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

Blog Day :

4845 Post No. : 16633

Today’s song is from the film Leela-1947. The film was made by Filmistan. The film was directed by Dattaram Pai. He was essentially a film editor and did editing in several films including Achhut Kanya,Jagriti,Nastik,Kismet,Samadhi,Sargam,Woh kaun thi,Chingari etc.He did editing in 24 films from 1936 to 1998-a span of 62 years.He died in 2000. He had earlier directed the film Eight Days-1946, which was actually directed by Ashok Kumar, but Pai’s name was advertised as a Director. In the case of the film Leela -47, he tried on his own but the result was not so good. He went back to his job of Editing quietly.

Lyricists were Qamar Jalalabadi and G.S.Nepali. The music was by C.Ramchandra. For C Ramchandra, finding Filmistan was a goal achievement, because those days he had left Jayant Desai’s company and was looking for another film company.His good old friend Kavi Pradeep, who was close to S.Mukherjee from their Bombay Talkies days, brought in a very lucrative offer from Filmistan and C Ramchandra joined it with pleasure.

Though C Ramchandra had begun his career in 1942 with Sukhi Jeevan, his first Hindi film as a MD, his music had not flourished till he joined Filmistan. The 5 films he had made with Jayant Desai were reasonably good but they were not Hits. It was only in Filmistan he achieved what one would call-Success. Out of the 11 films that he made here. His success rate was more than 50%. Especially, the music of films like Shehnai-1947, Saajan-1947, Khidki-1948, Nadiya ke paar-1948, Patanga-1949, Samadhi-1950 and Anarkali-1953 created songs which are remembered even today. To make songs whose popularity lasted for more than 70++ years, is surely an achievement.

It was also when he was with Filmistan that people were comparing him and Naushad and a discussion always circulated who was the Numero Uno as an MD. Though I am a C Ramchandra Fan, I am of the opinion that in the race of creating everlasting Hit songs, C Ramchandra was no match to Naushad. The strike rate of Naushad’s Hit films was much much more than that of C Ramchandra.

In the year 1946, C Ramchandra gave music to 4 films(1 for Filmistan), in 1947 it was 7 films (4 for Filmistan) and in 48 films were 8 (2 for Filmistan). So, in these 3 years, he did 19 films (7 for Filmistan). The rest consisted of stunt films of Master Bhagwan and other social films. Hit films were -5, all for Filmistan. If you see data for Naushad in the same period i.e. 1946,1947 and 1948, Naushad did only 8 films, but in these, 6 celebrated Silver Jubilee and 1 Golden Jubilee. Only Elan-1947 did not do well musically, though it was a hit film by Mehboob khan. The record of Naushad in success is unique. Out of the 64 films of Naushad (I am not counting Pakiza), there were 3 Diamond Jubilee films, 6 Golden Jubilee films and 23 Silver jubilee films ! I am sure no one can surpass the success of Naushad. His average number of songs per film comes to 10 songs, while for CR it is 8.4 only.

In the 40’s and 50’s decades many films were made on the background of play theatres and dance theatres. There were 2 possible reasons. One- prior to the advent of Silent and Talkie films, the main entertainment source for common people was Stage dramas. Despite the films, the stage dramas and dance troupes thrived. Hence it was used as a base for film stories. Secondly, this automatically provided plenty of scope for songs in the film. The last such film, in which a Drama company was the base of the film story I remember having seen was ” Hum sab chor hain ”-1956. After this film, at least I have not seen any such other film.

So, according to this norm, the film Leela-47 was about Drama companies and their artistes etc. The story was by Uma Devi-the singer, s/play by producer Gyan Mukherjee and Dialogues by Rajendra Shankar.

LEELA is a story of Naresh(Kanu Roy) and Leela(Shobha),their love,separation and union.

Naresh runs “Vidya Mandir” an institute where Mahabharat is made in several languages. Mrs Lal(Sunalini Devi) is the owner of “Kala bhavan”.She has a daughter Indira(Veera),whom she wants to marry Naresh.Once she arranges a show in aid of Vidya Mandir-Shakuntala.

Leela who is aspiring starlet approches Naresh who recommends her to the show and she is taken,but when Mrs.Lal knows that she came thru Naresh,Leela is not only removed from the show but also thrown out of the hostel.

Naresh, through his friend Shastriji(Agha) brings her to Vidya Mandir and gets her into another show.They fall in love and decide to marry.Naresh goes to his village and tells his mother(Leela Mishra) about Leela,but she wants only Indira.Feeling unwanted and rejected,Leela goes away.
Shatriji finds her and explains the love of Naresh for her and brings her back and the lovers are united forever.

The Heroine of this film, Shobha, unfortunately remains an actress about whom no information is available. On going through the HFGK, I find her name in at least 20++ films. Sometimes she is listed as Shobha Devi. Another bit of information about Shobha was that the actress Lata Sinha, who started as a child star (as Baby Lata) in Riyasat-55 and Nau Do Gyarah-1957 etc. was her daughter. Lata did a good role in Bees saal baad-1962. She mainly acted in action/stunt, costume and other B and C grade films only. She was also in the film Bhoot Bungla-1965.

The Hero of this film was Kanu Roy. The name KANU ROY is another instance of ” Same name confusion “. There was a composer also by the name Kanu Roy who gave music in a few films, in the same period. Most people and many internet sites, including IMDB,consider these two different persons as one and claim films for acting and music together,as if he was an actor and a composer. In Hindi films this happened routinely, but in the early era of Talkie films. Master Krishnarao, Vinayakrao Patwardhan, Master Mohammed, Badriprasad, Vithaldas Panchotiya etc can be quoted as actors/composers. Lately only the name of Kishore Kumar comes to mind in this category. Let us see who these two Kanu Roys were…..

Kanu Roy (the Actor) was in reality a name for Nalini Ranjan Roy, born at Jabalpur. He was very fond of acting and so landed at Bombay Talkies,a company started by 2 Benagalese- Himanshu Roy and Devika Rani. Those days many people from Bengal used to come to Bombay Talkies, but only the capable ones like Amiya Chakravarty, Shashadhar Mukherjee or Ashok Kumar etc could make their careers here. Kanu Roy started his acting career with the film Basant-1942. His name Nalini was sounding like a Girl’s name in Bombay ( there were already half a dozen Nalini’s working in films those days), so it was changed and he opted for Kanu, his pet name in the house. Thus Kanu Roy came into films. Due to his good looks, he even became a lead actor in a few films. Nazrana-46 (UR) was one such film where he was working opposite Kamini Kaushal. Kanu Roy worked in about 46 films from 42 to 83 ( kisi se naa kehna). Kanu Roy also left Bombay Talkies along with S.Mukherjee and others and joined Filmistan. He was in many Filmistan films like, Munim ji, Nastik, Naagin, Jagriti etc. He acted in a Bangla film ‘Samar’too in 1950. ( I have his full Filmography.)

Kanu Roy (the Composer) gave music to very few films like Uski Kahaani-66, Anubhav-71, Avishkar-74, Tumhara Kallu-76, Grih pravesh-79, Mayuri-81 and Shyamla-79 which was re-censored in 1981 as Woh phir na aayee. Some people and sites describe him as Geeta Dutt’s brother, but he was not her brother. Her brother was Mukul Roy. Kanu Roy, the composer died in Bombay on 20-12-1981.

Today’s song is a very good song, sung by Shamshad begum. Somehow I get reminded of another 1947 film song ” maari katari mar jaana” after listening to today’s song. That song is also composed by CR only- from film Shehnayi-47. There were 9 songs in the film. 8 songs were already discussed. Today’s song is the 9th and the last song of this film. The film gets YIPPEED !


Song- Piya kaisa mila hamein haay (Leela)(1947) Singer- Shamshad Begum, Lyricist- Qamar Jalalabadi, MD- C Ramchandra

Lyrics

Piya kaisa mila hamein haay
mila hamein haay
ke jisko pyaar na karna aaye
haaye re haaye
Piya kaisa mila hamein haay
Piya kaisa mila hamein haay
mila hamein haay
ke jisko pyaar na karna aaye
haaye re haaye
Piya kaisa mila hamein haay

Main usey pyaar karna sikhaaun
Main usey pyaar karna sikhaaun
dil ki baaten nazar se sunaaun
dil ki baaten nazar se sunaaun
wo dulhan ki tarah sharmaaye
haan wo sharmaaye
haaye re haaye
Piya kaisa mila hamein haay

kar ke apni nazar neechi neechi
kar ke apni nazar neechi neechi
baat karne lage pheeki pheeki
baat karne lage pheeki pheeki
meethhi baaten tujhe kaun sikhaaye
tujhe kaun sikhaaye
haaye re haaye
Piya kaisa mila hamein haay

baat chhedo koi muskuraa ke
baat chhedo koi muskuraa ke
door baithhe ho kyun paas aa ke
door baithhe ho kyun paas aa ke
apna ban kar huye kyun pare
huye kyun pare
haaye re haaye
Piya kaisa mila hamein haay

kya mila humko aankhen milaa ke
kya mila humko aankhen milaa ke
main to keh doongi ghar ghar mein jaa ke
main to keh doongi ghar ghar mein jaa ke
koi aison se dil na lagaaye
haan dil na lagaaye
ke jisko pyaar na karna aaye
haaye re haaye
Piya kaisa mila hamein haay


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.

