Archive for the ‘Wedding ritual song’ Category
Nanhi bitiya byaah rachaaye
Posted on: March 27, 2022
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 : |
5000 | Post No. : | 16898 |
“Durga”(1939) was produced by Devika Rani and Himanshu Rai and directed by Franz Osten for Bombay Talkies, Bombay. The movie had Devika Rani, Rama Shukul, V H Desai, Mumtaz Ali, Peethawala, Saroj Borkar, Balwant singh, Lalita Deulkar etc in it.
“Durga”(1939) had ten songs in it. Two songs have been covered in the blog so far.
Here is the third song from “Durga”(1939) to appear in the blog.
Devika Rani is the singer. Lyrics are penned by Narendranath Tuli. Saraswati Devi is the music director.
Only the audio of this rare song is available. It is clear that the song was picturised on Devika Rani herself.
From the lyrics it is seen that the song is a “wedding” song. Whether it is a gudda gudiya wedding song or a real wedding song is not known, seeing that video of the song is not available.
Nevertheless, the fact that this song came to my notice just now and it is getting discussed today validates the oft made observation that some higher forces are overseeing this blog and it is these higher forces that often decide what songs are covered in this blog on what day. 🙂 The daughter of one of our regulars got married today and fate ordained that the blog celebrates the occasion with this song from the yore.
So we take this occasion to greet the recently wedded daughter of our regular contributor Avinash Scrapwala. We all wish Shivani and Jeegar a very happy, prosperous and long married life.
Song-Nanhi Bitiya Byaah Rachaaye (Durga) (1939) Singer-Devika Rani, Lyrics-Narendranath Tuli, MD-Saraswati Devi
Lyrics
Nanhi bitiya byaah rachaaye
dulha chadh haathi par aaye
Nanhi bitiya byaah rachaaye
dulha chadh haathi par aaye
baaje dhol mridang
?? rah jaaye dang
baaje dhol mridang
?? rah jaaye dang
laal chunariya kesari choli
sheesh chadhe chandal aur roli
laal chunariya kesari choli
sheesh chadhe chandal aur roli
kumkum pushp ka phool
maang bhare sindoor
kumkum pushp ka phool
maang bhare sindoor
baapu aaye doli chadhaaye
naina chham chham neer bahaaye
baapu aaye doli chadhaaye
naina chham chham neer bahaaye
maa ko bhaari ??
ghar ko ??
nanhi bitiya byaah rachaaye
dulha chadh haathi par aaye
baaje dhol mridang
chhalakat ??
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 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 : | 4998 | Post No. : | 16896 | Movie Count : | 4590 |
Hullo Atuldom
In the (almost) 14 years of its existence, there have been many changes in the lives of those associated with atulsongaday.me.
Our Atulji has shifted base a few times in these years. If I am not wrong his daughter has qualified to be a doctor as also Nahmji’s son and Shri Arunkumar Deshmukhji’s (Guruji) grandson/s have also become doctors. Peevesie who entered the world of ASAD and was called the youngest follower turning to contributor and mouthpiece (for the blog) among her friends and family has since become a working adult and even has a life-partner as also Nahmji’s daughter. Avinashji has also shifted base a few times and also had an overseas stint in the years in between. Maheshji (Mukesh Fan is his second name) has returned to Motherland and is no longer an NRA (non-resident atulite). I know that similar changes, in life & on the work front, have happened in the lives of other Atulites too. I have myself graduated from being a full-time mother to a leisurely-paced mother.
There is a lesser-known Atulite who has contributed only one post as a guest-poster (she took over the mantle of youngest contributor). Her forte’ is that she is musically inclined as her father (a hyper-active atulite). I know that she also pens verses which are very meaningful. She had given her father this post on his birthday six years back. She was welcomed wholeheartedly by atulites who wanted more from her but her preoccupation with education and other activities may not have given her time to contribute more to the blog. But the song with that post was so meaningful, it would have been appropriate for today. She has grownup into a young adult and is stepping into a new phase of her life. Here is wishing her all the best for the future.
There is a happy event happening in the life of our Guruji too in the next few days. Wishing him lots of joy and all the best to his grandson.
