my first idea was Farooque Sheikh’s anniversary. That didn’t happen. Then, I’d planned for Jeetendra’s birthday. On both occasions I’d finalized the song – but, for a variety of reasons that I will not get into right now, I never got around to writing the post. No excuses though – if Atul can write up and post songs every single day, I just cannot have an excuse for taking five weeks for one post. 🙂
I see that these songs aren’t posted yet, so I can still write them up – no need for a specific occasion. In fact, the Jeetu song would be quite suitable for this post too – but I’m going with this particular one because it happens to have Moushumi Chatterjee in it too – and it is Moushumi’s birthday today. The Jeetu song can wait.
The song I’ve picked for today is an iconic song for a particular occasion – the baaraat in a wedding.
When I was very young, the song “meri pyari beheniya banegi dulhaniya” became very popular. Thanks to my name, I used to be constantly teased “bhaiya raja bajaayega baaja”.
This was in addition to another “baaraat” song for which I used to be teased – the famous “raja ki aayegi baaraat” from Aah (1953).
These were both regulars at any baaraat.
And then there was “ghodi pe hoke savaar”, today’s song.
It also became a very popular song for baaraat occasions – especially if the bridegroom was on a horse. The words suit the occasion perfectly, so it was only natural this song would play on the occasion.
“Ghodi pe hoke savaar” was not only popular then – I suspect, it’s still popular. Which is why I was very surprised to discover that it had not yet been posted on this blog. I know Atul has a category along the lines of “how come this song is not yet posted yet”. This song is the mother of all songs in that category, considering it’s almost ten years for this blog now. 🙂
In fact, this film “Ghulam Begum Baadshah” (1973) has not made an entry yet on the blog. So this is a debut for this film here. There’s a 1956 film by the same name which has songs here but, for this film, this is the first.
For me, another category that this song slips into – but is not a recognized category here – is “this song is in THIS film?”.
I’d heard this song umpteen times in my life – but never really got to know the name of the film it was from.
And then, a few years ago, I saw a film “Ghulam Begum Baadshah” (1973) prompted to me on youtube. It piqued my interest – I’d never heard of this film before, it was a 1970s film, it had Moushumi in it (I quite like Moushumi) – so I decided to give it a go.
When the prelude to the song started, I thought it sounded very familiar. And then when the song started, I was totally in this “ye gaana IS film ka hai?” mode. It was a very pleasant surprise.
It wasn’t the only one.
I remember that even the film turned out to be a pleasant surprise. Ok, I had zero expectations from it (that’s usually how I avoid disappointment :-)), but even so, it held my interest to the very end.
I remember there were scenes of patriarchy that annoyed me but what I liked most about the film was Moushumi and her role. From what I remember of her role, it had a lot of spunk.
As we know, in many movies, especially in earlier eras, the women are shown as weaker than the men. They need to be protected, they are subservient, they often don’t even have a mind of their own. They’re subdued, they’re shy. They’re not often shown as smart, thinking women.
In this film, from what I remember of it (I don’t remember the details well), Moushumi is shown as anything but weak. She gives as good as she gets, refusing to cower down to bullying. And when she is in a difficult situation, she finds her own way to get out of it, instead of depending on the male characters to solve her problems for her.
This is what I liked most about the film. And there’s a nice twist at the end too.
The film has Kumud Chugani too – always nice to see her in a film as well.
So if you haven’t watched this film – and want to watch a 1970s film – you could give it a shot. But don’t shoot me if you don’t like it – apni apni pasand. And I don’t claim to have high standards. 🙂
The song itself is by Rafisaab – and considering it’s an early 70s song, it was during his “lean” period. But even during this period, he had popular songs like this one – and “teri galiyon mein na rakhenge kadam” and “aaj mausam bada be-imaan hai”.
I think he does full justice to the song – singing it with gusto, as you’d expect on the occasion of a baaraat. The way midway in the song he pronounces “ghodi” is deliberately upbeat.
The lyrics are by Rajinder Krishan, music by Kalyanji-Anandji.
I hope you enjoy listening to this song as much as I do.
Once again, a very happy birthday to Moushumi Chatterjee. I think I’ve written a full post on her earlier – she was one of my favourite heroines in the 70s.
Whew! Got that 200th out of the way. Relief! 🙂 And thanks for tolerating me for these 200 posts.