Blog Day :

4844 Post No. : 16632

Today’s song is from the 1974 movie ‘Mehmaan’.

This film was directed by KP Atma for Shatrujit Films, Bombay, and was produced by Shatrujit Paul. It had Biswajeet, Rekha, Anwar Hussain, Manmohan Krishna, Abhi Bhattacharya, Tarun Bose, Sulochana, Mukri, Bhalla, Lata Sinha, Azad, Gopal Sehgal, Indira Bansal, Mona, Brahm Bharadwaj, Helen, Pratima Devi, Thakurdas, and new discovery Joginder (as debutant).

Story and Screenplay of this movie was written by Shatrujit Paul. Its dialogues were written by Rahi Masoom Raza. Editing for this movie was done by Shivaji Avdhoot.

This movie was passed by Censor Board on 23.02.1974.

‘Mehmaan-1974’ had total six songs penned by Sahir Ludhianvi and composed by Ravi. Asha Bhonsle, Deedar Singh Pardesi, Mahendra Kapoor, Meenu Puroshottam and Mohd Rafi gave their voices to the songs in this movie.

This movie made its debut on the blog in 2010 with its first song posted on 01.05.2010. After that its second was posted on 26.04.2012.
But the third song was posted after more than five years gap on 25.10.2017.
Its fourth song got posted in ‘blog ten-year challenge’ on 01.05.2020 as the movie completes its ten year long run on the blog.

Then the sixth song was posted this year on Sahir Ludhianvi’s birth anniversary. This year is the ‘birth centenary celebration year’ of lyricist Sahir Ludhianvi (born on 08.03.1921 – 25.10.1980). On the blog we achieved seven centuries of Sahir Ludhianvi on 08.03.2021.
He is on 700 on the blog since then. The today’s song will be 701st song of Sahir Ludhianvi on the blog.

Here is the list of songs of ‘Mehmaan-1974’ as appearing in HFGK Vol-V (1971-1980).

S.No. Song Title Singer/s Posted On
01 Chhod arre jaa mujhe na pakad Mohd Rafi, Asha Bhonsle 01.05.2020
02 Khuley gagan ke neeche panchhi Minoo Purushottam
03 Uff ye jawaani ye adaa Mohd Rafi 01.05.2010
04 Tu darr mat darr mat yaara Asha Bhonsle 08.03.2021
05 Ram Raheem Krishn Kareem Mahendra Kapoor, Deedar Singh Pardesi, Minoo Purushottam, chorus 25.10.2017
06 Meri chaahat rahegi hamesha jawaan Mohd Rafi 26.04.2012

Today’s song is sung by Minoo Purushottam and on screen, I guess, it is Lata Sinha lip syncing the song. (I have not watched this movie, so I would request knowledgeable readers to throw more light on the movie and its songs.).

Lyrics for the today’s song are by Sahir Ludhianvi and music is composed by Ravi.

This is the final song from ‘Mehmaan-1974’ and with this song all songs of ‘Mehmaan-1974’ gets covered on the blog and the movie moves to ‘Yippeeee’ club now. 😊

Video


Audio

Song-Khuley gagan ke neeche panchhi ghoome daali daali (Mehmaan)(1974) Singer-Minoo Purushottam, Lyrics-Sahir Ludhianvi, MD-Ravi

Lyrics

aa aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa
aa aa aa aa aa

khuley gagan ke neeche panchhi
ghoome daali daali ee
main kya jaanoon udnaa kya hai
main pinjre ki paali ee
khuley gagan ke neeche panchhi

sheesha ke taaboot mein jaise
machhli maatha patke
patthar ke is bandi ghar mein
meri aatma bhatke

gamle ke is phool ka jeevan
meri kathaa sunaaye ae
isike(??) andar khiley bechaaraa
isi mein murjhaa jaaye
khuley gagan ke neeche panchhi


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

Blog Day :

4843 Post No. : 16631

Today’s song is from a very old, i.e. 83 year old film, which was one of the popular films of Wadia Movietone. The film was Lutaru Lalna-1938 and the title role was done by then famous stunt queen The Fearless nadia. Yes, this was a C grade stunt film. In those years, when the Talkie itself had not even entered it’s Teens, these stunt films, especially featuring Nadia were very popular. C grade stunt films were not yet looked down upon by the elite. That categorisation started from the mid 40’s, when social and films of other Genres divided the audience and stunts became the choice of the lower class of the society.

When the Talkie films started, the audience was awestruck and went to the theatres to see and enjoy whatever the producers served them on the screen. Initially, the films were mostly Mythological and Costume dramas, but in due course, the film makers realised that making a stunt film was much more profitable than a Costume drama. Stunt films could be made in Rs. 30-50 thousand, whereas for other films, the investment was more. Further religious films catered to only a particular religion, i.e. Muslim and Christian audience would not see a Mythological film and Hindu and Christians will not see a Muslim religious film. But stunt films were for all and sundry. There was no restriction.

Due to all this, the pioneers of stunt/action films decided to concentrate on this Genre only. Wadia Movietone was the leading film maker of these C grade films. Other companies who made such films were, Imperial, Ranjit, Sharda, krishna, Saraswati, Saroj, Sagar, Bharat Royal, Ajanta, Madan etc. in 1933 Wadias entered with force in this market, and followed by others, in just 3 years i.e. from 1933 to 1935, a total of 138 films of Stunt/Action, Costume, Arabian Night stories and magic based Imaginary films ( all C grade) were made. Significantly, out of these 138 films, as many as 42 films were Stunt and Action films. This was mainly because of Wadia Movietone. They introduced Fearless Nadia in Hunterwali-35 and virtually ignited the flame of Stunt/Action films from 1935 to 1950. Thus the decade of the 40s could well be called “Stunt Film Decade” with 210 such films from 1941 to 1950.

Wadia Movietone was a noted Indian film production company and studio, based in Mumbai, established in 1933 by Wadia brothers J. B. H. Wadia and Homi Wadia. It was most known for stunt, fantasy and mythological films, including Hunterwali (1935).

Wadia brothers belonged to a Parsi family, and their ancestors came from the ship building Wadia family (Wadia Group), originally from Surat, which also built the British wartime ship HMS Trincomalee (1817). Their ancestors moved to Bombay in the 18th century. It was co-established in 1933, by producer and screenwriter J. B. H. Wadia, his younger brother director Homi Wadia, film distributor Manchersha B. Billimoria, and brothers Burjor and Nadirsha Tata.

However, the Tata brothers left the partnership within three years. The company then continued production of film, documentaries and newsreels from its studios near Lowjee Castle, Mumbai, the Wadia family mansion, owned by their great-grandfather Lovji Nusserwanjee Wadia, a noted shipbuilder, who founded the Wadia Group in 1736. The company even had its logo as a ship, honouring their family legacy. Their company made Hunterwali (1935) starring Fearless Nadia, Boman Shroff and John Cawas, which became a surprise hit and its first big success. Thereafter, they made several films based on the Arabian Nights.

However, by the end the 1930s, the genre of stunt, fantasy and mythology films which dominated the early films, was beginning to fail and the company ran into heavy losses, after they invested into ambitious projects which flopped. The last film made by the company was Raj Nartaki (1941) under the direction of Madhu Bose. Thereafter, the studio premises were up for sale; V. Shantaram bought the studio in 1942 and established Rajkamal Kalamandir on the premises. Homi Wadia, who worked as a director of the company, went on to establish Basant Pictures in the same year, though initially as a film production house. Subsequently, he established a film studio under the same banner in 1947, which functioned till 1981.

Riyad Vinci Wadia, grandson of J.B.H. Wadia inherited the studio in 1990. He is most known for his film, Bomgay (1996) and a documentary on Nadia, Fearless: The Hunterwali Story. He died in 2003. Wadia Movietone, besides making stunt films, had some FIRSTs to their credit like, they made India’s first songless movie ” Naujawan” in 1937. First English film “The Court Dancer’-1941 and the first Sindhi film ” Ekta”-1942. They also made a Telugu film “Nar Narayan”-37, two Tamil films ‘Vanraz Karsan’-38 and Bharat kesari-39, one Bangla film ” Raj Nartaki”-41 and one Gujrati film Valo Namori-73.

From 1933 to 1942(till the split) they made 43 films. From 43 to 73 only 24 films. Their last Hindi film was Saaz aur Sanam-71 and the overall last film was a Gujarati film in 1973. J.B.H.Wadia was born on 13-12-1901 and died on 4-1-1986. His brother Homi Wadia was born on 22-5-1911 and died on 10-12-2004.

Their Ace Actress for most films was Fearless Nadia.

Mary Evans (Fearless Nadia’s real name), a devout catholic was born on 8-1-1908 at Perth, Australia, to a Scottish father and a Greek mother. Father,a British Army soldier, was based in Elephanta caves in Bombay. She wanted to be a singer and a dancer. She learnt dancing from father and singing from mother. She sang in the local church choirs on Sundays. In 1915, when her father died in WW I action, they shifted to first Peshawar and then settled in Bombay. After working in an Army canteen for some time, She joined a dancing troupe. Here her name was changed to first NADA and then to NADIA.