“Jab Pyar Kisise Hota Hai” is a title that was first used in Hindi films in 1961 which was written and directed by Nasir Husain and had his time-tested formula of hero impersonating, heroine falling in love with the impersonator, misunderstandings creeping in due to the villain and heroine’s father, and finally the hero and heroine getting married with the blessings of all elders. The movie was littered with great songs.
The title was repeated again in 1998. This time the director was Deepak Sareen who had started his career as assistant to Yash Chopra in ‘Deewar’. He had been assistant in ‘Kabhi Kabhi’, ‘Doosra Aadmi’, ‘Silsila’, ‘Mashaal’ and ‘Faasle’ before independently directing ‘Ranbhoomi’, ‘Aaina’, ‘Gaddar’, ‘Jab Pyaar Kisise Hota Hai’, and ‘Albela’. This romantic film had a skirt-chaser for a hero who is disliked by the girl initially. He woos her by promising to give up his errant ways, convinces both families that they are ready to marry. But the twist in the tale comes in the form of the hero’s son from a previous girlfriend who insists that he will tell-all to the fiancee if the hero doesn’t tell himself. The story comes to a happy ending with the girl and the child forgiving the hero and ‘THE END’
“Jab Pyaar Kisi Se Hota Hai” (1998) starred Twinkle Khanna, Farida Jalal, Himani Shivpuri, Namrata Shirodkar (guest appearance), Salman Khan, Anupam Kher, Johnny Lever, Saeed Jaffery, and Master Aditya Narayan. The movie had songs written by Anand Bakshi and composed by Jatin-Lalit. Today we are having the movie debuting with a song sung by Alka Yagnik and Sonu Nigam. It has the whole cast except Aditya Narayan enjoying the engagement of Salman and Twinkle.
Song-Chal pyaar karegi haan jee haan jee (Jab Pyaar Kisi Se Hota Hai)(1998) Singers-Sonu Nigam, Alka Yagnik, Lyrics-Anand Bakshi, MD-Jatin Lalit
Male Chorus
Female chorus
Lyrics
o ladke deewaane
kahaan se aaya tu
dulhan ko le jaane
kahaan se aaya tu
o ladke deewaane
kahaan se aaya tu
dulhan ko le jaane
kahaan se aaya tu
chal pyar karengi
haan jee haan jee
mere saath chalengi
na jee na jee
ho chal pyaar karengi
haan jee haan jee
o mere saath chalengi
na jee na jee
arre tu haan kar
ya na kar teri marzi soniye ae
hum tujhko uthhakar le jaayenge
doli mein bithhakar le jaayenge ae ae
hum ghar mein kahin chhup jaayenge
sang tere nahin hum jaayenge
chal pyar karengi
haan jee haan jee
hoye hoye hoye
ahaa ahaa ahaa
o gore gore mukhde waali
o kaale kaale nainon waali
maan mera ehsaan ke maine haan kar di ee
tu warna kunwaari reh jaati
ye shaadi hamaari reh jaati ee ee
tu warna kunwaari reh jaati
ye shaadi hamaari reh jaati ee
chal pyaar karegi
haan jee haan jee
mere saath chalegi
na jee na jee
ho ho ho
aa aahaa aahaa aa aahaa
ho ho ho
aa aahaa aahaa aa aahaa
ja main nahin karti shaadi vaadi
mujhko pyaari hai yeh aazaadi
main toh apne baabul ke baaghon ki bulbul hoon oon
bas tujhse mujhe yeh kehna hai
pinjre mein mujhe nahin rehna hai ae ae
bas tujhse mujhe yeh kehna hai
pinjre mein mujhe nahin rehna hai
chal pyar karegi
haan jee haan jee
o mere saath chalegi
na jee na jee
oye oye oye
ahaa ahaa ahaa
aankhon se kaajal le jaayenge
zulfon ke baadal le jaayenge
arre hum aaye hain door se
yoon waapas na jayenge ae
hum apni sajaniya le jaayenge
arre hum apni dulhaniya le jaayenge ae
hum apni sajaniya le jaayenge
arre hum apni dulhaniya le jaayenge
hey chal pyar karegi
haan jee haan jee
mere saath chalegi
na jee na jee
arre tu haan kar ya na kar
teri marzi soniye ae
hum tujhko uthhakar le jaayenge
arre doli mein bithhakar le jaayenge ae ae
hum apni sajaniya le jaayenge
arre hum apni dulhaniya le jaayenge ae
Kaahe ko byaahe bides
Posted on: March 4, 2022
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 : |
4977 | Post No. : | 16853 |
“Umrao Jaan” (1981) was produced and directed by Muzaffar Ali for Integrated Films, Bombay. The movie had Rekha, Farooq Sheikh, Naseruddin Shah, Raj Babbar, Shaukat Kaifi, Bharat Bhushan, Satish Shah, Prema Narayan, Dina Pathak, Leela Mishra, Akbar Rashid, Gajanan Jagirdar, Khan Ghizlai, Rita Rani Kaul etc in it.