Audio
Video
Song-Ghodi pe hoke sawaar (Ghulaam Begam Baadshah)(1973) Singer-Rafi, Lyrics-Rajinder Krishan, MD-Kalyanji Anandji
Chorus
Lyrics (Provided by Prakashchandra)
ghodi pe hoke savaar
chala hai dulha yaar
kamariyaa mein baandhe talwaar
akadta hai chhaila
mili hai aisi laila
ki jodi hai nehle pe dehlaa
akadta hai chhaila
mili hai aisi laila
ki jodi hai nehle pe dehlaa
ghodi pe hoke savaar
chala hai dulha yaar
kamariyaa mein baandhe talwaar
akadta hai chhaila
mili hai aisi laila
ki jodi hai nehle pe dehlaa
kal tak bechaara humsaa kunwaara
phirta thha gali gali maara maara
kal tak bechaara humsaa kunwaara
phirta thha gali gali maara maara
dekhi ik chhokri
phoolon ki tokri
bolaa dil thhaam ke main haara haara
bolaa dil thaam ke main haara haara
yaar ko mubaarak ho
mohabbat ki baazi
o yaar ko mubaarak ho
mohabbat ki baazi
miya biwi raazi
to kya karegaa kaazi
sadaa phoole phale donon ka pyaar
ghodi pe hoke savaar
chala hai dulha yaar
kamariyaa mein baandhe talwaar
akadta hai chhaila
mili hai aisi laila
ki jodi hai nehle pe dehlaa
akadta hai chhaila
mili hai aisi laila
ki jodi hai nehle pe dehlaa
dulhan ki dhun hai
kaisa magan hai
hoga milan dekho abhi abhi
haan
dulhan ki dhun hai
kaisa magan hai
hoga milan dekho abhi abhi
shaadi ki masti
lagti hai sasti
padti hai mehengi bhi kabhi kabhi
haan haan padti hai mehengi bhi kabhi kabhi
ye baat mat bhoolna pyaar ki bahaarein
ye baat mat bhoolna pyaar ki bahaarein
nanhe munne bachchon ki lagaa dengi kataarein
tab utarega jaake khumaar
ghodi pe hoke savaar
chala hai dulha yaar
kamariyaa mein baandhe talwaar
akadta hai chhaila
mili hai aisi laila
ki jodi hai nehle pe dehlaa
ghodi pe hoke savaar
chala hai dulha yaar
kamariyaa mein baandhe talwaar
akadta hai chhaila
mili hai aisi laila
ki jodi hai nehle pe dehlaa
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3546 | Post No. : | 14231 |
“Razia Sultan”(1983) was produced by Chitra Bharat and directed by G P Pawar and Kamal Amrohi. The movie had Dharmendra, Hema Malini, Parveen Babi, Pradeep Kumar, Ajit, Vijayendra Ghatge, Jankidas, Sohrab Modi, Veena, Shahu Modak, Heena Kausar, Shree Bhagwan, Husn Banu, Anu Dhawan, Sapru, Mahipal, Roopmala, Reshma, Shakila, Maruti, Sarika, Tajdar Amrohi, Radha Saluja, Madhu Malini, Chitra, Sujata, B M Vyas, Anis Sabri, Geeta Kapoor, Mumtaz Begum, Naseem, Aarti Chopra, M M Baig, Amarjeet, Kalpana, Balraj etc in it.
This is a movie from 1983, and so I have no HFGK available to consult to find out he number of songs in the movie. Going by online sources, I have counted seven songs in the movie. Five of these songs have been covered in the past. Here are the details of these five songs:-
|
Song Title |
Post No. |
Post Date |
| Ae dile naadaan | 150 | 14-Oct-08 |
| Aayi zanjeer ki jhankaar Khuda khair kare | 368 | 10-Dec-08 |
| Tera hijr mera naseeb hai | 374 | 11-Dec-08 |
| Khwaab ban kar koyee aayegaa | 7508 | 14-Feb-13 |
| Jalta hai badan | 8075 | 10-May-13 |
I find that “Hariyaala Banna aaya re” and ae khuda shukr tera” appear to be the two songs from the movie that are yet to be covered. On watching the picturisation, I find that both these songs are picturised together in the movie and so in effect they are reated as two songs in one. Asha Bhonsle, Jagjit Kaur and female chorus sing for ladies playing sahelis of Razia Sultan, the dulhan (Hema Malini) whereas Bhupinder Singh, Mahendra Kapoor and male chorus sing fopr friends of Yakut, the dulha (played by Dharmendra). So in effect, two wedding songs get combined into one in the picturisation.
So in effect both songs need to be covered in one article, viz this article. It seems that the female song is penned by Nida Fazli and male song by Kaif Bhopali. I request our knowledgeable readers to throw light on this matter. The music is of course composed by Khayyam.
So, with these two songs, all the songs of “Razia Sultan”(1983) have been covered. With this, “Razia Sultan”(1983) joins the list of movies that have all their songs covered in the blog.
