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

Archive for the ‘Yearwise breakup of songs’ Category


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.

“Kinaara” (1949) was directed by Ambalal Dave for New India Theaters, Bombay. The movie had Geeta Bali, Madhusudan Acharya, Ram Singh, Sharda, Kanta Kumari, R S Dubey, Pandey, Charubala, M S Bhalla, Jamu Patel, S Nazir, Bismillah Khan etc in it.

Two songs (out of 12 in the movie) have been covered in the past.

Here is the third song from “Kinaara” (1949) to appear in the blog. This song is sung by Lata. Lyricist of this song is not known. . Madhusudan Acharya is the music director.

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

This rare song marks an “artificial” landmark for the blog. This song is the 2700th song from the decade of 1940s (1941 to 1950) to appear in the blog. The decade had 10254 songs from 1191 movies. The blog now has 2700 songs from 680 of these movies.


Song-O jaane waali ye jawaani chaar din ki (Kinaara)(1949) Singer-Lata, Madhusudan Acharya

Lyrics

o jaane waali
ye jawaani chaar din ki
jaane waali
ye jawaani chaar din ki
ye jawaani chaar din ki
jaane waali ye jawaani chaar din ki
ye jawaani chaar din ki
hansne gaane ki kahaani chaar din ki
ye kahaani chaar din ki
hansne gaane ki kahaani chaar din ki
ye kahaani chaar din ki

do din sukh ke
do din dukh ke
pal bhar mauj bahaar
ha ha ha ha ha
do din sukh ke
do din dukh ke
pal bhar mauj bahaar
dhale jawaani chadhe budhaapa aa aa
dhale jawaani chadhe budhaapa
kar lena tu pyaar
jaane waali ye jawaani chaar din ki
ye jawaani chaar din ki

roop khila kahin dhoop khili
hai masti ka baazaar aar
roop khila kahin dhoop khili
hai masti ka baazaar aar
pyaar se duniya mein bik jaata
bina mol sansaar
pyaar se duniya mein bik jaata
bina mol sansaar
jaane waali ye jawaani chaar din ki
ye jawaani chaar din ki

ye jawaani ee ee ee
ye jawaani ek lahar hai
jyun baadal ki chhaaya
rang raliyaan kar le tu bande ae ae
rang raliyaan kar le tu bande
tarsegi phir kaaya
jaane waali ye jawaani chaar din ki
ye jawaani chaar din ki
jaane waali ye jawaani chaar din ki
ye jawaani chaar din ki
o jaane waali ye jawaani chaar din ki

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This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Heera”(1947) was a Jayant Desai Productions, Bombay presentation. It had Ishwarlal, Paro Devi, Mubarak, Revashankar, Lachhu Maharaj, Bhagwan Das, Sukumar, Gulaab, Baby Vimla, Shantabai etc in it.

The movie had eleven songs in it. Three of these songs have been covered in the past.

Here is the fourth song from “Heera”(1947) to appear in the blog. This song is sung by Zohrabai Ambalewaali. The lyricist of this song is not known. Music is composed by Husnlal Bhagatram.

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


Song-Aji thhandi hawa tadpaaye hai (Heera)(1947) Singer-Zohrabai Ambalewaali, MD-Husnlal Bhagatram

Lyrics

aji thhandi hawa tadpaaye hai
aji thhandi hawa tadpaaye hai
ho tadpaaye hai
jeewan ki naiyya bahi jaaye hai
jeewan ki naiyya bahi jaaye hai

keh raha hai ye behta paani ee ee
keh raha hai ye behta paani ee ee
jaane waali yoon hi jawaani ee ee
jaane waali yoon hi jawaani
apne joban pe kyun itraaye hai
apne joban pe kyun itraaye hai
ho itraaye hai
jeewan ki naiyya bahi jaaye hai
jeewan ki naiyya bahi jaaye hai
aji thandi hawa tadpaaye hai
aji thandi hawa tadpaaye hai
ho tadpaaye hai
jeewan ki naiyya bahi jaaye hai
jeewan ki naiyya bahi jaaye hai

bulbule tu suno kahaani ee ee
bulbule tu suno kahani ee ee
kya le duniya kya zindgani ee ee
kya le duniya kya zindgani
lehar aaye aur aake chali jaaye hai
lehar aaye aur aake chali jaaye hai
ho chali jaaye hai
jeewan ki naiyya bahi jaye hai
jeewan ki naiyya bahi jaye hai
aji thandi hawa tadpaaye hai
aji thandi hawa tadpaaye hai
ho tadpaaye hai
jeewan ki naiyya bahi jaaye hai
jeewan ki naiyya bahi jaaye hai

keh raha hai ye behta paani ee ee
keh raha hai ye behta paani ee ee
jaane waali yoon hi jawaani ee ee
jaane waali yoon hi jawaani
apne joban pe kyun itraaye hai
apne joban pe kyun itraaye hai
ho itraaye hai
jeewan ki naiyya bahi jaaye hai
jeewan ki naina bahi jaaye hai
aji thandi hawa tadpaaye hai
aji thandi hawa tadpaaye hai
ho tadpaaye hai
jeewan ki naiyya bahi jaaye hai
jeewan ki naiyya bahi jaaye hai


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.

“Jai Shree”(1956) was directed by Balchandra Shukla and Harsukh Bhatt for Rajshree Productions, Bombay. HFGK mentions that Rajshree Productiions had apparently bought the distribution rights of this movi and had released it under the banner of Ratndeep Pictures.

The movie had Nimmi, Pradeep Kumar, Lalita Pawar, Jeewan, Jayant, Radhakishan, Roopmala, Chaman Puri, Kesri, Gadadhar Sharma, Jagdeesh Kanwal, Baby Daisy Irani, Master Vijay Kumar etc in it.

This “social” movie had eight songs in it.

Here is the first song from “Jai Shree”(1956) to appear in the blog. This song is sung by Lata and chorus. Gopal Singh Nepali is the lyricist. Music is composed by Chitragupta.

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

With this song, “Jai Shree”(1956)makes its debut in the blog.