One Mr. Eruch Kanga, owner of Lahore cinema saw her performance in the troupe and told the Wadia Brothers, who were looking for a Heroine. They called her for an interview. After seeing her, the brothers realised the difficulty in making a white woman a Heroine in Hindi films. In the interview JBH wadia said, “I have never heard about you before. ” she sprightly retorted,” I too had not heard your names till this morning”. The brothers were impressed and she was appointed in Wadia Movietone. To test her, she was given small roles in films which were in the making, like Lal e yaman and Noor e yaman, while she studied speaking Hindi.

She was launched with ” HUNTERWALI-1935″ ,a dramatic story of a Princess trying to rescue her kidnapped father and salvage his Empire. It was an unconventional role and a new subject for the Indian audience.

The film opened in Super cinema on Lamington road, Bombay and instantly became a great Hit. It was like a revolution. Audience was thrilled to see a white woman, donning a mask and cracking whip at her tormentors. They were awed, happy and mesmerised, wanting more of it .She was named NADIA. They added FEARLESS for her in the ads.

HUNTERWALI was only a prelude to a remarkable career. Encouraged by the success of Hunterwali, films were made on the cause of social injustice, women’s emancipation, corruption, Land grabbing and Exploitation of the poor. She always played roles like King Arthur and Robin Hood.

Her films had a set of characters. There was her pet Horse-Punjab ka Beta, Gunboat the Dog and her jalopy was called Rolls Royce ki beti (later when Homi Bhabha started Basant Pictures with her, there was Horse Rajpoot, Dog Moti and the car- Austin ki Bachhi). In her films, usually the villain was Sayani (his stock line was ” Dekha Jaayega”), John Cawas and Boman Shroff- the heavyweight Bodybuilders.

Her stunts became more dangerous and death defying with every film. She did all her stunts herself, breaking bones many times in this.

From 1933 to 1968 she did 43 films. herv first film was Lal-E-Yaman-33 and the last film was Khiladi-68. She also sang 3 songs in 3 films, namely Noor-E-yaman-35, Hunterwali-35 and Pahadi kanya-36. Her name in many films (starting with Hunterwali) was Madhuri.

She had married and divorced early and also had a son. Later she was in love with Homi Wadia, but could not marry him due to the opposition of his mother. They married in 1961 after his mother died. She was 53 years old by then.

In her last days she was frequently seen in the lanes of Colaba in Bombay ,taking her dogs for walks.

In 1993, her great grand nephew Riyad Vinci Wadia made a documentary on her, in which she had appeared.

She died peacefully on 9-1-1996.

Nadia has a special place in my memories. Sometime in 1972, one of my friends, Mahesh Sharma, who lived in Colaba, Bombay, told me that he frequently sees Nadia in a Garden where he went for his morning walks. She lived near his apartments. Anxious to meet her and talk to her, I stayed with Sharma ji overnight. Next day morning, we both went to that garden. Sure enough, after some time Nadia entered the garden with two of her dogs. She sat on a bench and her servant took the dogs for their walks. Mahesh had a casual acquaintance with her. He greeted her and said ” this is my friend Mr. Deshmukh. He is your great fan “. I greeted her and recited names of her 10-15 films which I had seen. She looked suitably impressed . She smiled and we talked for a few minutes and left. Alas ! In those days, there was no Mobile phone, otherwise I would have had my photos with her as a prize possession. Anyway, I will never forget my meeting with her- the great Stunt Queen, The Fearless Nadia !

Today’s song is sung by Sarita, Master Muhammed and chorus. It is a typical 30’s decade song. The story of this film was almost the same as any other film of Nadia. Kind and simple king, cruel and wicked Senapati, a Masked person to fight against him , a love affair and happy ending after the audience was given a full dose of stunts by Nadia.


Song- Jagat hai sapna koi na apna (Lutaru Lalna)(1938) Singers- Sarita, Master Muhammad, Lyricist- Pt. Gyan, MD- Master Muhammad

Lyrics

Jagat hai sapna
koi na apna
jaag uthha ae bande
Jagat hai sapna
koi na apna
jaag uthha ae ?? bande

dialogues
——————————–
is boodhhe musalmaan ki ??
isi ne hindu ladki se bheekh mangwaai hai
haan haan ye sach baat hai

khaamkhaa
dharm bhrasht kar raha hai

baba
ye jurm mera nahin
jab tum hindu hokar
ek yateem kanya ko
ann aur paani na doge
to kya
ek sachha
?? musalmaan bhi apna farz poora na karega

bandhuon
ye wo buzurg hain
jinhone dharm sankat mein mujhe aasra diya thha
?? muslim se mili taaleem
ye quraan ki
Hindu hi rakkha mujhe
na fikr ki jaan ki
apni jaati ne suna na jab meri fariyaad ko
Hindu beti aa gayi godi mein musalmaan ki

?? baba

??

kya ek musalmaan ek hindu ke liye itni qurbaani kar sakta hai
kyun nahin baba

jab ??ji ka upnishad ?? ek hai
Kashi Kaba mandir masjid ??
sab ka imaan ek hai

?? ka parda ?? ka tum uthha kar dekh lo
fark kuchh mein nahin
hindu musalmaan ek hai

————————–

jagat hai sapna
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa

jaag uthha hai ?? bande
jagat hai sapna koi na apna
jaag uthha ?? bande

??? ek hai ??
??? ek hai ??
ye kahin ??
ye kahin ??
ye kahin ??
ye kahin ??
???

jaag uthha ?? bande
???
jaag uthha ?? bande
jagat hai sapna koi na apna
jaag uthha ?? bande


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

Blog Day :

4842 Post No. : 16630

“Mamta”(1952) was produced by R B Haldia and J L Sharma and directed by Gunjal for Sishaat Films, Bombay. The movie had Sumitra Devi, Ulhas, Mirza Musharraf, Rajan Haksar, Kamal Mehra, Chitralekha, Bhagwandas, Ramesh, Rajni, Shantabai, Sadiq, Kaabil amritsari, Baby Salma, Master Raja, G P Srivastava, Sheila, paro etc in it.

The movie had eight songs in it that were penned for four lyricists.

Seven songs have been covered in the past. Here are the details:

Song Date of posting
Haan bhor bhai ik pari gagan se utri 22 july 2013
Sheeshe mein do tasweeren 10 july 2014
Tera mera mera tera pyaar 1 December 2017
O sitamgar aasmaan 8 May 2018
Teri kaali kaali ankhiyaan Kanhaiyya (Mamta) 29 August 2018
Sitaaron hanso na meri bebasi par (Mamta) 30 September 2021
Main samajh gayi kehte ho mujh se aankh mila le 16 October 2021

Here is the eighth and final song from “Mamta”(1952) to appear in the blog. This song is a sung by Shyam Kumar. Shewan Rizvi is the lyricist. The earlier seven songs were composed by Manoharlal Sonik, but the music of this song is composed by Hansraj Bahl.

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

With this song, all the songs of “Mamta”(1952) have been covere in the blog and the movie joins the list of movies that have been YIPPEE in the blog.


Song-Aaja ke mujhe hai teri tasweer banaani(Mamta)(1952) Singer-Shyam Kumar, Lyrics-Shewan Rizvi, MD-Hansraj Bahl

O o o roop ki raani

aajaa ke mujhe hai teri tasweer banaani
teri tasweer banaani
aajaa ke mujhe hai teri tasweer banaani
teri tasweer banaani

ye mast ghataayen
ye ghhataaon se jawaani
ye mast ghataayem
ye ghhataaon se jawaani
girta hua nadiya mein
pahaadon ka ye paani
girta hua nadiya mein
pahaadon ka ye paani
kehta hai
tere roop ki rangeen kahaani
kehta hai
tere roop ki rangeen kahaani
o o
roop ki raani
aajaa ke mujhe hai teri tasweer banaani
teri tasweer banaani

aabaad nahin hai
ye meri ulfat ka asar hai
ulfat ka asar hai
tujhe kuchh bhi khabar hai
tu dhoondhh rahi hai jise
wo dil to idhar hai
nazar pher idhar hai
kha jaaye na thhokar teri madhosh jawaani
kha jaaye na thhokar teri madhosh jawaani
o o o
roop ki raani
aajaa ke mujhe hai teri tasweer banaani
teri tasweer banaani

ye raaz e mohabbat hai
kadam zara soch ke dharna
zara soch ke dharna
duniya se na darna
phoolon ki tamanna hai to kaanton se bhi guzarna
fariyaad na karna
saanson hi mein palti hai muhabbat ki jawaani
saanson hi mein palti hai muhabbat ki jawaani
o o o
roop ki raani
aajaa ke mujhe hai teri tasweer banaani
teri tasweer banaani
aajaa ke mujhe hai teri tasweer banaani
teri tasweer banaani

Tags:

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.

Blog Day :

4841 Post No. : 16629 Movie Count :

4530

Hullo Atuldom

The song with this post is heavily inspired by this song. This 1973 song which was sung by Kishore Kumar had Dharmendra trying to pacify his upset love Rekha. He resorted to all kinds of buffoonery to get a smile on her face and also get her to admit her love for him

In today’s song Kishore Kumar’s son Amit Kumar is the voice for Dharmendra’s son Sunny Deol. Sunny is running behind a ‘roothhi’ Meenakshi Seshadri and trying to get her to re-admit her love. So, the situation is like this. Just before this song, Sunny -who is a boxer for his college- has been reprimanded by his coach (Viju Khote) for day-dreaming about Meenakshi. Consequently, he refuses to acknowledge when she comes to meet him at his coaching camp. Later, when Sunny goes to meet her at a cafe, she pays him back in the same coin and also gathers public support citing that he is eve-teasing her. Now, it is the duty of our naayak to ‘manao’ a ‘roothhi’ naayikaa.