Audio
Video
Song-Hariyaala banna aaya re …ae khuda shukr tera(Razia Sultan)(1983) Singers-Asha Bhonsle, Jagjit Kaur, Lyrics- Nida Fazli/ Kaif Bhopali, MD-Khayyam
Female chorus
Bhupinder Singh, Mahendra Kapoor + Male chorus
Lyrics
hariyaala banna aaya re
hariyaala banna aaya hai
hariyaala banna aaya
hariyaala banna aaya re
hariyaala banna aaya hai
hariyaala banna aaya
aa aa aa aa aa
aa aa aa
aa aa aa aa aa
aa aa aa aa aa
choti goonthhe ghata
paanv choome hina
maang moti bhari
maathhe jhoomar saja
aa aa aa aa
aa aa aa aa
choti goonthhe ghata
paanv choome hina
maang moti bhari
maathe jhoomar saja
banni ke jo man bhaaya re
hariyaala banna aaya re
hariyaala banna aaya
ae khuda shukra tera
aye khuda shukra tera
shukra tera
shukra tera
ye mera yaar chala
baandhke sar par sehra
aye khuda shukra tera
aye khuda shukra tera
shukra tera
shukra tera
ye mera yaar chala
baandh ke sar par sehra
aisa sehra gul-o-gulzaar na dekha na suna
aisa naushaah ha mere yaar na dekha na suna
aisa bemeez(?) haseen pyar na dekha na suna
aaisa dildaar tarajaar na dekha na suna
saari duniya ki
saari duniya ki zubaanon pe hai ghar ghar sehra
ye mera yaar chala baandh ke sar par sehra
hariyaala banna aaya re
hariyaala banna aaya re
hariyala banna aaya
aa aa aa aa aa
aa aa aa
aa aa aa
aa aa aa aa aa aa
aa aa aa
aa aa aa aa
aa aa aa
aa aa aa aa
aa aa aa
devtaaon ke man hain khushi se magan
pi se milne chali saj ke razia dulhan
aa aa aa
aa aa aa
aa aa aa
aa aa aa
devtaaon ke man hain khushi se magan
pi se milne chali saj ke razia dulhan
khushiyon ke chaman laaya re
hariyaala banna aaya re
hariyala banna aaya
waah kya baat hai kya shaan hai subhaan allah
iske har phool mein ek jaan hai subhaan allah
har nazar dekh ke hairaan hai subhaan allah
jisne dekha wahi qurbaan hai subhaan allah
wakeya ye hai
wakeya ye hai ke behtar se hai behtar sehra
ye mera yaar chala baandhke sar par sehra
hariyaala banna aaya re
hariyaala banna aaya re
hariyaala banna aaya
yaa khuda
ye khushi ye masarrat rahe
dulha dulhan ki jodi salaamat rahe
aa aa aa
aa aa aa
aa aa aa
aa aa
rahti duniya talak ye muhabbat rahe
saare aalam mein malika ki azmat rahe
rahmat ka sama chhaaya re
hariyaala banna aaya re
hariyaala banna aaya
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3522 | Post No. : | 14146 |
“Aan Baan” (1972) was produced by Malik Chand Kochar and directed by Prakash Mehra. The movie had Rajendra Kumar, Rakhi, David Abraham, Jagdeep, Pran, Sunder, Kumkum, Som Dutt, Kanhaiyalal, Anwar Hussein, Tabassum etc in it.
The movie had six songs in it. Five of these songs have been covered in the blog. Here are the details of the songs from the movie that have been covered so far :-
|
Song Title |
Post No. |
Post Date |
| Tum meri ho mere siwaa kisi ki nahin | 4186 | 12-Jul-11 |
| Badnaam ho gayaa dil bas aapki badaulat | 4679 | 22-Sep-11 |
| Jab tum ho mere hamsafar khoobsoorat | 8536 | 15-Aug-13 |
| Ooper dekho ya neeche | 9667 | 5-Apr-14 |
| Naam nahin koi dhaam nahin | 14141 | 9-Mar-18 |
Here is the sixth and final song from “Aan Baan”(1972) to appear in the blog. This song is sung by Rafi. Gulshan Bawra is the lyricist. music is composed by Shankar Jaikishan.
The song is picturised as a baaraat song with Rajendra Kumar lip syncing the song as part of the baaraat, being the brother of the dulha. It turns out that he was in love with the dulhan Raakhi all these days and he is doing some sort of “sacrifice” by letting his brother marry his lady love. Those were the days when Hindi movies had some actors who would “sacrifice” out of thin air even when no sacrificing was called for. 🙂
Nevertheless, this song is the sixth and final son from “Aan Baan”(1972) to appear in the blog. with this song, “Aan Baan”(1972) joins the list of movies that have all their songs covered in the blog.