Song-Baadarwa chale jhoom ke bijuriya ka munh choom ke (Jai Shree)(1956) Singer-Lata, Lyrics-Gopal Singh Nepali, MD-Chitragupta
Chorus

Lyrics

baadarwa chale jhoom ke
bijuriya ka munh chum ke
saanwariya
tum nahin aaye abhi ghoom ke
baadarwa chale jhoom ke
bijuriya ka munh choom ke
saanwariya
tum nahin aaye abhi ghoom ke

o o o
baari umariya meri
jhoome jhoole pe chadhke
jhoome jhoole pe chadhke
jhoome jhoole pe chadhke

utre ghoonghatwa
ude re dupattwa
muft mein jiyara dhadke
haaye raam
haaye raam
purwaiya aaye jhoom ke
jaaye to gesu choom ke
saanwariya
tum nahin aaye abhi ghoom ke
baadarwa chale jhoom ke
bijuriya ka munh choom ke
saanwariya
tum nahin aaye abhi ghoom ke

o o o o
baadarwa taan maare
chham chham boondon ki goli
chham chham boondon ki goli
chham chham boondon ki goli

barkha bahaar mein
rimjhim phuhaar mein
bheege hamaari choli
haaye raam haaye raam
hariyali dole jhoom ke
maasoom kali choom ke
saanwariya
tum nahin aaye abhi ghoom ke
baadarwa chale jhoom ke
bijuriya ka munh choom ke
saanwariya
tum nahin aaye abhi ghoom ke

o o o
jamuna ki dhaar sakhi
chhaaya mein dhoop naache
chhaaya mein dhoop naache
chhaaya mein dhoop naache

machhliya banke
paani mein chhanke
maujon mein roop naache
haaye raam haaye raam
maujon ne chheda jhoom ke
humne bhi chhoda choom ke
saanwariya
tum nahin aaye abhi ghoom ke
baadarwa chale jhoom ke
bijuriya ka munh choom ke
saanwariya
tum nahin aaye abhi ghoom ke


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

Today (24 july 2017) is the First Monday of the Holy month of Shravan, as observed in the Western, some Eastern and Southern states of India. On this occasion, here is a very melodious Shiv bhajan from the film Shivratri-54. Chitragupta, the King of melody, has composed this bhajan by G.S. Nepali, and is sung sweetly by Asha Bhosle.

India is simply a wonderful and unique country in this world. With 22 languages, recognized by Indian Constitution ( and 122 major and 1599 smaller languages), 9 major and 125 minor religions and over 25 states having exclusive cultures, it was a wonder that Independent India survived after the British left in 1947.

India not only survived but is becoming and recognized as one of the developing countries, supplying its talents to the modern world almost for every industry. It was predicted that within 5 to 10 years after Independence, India will destroy itself with internal chaos and religious infighting. India not only proved the world wrong, but also showed the world how Unity can be achieved in Diversity !!!

This is because of Indian culture which crosses the religious boundaries. When there are killings and riots everyday in “One- Religion ” countries of the world, India is the only hope for the world with its diverse cultural diaspora. The high degree of adaptability and tolerance in the Indian Culture, leading to Peaceful Co-Existence of Religions and languages is the secret of India’s uniqueness.

Take the case of Calendar, as an example of adaptability. Throughout the world, there is uniform calendar in every country. Only in India, the Calendar is based on regional needs. More than 80% population follows a Calendar which has adapted itself to regional climatic routines and the Agricultural diversity of North and South India. The country has 2 ways of counting days. One- followed in the west,south and part of east, wherein the month ends on the No-Moon Day or Amavasya. The Hindi speaking belt of North, Northwest and Northeast follows the system wherein the month ends on the Full Moon Day or Pournima. There is a difference of only 15 days in these systems and due to 15 days’ counting system, all the Festivals fall on the same day all over the country. Hats off to whosoever devised this methodology which unites while maintaining the individuality of different states.

This year in Andhra Pradesh, Telangana, Goa, Maharashtra, Gujarat, Karnataka, Tamil Nadu, West Bengal, Assam and Tripura ( Amavasyant states), Shravan month will be started from Monday, 24th of July 2017 which will be observed as the 1st Shravan Somvar Vrat. Shravan Somvar Vrat will be observed on every Monday i.e. 24th of July, 31st of July, 7th of August, 14th of August and 21st of August which will be the last day of Shravan Month as well.

Shravan month has already started from Monday, 10th of July, 2017 which will be observed as the 1st day of Shravan Month as well as 1st day of Shravan Somvar Vrat. Shravan Somvar Vrat will be observed on every Monday i.e. on 10th July, 17th July, 24th July, 31st July and 7th August which will be the last day of Shravan Month for Delhi, Rajasthan, Uttar Pradesh, Madhya Pradesh, Punjab, Himachal Pradesh’, Bihar, Chhattisgarh, Odisha and J&K. ( Purnimant states)

This entire period will be very auspicious for Lord Shiva Devotees and almost everyone of them will observe fast either for the entire month or at least on every Monday which falls during this period. The month of Shravan ( Saawan) is considered a very Holy month, especially for the Shiv Bhakts and every Monday is auspicious for Lord Shiva’s Pooja, Vrat or Fasting etc.

Shiv literally means auspiciousness, welfare. He is the third God of the Hindu Trinity, representing darkness. Because he is often portrayed as the angry god and the God of destruction, Lord Shiv is one of the most feared and worshipped Gods in Hinduism. He is said to play a complementary role to Brahma because he is protector of souls until they are ready for recreation by Lord Brahma. Shiv has eight forms: Rudra, Sharva, Bhava, Ugra, Bhima, Pashupati, Ishana and Mahadeva; which, according to the Shiv Purana, correspond to the earth, water, fire, wind, sky, a yogi called Kshetragya, the sun, and the moon respectively.

Shiv symbolically represents the tamasic quality. This happens to be one of the gunas in Hinduism, symbolizing inactivity. His body color, which is white, denotes his purity and association with the snowy mountains. His three eyes represent the sun, the moon and the earth, the three paths of liberation and the triple nature of creation. The third eye is actually the eye of wisdom or occult knowledge. Epithets note his distinctive hairstyle; he has matted hair which holds the flowing Ganges River and a crescent moon. Shiv is said to be the essence of the Vedas and the creator of the Word. He is also the creator of Dance. Shiv’s dance of anger is called the Roudra Tandava and his dance of joy, the Ananda Tandava. He dances both the dance of destruction and the dance of creation. The rhythms he dances to are that of a world continuously forming, dissolving and re-forming.

The legend of marriage of Shiv and Shakti is one the most important legends related to the festival of Mahashivaratri. The story tells us how Lord Shiv got married a second time to Shakti, his divine consort. According to legend of Shiv and Shakti, the day Lord Shiv got married to Parvati is celebrated as Shivaratri – the Night of Lord Shiva.

Legend goes that once Lord Shiv and his wife Sati or Shakti were returning from sage Agastya? ashram after listening to Ram Katha or story of Ram. On their way through a forest, Shiv saw Lord Rama searching for his wife Sita who had been kidnapped by Ravana, the King of Lanka. Lord Shiv bowed his head in reverence to Lord Rama. Sati was surprised by Lord Shiv’s behavior and inquired why he was paying obeisance to a mere mortal. Shiv informed Sati that Rama was an incarnation of Lord Vishnu. Sati, however, was not satisfied with the reply and Lord asked her to go and verify the truth for herself.

Using her power to change forms, Sati took the form of Sita appeared before Rama. Lord Rama immediately recognized the true identity of the Goddess and asked, “Devi, why are you alone, where’s Shiv?” At this, Sati realized the truth about Lord Ram. But, Sita was like a mother to Lord Shiv and since Sati took the form of Sita her status had changed. From that time, Shiv detached himself from her as a wife. Sati was sad with the change of attitude of Lord Shiv but she stayed on at Mount Kailash, the abode of Lord Shiv.