The movie had nine songs in it. Eight of these songs have been covered in the past. Here are the details of the songs that are covered so far:-
| Blog Post number | Song | Date of post | Singer(s) |
|---|---|---|---|
| 610 | In aankhon ki masti | 24 January 2009 | Asha Bhonsle |
| 3105 | Dil cheez kyaa hai aap meri jaan leejiye | 10 October 2010 | Asha Bhonsle |
| 5460 | Ye kya jagah hai doston | 15 February 2012 | Asha Bhonsle |
| 5556 | Zindagi jab bhi teri bazm mein lati hai hamen | 1 March 2012 | Talat Aziz |
| 6578 | Justju jiski thhi usko to na paaya hamne | 4 September 2012 | Asha Bhonsle |
| 9432 | Pratham dhar dhyaan | 10 February 2014 | Ustad Ghulam Mustafa Khan, Shahida Khan, Runa Prasad |
| 15463 | Jhoola kinne daala re | 1 March 2020 | Shahida Khan (in record version), Ustaad Ghulam Mustafa Khan (in movie version) |
| 16829 | Jab bhi milti hai mujhe ajnabi lagti kyun hai | 15 February 202 | Asha Bhonsle |
Here is the ninth and final song from “Umrao Jaan”(1981). The song is sung by Jagjit Kaur and chorus. The lyrics are traditional, and it is popularly believed that they were written by Amir Khusro. Music is composed by Khayyam.
The song is picturised on Umme Farwa, Seema Sathyu and others.
Lyrics of the song were sent to me by Prakashchandra.
With this song, all the songs of “Umrao Jaan” (1981) are covered in the blog and the movie thus joins the list of movies that have been YIPPEED in the blog.
With this song, Khayyam now has 200 of his music compositions in the blog.
audio link: (full song )
video link: (partial)
Song-Kaahe ko byaahe bides (Umrao Jaan)(1981) Singer-Jagjit Kaur, Lyrics-Amir Khusro, MD-Khayyam
Chorus
Lyrics
kaahey ko byaahey bides
arrey lakhiyaa baabul mohey ae
kaahey ko byaahey ae bides
arrey lakhiyaa baabul morey ae
kaahey ko byaahey ae bides
hum to baabul torey beley ki kaliyaan..aan
hum to babul torey beley ki kaliyaan
arrey ghar ghar maangey hain ??
arrey aey ae lakhiyaan babul mohey
kaahey ko byaahey bides
arrey lakkhiyaa babul morey ae
kaahey ko byaahey ae bides
hum to baabul torey
pinjrey ki chidiyaan….aan
hum to baabul torey
pinjrey ki chidiyaan
arrey kuhuk kuhuk rahee jaaye
arrey aey ae lakhiyaa babul morey aey ae
kaahey ko byaahey ae bides
arrey lakhiyaa baabul morey aey ae
kaahey ko byaahey ae bides
mehlaa taley se ae
dolaa jo niklaa..aaa
mehlaa taley se ae
dolaa jo niklaa..aaa
arrey beeran ne khaayee pachchaad
arrey aey ae lakkhiyaa babul mohey ae
kaahey ko byaahey bides
arrey lakhiyaan babul morey
kaahey ko byaahey ae bides
bhaiyyaa ko diyo baabul
mehlaa do mehlaa…aaa
bhaiyya ko diyo babul
mehlaa do mehlaa
arrey hamko deeyo pardes
arrey aey ae lakhiyaan baabul morey
kaahey ko byaahey ae bides
arrey lakhiyaa baabul morey ae
kaahey ko byaahey ae bides
arrey lakhiyaa baabul morey ae
kaahey ko byaahey ae bides
Jaa ree sakhi saj dhaj ke
Posted on: December 21, 2021
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 : |
4904 | Post No. : | 16710 |
“Ghoonghat”(1960) was produced by S S Wasan and directed by Ramanand Sagar for Gemini Studios, Madras. This movie had Bharat Bhushan, Pradeep Kumar, Bina Rai, Asha Parekh, Leela Chitnis, Rajendranath, Rehman, Agha etc. This was a Madrasi style movie, but curiously enough, its story was inspired from a Bangla story. It was an adaptation of Rabindranath Tagore’s 1906 Bengali story “Noukadubi”.