Audio
Video
Song-Ke lo ham aaye dulha bhaiyya ke baarati ban ke (Aan Baan)(1972) Singer-Rafi, Lyrics-Gulshan Bawra, MD-Shankar Jaikishan
Lyrics
mat poochho jo khushi ke maare
aaj hai apna haal
aankhon mein chhaayi hai masti
bahek rahi hai chaal
ke lo hum aaye dulha bhaiya ke baaraati ban ke
ke lo hum aaye dulha bhaiya ke baaraati ban ke
aaj duniya hai hamaari ee
haay
aaj duniya hai hamaari chalenge tan ke
ke lo hum aaye dulha bhaiya ke baaraati ban ke
ke lo hum aaye dulha bhaiya ke baaraati ban ke
pyaar ke dekho kaise kaise rang aaye hain sehre mein
hamne apne armaanon ke phool sajaaye sehre mein
pyaar ke dekho kaise kaise rang aaye hain sehre mein
hamne apane armaano ke phool sajaaye sehre mein
dil ke gulshan se ae
haay dil ke gulshan se
laaye hain jo chun chun ke
ke lo hum aaye dulha bhaiya ke baaraati ban ke
ke lo hum aaye dulha bhaiya ke baaraati ban ke
wahaan talak khushiyaan hi khushiyaan
najar jahaan tak jaati hai
khush kismat logo ko kismat aisa din dikhlaati hai
wahaan talak khushiyaan hi khushiyaan
najar jaha tak jaati hai
khush kismat logon ko kismat aisa din dikhlaati hai
isi din ko o
haay
isi din ko gujaare din gin gin ke
ke lo hum aaye dulha bhaiya ke baaraati ban ke
ke lo hum aaye dulha bhaiya ke baaraati ban ke
khushi mein dhadkan tez ho gayi
tej karo lay baaje ki
apni manjil tak aa pahunchi
ghodi dulhe raaje ki
khushi mein dhadkan tej ho gayi
tej karo lay baaje ki
apni manzil tak aa pahunchi
ghodi dulhe raaje ki
ho dil jhoome ae
haay dil jhoome
shehnaayi ki sadaayein sun ke
ke lo hum aaye dulha bhaiya ke baaraati ban ke
ke lo hum aaye dulha bhaiya ke baaraati ban ke
aaj duniya hai hamaari ee
haay
aaj duniya hai hamaari ee
chalenge tan ke
ke lo hum aaye dulha bhaiya ke baaraati ban ke
ke lo hum aaye dulha bhaiya ke baaraati ban ke
Dola utaaren kahaar
Posted on: September 19, 2017
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
“Daaera”(1953) was produced and directed by Kamal amrohi for Kamal Pictures, Bombay. the movie had Meena Kumari, Nasir Khan, Kumar, Roopmala, Nana Palsikar, Protima Devi, Kammo, Jankidas, H Prakash, Romesh Kapoor, Zarina etc in it.
Read more on this topic…
Doli mein sawaar sajni ka pyaar
Posted on: June 27, 2016
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
June 27th (2016) is a date with RD Burman. It is his 77th birth anniversary. We know so many things about RD Burman by heart. We don’t require a wikipedia or any other site to tell us that he was son of SD Burman the music director of the golden era. We need no site to tell us that Ashok Kumar was the one who gave him the nickname Pancham. We know that he used to be addressed as Panchamda. We know that he had a knack of making music with a spoon and a glass like he did for the song from “Yaadon Ki Baraat”– Churaa liya hai tumne jo dil ko. He had worked with all the best song writers and singers of his time. He was comfortable giving music based on ragas or western beats.
Read more on this topic…
Ik nayi kali sasuraal chali
Posted on: April 28, 2014
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
“Aath Din” (1946) was directed by Ashok Kumar and Dattaram Pai. The movie had Ashok Kumar, Veera, Agha, Mehndi Ali, S L Puri, V H Desai, Anurag Chandra etc in it.
Read more on this topic…
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
“Gajre” (1948) was an Allied Arts Production movie. It was directed by R D Mathur. The movie had Motilal, Suraiya, Agha, Nihal, Sangeeta, Geeta Nizami, Sankatha Prasad, Murad etc in it.
Read more on this topic…
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
“Dil Bhi Tera Ham Bhi Tere” (1960) was directed by Arjun Hingorani for Kanwar Kala Mandir Productions. The movie had Balraj Sahni, Usha Kiran, Kumkum, Sushil, Mohan Choti, Jankidas, Dharmendra, Hari Shivdasani etc in it.
Read more on this topic…
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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