Later, Sati’s father Daksha organised a yagna, but did not invite Sati or Shiv as he had an altercation with Shiv in the court of Brahma. But, Sati who wanted to attend the Yagna, went even though Lord Shiv did not appreciate the idea. To her great anguish, Daksha ignored her presence and did not even offer Prasad for Shiv. Sati felt humiliated and was struck with profound grief. She jumped into the yagna fire and immolated herself.

Lord Shiv became extremely furious when he heard the news of Sati’s immolation. Carrying the body of Sati, Shiv began to perform Rudra Tandava or the dance of destruction and wiped out the kingdom of Daksha. Everybody was terrified as Shiv’s Tandava had the power to destroy the entire universe. In order to calm Lord Shiv, Vishnu severed Sati’s body into 12 pieces and threw them on earth. It is said that wherever the pieces of Shakti’s body fell, there emerged a Shakti Peetha, including the Kamaroopa Kamakhya in Assam and the Vindhyavasini in UP.
Lord Shiv was now alone undertook rigorous penance and retired to the Himalayas. Sati took a re-birth as Parvati in the family of God Himalaya. She performed penance to break Shiv’s meditation and win his attention. It is said that Parvati, who found it hard to break Shiv’s meditation sought help of Kamadeva – the God of Love and Passion. Kaamadeva asked Parvati to dance in front of Shiv. When Parvati danced, Kaamadeva shot his arrow of passion at Shiva breaking his penance. Shiv became extremely infuriated and opening his third eye that reduced Kaamadeva to ashes. It was only after Kamadeva’s wife Rati’s pleading that Lord Shiv agreed to revive Kaamadeva.

Later, Parvati undertook severe penance to win over Shiv. Through her devotion and persuasion by sages devas, Parvati, also known as Uma, was finally able to lure Shiv into marriage and away from asceticism. Their marriage was solemnized a day before Amavasya in the month of Phalgun. This day of union of God Shiv and Parvati is celebrated as Mahashivratri every year.

I have been fasting on every Monday during Shravan and Mahashivratri since I was a child. Our family was a staunch Shiv Bhakt and we had our own big Shiv Temple in the compound of our Bungalow in Hyderabad. My father had spent some time in Banaras studying Vedas. I too was there for 2 years when I was a small kid. Anyway, all this had immense impact on me and I follow whatever is possible in the month of Shravan.
This time there are 5 Mondays in Shravan. We will try to discuss one Shiv Bhajan on every Monday from 24th July onwards.

Let us enjoy today’s Bhajan which is very sweet indeed. This song is the 2300th song of Asha Bhonsle as a playback singer in the blog.


Song-Shankar ki pooja chhoote na (Shiv Ratri)(1954) Singer-Asha Bhonsle, Lyrics-Gopal Singh Nepali, MD-Chitragupta

Lyrics

Shankar ki pooja chhoote na
chhoote na
Shankar ki pooja chhoote na
chhoote na
shambhu ke bina
bulbula bhi jal mein phhoote na
ho o
shambhu ke bina bulbula bhi jal mein phhoote na
ho Shankar ki pooja chhoote na
chhoote na

raaja roothhe
taqdeer phhire
duniya badle
ho o
raaja roothhe
taqdeer phhire
duniya badle
kailaashpati saubhaagyawati se roothhe na
ho o o
kailaashpati saubhaagyawati se roothhe na
ho Shankar ki pooja chhoote na
chhoote na

shiv ko pooje jo
apne piya ki matwaali
shiv ko pooje jo
apne piya ki matwaali
shambhu ka trishool kare nit uski rakhwaali
ho o o o
shambhu ka trishool kare nit uski rakhwaali
vrat toote na to
phir suhaag koi loote na
ho o o
vrat toote na to
phir suhaag koi loote na
ho Shankar ki pooja chhoote na
chhoote na

harihar chaahe to janmon ka phera chhoote
harihar chaahe to janmon ka phera chhoote
bandhan toote
taala toote
ghera toote
ae ae ae
bas janam janam natwar se naata toote na
ho o o
bas janam janam natwar se naata toote na
ho Shankar ki pooja chhoote na
chhoote na


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 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 a tribute to an actor whom I started admiring for his acting calibre only a couple of years back. He became a star actor without having any godfather in Hindi film industry. During his filmy career of less than 15 years (1934-48), he donned the different kind of roles, mostly in negative shades, in around 30 films most of which became box office hits. Had there been a concept of super star in his days, he would have been the one among K L Saigal, Motilal, Surendra etc. The actor is Chandra Mohan and today, July 24, 2017 happens to be his 111th birth anniversary.

During my younger days, the only information I knew from words of mouth about Chandra Mohan was that he was the most handsome actor of his time. Even until a couple of years back, my awareness about him was restricted to his being from a Kashmiri Pandit family, about his filmography, watching him in VCD of films like ‘Pukaar’ (1939), ‘Roti’ (1942), ‘Humayun’ (1945) and ‘Shaheed’ (1948). Each of his roles in these films impressed me of his acting skill, the dialogue delivery and the expressions.

Chandra Mohan rarely got opportunity to work as hero in a conventional sense in his 30 odd films. Even in the films like ‘Bharosa’ (1940) and ‘Apna Ghar’ (1942) in which he was in the lead roles, he had some shades of negative characters like a seducer of his best friend’s wife and an autocratic husband, respectively. It is said that his facial features and cat eyes always created the shades of villain in him. His eyes were so powerful that even his innocuous smiles gave an impression of villainous smiles.

During the last two years or so when I was more into songs of the films of 1940s, I became aware of some of the important film personalities of that era and one of them was Chandra Mohan. I had read an interview of him taken by Hyacinth, a name under which Susheela Rani Patel wrote articles in ‘Filmindia’ magazines (November 1941). The interview was taken on the eve of the release of his film ‘Roti’ (1942). This was also a period when his career was at its peak. The interview gave me an impression of Chandra Mohan being a short tempered person, a self-centred egoistic man and a man of strong likes and dislikes.

Recently, I came across a moving obituary on Chandra Mohan written by Khorshed Dhondy, a film journalist who knew Chandra Mohan personally. The article appeared in April 1949 issue of SOUND Magazine, (Courtesy: Professor Surjit Singh’s Website). After reading the article, I had a different impression of Chandra Mohan – a kind hearted man, helped needy persons anonymously, a spend thrift during financially good times but accepted the life as it came in bad times. He was not arrogant but his frank talks may have given that impression.

Chandra Mohan Wattal (24/07/1906 – 02/04/1949) was born in Narsinghpur (presently in MP) in a Kashmiri Pandit family. His grandfather was the Diwan of Karauli State (now in Rajasthan) and his father was a member of the darbaar of Maharaja of Gwalior. Chandra Mohan lost his mother when he was a child. He was brought up by his maternal grandmother at Narsinghpur. His grandmother pampered him so much that he had become a spoilt child. It is not known whether he completed his high school.

Sometime in the 1930, after his father’s death, Chandra Mohan realised that his views and his grandparents views were poles apart. So he ran away from his house and reached Delhi. After changing job many times, he joined a film distribution company at Delhi at a monthly salary of Rs.35/-. The job entailed travelling for meeting film producers for negotiating terms for their film distributions.