The movie had ten songs in it. Eight songs have been covered in the past.
Here is the ninth song from “Ghoonghat”(1960) to appear in the blog. This song is sung by Asha Bhonsle. Shakeel Badayuni is the lyricist. Music is composed by Ravi.
The song is picturised as a marriage ritual song. The song is lip synced by Bina Rai who plays the silently sacrificing lady, a character that was the cornerstone of Hindi movies of these days.
The bride is played by a very young Asha Parekh.
Song-Jaa ri sakhi saj dhaj ke apne pee ke dwaare(Ghoonghat)(1960) Singer-Asha Bhonsle, Lyrics-Shakeel Badayuni, MD-Ravi
Chorus
Lyrics
Jaa ri sakhi saj dhaj ke
apne pee ke dwaare
jaa ri sakhi saj dhaj ke
apne pee ke dwaare
tu khushiyon se jholi bhar le
dekh na aansu hamaare ae ae
jaa ri sakhi saj dhaj ke
apne pee ke dwaare
ik ghar ujde
ik bas jaaye
hai yahi jag ki reeti
hmm hmm hmm
hmm hmm hmm
o
jaa ri dulhaniya
dekh na mudke
sakhiyon pe kya beeti
hmm mm hmm
hmm mm hmm
apni apni kismat hai ye
koi jeete koi haare ae ae ae
ja ri sakhi saj dhaj ke
apne pee ke dwaare
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : |
4899 | Post No. : | 16702 | Movie Count : |
4548 |
Hullo Atuldom
So, we have post number 16700 up. Congratulations to Atulji on yet another Hundred. There was a time, not so long back, when we used to have a century every month. Atulji, please confirm, wasn’t there a fastest century too- a century in 16 days? In the run up to my previous post I had noticed that “this date last year” i.e. 15th December 2020, the blog had celebrated its 16100th post with this post which also happened to be the music director duo Shankar-Jaikishan’s 1000th on the blog. I was wondering how Atulji will make post number 16700 special and it is indeed special considering the time-period of that song (1947). Hearty congratulations Atulji.
Let us kick-start the new century with a song from the 1981 release “Shradhanjali”. This was written and directed by Anil Sharma (who was only 21 then), produced by K C Sharma and had Hemant Bhonsle’s music and songs written by Anjaan. Bhupinder Singh, Asha Bhonsle, Amit Kumar, and Shobha Gurtu were the playback singers used.
The movie had a cast headed by Rakhee (in one of her sacrificing Naari roles) and Deepak Parasher was her romantic hero. Arun Govil played her Devar (brother-in-law) who is in awe of her and simply worships her. Madhu Kapoor was Arun Govil’s romantic interest, Sulochana was mother to Deepak Parasher and Arun Govil and Rakhee’s mother-in-law. Suresh Oberoi played the spoke-in-the-wheel that topples Rakhee’s apple cart. Then the movie had K.N. Singh, Jankidas, Yunus Parvez, Manik Dutt, Keshto Mukherjee, Sonia Sahni etc bringing up the supporting cast; all of whose characters together make the movie a ‘sob-story-movie’ which became Rakhee’s forte’ for a few years in the 80s. The Qawwali singer Shakeela Banu Bhopali also makes an appearance in the movie for the song that was sung by Shobha Gurtu.