Hence this song which is written by Anjaan and composed by Bappi Lahiri. As I have said in the previous paragraph the male voice is Amit Kumar’s and S. Janaki sings for Meenakshi Seshadri. This marks the debut of “Ghayal” (as written in the titles of the movie). This 1990 movie starred Raj Babbar and Moushumi Chatterjee as Sunny’s bhaiyya and bhabhi. Amrish Puri played Balwant Rai (the villain) with Kulbhushan Kharbanda, Om Puri, Ashalata, Shafi Inamdar, Annu Kapoor etc in supporting roles. There were a few actors like Shabbir Khan, Sudesh Berry and Mitwa who played Sunny’s support in his mission to expose the wrong-doings of the big-time businessman Balwant Rai. Disco Shanti had a dance number too.

I am writing this post to wish the ‘dhai kilo ke haath’ wala, hand-pump ookhadnewala (uprooting a hand-pump), strong dialogue delivery wala, son of Dharmendra and Prakash Kaur- Ajay Singh Deol a.k.a Sunny Deol- on his birthday today. . It is apparent from his recent movies that he is a huge fan of his father. He has acted in three editions of a movie whose title was inspired by a famous song of his father from the ’70s- the Yamla Pagla Deewana series. He also chose another of his father’s song from the ’70s to use as a title for a movie that he directed to launch his son Karan in Bollywood- Pal Pal Dil Ke Paas. Additionally he has acted with his father in ‘Sultanat’, ‘Apne’ and a few more.
Happy birthday Sunny Deol.

Video

Audio

Song-Pyaar tum mujhse karti ho (Ghayal)(1990) Singers-Amit Kumar, S Janaki, Lyrics-Anjaan, MD-Bappi Lahiri

Lyrics

pyaar tum mujhse karti ho
don’t say no
pyaar tum mujhse karti ho
don’t say no
marti ho mujh par marti ho
don’t say no
inkaar mein ikraar hai
yeh pyaar hai
bolo haan haan
chhodo na na
pyaar tum mujhse karti ho
don’t say no
marti ho mujh par marti ho
don’t say no
inkaar mein ikraar hai
yeh pyaar hai
bolo haan haan
chhodo na na
nahin nahin nahin
main tumse pyar nahin karti

haah haah
pyaar tum mujhse karti ho
don’t say no

bol bol bol bol bol sachh bol
teri hansi se saari khul gayi pol
jahaan jahaan jaayegi main aaoonga vahaan
bhaagi kahaan yeh saari duniya hai gol
peechha tera chhodoon na
bol bhi de ab haan haan haan haan
arrey baba bola na
main tum se pyar nahi karti

hmmm
chhodo gussa jaane do
na
don’t say no
dil se dil mil jaane do
na
don’t say no
inkaar mein ikraar hai
yeh pyaar hai
bolo haa haa
chhodo na na
pyar tum mujhse karti ho
don’t say no

dekho dekho dekho
kaisa pyaara hai samaa
dil ke deewaane miley khul ke yahaan
tod ke dil yoon na rooth ke jaa
varna kasam teri de doonga jaan
thham jaaye na dil ye jawaan
bol bhi de ab haan haan haan
arey jiyo chahe maro
mera peechha mat karo

ai
arey jiyo chahe maro
mera peechha mat karo

oye
mar gaya to pachhtaogi
don’t say no
ro ro kar mar jaaogi
don’t say no
inkaar mein ikraar hai
ye pyaar hai
bolo haan haan
chhodo na na
pyaar tum mujhse karti ho
don’t say no

main bolta hoon haan
maan bhi jaao varna
shor machaoonga
cheekhoonga chillaaoonga
logon ko bulaaoonga
logon suno suno zara meri daastaan
pyaar mein guzrikya mujh pe yahaan
ogo suno suno zara meri daastaan
pyaar mein guzari kya mujh pe yahaan
jaan meri leke bhagemeri jaan
lut gaya
mit gaya
mar gaya haan haan haan haan

hadd ho chuki
kar na dukhi
bol bhi de ab ha ha ha ha
haan baba haan baba
I love you, I love you
pyaar main tumse karti hoon
I love you
marti hoon tum pe marti hoon
I love you
tum jeete aur main haari
I love you
jaan gayi duniya saari
I love you
I love you
I love you

hoo hoo ooo
pat gayi pat gayi pat gayi re
soni kudi dekho pat gayi re
mere galey se lipat gayi re,
kismat meri palat gayi re
hey pat gayi pat gayi pat gayi re
soni kudi dekho pat gayi re
bruu bruu ya ya
arre pat gayi re
pat pat pat pat pataa
pat pat pat pat pataa
pataa
haha
hoy hoy hoy
hey hey hey hey


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

Blog Day :

4841 Post No. : 16628

Today’s song is from a Mythological film-Devyani-1952.

This was the story of Kach and Devyani from Mahabharat. I like the various stories from our Epics Ramayan and Mahabharat. There are hundreds of subplots and stories in both these Holy books, in addition to the main stories. However, I like stories from the Mahabharat more than Ramayan. The reason is stories from Ramayana are simpler and involve good virtues like Love, Cooperation, Loyalty, truthfulness etc etc. These are desirable but have no links to today’s social structure. The stories from Mahabharat are built around the practical difficulties in day to day life, defeat of the evil at any cost and use of tact, diplomacy, revenge, punishment etc etc which are more interesting to read.

As such, Mahabharat in itself or its stories seem to be closer to today’s values like ‘Tit for Tat’ and winning over the Evil with equally Evil remedies. The basic difference between Ram and krishna is, Ram was a character who was upright, just and straightforward, while Krishna is a character down to earth, who does not mind using unconventional methods to defeat the Evil. I always feel that in today’s world Krishna tactics are more relevant than Ram Rajya rules !

The story of Kach and Devyani, on which the film Devyani -52 was based was…..

There were regular wars between the Gods and the Demons (Sur and Asur). However the Gods could never win any battle. The reason ? Rishi Shukracharya, who was the Rajguru of the Demons knew the Sanjivani mantra, with which the dead demons would be brought back to life.
Realising that without getting the mantra, they would never win any battle with Demons, the Gods sent Kach- son of God Brihaspati (Jupitor) to Shukracharya as his disciple. Kach impressed Shukracharya’s daughter Devyani and they became friends. Devyani started loving kach.
The Demons came to know who Kach was . They killed him, burnt his body and mixed the ashes with wine, which was given to Shukracharya to drink. He knew that it contained Kach ashes. Meanwhile Devyani came to know that Kach was killed. She insisted that Shukracharya use his Mantra and bring him back to life. Due to daughter’s love, Shukracharya recited the Sanjivani mantra and Kach came out alive from his stomach. Shukracharya died. But Kach now knew the Mantra and he brought back Shukracharya to life again.

Devyani now expresses her love and proposes marriage to Kach, but he refuses stating that since he came from Shukracharya’s stomach, she was her sister now. Devyani is disappointed with his weak logic and curses Kach that what he learned here, he will never be able to use anywhere. Angrily, Kach too curses her that no Bramhin will ever marry her in her life. He goes away and the film ends as a tragedy.

The film ends here alright, but it raised a question in my mind as to how, then, the Gods ever won the battles with Demons ? The answer is, during the ” Samudra – Manthan ” a pot containing ” Divine Potion ” came up. It contained Amrit, which made the Gods immortal (Amar). In due course Shukracharya also died, without parting with the Sanjivani mantra and thus the Demons were defeated in the ensuing wars by Gods.

The film Devyani-52 was produced by Madhukar Harihar under the banner of Madhav Pictures, Bombay. It was directed by Vasant painter and the Music Director was S.Purushottam, assisted by Shamrao Kamble. These names are rather not commonly seen or heard and the readers may not be knowing about them, as they did only few films compared to others and without any famous film either. Let us first know about Vasant Painter.

Vasant Anandrao Painter was born in a village near Kolhapur on 13-8- 1913. His father Anandrao, along with cousin Baburao Painter wanted to make films. Anandrao had bought a second hand Projector, which he turned into a Camera and shot a short film also. Unfortunately, Anandrao Mistry or Anandrao Painter died suddenly on 22-10-1915.Vasant Painter was only a 2 year old baby at that time. Baburao Painter went on to become the famous founder of Marathi films in the Silent Era.

By the time Vasant became 16 year old,the Silent film era was in full swing and many films were made in Kolhapur, Poona and Bombay. He had a liking for painting,so he picked up poster painting work,first in Maharashtra Film company and later in Prabhat film company when it was started in Kolhapur. Actually Damle and Fatelal were keen on helping him as he was the son of Anandrao, from whom they had learnt so many things. They called him to work in Prabhat. He did all jobs,including assisting in cinematography and direction.