On one such assignment, Chandra Mohan travelled to Kolhapur to discuss with the owners of Prabhat Film Company for negotiating the terms for distribution of their film ‘Sairandri’ (1933). V Shantaram saw in him the artistic potential – a handsome young man with his blue-greenish eyes which spoke more than his voice. He offered him a contract for the film which he refused. However, when Baburao Pendharkar left Prabhat, Chandra Mohan was asked to reconsider his decision. This time, Chandra Mohan met V Shantaram in Poona (Pune) and accepted the offer at a monthly salary of Rs.75/-. Thus he got his first role of a fanatic priest in Prabhat’s ‘Amrit Manthan (1934).

Chandra Mohan’s role in ‘Amrit Manthan’ (1934) was very much appreciated by both the cinegoers and the film critics. With his very first film, he had become a star. Thereafter, he worked for Prabhat’s ‘Dharmatma’ (1935) as an evil priest, in ‘Amar Jyoti’ (1936) as a tyrannical minister, and in ‘Wahan’ (1937) as autocratic Aryan king. Sometime in 1936, Chandra Mohan had differences with Shantaram over his remuneration which had remained the same despite the box office successes of his three films in a row. So he left Prabhat and joined Huns Pictures of Master Vinayak in 1937 on profit sharing basis.

After completing ‘Jwaala’ (1938), he quit Huns Pictures and joined Sohrab Modi’s Minerva Movietone. He got the role of Mughal Emperor Jehangir in ‘Pukaar’ (1939). His role had created so much impression that Maharaja of Kashmir, Hari Singh who was a close friend of Chandra Mohan, used to receive him personally at his royal palace and address him as Jehangir. In Minerva’s ‘Bharosa’ (1940), his role as a seducer of his friend’s wife was critically appreciated in the film’s review in ‘Filmindia’.

Keeping with his temperament, Chandra Mohan left Minerva Movietone too after doing just two films and became a free-lancer. During his free-lancing phase, he had done a double role in negative character in ‘Geeta’ (1940) – as Durga Khote’s husband and her son. His role of a ruthless businessman in ‘Roti’ (1942) and an autocratic husband in ‘Apna Ghar’ (1942) who ‘conveys more from his actions than the words’ were well appreciated. In ‘Shakuntala’ (1943), his portrayal of role as King Dushyant had many shades of emotions.

The World War II period (1939-45) brought significant speculative gains for businessmen. Some of them channelled the money in film productions. During this time, the remunerations of the star actors went up significantly. Chandra Mohan was one of the major beneficiaries of this trend as he did nearly 20 films during this period. According to a film journalist I referred to earlier, Chandra Mohan earned as much as Rs.18 lakhs during this period which was a big sum at that time.

However, Chandra Mohan’s good earnings came at a cost which was reflected in his career later. During the boom, he had accepted roles in the films of all sorts, some of which flopped at the box offices. During this period, he tried his hand in producing a film ‘Jhankar’ (1942) in partnership with his close friend M Kumar. This film too flopped at the box office.

Once the war was over, there was a slump in business activities which also got reflected in the film industry. However, keeping with his temperament, Chandra Mohan would not lower his remuneration nor would he approach film production banners for roles. The result was that he did not get any films during 1946 and 1947. During this period, whatever he had earned was majorly lost in gambling like horse races which he was very fond of. Also his lavish life style and partying with his close friends continued until all his earnings were exhausted. He had to sell his personal belongings like cars, race horses etc to maintain his routine expenses.

It was during this period that Chandra Mohan was afflicted with some kind of mental illness (probably depression) resulting in losing his mental balance. It is said that during this period, he used to get hallucinations quite often. It is during this time, he became extremely religious person as against the atheist earlier. He spent whatever little money he had for going on pilgrimage all over India and visiting places of all faiths.

In the film industry, when the chips are down for an artist, even his close friends desert him. Chandra Mohan was lucky that he had some close friends like Motilal, M Kumar, Ulhas, Ranjan Haksar who were genuinely attached to him irrespective of his financial conditions. They used to visit his house in Churchgate periodically to inquire about his well being.

I guess that the moral support (perhaps, discreetly financial too) which Chandra Mohan got from his close friends during his difficult times might have brought him to normalcy. After about 2 years of hiatus, he got an important role in Filmistan’s ‘Shaheed’ (1948). His stunning performance as a duty bound Deputy Commissioner whose son (Dilip Kumar) has become a revolutionary, was as memorable as that of Dilip Kumar in ‘Shakti’ (1982). His monologue in a court scene where, for the first time, he supports his son for his actions, is unforgettable. He also acted in Prakash Picutres’ ‘Raam Baan’ (1948) in the role of Ravan and ‘Dukhiyaari’ (1948) etc.

Unfortunately, Chandra Mohan’s second innings was short lived. On the morning of April 2, 1949, he breathed his last due to heart attack after a short illness of about 15 days. Baburao Patel, editor of ‘Filmindia’ wrote in his tribute to Chandra Mohan – ‘the lambs of the day can never reach the stature of the lion that died’.

Chandra Mohan’s untimely death was one of the main reasons for further delay of K Asif’s magnum opus, ‘Mughal-e-Azam’ (1960) in which he was playing the role of Emperor Akbar. Some reels of the film was already shot.

Coming to the song for the occasion, from the VCDs of his films I have watched, I could not find any song which Chandra Mohan had lip synced on the screen. At last, I have settled for a background song picturised on him. The song is ‘Na Jaane Kahaan Ka Ye Jaadu Kiya Hai’ from the film ‘Shakuntala’ (1943). The singer of the song is not identified. My guess is that the singer is Khan Mastana.

There were 13 songs in the film written by Deewan Sharar and Ratan Piya. However, the song under discussion has not been identified as to which of the two lyricists had written the song. My take is that the song may have been written by Deewan Sharar as I find that 8 songs for which Ratan Piya have been accredited, have pure Hindi lyrics whereas the song under discussion have words like ‘adaayen’ ‘nighaayen’, ‘jahaan’ ‘jaam’ which a purist Hindi poet would generally avoid. Vasant Desai composed music for all the songs. Six songs from the film have been covered in the Blog.

‘Shakuntala’ (1943) was the first film produced and directed by V Shantaram after he left Prabhat films and set up Rajkamal Kala Mandir . The star cast included Jaishree, Chandra Mohan, Nimbalkar, Zohra, Ameena, Raja Pandit, Nana Palsikar, Shantarin etc. The film was a box office hit. It ran for 104 weeks in Swastik theatre in Bombay (Mumbai).

Interestingly, for his first film under his own banner, V Shantaram chose Chandra Mohan for the role of King Dushyant in the film despite their earlier disagreement in 1937 because of which Chandra Mohan had left Prabhat Films in 1937. Chandra Mohan had acknowledged in his interview that V Shantaram was the best director among the directors he worked with.