I have very little knowledge about the Qawwali singer Shakeela Banu, though I have seen the song from ‘Shradhanjali’ a few times in my life. Her facial expressions were very pretty. This is what our dear Shri. Arunkumar Deshmukhji has written about Shakeela Banu Bhopali in his latest post (and I quote, hope he doesn’t mind it)
The other famous qawwal in films was Shakeela Banu Bhopali. She was multitalented. She acted in 32 films, but sang only 4 songs in 3 films. She too gave music to just 1 film- ‘Maze Le Lo’- 1975. She died on 16-12-2002.
This was part of a post that highlighted Jaani Babu Qawwal in Arunkumarji’s current series on ‘songs from artiste name films’
As per what I read somewhere on the internet, she had lost her voice due to the Bhopal gas tragedy in 1984. She passed away of a cardiac arrest on 16th December, 2002.
On to the song that is part of the wedding rituals of Madhu Kapoor and Arun Govil. We can see Suresh Oberoi welcoming the groom and the baaraat of which Arun Govil’s bhabhima (Rakhee) and her chief advisor (K.N. Singh) who is helping her in resurrecting her husband’s business after Suresh Oberoi ruins it and is the cause of Deepak Parasher’s death.
Song-Sainyya doli leke aaye tere dwaare sawere leke jaayenge(Shradhhanjali)(1981) Singer-Shobha Gurtu, Lyrics-Anjaan, MD-Hemant Bhonsle
Chorus
Lyrics
sainya doli leke
sainya doli leke aaye tere dwaar
sawere leke jaayenge
sainya doli leke aaye tere dwaar
sawere leke jaayenge
gori kar le tu solah singaar
ye din phir na aayenge
gori kar le tu solah singaar
ye din phir na aayenge
sainya doli leke aaye tere dwaar
sawere leke jaayenge
maathe pe chanda ki bindiya lagaa doon
haan haan bindiya laga doon
maathe bindiya lagaa doon
ankhiyon mein badra ka kajra saja doon
haan haan kajra sajaa doon
naina kajra saja doon
phoolon ke ras mein
chunri ranga ke
phoolon ke ras mein chunri ranga ke
gale pehna doon
gale pehna doon ye chandrhaar
to raaja lut jaayenge
sainya doli leke aaye tere dwaar
sawere leke jaayenge
saj saj ke aaya tere sapnon ka raaja
haan haan sapnon ka raaja
tere sapnon ka raaja
peechhe baaraati
aage aage band baja
haan haan aage band baja
sajeela band baja
gore gore haathon mein hogi varmaala
gore gore hathon mein hogi varmaala
hogi unse
hogi unse teri ankhiyaan chaar
to naina sharmaayenge
sainya doli leke aaye tere dwaar
sawere leke jaayenge
chunri dupatte ka bandhan judega
haan haan bandhan judega
naya bandhan judega
phir saath pheron mein jiyara udega
haan haan jiyara udega
tera jiyara udega
paanv ke neeche neeche honge sitaare
paanv ke neeche neeche honge sitaare
tere aanchal mein
tere aanchal mein hogi bahaar
do pyaase dil mil jaayenge
sainya doli leke aaye tere dwaar
sawere leke jaayenge
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : |
4887 | Post No. : | 16684 |
Hullo Atuldom
Chal chameli baagh mein was a post by our Nahmji to wish Pyarelal Ramprasad Sharma (one-half of the Laxmi-Pyare duo) on his 80th birthday. The song was from Shubash Ghai’s “Krodhi”. The post also gives us a brief synopsis of the movie, the cast and people associated with the music of the film.
Today’s song is sung by Kishore Kumar and Asha Bhonsle as playback for Shashi Kapoor and Zeenat Aman. It is a song at the wedding of Zeenat’s sister (Madhu Malhotra is the actress) and of the chhed-chhaad variety where the ‘ladkiwaale’ and ‘ladkewaale’ keep talking of the benevolence of the bride and groom towards each other. It was a song which I had in memory for a long time and Nahmji’s post last year brought it out of cold-storage (so to speak).