His first break came when he was 33 year old. He got an opportunity to direct Prabhat’s film ” Gokul”-46 and later on ” Seedha Raasta”-47. After V.Shantaram had left Prabhat to start his own Rajkamal,Vasnt painter remained in Prabhat loyally, so he got the reward. Prabhat decided to make the film “Namdev” and Vasant was selected as a director. The cast was fixed and other arrangements done, but due to financial reasons the film was cancelled. Anyway, he got another opportunity. Actress Kamala Kotnis had floated a production company,Kamala Chitra Ltd..She invited Painter to direct her film,’Sati Ahilya’-49. Snehal Bhatkar was the MD.

Painter directed ‘ Bhishma Pratignya ‘-1950. This was,probably,the only Mythological film Nargis had acted in, with Shahu Modak.. His other films were,Murliwala-51, Devyani-52, Sajni-56, Patit paawan-55, Gokul ka chor-59, Pyar ki jeet-62 . Meanwhile he was producing and directing several Marathi films too. He won 9 awards,including the prestigious ” V.Shantaram Award”.

Vasant Painter died on 31-5-2006,leaving behind him 6 daughters and 1 son.

And now something about Shamrao Kamble….

Music Directors’ names are famous. At times their assistants too get a mention in the credits, but what about the soul of every song-the Arranger ? Many people do not even know that there is someone called an Arranger. An Arranger not only exists, but without him the song orchestration is not possible.

What does an Arranger do ?

A tune and music is decided by the Composer, but the harmonization of the orchestra is done by the Arranger. He decides which instrument should be used more, like one decides about a flower in a bouquet of flowers. Arranger is like an ‘ interior decorator ‘ of music. Composer decides what effect he needs and what should be the interlude music. Arranger decides which instrument should be played.

Melody is the main ingredient in a song. Orchestra has to supplement and complement the Melody. In this case orchestration is like Jewellery. A beautiful woman must use jewellery to enhance her beauty, but no overuse or underuse will do. Similarly Arranger does optimization of instruments.

Arranger must know the Notations, so that it can be written and given to the players.

How many Arrangers are known to the public in India ? A composer is Zero without an Arranger. So they try to employ the best of them in their service. Some of the Arrangers become successful Composers themselves, like Sonik-Omi or Laxmikant Pyarelal. Most arrangers fail as composers because they don’t know the commercial aspects, like getting films, knowing and mixing with film personalities in Parties, having friends and God fathers in the right place etc etc.

The other day I was reading a book “Voh Bhooli Dastaan” by Subhash Chandra Jadhav,on Indian Film Music. In this book he has described information about one such successful but totally unknown Arranger SHYAMRAO KAMBLE.

Kamble was born in Karad, near Kolhapur in Maharashtra, on 23-10-1925. His elder brother taught him Tabla and Pakhawaj. Kamble joined a musical drama company where he learnt writing notations. When he came to Bombay he accompanied great singers like Saraswati Rane, Suresh Haldankar, Manik Verma etc. He used to make rounds of film studios and learnt to play Piano, Saxophone, trumpet, mandolin etc.

His career started as an assistant to music director H N Sharma.

Then he worked for Roshan in Bawre nain, wherein he played harmonium in all songs and Roshan was pleased. In Bheegi Raat-65 he played Guitar in the song ‘Dil jo na kah saka’

While doing Anokhi Raat he made use of Flute artistically in ‘oh re taal mile’. During this film Roshan died and he helped his wife to complete the recording of ‘Sapnon ka raja’ by Lata.

Chitralekha’s background music was liked by Hemant kumar very much.

After Roshan, Kamble worked for his son Rajesh Roshan also.

Kamble says,“Though my work was appreciated, my name never appeared in film credits till Jaidev and Sudhir Phadke insisted for it.”

From ‘Mujhe jeene do’-63 Kamble became Jaidev’s assistant. He says,’ Jaidev ji was a composer totally sold to indian classical music.’ For Reshma and Shera Kamble used Sarod effectively.

The producer director of Gharonda,Bheem Sen insisted its music to be like R D Burman. Kamble used the interludes in every song just like RDB and songs of Gharonda became very famous. Jaidev was so happy that he gave a 5 speaker gramophone to him as a Gift.

In the film ‘Tumhaare Liye’ Kamble wanted Hariprasad Chaurasiya to play Flute. He discussed it with Hari ji, but Hari ji did not come for any rehearsals, so Kamble called Sumant Raj and did the rehearsals. As luck would have it,on the day of recording Hariprasad came to play Flute. Kamble did not hesitate in making his decision. He used both the flutists for different pieces in the song.

Kamble also worked with Sudhir Phadke. when a producer wanted to make a remake of marathi film ‘Vahininchya Bangdya”, he took Sudhir Phadke for Bhabhi ki choodiyan as a composer, but put a condition that his Arranger will work with him. That person was a Goanese and Phadke did not like his arrangement with western instruments for this emotional film. He called Kamble and asked him to write notations for all the songs on the tunes decided already. Kamble did all this and left. Phadke gave the notations to the Goanese arranger and asked him to arrange orchestration accordingly. That is why all the songs of this film including ‘Jyoti kalash chamke” became popular.

Shyamrao Kamble did not attempt to become a film composer himself, as he knew his limitations. However,for “Bibal-My Brother”-1975, he shared the music with Prabhakar Jog.

Shamrao himself was a brilliant composer as well. He used to compose Bhajans and once on listening to the Bhajans he composed, music director Pyarelal asked him “Shamraoji if you can compose the tunes so nicely, why don’t you think to be a full-fledged music director for films ?” He just said “I am more interested in the Music Arrangements..” Pyarelal asked him jokingly, “so shall I use your compositions ?” smiling, within a second he said, “Pyareji, my all work is for you… you may use it whenever you wish..!” I am very much sure that if Shamraoji had taken music-direction as a career, he would have definitely achieved the position in the list of most talented and successful composers in the Indian music field,” said Pyarelal Ramprasad Sharma, the ace music director.
“His knowledge and devotion towards music was so deep, that he even used to guide or suggest the top artists like Rais Khan (sitar), Hariprasad Chaurasia (flute), Shivkumar Sharma (santoor) about the playing during the recordings. He also used to express that a particular music piece would be more effective if improvised in a different manner etc. And the greatness of those artists also, who used to sportingly accept Shamraoji’s suggestions and appreciate the same.. This was only because they were fully aware of Shamraoji’s knowledge and capacity. And also this was the reason that we had given total freedom to him in our work also,” said Pyarelal.

In his early career, Shamrao had worked as a notation-writer. He was the one who wrote down the notation for Dinanath Mangeshkar’s natya sangeet (Chandrika hi janu, Vilopale Madhu Meelanat ya, Yuwati Mana etc).

Though he retired and settled in Poona, Laxmikant Pyarelal always called him for work. He has toured several countries with Laxmikant Pyarelal’s orchestra as an Arranger. Shamrao kamble died on 17-10-2008, at Dombivali, due to Brain Haemorrhage, at the age of 83 years.

The tribe of Arrangers always worked behind the curtain, without any limelight on them and without appearing in film credits.

Truly, they are the brains behind good music in films !

(Thanks to Subhashchandra Jadhav and mrs. Suhasini Jadhav,copyright holders of ‘Voh bhooli Dastaan’ and Imprints and images, with thanks.)


Song- Prem ki maala meri kahin toot na jaaye(Devyani)(1952) Singer- Asha Bhonsle, Lyricist- Manohar Khanna, MD- S Purushottam

Lyrics

aa aa aa aa aaa

prem ki maala meri
kahin toot na jaaye
balam tum aa jaao
tum aa jao
pyaar ka madhuban mera
kahin toot na jaaye
balam tum aa jaao
tum aa jaao

tum huye aankhon se ojhal
deep saare bujh gaye ae
deep saare bujh gaye
meri jholi mein thhe jitne
phool angaare baney
phool angaare baney
bhagya ka tha ?? mera kahin doob na jaaye
balam tum aa jaao
tum aa jaao
prem ki maala meri ee
kahin toot na jaaye
balam tum aa jaao
tum aa jaao

kaisi yogan baawri tujhko pukaare har ghadi
tujhko pukaare har ghadi
man mein aasha ki ??
aankhon mein saawan ki jhadi
aankhon mein sawan ki jhadi
dolti naiyya meri kahin doob na jaaye
balam tum aa jaao
tum aa jaao
prem ki maala meri
kahin toot na jaaye
balam tum aa jaao
tum aa jaao


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

Blog Day :

4840 Post No. : 16627

‘Ye Gulistaan Hamaara’ (1972) was produced and directed by Atma Ram under the banner of Guru Dutt Films Combined. The star cast included Dev Anand and Sharmila Tagore in the lead roles supported by Pran, Iftikhar, Sujit Kumar, Johny Walker, Jaishree T, Lalita Pawar, Kanan Kaushal, Ramesh Deo, Raj Mehra, Keshav Rana, Janakidas etc.

The story is woven around a bridge which is being constructed over Dihing River in North-East India for a good connectivity. But the local tribals are oppose to it. They think that this is one way of imposing the slavery on the local tribes in the name of infrastructural development. This sentiment is exploited by some foreign agents who instigate the tribal chieftain to destroy the under-construction bridge. It is at this point, Dev Anand as an Intelligence Bureau Officer is sent to supervise the construction of the bridge without any hindrances.