Song – Na Jaane Kahaan Ka Ye Jaadu Kiya Hai (Shakuntala) (1943) Singer – Unidentified Male Voice, Lyrics – [Unattributed], MD – Vasant Desai

Lyrics

na jaane kahaan kaa ye
jaadoo kiyaa hai
kisi ne mere dil mein
ghar kar liyaa aa hai
na jaane kahaan kaa ye
jaadoo kiyaa hai
kisi ne mere dil mein
ghar kar liyaa aa hai

wo baanki adaayen
wo meethi nighaahen aen
wo baanki adaayen
wo meethi nighaahen
chale…en
chale phir wahaan par
jahaan dil diyaa hai
jahaan dil diyaa hai
kisi ne mere dil mein
ghar kar liyaa aa hai

inhin ne kiyaa aa mast
saare jahaan ko o
inhin ne kiyaa aa mast
saare jahaan ko o
jin aankhon kaa..aa
jin aankhon kaa
ik jaam hamne piya hai
hamne piya hai
kisi ne
mere dil mein
ghar kar liyaa aa hai
na jaane kahaan kaa ye
jaadoo kiyaa hai
kisi ne mere dil mein
ghar kar liyaa aa hai

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

ना जाने कहाँ का ये जादू किया है
किसी ने मेरे दिल में घर कर लिया है

वो बाँकी अदाएं
मीठी निगाहें
वो बाँकी अदाएं
मीठी निगाहें
चले॰॰एन
चलें फिर वहाँ पर
जहां दिल दिया है
किसी ने मेरे दिल में घर कर लिया है

इन्हीं ने किया मस्त सारे जहां को॰॰
इन्हीं ने किया मस्त सारे जहां को॰॰
जिन आँखों का॰॰
जिन आँखों का इक जाम हमने पिया है
हमने पिया है
किसी ने
मेरे दिल में
घर कर लिया है
ना जाने कहाँ का ये जादू किया है
किसी ने मेरे दिल में घर कर लिया है


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.

Today (23rd July 2017) is the death anniversary of one of the most popular comedian artistes of yesteryear, Mehmood (29 September 1932 – 23 July 2004).  On this occasion I’d like to pay a humble tribute to him.

To call Mehmood just a comedian is not to do him full justice. For, apart from doing very popular comedy roles, he was also a producer and director in his own right. And he also did playback for some songs Not just that, he even wrote for a couple of films  – so, all things considered, he must be considered quite an all rounder. Of course his comedy roles are what made him a big star in the industry and these are what he is best known for.

Mehmood was the son of the famous stage and film actor-dancer of yesteryear, Mumtaz Ali . He was one of eight children – one of his sisters was Minoo Mumtaz, is well-known for her dances and character roles in the 50s and 60s. Mehmood started as a child artiste in a few films – I remember seeing him in Kismet (1943). He did several odd jobs, like selling eggs and poultry products, being a driver. He even taught Meena Kumari table tennis – as a result of this association, he ended up marrying her sister, Madhu.

In films, it took him a while to get recognition and significant roles. He can be seen in small roles in ‘Do Bigha Zameen’ (1953), in ‘CID’ (1956), and in ‘Pyaasa’ (1957). He had somewhat more significant roles in ‘Chhoti Bahen’ (1959),  ‘Shriman Satyavaadi’ (1960) and ‘Miya Biwi Raazi’ (1960), suggesting that his career graph was definitely on the up. And then come 1961 and Mehmood struck gold with the Prasad Productions film ‘Sasuraal’. Not only was the film a huge hit but Mehmood got a Filmfare nomination for Best Supporting Actor. His comedy in the film was hilarious and much-appreciated.

‘Sasuraal’ was also a trend-setter in that it triggered the famous Mehmood-Shubha Khote pairing. And the famous Mehmood-Dhumal partnership. Film after film in the 1960s would feature them, often with success. ‘Sasuraal’ also had two popular songs picturised on Mehmood-Shubha Khote.  They were “Apni Ulfat Pe Zamaane Ka Na Pehra Hota” and “Jaana Tumhaare Pyaar Mein”. Clearly with this film, if not earlier, Mehmood had made his stamp on the industry – as a comedy actor. He never looked back. The screen name Mahesh, that he had in ‘Chhoti Bahen’ (1958) and now in ‘Sasuraal’ (1961) was like a lucky charm for him. He would have that name in at least fifteen films thereafter.

The 60s was a golden decade for Mehmood. He went from strength to strength as producers realized his growing popularity. Much like Johnny Walker who would invariably have a song picturised on him, Mehmood too would get at least one song picturised on him. Often this would be sung by Manna Dey. Sometimes Mehmood, with his antics, would even overshadow the hero of the film. In ‘Gumnaam’ (1965), his screen performance of “Hum Kaale Hain To Kya Hua” stole the show. Even ‘Aulaad’ (1968) is best-remembered for his Charlie Chaplin act opposite Aruna Irani in the song “Jodi Hamari”. And that brings me to his other partnership – with Aruna Irani. This was another successful pairing for Mehmood – one that went well into the 70s.

Among Mehmood’s many films of the 60s, I would like to mention two here. ‘Pyar Kiye Jaa’ (1966) and his home production, ‘Padosan’ (1967). In both these films Mehmood scaled new heights of comedy – and firmly established himself (if any further confirmation was necessary at all) as the leading comedian of the times. By then Johnny Walker was also in decline, so Mehmood was THE most sought-after comedian.

Oh, before I forget, I must mention his partnership with IS Johar, the other well-known maverick comedian.  Mehmood teamed up with him to act in a couple of films,  ‘Johar Mehmood in Goa’  (1965) and ‘Johar Mehmood in Hong Kong’ (1971).

Mehmood continued to be a popular actor through the 70s. Though he did act thereafter, his career slowed down. However, any discussion on Mehmood would be incomplete without referring to his direction and production endeavors. Back in 1961, when he was still not an established actor, Mehmood chose to make a film ‘Chhote Nawab’, directed by his brother Usman Ali. This was the film which gave RD Burman his break.  The film, with Mehmood in a lead role, unfortunately did not do well at the box-office.

In 1965, Mehmood would again team up with RD Burman for a home production for ‘Bhoot Bangla’. The producer was officially his brother Usman Ali, Mehmood was the director.  This film, again with Mehmood in the lead role opposite Tanuja, did well – and brought RD Burman a lot of credit for its music. RD Burman himself had a small role in the film, including possibly the only song he lip synced on screen, in his own voice. This further cemented the Mehmood-RD Burman friendship. They would  go on to work together in ‘Padosan’ (1968), a film that was a hit in its time and continues to be popular to this day as one of the finest comedies ever. This film brought RD Burman huge recognition, while also getting Mehmood a lot of plaudits for his acting.

Throughout his career, Mehmood acted in a number of films for South Indian producers.  And many of these films did well at the box-office, thanks in no small measure to Mehmood himself. Or he would do a remake of a South Indian film, using a South Indian director. Unlike many other actors, he had no qualms or airs about working with anyone. Some prominent films come to mind – ‘Sadhu Aur Shaitan’ (1968), ‘Lakhon Mein Ek’ (1971), ‘Main Sundar Hoon’ (1971),  ‘Bombay to Goa’ (1972), ‘Do Phool’ (1973).