We remember the cute gentleman ‘Shashi Kapoor’ today on his 4th death anniversary today. He had a long run on the silver screen having begun as a child actor in the late 40s with movies like his brother, Raj Kapoor’s directorial “Aag” & “Awaara”. He had played the childhood of Ashok Kumar in ‘Sangram’ and Bharat Bhushan in ‘Dana Paani’, he was credited as Master Shashiraj in these movies. An interesting trivia that I just recollected is that he has played Ashok Kumar’s son in a few films in the ’70s and ’80s and Bharat Bhushan’s son in ‘Pyar Ka Mausam’ (there may be other such movies too).
He made a charming pair with all of his female co-stars be it Nanda, Mumtaz, Rekha, Rakhee, Hema, Parveen Babi, Sharmila Tagore, Babita and many others. He was cast opposite Indrani Mukherjee in his first adult role in ‘Dharmputra’ and his final film appearance was in the 1998 Pakistani-British epic biographical film ‘Jinnah’ where he was the narrator.
I was particularly in love with his pairing with Amitabh Bachchan, the two appeared together in 12 films starting with ‘Roti Kapda Aur Makaan’. He had acted in about 116 films of which 61 were as solo hero and 55 were multi-starrers. At one point in his career his older brother Raj Kapoor had called him a ‘Taxi’ as he was working in many movies at the same time.
Let us also take this opportunity to wish our own Zeenie Baby on turning 70 this year. Her birthday was on 19th November. For fans of Bollywood, who were young or kids in the ’70s, it may be difficult to believe that Zeenat Aman turned 70. Zeenat- who was a style icon in her days. An actress who was not always cast as the typical Bharatiya Nari. An actress who was comfortable in whatever she wore even if it was a two-piece bikini- which was, not exactly, a preferred costume of the actresses of her period specially if they played the main lead. She had a unique style and diction for delivering her dialogues which made her the perfect choice for playing modern convent-educated characters back then. She was a decent dancer too.
Missing the super cute Balbir Raj Kapoor a.k.a. Shashi Kapoor and wishing health and happiness to Zeenat Aman.
Audio
Video
Song-Ladki tumhaari kanwaari rah jaati (Krodhi)(1981) Singers-Kishore Kumar, Asha Bhonsle, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Male chorus
Female chorus
Lyrics
ladki waalon
hoy ladke waalon
ladki waalon
hoy ladke waalon
hmmmm
ladki tumhaari kanwaari rah jaati
ladki tumhaari kanwaari rah jaati
ji maano hamaara ehsaan
ke ladke ne
ke ladke ne haan kar di
maano hamaara ehsaan
ke ladke ne haan kar di
ho o ho o o
ho o
ladka tumhaara kanwaara rah jaata
ladka tumhaara kanwaara rah jaata
ji maano hamaara ehsaan
ke ladki ne
ke ladki ne haan kar di
maano hamaara ehsaan
ke ladki ne haan kar di
o ladke ke doston
o o o o
o ladke ke doston
pehle tum yeh kaam karo
ladki lene aaye ho
jhuk kar hamko salaam karo o o
jhuk kar hamko salaam karo
ladki ki saheliyon
ho o o o
ladki ki saheliyon
ham jo zidd par aayenge
ladki lene aaye hain
tumko bhi le jaayenge
tumko bhi le jaayenge
tumko bhi le jaayenge
hey ae
gussa yeh saara ka saara rah jaata aa
gussa yeh saara ka saara rah jaata
ji maano hamaara ehsaan
ke ladki ne haan kar di
maano hamaara ehsaan
ke ladki ne haan kar di
ho o o o o
ham kab maan’ne waale thhe
ham kab maan’ne waale thhe
jaane kaise maan gaye
ladki jaadugarni hai
jaan gaye pehchaan gaye
ham jaan gaye pehchaan gaye
ladke ne sau kat likhe
tab ham ne ikraar kiya
ladki ko iss shaadi pe
mushkil se taiyyaar kiya
mushkil se taiyyaar kiya
saari ki saari taiyyaari rah jaati
saari ki saari taiyyaari rah jaati
ji maano hamaara ehsaan
ki ladke ne haan kar di
maano hamaara ehsaan
ke ladke ne haan kar di
maano hamaara ehsaan
ke ladki ne haan kar di
ke ladke ne haan kar di
ke ladki ne haan kar di
ke ladke ne haan kar di
ke ladki ne haan kar di
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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)
————————————————————
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
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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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
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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