How Dev Anand achieves the objective by overcoming the tribal opposition to construction of the bridge is the rest of the story that moves forward. If the film was to be made in English, it would have been apt to name the film as ‘The Bridge on the River Dihing’ on the lines of a well- known Hollywood film ‘The Bridge on the River Kwai’.

The film’s outdoor shooting was done in Assam (near Digboi where a bridge was under construction), Meghalaya, and Arunachal Pradesh. During the shooting of the film, the crew faced the hostile crowd led by the Naga Students Federation in Shillong. Some stone throwing incidences were also reported. The Naga students felt that it was a politically motivated film to insult the Naga tribal culture. Sharmila Tagore played the role of a Naga girl named ‘Sekrenyi’ which is the name of the holy festival of Angami Naga tribe. It is said that with the intervention of Bhupen Hazarika, the shooting of the film went on smoothly thereafter. The name of Sharmila Tagore’s character in the film was changed to ‘Soo Reni’.

In my younger days, I had read in the newspapers about the opposition of local tribals in laying the railway tracks in Meghalaya (Guwahati to Byrnihat). I understand that this line is yet to be operational. The same problem is faced for the railway track between Silchar and Imphal in Manipur. The main worry the local tribals is that good connectivity would lead to the influx of outsiders in their tribal belts threatening their own existence and culture. I feel that ‘Ye Gulistaan Hamaara’ (1972) was a ‘half-baked’ attempt to remove tribal population’s worries about the likely cultural dominance by the rest of India over the North-East’s tribal culture.

At the time of the release of the film, Naga Students Federation took out the protest march for banning the film on the ground of undermining the Naga tribal culture. They also felt that a couple of songs in the film sounded racial. In any case, they opposed the released of the film in Nagaland and Meghalaya. There were violent protests on the streets of Shillong. Finally, the film was released in 1973 after incorporating a notice in the film itself that ‘customs depicted in film, folk dances, dresses etc have no parallel with any of the tribes in Nagaland’. Some songs’ wordings were also changed to appease the protestors.

Initially, Danny Denzongpa was to perform the role of Dev Anand’s local associate in the film. S D Burman had already recorded a song in Danny voice along with Lata Mangeshkar. However, Johny Walker insisted with Atma Ram that he should also get a role in the film. Atma Ram agreed to take Johny Walker in place of Danny. However, Danny’s first song as a playback singer was retained which was picturised on Johny Walker. I personally feel that the role of a local person would have fitted well on Danny because of his facial feature. But at that time, Danny was a newcomer to protest. His consolation must have been the debut song he sang under the baton of S D Burman which was well appreciated.

‘Ye Gulistaan Hamaara’ (1972) had 7 songs of which six songs were written by Anand Bakshi. Six songs have been covered on the Blog, details of which areas under:

Songs Date of Posting Singers
Gori gori gaaon ki gori re 30/10/2008 Kishore Kumar – Lata
Mera naam yaao mere paas aao 17/01/2009 Dany Denzongpa-Lata
Naina soyi soyi raina jaage jaage 09/06/2013 Lata Mangeshkar
Ho Tushima ri Tushima…aa gara toofaan 31/10/2018 Lata Mangeshkar
Hey suno meri baat chalo mere saath 03/12/2020 Kishore Kumar
Saare jahaan se achcha Hindostaan hamaara 26/01/2021 Sushma Shreshta and Kids -1, Chorus Version-2

I am presenting the 7th and the final song, ‘kya ye zindagi hai kaisi bebasi hai’ from the film which is rendered by Lata Mangeshkar, S D Burman and chorus. The song is written by Anand Bakshi. The song has its uniqueness in that when Lata Mengeshkar sings, the chorus voices parallelly sing some words which I am unable to decipher.

With this song, all the songs from the film ‘Ye Gulistaan Hamaara’ (1972) have been covered on the Blog.

Audio Clip:

Video Clip:

Song-Kya ye zindagi hai (Ye Gulsitaan Hamaara)(1972) Singers-Lata, S D Burman, Lyrics-Anand Bakshi, MD-S D Burman

Lyrics (Based on the Audio Clip):

kya ye zindagi hai
kaisi bebasi hai
bolo kyun khade ho gumsum
kya ye zindagi hai
kaisi bebasi hai
bolo kyun khade ho gumsum
ek baar mila de na
ek baar mila de na

sadiyon se yoon hi
sar pe dukhon kaa
bojha uthaaye
in parbaton pe
ham chal rahen hain
bhookhe nange pyaase
laao haath
laao haath
apne saath
laao haath apne saath
chalke dekho do kadam tum
kya ye zindagi hai
kaisi bebasi hai
bolo kyun khade ho gumsum

kitni hai doori ee
ham bade peechhe
tum bade aage
tumhen chhoo naa paaye
tumhen chhoo bhi len to
thukraaye jaayen
apna mel
nahin khel
apna mel
nahin khel
o baabu kahaan hum kahaan tum
kya ye zindagi hai
kaisi bebasi hai
bolo kyun khade ho gumsum
ek baar mila de na
ek baar mila de na

hamne ye maana
ham to bure hain
hamne ki buraayi
tum to bhale ho.o o
tumne hamaari
ki hai kya bhalaayi
samjhaao
sikhlaao
samjhaao
sikhlaao
gale se lagaa ke hamen tum
kya ye zindagi hai
kaisi bebasi hai
bolo kyun khade ho gumsum


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 :

4840 Post No. : 16626 Movie Count :

4529

Yearwise discussion of Lata Mangeshkar songs in HFM: Part LVI: Year 2002
———————————————————————————————————

In this episode, the 56th episode, we discuss Lata Mangeshkar songs that she sang in Hindi movies released in 2002.

In 2002, 75 Hindi movies containing 539 songs were released. Lata Mangeshkar got to sing in 2 of these movies and she sang 8 songs in these movies. So Lata Mangeshkar’s voice was heard in 2.6 % of the movies released in 2002. Her voice was heard in 1.5 % of the songs appearing in the movies of 2002.

Here are the details of songs sung by Lata Mangeshkar in Hindi movies released in 2002 :-

S N Movie Music director Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Lyricists
1 Laal Salaam Hridaynath Mangeshkar 0 5 3/td> 2 0 0 Gulzar
2 Mujhse Dosti Karoge Rahul Sharma 0 3 0 3 0 0 Anand Bakshi
Total 2 movies 2 MDs 0 8 3 5 0 0 2 lyricists

Lata Mangeshkar worked with 2 music directors and 2 lyricists in these 2 movies released in 2002. Laxmikant Pyarelal were the most prolific music directors with Lata, with 664 songs in HFM with Lata Mangeshkar by the end of 2002. Shankar Jaikishan with 457 songs in the voice of Lata Mangeshkar were in the second position. R D Burman with 332 Lata Mangeshkar and Kalyanji Anandji with 307 songs were next ahead of C Ramchandra with 275 songs. Other top music directors for Lata Mangeshkar were Chitragupta (239), Madan Mohan (195), S D Burman (179),Naushad (146), Roshan (144), Hemant Kumar (127), Anil Biswas (120), Bappi Lahiri (112), Rajesh Roshan (111), Salil Chaudhary (109), Husnlal Bhagatram (108), and Vasant Desai (104). Together these seventeen music directors composed 3733 songs out of 5225 songs that Lata Mangeshkar had sung in Hindi movies till end of 2002. Anand Bakshi with 731 songs was the top lyricist with Lata Mangeshkar. Other leading lyricists with Lata Mangeshkar were Rajinder Krishan (555), Majrooh Sultanpuri (407), Shailendra (361), Hasrat Jaipuri (301), Prem Dhawan (201), Bharat Vyas (193), Shakeel Badayuni (189), Sahir Ludhianvi (161) and Indeewar (156). These ten lyricists had penned 3252 songs sung by Lata Mangeshkar till that time.

Here is the summary of Lata Mangeshkar’s playback career in Hindi movies till end of 2002 :