In 1974, Mehmood directed a landmark film of his career ‘Kunwara Baap’. It was a sensitive film, serious in its message – something we were not used to seeing from Mehmood. This gave us a glimpse into another side of his personality. Then in 1976, Mehmood made two films that were noticed. One was ‘Sabse Bada Rupaiya’, which although it didn’t do well at the box-office, was known for its popular songs. And the other was ‘Ginny Aur Johnny’, which fared better, and starred Mehmood’s own daughter, Ginny.

After this, Mehmood began fading away from the scene. By then he had already become a living legend in his own right and didn’t need any industry validation. He would still appear in the odd film but he wasn’t a selling point for a film anymore.

Much later, in the 90s, he made a film, another serious film, called ‘Dushman Duniya Ka’ (1996) starring his own son, Manzoor Ali. This was a hard-hitting film about drugs – I remember seeing it.

That is my last memory of a Mehmood film.

So, quite a career! And much of it during my childhood years. This is probably why I have so many memories of his films. And although I must admit that sometimes his part could be distracting from the story line (like in ‘Tumse Achha Kaun Hai’ (1969), or even ‘Ziddi’ (1964), both directed by Pramod Chakravarty), it was more a director’s issue than Mehmood’s acting fault. For example, I feel  Hrishikesh Mukherjee did a fantastic job with him in Do Dil (1965).

Anyway moving on to the song for today. This is from the 1976 film, ‘Sabse Bada Rupaiya’. It is the title song – sung by Mehmood himself. It  was quite popular in its time. I remember I was in high school then – and everyone around me would be saying “The whole thing is that…”.  Even today, you can still hear sometimes “the whole thing is that,  ki bhaiya, sabse bada rupaiya”. The phrase has made its place in the popular jargon of this country.

As I usually do, I watched the film again recently in order to refresh my memory of it. I’d watched it in the 70s itself, but forgotten the details. It was nice to watch it again. I like the film a lot, it has lovely songs – it’s a pity it didn’t do well at the box-office. The story is about Vinod Mehra, a very big-hearted, generous businessman and his friend, Mehmood, who works for him, but is much more business-minded and careful with money. Mehmood disapproves of the way Vinod Mehra gives away his money to charity. It’s an interesting plot, different from the usual stuff at that time.

Vinod Mehra and Moushumi Chatterji are supposed to get married to each other. But since Vinod Mehra has played a prank on Moushumi, she decides to return the favour in this song. All for fun. Mehmood, of course, is still trying to convince Vinod Mehra about the importance of money.

So here is the title song, “na biwi na bacha”. The music is by the duo of Basu-Manohari, earlier assistants for SD Burman, then later for RD Burman. Here they get a chance to branch out on their own. And I think they did a pretty good job of it too.

Hope you enjoy the song.

ED” With this song, which is the fourth and final song from the movie in the blog, “Sabse Bada Rupaiyya”(1976) now get YIPPEED in the blog.


Song – Na Biwi Na Bachcha, Na Baap Bada Na Maiyya (Sabse Bada Rupaiya) (1976) Singer – Mehmood, Lyrics – Majrooh Sultanpuri, MD – Basu Manohari
Chorus

Lyrics

hooo
na biwi na bacha
na baap bada na maiya
the whole thing is that
ki bhaiya sabse bada rupaiya

na biwi na bacha
na baap bada na maiya
the whole thing is that
ki bhaiya sabse bada rupaiya

bin rupaiya to mister
teri mummy ka pyaar
jo paida karta tujhe to
kabhi na kar sakta mere yaar
doctor laut jaata
fee na milti agar
tu maa ke pote ke andar
padaa hi reh jaata har baar
to kiya jisne paida
wo ishwar hai na maiya
the whole thing is that
ki bhaiya sabse bada rupaiya

ooo
haath khaali agar tu
mar gaya meri jaan
na agni tujhko chhuegi
na dharti hi degi maan
hahaha
hahaha
hahaha
hahaha
hahahahahaha
hadd ye hai mere bhai
ye khudao ka ghar
teri daulat ne banaaya to
hue khush allah bhagwaan
tu us duniya ke khaatir
jodey ja aana paiya
the whole thing is that
ki bhaiya sabse bada rupaiya

sabse bada rupaiya
sabse bada rupaiya
sabse bada rupaiya
sabse bada rupaiya
sabse bada rupaiya
sabse bada rupaiya
haah

ek leader ko dekho
he is looking so very grand
udaata firta dinner hai
in the hotel sun n sand
uske ladke ki shaadi
dekhe ja ye na pooch
kahaan se aaya ye haathi
from where this english band
aaj kaahe ka nation
kaahe ki dharti maiya
the whole thing is that
ki bhaiya sabse bada rupaiya

na biwi na bacha
na baap bada na maiya
the whole thing is that
ki bhaiya sabse bada rupaiya
once more
na biwi na bacha
na baap bada na maiya
the whole thing is that
ki bhaiya sabse bada rupaiya
sabse bada rupaiya
very good
sabse bada rupaiya
sabse bada rupaiya
hooo
sabse bada rupaiya
sabse bada rupaiya
sabse bada rupaiya


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.

Nargis was “Miss India”(1957) in January 1957 and nine month later she was “Mother India” (1957) in october 1957. 🙂 I wondered what happened to Mrs India that should have logically followed in between. 🙂

The movie “Miss India”(1957) as well as its songs are not all that well known vis a vis “Mother India”(1957), though they were good in their own way. There were ten songs in “Miss India”(1957) which were penned by Rajinder Krishan and composed by S D Burman. Trivia buffs may find it interesting to note that Rajinder Krishan and S D Burman collaborated together in only five movies, viz. “Pyaar”(1950), “Bahaar”(1951), “Ek Nazar”(1951), “Saza”(1951) and “Miss India”(1957).

Seven songs from “Miss India”(1957) have been covered in the blog.

Here is the eighth song from the movie to appear in the blog. This song is sung by Manna Dey and chorus.

The song is picturised as a rail song. A glum Nargis is shown seated in her seat going to her destination, while this beggar song is sung by an old beggar, accompanied by a few young kids singing in chorus. I request our knowledgeable readers to help identify the lip syncer.

It is after quite a long while that a train song, and also a beggar train song gets discussed in the blog.

There is an interesting trivia associated with this song. This song is the only Manna Dey solo created by the lyricist-Music director team of Rajinder Krishan and S D Burman.