Year Movie count Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Remarks
1946 3 movies 4 4 4 0 0 0
1947 3 movies 5 5 3 1 0 1
1948 17 movies 51 57 42 8 4 3
1949 40 movies 141 160 105 35 13 7
1950 36 movies 116 143 93 32 14 4
1951 49 movies 190 223 158 52 10 3
1952 43 movies 150 177 138 31 4 4
1953 45 movies 170 195 149 35 5 6
1954 43 movies 142 172 144 23 4 1
1955 50 movies 172 218 177 30 10 1
1956 49 movies 174 204 153 35 13 3
1957 47 movies 132 160 110 38 7 5
1958 35 movies 104 132 95 25 10 1
1959 58 movies 190 211 131 68 12 1
1960 48 movies 142 166 102 50 9 5
1961 44 movies 128 152 88 55 5 4
1962 40 movies 119 129 84 40 5 0
1963 37 movies 105 111 62 38 8 3
1964 46 movies 123 133 91 31 8 3
1965 42 movies 84 91 71 17 1 2
1966 49 movies 105 133 110 14 8 1
1967 44 movies 94 106 67 38 8 3
1968 33 movies 84 84 59 19 5 1
1969 43 movies 78 97 67 27 2 1
1970 54 movies 91 130 84 39 3 4
1971 52 movies 107 126 71 52 3 0
1972 62 movies 99 151 86 60 3 2
1973 60 movies 93 138 94 37 3 4
1974 55 movies 71 104 66 33 0 5
1975 45 movies 62 90 50 35 3 2
1976 41 movies 58 97 53 39 1 4
1977 50 movies 50 96 59 27 8 2
1978 46 movies 60 90 48 34 3 5
1979 42 movies 38 66 37 25 2 3
1980 43 movies 28 71 43 21 3 4
1981 46 movies 40 88 48 34 2 4
1982 45 movies 28 82 41 37 1 3
1983 33 movies 29 73 36 37 0 0
1984 39 movies 11 70 32 33 4 1
1985 40 movies 21 72 39 31 0 2
1986 27 movies 4 41 22 17 0 2
1987 12 movies 4 21 13 8 0 0
1988 21 movies 9 43 24 17 1 1
1989 19 movies 10 38 20 16 1 1
1990 9 movies 4 12 3 9 0 0
1991 16 movies 6 57 35 20 1 1
1992 12 movies 3 25 12 13 0 0
1993 14 movies 3 49 22 23 2 2
1994 12 movies 5 39 9 28 0 2
1995 4 movies 2 8 3 4 0 1
1996 5 movies 2 14 7 7 0 0
1997 5 movies 1 21 2 14 4 1
1998 3 movies 4 11 3 7 0 1
1999 7 movies 3 14 6 7 0 1
2000 2 movies 3 5 1 2 0 2
2001 6 movies 2 12 6 5 0 1
2002 2 movies 0 8 3 5 0 0
Total upto 2002 1874 movies 3752 5225 3381 1508 213 123

It can be seen from the table of 2002 that Lata Mangeshkar sang 8 songs in 2 movies released in 2002.

No Lata song from 2002 are covered in the blog. That leaves us with all eight songs from two movies of 2002 for discusussion in the blog.

alphabetically, the first movie of 2002 that offers us a Lata Mangeshkar song to discuss is “Laal Salaam”(2002).

This movie was produced by Sanjiv Karambelkar and directed by Gaganvihari Borate for Manas Communications. The movie had Nandita Das, Sharad Kapoor, Makarand Deshpande, Vijay Raj, Rajpal Yadav, Anant Jog, Akhilendra Mishra, and Sayaji Shinde, Introducing Hemangini (Indroduction role), Vishwajeet Pradhan,Sushil Johri,Dwarika, Mahindra, Jyoti,Prithvi Singh,Sanjay Sonu, Ashraf, Ramayan, Nagesh Bhosle, Lallan Singh,Sanjay Shrivastav,Sivam,Anup, Subrow, Parveen Banu, Sumanth Chandramani, Uday Tikekar, Pramodini etc in it.

The movie had six songs in it. Five songs had the voice of Lata Mangeshkar in them.

Here is that song from “Laal Salaam”(2002). This song is sung by Lata Mangeshkar. Gulzar is the lyricist. Music is composed by Hridaynath Mangeshkar.

Only the audio of the song is available. It is almost certain that the song was picturised on Nandita Das.

Lyrics of this song and other details were sent to me by Prakashchandra.

With this song, “Laal Salaam”(2002) makes its debut in the blog.


Song-Ag chaand gufaa mein (Laal Salaam)(2002) Singer-Lata, Lyrics-Gulzar, MD-Hridaynath Mangeshkar

Lyrics

ag chaand gufaa mein
raain hamaari beeti gaaa aa aa aa
aga chaand gufaa mein
raain hamaari beeti gaaa aa aa aa
arrey hamko bhee ee ee ee ee ee ee
arrey hamko bhee daag lagaa gayi preeti gaa aa
baayi gaa aa aaa aa ahaa haa aa
baayi gaaa aa
baayi gaa aa aaa
hha aa baai gaa
aga chaand gufaa mein
raain hamaari beeti gaaa aa aa aa
baayi gaaa aa aa aa aa
hha aa baai gaa aa

arrey preet ka paudhaa dard bharaa kehlaaye aey ae aey ae
kaanch ke phool aankh se tapkaaye aey ae aey ae
arrey preet ka paudhaa dard bharaa kehlaaye aey ae aey ae
kaanch ke phool aankh se tapkaaye aey ae aey ae
jab neend udey sapney ae dikhaaye preeti gaa aa
baayi gaa aa aaa aa
baayi gaa aa aaa
baayi gaa aa aaa aa
baayi gaa aa aaa
ag chaand gufaa mein
raain hamaari beeti gaaa aa aa aa
baayi gaaa aa aa aa
baai gaa aa

arrey log kahen jab meh barsey bujh jaaye ae rey
preet ki aag saawan mein badh jaaye ae ae
arrey log kahen jab meh barsey bujh jaaye ae rey ae aey
preet ki aag saawan mein badh jaaye ae ae ae
ek aag bujhey ek aag lagaaye preeti gaa
baayi gaa aa aaa aa ahha aaaa
baayi gaa aa aaa
baayi gaa aa aaa aaa
baayi gaa aaa aaa
agga chaand gufaa mein rain hamaari beeti gaaa aa aa
arrey hamko bhee ee ee ee ee ee
arrey hamko bhee daag lagaa gayi preeti gaa aa
hahh baai gaa aa aaa aahhaa aa
baayi gaa aaa aa
baayi gaaa aa aaaa aaa
baayi gaaa aa aaaa aaa
baayi gaaa aa aaaa aaa ahaaha
baayigaa
baayi gaaa aa aaaa aaa ahaaha
baayigaa


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

Blog Day :

4839 Post No. : 16625 Movie Count :

4528

In Hindi film industry, there have been many ‘rags to riches’ stories since its inceptions. There were instances where ‘rags to riches’ went back to their ‘rags’ status because they could not prudently handle their wealth and the fame. On the other hand, there are instances who could retain their rich status thanks to their dedication to work as well as prudent financial planning. One of them was Chandrashekar Narvekar, who is known in Hindi film industry as N. Chandra (born 04/04/1952).

N Chandra was born and brought up in a lower middle class family in the midst of mill workers in Worli Naka. The working class had their chawls and hutments at the foot of Worli Hills while the affluent class of the society lived on the top of the hills. So, he had closely seen the economic disparity between the rich and the poor.

After completion of his high-school, N Chandra joined the Film Centre at Tardeo in the film editing division where his father was employed. He learnt the nuances of film editing. In 1971, he started as clapper boy for Gulzar’s ‘Mere Apne’ (1971) and became one of Gulzar’s assistant directors in ‘Parichay’ (1972), ‘Koshish’ (1972), ‘Achanak’ (1973), Aandhi’ (1975), ‘Khushboo’ (1975) and ‘Mausam’ (1975). Chandrashekhar Narvekar changed his name to N Chandra when he became the associate director to Bapu in ‘Bezubaan’ (1982) and ‘Woh 7 Din’ (1983) for which he was also a full-pledged Editor of these two films.

While working for ‘Woh 7 Din’ (1983), N Chandra got the inspiration to independently direct a Hindi film. He co-produced and directed his debut film ‘Ankush’ (1986) with non-star actors, most of whom were from Marathi and Gujarati stages. The story of the film was based on what N Chandra had witnessed during his younger days in Worli Naka after a prolonged mill workers strike. At that time, Worli-Lower Parel areas of Mumbai had the highest concentrations of cotton mills. The prolonged strike led to the closure of mills permanently, creating unemployment among the youth and the social unrest.

‘Ankush’ (1986) grossed over 3 crores on the box office on a budget of Rs,12 lakhs, a part of which was raised by N Chandra by selling his personal belongings. The tremendous success of the film helped Nana Patekar in improving his career graph as an actor. For N Chandra, the film boosted his confidence that a good story based on the contemporary subject with a realistic approach in direction could make a film successful even with non-star actors. His next two films – ‘Pratighaat’ (1987) and ‘Tezaab’ (1988) completed a sort of a trilogy of films on social justice.

‘Pratighaat’ (1987) was the second film which N Chandra directed apart from writing the screen-play and editing the film. The film was produced by A Ramoji Rao and was a remake of a Telugu film ‘Pratighatana’ (1985) which was also remade in Malayalam as ‘Pakarathinu Pakaram’ (1986). Sujata Mehta, a prominent Gujarati stage actor who had become popular with her Hindi TV serials ‘Khandaan’ (1985) and ‘Shrikant’ (1986), made her debut in this film as a lead actor along with Arvind Kumar and Charan Raj. The other actors included Rohini Hattangadi, Ashok Saraf, Mohan Bhandari, Nana Patekar, Subbiraj, Usha Nadkarni, Savita Bajaj, Ravi Patwardhan, Anuradha Sawant etc. The film was released on March 17, 1987.

Even though, in the film, Sujata Mehta was paired with Arvind Kumar, it was Charan Raj who had a larger presence in the film in the role of a criminal, Kali Prasad. Charan Raj is a Kannada actor who mostly did the role of a villain in Kannada, Tamil, Telugu, Malayalam and Hindi films. He has also produced, directed and composed music for some films.