Song-Thokar naseeb ki jo khaa kar bhi muskuraaye (Miss India)(1957) Singer-Manna Dey, Lyrics-Rajinder Krishan, MD-S D Burman

Lyrics

thokar naseeb ki jo o o
khaa kar bhi muskuraaye
thokar naseeb ki jo o o
khaa kar bhi muskuraaye
ik roz badh ke manzil
ik roz badh ke manzil
usko galey lagaaye ae
thokar naseeb ki jo o o
khaa kar bhi muskuraaye
thokar naseeb ki jo o o
khaa kar bhi muskuraaye

ye ranj ye museebat
kissa hai zindagi ka
ye ranj ye museebat
kissa hai zindagi ka
gham ko khushi banaana
hai kaam aadmi ka
gham ko khushi banaana
hai kaam aadmi ka

insaan kya jo gham se
insaan kya jo gham se
ghabraa ke baith jaaye ae ae
thokar naseeb ki jo o o
khaa kar bhi muskuraaye

ik roz badh ke manzil
ik roz badh ke manzil
usko galey lagaaye ae
thokar naseeb ki jo o o
khaa kar bhi muskuraaye

har raat ki subah hai
har shaam ka sawera
har raat ki subah hai
har shaam ka sawera
rukna na raaste mein
manzil hai tera dera
rukna na raaste mein
manzil hai tera dera

har ik nayi museebat
har ik nayi museebat
himmat teri badhaaye ae
thokar naseeb ki jo o o
khaa kar bhi muskuraaye

ik roz badh ke manzil
ik roz badh ke manzil
usko galey lagaaye ae
thokar naseeb ki jo o o
khaa kar bhi muskuraaye
thokar naseeb ki jo o o
khaa kar bhi muskuraaye


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.

“Gauri Pooja”(1956) was produced by Chandrakant Desai and directed by Vinod Desai for Desai and Company, Bombay. The movie had Nirup Roy, Abhi Bhattacharya, Kumkum, Yashdhara Katju, Sundar, Shrawan Kumar, Kanta Kumari, Sarita, Umakant, Pravin Paul, Mumtaz, Hira Sawant, Neerja, Uma Dutt, Ram Shashtri, etc with guest appearances by Sulochana, Sapru, Bipin Gupta and Lalita Pawar.

This mythological movie had eight songs in it. The movie as well as its songs have become obscure with time.

Here is the first song from “Gauri Pooja”(1956) to appear in the blog. This song is sung by Manna Dey. Gopal Singh Nepali is the lyricist. Music is composed by Manna Dey.

This song is available only in its audio form. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.

With this rare song, “Gauri Pooja”(1956) makes its debut in the blog.


Song-Shaadi rachaaye chaley jodi miley na miley (Gauri Pooja)(1956) Singer-Manna Dey, Lyrics-Gopal Singh Nepali, MD-Manna Dey

Lyrics

jodi miley na miley
jodi miley na miley
shaadi rachaaye chaley
jodi miley na miley
shaadi rachaaye chaley
chaaar kahaar mil ke
doli uthaaye chaley
shaadi rachaaye chaley
jodi miley na miley

baabul ki laaj bachi
baabul ki laaj bachi
kar di bidaai
kar di bidaai
beti bhagwaan ne di
beti bhagwaan ne di
ho gayi paraai
ho gayi paraai
ujdi auron ki duniya aa aa
ujdi auron ki duniya
apni basaaye chaley
ujdi auron ki duniya
apni basaaye chaley
chaaar kahaar mil ke
doli uthaaye chaley
shaadi rachaaye chaley
jodi miley na miley

chhupa ke bitiya raani
chhupa ke bitiya raani
mukh doosron se
mukh doosron se
roti sasuraal chali
roti sasuraal chali
raam ke bharose
raam ke bharose
sir pe sindoor laga aa aa
sir pe sindoor laga
aansoo bahaaye chaley
sir pe sindoor laga
aansoo bahaaye chaley
chaaar kahaar mil ke
doli uthaaye chaley
shaadi rachaaye chaley
jodi miley na miley


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

It was a surprise for many – when the Mukesh Geet Kosh was published (in 1985), and the compilation, at that time, was able to list less than a thousand songs in all – filmi, non filmi, other languages all combined. It was a general impression carried amongst the fans that well, yes, Mukesh has not sung as many songs as Rafi Sb, but then, less than thousand?? And then, it became a new topic to write about and discuss – why is it so that the impression is that Mukesh has recorded a lot many more songs than are popularly known.

Remembering Mukesh on the 94th anniversary of his birth today (22nd July, 2017).

This topic became a subject of curiosity amongst fans. Many years later, on an occasion of a get together with famed film historian and writer, Nalin ji Shah (of Bombay), this topic got discussed. I was part of that get together. Nalin explained this quite at length. As per him, this is a mental extrapolation that happens in the minds of the fans. While the main line playback singers like Rafi Sb, Kishore Kumar etc have their compilations listed in terms if multiple thousands of songs, still, the human mind captures and sustains a limited number as popular an favorites. No doubt, if one listens to an unheard or an obscure song, the appreciation is most certainly there. But the mind would retain only so much in the memory, as favorites. So when that number is juxtaposed against the total list of compilation, there is a level of appreciation associated with the estimate of the quantity versus the list of what a personal preference would term as “good quality” favorites. Given the case of Rafi Sb, this number may work out to be 1 is to maybe 4 or 5, in the minds of discerning fans.

When a similar sense of reasoning gets applied to the portfolio of Mukesh’s recordings, a different outcome appears. When a discerning fan would apply this estimation to the compilation of Mukesh’s list of songs, then the estimate of the quantity versus the list of “good quality” favorites would work out to be 1 is to maybe 1 or 2. And then just by an expectation of the extrapolation, the mind succinctly assumes that there are or there will be many more songs of the singer, that are not retained in the memory as “good quality” favorites. And hence the disbelief about the total listed in the compilation.

In other words, as a general impression, the ratio of number of songs of Mukesh that have captured the interest of listeners, and are listed as “good quality” favorites, is probably much higher than the other main line singers, who have shared more or less the same timelines as career contemporaries.

That, is then the curious quality of the singing of this soulful voice. There have been references – some music directors did not consider him good enough. At time he himself did not consider himself good enough. And yet, despite being a singer of one and two songs in most of his films, there is a something special that he injects into the rendition, that makes the song memorable. The sound of his singing has a golden ring of sincerity, as if the voice is coming from his soul and not just from his lungs. Pick up any listing of his songs; I daresay you would be hard pressed to drop un-likeable non-favorites from that list.

I would agree with this perspective and this explanation given by Nalin ji. Yes, definitely, there is that something compellingly charismatic in this voice.

Yes, known and liked better for his poignant and sad renditions – Raja ji has rightly observed that such songs of Mukesh serve as a soothening balm to a troubled mind, there are some so well known charmingly fast paced fun songs that he has rendered. Sample this list – “Ruby O Ruby, Jaane Mehboobi” (from ‘Chaahat’, 1971), “Tauba Ye Matwaali Chaal” (from ‘Pathar Ke Sanam’, 1967), “Ye Mausam Rangeen Samaa” (from ‘Modern Girl’, 1961), “Socha Tha Pyaar Hum Na Karenge” (from ‘Bluff Master’, 1963), “Har Dil Jo Pyaar Karega” (from ‘Sangam’, 1964), “Ruk Ja O Jaane Waali Ruk Ja” (from ‘Kahnaiyya’, 1959), “Hum To Tere Aashiq Hain Sadiyon Puraane” (from ‘Farz’, 1967), “Teri Nigaahon Pe Mar Mar Gaye Hum” (from ‘Shabnam’, 1964), “Phir Milengi Kahaan, Aisi Tanhaaiyaan” (from ‘Bhaavna’, 1972), “Dekho Mausam Kya Bahaar Hai” (from ‘Opera House’, 1961), “Aasmaan Pe Hai Khuda Aur Zameen Pe Hum” (from ‘Phir Subah Hogi’, 1958), “Nain Tumhaare Mazedaar O Janaab e Aali” (from ‘Junglee’, 1961), “Kisi Nargisi Nazar Ko Dil Denge Hum” (from ‘Main Nashe Mein Hoon’, 1959), “Zara Sambhaalna Meri Jaan Apni Nigaahen” (from ‘Aaya Toofaan’, 1964), “Dil Tadap Tadap Ke Keh Raha Hai Aa Bhi Ja” (from ‘Madhumati’, 1958), “Mast Nazar Dekh Idhar” (from ‘Ek Dil Sau Afsaane’, 1963), “Yaad Aayi Aadhi Raat Ko Kal Raat Ki Tauba” (from ‘Kanhaiyya, 1959), “Ae Dil e Awaara Chal” (from ‘Dr Viday’, 1962). . . I could go on and on and on.

Today’s song belongs to that fast paced fun category. The film is ‘Mehndi Lagi Mere Haath’ from 1962. The words are written by Anand Bakshi and the music is from the baton of Kalyanji Anandji. Yet one more charming rendition from this voice that never ceases to amaze.

Song – Teri Wo Chaal Hai Ke Tauba  (Mehndi Lagi Mere Haath) (1962) Singer – Mukesh, Lyrics – Anand Bakshi, MD – Kalyanji Anandji

Lyrics

tauba

teri wo chaal hai ke tauba
aisa kamaal hai ke tauba
mera wo haal hai ke tauba
teri wo chaal hai ke tauba
aisa kamaal hai ke tauba
mera wo haal hai ke tauba
teri wo chaal hai ke tauba

teri har adaa mastaani
meri har nigaah deewaani
teri har adaa mastaani
meri har nigaah deewaani
vallah jaan e kasam
samjhe to sanam
vallah jaan e kasam
samjhe to sanam
donon ka ik hai fasaana
donon ka ik hai fasaana
teri wo chaal hai ke tauba
aisa kamaal hai ke tauba
mera wo haal hai ke tauba
teri wo chaal hai ke tauba

hum se bhali ye raahen
jin pe teri hain nigaahen
hum se bhali ye raahen
jin pe teri hain nigaahen
tu ek nazar to dekh idhar
tu ek nazar to dekh idhar
ye dil hai tera deewaana
ye dil hai tera deewaana
teri wo chaal hai ke tauba
aisa kamaal hai ke tauba
mera wo haal hai ke tauba
teri wo chaal hai ke tauba

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

तौबा

तेरी वो चाल है के तौबा
ऐसा कमाल है के तौबा
मेरा वो हाल है क तौबा
तेरी वो चाल है के तौबा
ऐसा कमाल है के तौबा
मेरा वो हाल है क तौबा
तेरी वो चाल है के तौबा

तेरी हर अदा मस्तानों
मेरी हर निगाह दीवानी
तेरी हर अदा मस्तानों
मेरी हर निगाह दीवानी
वल्लाह जान ए कसम
समझे तो सनम
वल्लाह जान ए कसम
समझे तो सनम
दोनों का इक है फसाना
दोनों का इक है फसाना
तेरी वो चाल है के तौबा
ऐसा कमाल है के तौबा
मेरा वो हाल है क तौबा
तेरी वो चाल है के तौबा

हम से भली ये राहें
जिन पे तेरी हैं निगाहें
हम से भली ये राहें
जिन पे तेरी हैं निगाहें
तू एक नज़र तो देख इधर
तू एक नज़र तो देख इधर
ये दिल है तेरा दीवाना
ये दिल है तेरा दीवाना
तेरी वो चाल है के तौबा
ऐसा कमाल है के तौबा
मेरा वो हाल है क तौबा
तेरी वो चाल है के तौबा


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.

“Dr Shaitaan”(1960) was produced by Ram Kumar and it was directed by Shriram Bohra for Bohra Brothers production, Bombay. The movie had Premnath, Shakila, Sheikh Mukhtar, Sunder, Tiwari, Sheikh, Helen, Nasreen, Nazi, Indira, Ramkumar, Rajan Kapoor, Ramlal, Mahendra, Maqbool, Mirajkar, Kamaol Sharma etc in it.

This movie was a crime thriller. It had six songs in it. Three of these songs have been discussed in the past.

I notice that all the songs in this movie were “western” songs as befitting a crime movie of 1950s.

Here is the fourth song from “Dr Shaitaan”(1960) to appear in the blog. This song is sung by Geeta Dutt. Jaan Nisaar Akhtar is the lyricist. N Datta is the music director.

Only the audio of this song is available. Listening to this song, most people will guess this song to be an archtypical Helen bar dance song on the lines of “mera naam chin chin choo”.

Helen is very much there in the cast, and so I guess that this song must have been picturised on her. Nevertheless, I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Na na na na na na ab na aa ke jaana (Dr Shaitaan)(1960) Singer-Geeta Dutt, Lyrics-Jaan Nisaar Akhtar, MD-N Datta

Lyrics

naa
na na na na na na
ab na aa ke jaana
na na na na na na
ab na aa ke jaana
humse na chalega
ye tera bahaana
na na na na na na
ab na aa ke jaana
na na na na na na

meri baahen chaman
nazron me sau baankpan
meri baahen chaman
nazron mein sau baankpan
chaandni sa badan
jo bana de deewaana
na na na na na na
ab na aa ke jaana
na na na na na na
ab na aa ke jaana
humse na chalega
ye tera bahaana
na na na na na na
ab na aa ke jaana
na na na na na na

muskura doon agar
jaayenge moti bikhar
muskura doon agar
jaayenge moti bikhar
dekho dekho idhar
main to hoon ik khazaana
na na na na na na
ab na aa ke jaana
na na na na na na
ab na aa ke jaana
humse na chalega
ye tera bahaana
na na na na na na
ab na aa ke jaana
na na na na na na

tu jawaan main haseen
kaise dilaaun yaqeen
tu jawaan main haseen
kaise dilaaun yaqeen
dil se badhkar nahin
aur koi thhikaana
na na na na na na
ab na aa ke jaana
na na na na na na
ab na aa ke jaana
humse na chalega
ye tera bahaana
na na na na na na
ab na aa ke jaana
na na na na na na


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 13400 song posts by now.

This blog is active and online for over 3200 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13466

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Movies with all their songs covered =1014
Total Number of movies covered =3696

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Blog Start date: 19 july 2008

Active for more than 3250 days.

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