The DVD of the film is available for on-line for viewing. However, the quality of the picture as well as sound is not of good quality. Hence, I have watched the film sporadically. The gist of the story of the film is as under:

Laxmi (Sujata Mehta) is married to Satya Prakash (Arvind Kumar) who is a practicing lawyer. Laxmi works as a scool teacher. In the town, there is a hardened criminal, Kali Prasad (Charan Raj) whose writ rules over the entire town as he has blessing from a local politician. He has bee arrested in the past but gets release on bail with the blessing of a local politician which is followed by Kali taking the revenge on the complainers or the policeman who arrested him, resulting in their deaths. One of the victims is an ex-constable (Nana Patekar) who has become insane after his wife is brutually killed by Kali.

Laxmi finds it odd that even her school is under the influence of Kali for his notorious activities. She seeks help from her college-mate, sub-inspector, Ajay Shrivastav (Mohan Bhandari). He tells Laxmi that there is no point in arresting him as no one would stand witness against him and he gets the bail.
Nonetheless, Ajay arrests him after which he gets the bail. In the broad daylight, Ajay is murdered by Kali and Laxmi has witnessed his murder. She is ready to stand witness against Kali in the police station. Kali takes revenge on Laxmi by striping her in the public and in front of her husband who is scared to rescue her.

Laxmi takes a vow that she would continue to fight against Kali for justice and she is helped by Durga (Rohni Hattangadi) whose husband was killed by Kali for lodging complaint against him in the police station. Local election is due and Kali has been selected as a candidate. Laxmi stands in the elections against Kali. Kali’s hooligans create a lot of problem for Laxmi in her election campaign. Kali wins the election by booth capturing.

During the election victory celebration, Laxmi reaches on the stage and congratulate him on his election victory. She has brought a real axe which was the election symbol of Kali and hacks him to death in front of a large crowd. The film ends with police arriving on the scene and arresting Laxmi who sarcastically tells the Inspector that she is happy that he is doing his duties which he failed to do so while Kali was on a killing spree in the town.

‘Pratighaat’ (1987) made with non-star cast was a runway success at the box office front. The film reviews highly praised the performance of Sujata Mehta and Charan Raj.

The film had four songs all written and composed by Ravindra Jain. I am presenting the first song, ‘tere sar pe mere pyaar kaa farz hai’ from the film to appear on the Blog. The song is rendered by S P Balasubrahmanyam and S Janaki.

With this song, the film, ‘Pratighaat’ (1987) makes its debut on the Blog.

Audio Clip:

Video Clip:

Song-Jaanam yahaan koi nahin (Pratighaat)(1987) Singers-S Janaki, S P Balasubrahmanyam, Lyrics-Ravindra Jain, MD-Ravindra Jain
Both

Lyrics

hmm hmm hmm
hmm hmm hmm hmm
aa haa haa haa
aa aa aa
hmm hmm hmm
hmm hmm hmm hmm
aa haa haa
hmm hmm hmm
hmm hmm

tere sar pe mere
pyaar kaa karz hai
karz kar de adaa
ye tera farz hai
o o
yoon door rahke na kar aur bhi bekaraar
jaanam yahaan
koi nahin ee
jaanam yahaan
koi nahin ee

ek hi raat mein
kaise doon main chuka
re dheere dhreere tera
karz hoga adaa
hey ae
do ek din aur rahne de mujhpe udhaar
sone de naa
soyi nahin ee
sone de naa
soyi nahin ee

betaabi badhne lagi hai
dil pe rakh do haath

aise machal rahe ho
jaise pehli ho raat
ye tera badan phoolon saa mahka huwa aa
lagta hai tu thhoda thhoda behka huwa
ae ae
tera hi nasha hai

kyun peechhe pada hai
ho o
tera hi nasha hai
hey
kyun peechhe pada hai
deewaana karke na daaman chhuda baar baar
jaanam yahaan
koi nahin ee

sone de na
soyi nahin ee
tere sar pe mere pyaar ka karz hai
hey ae
karz kar de adaa
ye tera farz hai

hey
aankhon mein meri abhi neend ka hai khumaar
sone de naa
soyi nahin
ho o
jaanam yahaan
koi nahin

yoon mujhko jaga ke tum to roothh ke chaley
kya karna jab koi jaage raat dhaley ae ae
tum sowo aaram se koi jaley to jaley
meri tarah zara tu bhi to haath maley
o o
ab maan bhi jaao na
jaao bahlaao na
o o
ab maan bhi jaao na
jaao bahlaao na
tumko manaate manaate gayi main to haar

jaanam yahaan
koi nahin
jaanam yahaan
koi nahin

aah
aa ha ha ha
aahahah
aahahah
aaaah
ahahahaaha
oho
aahahaha
umhoon hmm
aahhahaha
unhmm
hahahaha
hahahaha
aaah


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.

Blog Day :

4838 Post No. : 16624

Hullo Atuldom

My family and some members of this world of Atulsongaday, which I like to refer to as Atuldom, know my love for a few actors from the Hindi Film World. Specially the actors who graced the silver screen in the 70s, 80s and early 90s. Many of the actors of that period are in the 60 to 75/80+ age group. Actors Amitabh Bachchan, Jeetendra, Rekha, Hema Malini, Zeenat Aman, Jaya Bhaduri, Dharmendra, some actors played character roles in that period etc. when they make an appearance on reality television I make it a point to see those episodes and on repeat if possible.

Kaun Banega Crorepati had one such episode on 15th October 2021. It was advertised as ‘Sholay Reunion Special’ (if I got the title right). It was like a reunion of school friends. Hema Malini and Ramesh Sippy were the guests who played the game for some charity. It was cute to see Hemaji and AB Sr. mouthing lines of all the characters – Gabbar Singh, Angrezon ke zamaane ka jailor, Veeru, Jai – whose pictures were flashed on the big screen. Hema Malini did the Jailor’s typical laugh and also “basanti inn kutton ke saamne matt nachna” and I was all eyes and ears. Imagine how soothing it must have been to see a sooper pretty lady, with her typical manner of speech, giving answers to the questions. Here I would like to mention that the questions were ‘made to order’ to enable Ramesh Sippy and Hemaji earn 25l to fund their charities. There were two highlights in the show; one was when Veeru joined the show over video call.
The other and more appropriate (IMO) part of the show was when they brought Reshma Pathan on the show. This is the lady who has played a body double for all the stunts that heroines were shown to be carrying out in the movies of the 70s and 80s. Hemaji and Rameshji showered their praises on this lady for helping out with the stunts in Sholay. They specially mentioned the action scene, after the Holi song, where a child is shown crying near the ‘merry-go-round’ and a lady comes running to rescue the child.

Towards the final section of the program they wished (in advance) The Beautiful Hema Malini for her birthday. I had also thought up a few possible songs to go with this post. Then I happened to see a comment on the blog, by Manohar Lal Dave, who had reminded that 15th October was the birth anniversary of Shankar of the Shankar-Jaikishan duo.

We will enjoy this song from “Sanyasi” (1975) of which the blog has five songs. This is the sixth written by Varma Malik and tuned S-J and it is sung by Mukesh and Lata Mangeshkar.

Wishing the Ever-so- gorgeous, beautiful, elegant DreamGirl on her birthday with this song.

Audio

Video

Song-Sun baal brahmchaari main hoon kanya kunwaari (Sanyaasi)(1975) Singers-Lata, Mukesh, Lyrics-Verma Malik, MD-Shankar Jaikishan

Lyrics

om nama shivay
haay
om nama shivay
hmm
om nama shivay
hahahah
om nama shivay
hahahah
om nama shivay

sun baal brahmchaari
main hoon kanya kunwaari
sun baal brahmchaari
main hoon kanya kunwaari
tere man mein preet ka rang bhar doon
aaj tapasya bhang kar doon
sun baal brahmchaari
main hoon kanya kunwaari
sun baal brahmchaari
main hoon kanya kunwaari
tere man mein preet ka rang bhar doon
aaj tapasya bhang kar doon
sun baal brahmchaari
main hoon kanya kunwari

aake khadi hoon dwaare tere
kyun baithha hai aankhen phere
aake khadi hoon dwaare tere
kyun baitha hai aankhen phere
in aankhon ki madira pee le
in aankhon ki madira pee le
chhodne waala hans kar jee le
ari sun roopwati
main hoon sant jati sati (?)
kisi aur pe dore daalo
meri maa mujhe bacha lo

sun baal brahmchaari
main hoon kanya kunwaari
tere man mein preet ka rang bhar doon
aaj tapasya bhang kar doon
sun baal brahmchaari
main hoon kanya kunwaari

bol Siyapati Ramchandra ki jai

ban thhan ke main aise nikli
jaise saawan mein chamke bijli
ban thhan ke main aise nikli
jaise saawan mein chamke bijli
aisi meri bharpoor jawaani
aisi meri bharpoor jawaani
aag se jaise lipta paani
hey Raamji duhaai
ye Saroopnakha aayi
apne Lakshman ko sambhaalo
meri maa mujhe bacha lo

sun baal brahmchaari
main hoon kanya kunwaari
tere man mein preet ka rang bhar doon
aaj tapasya bhang kar doon
sun baal brahmchaari
main hoon kanya kunwaari

bana jawaani mein tu jogi
teri saadhana poori na hogi
bana jawaani mein tu jogi
teri saadhna poori na hogi
poori na hogi
roop mein mere itni shakti
karne lagega meri bhakti
aaye nikat nikat
hai samaysya vikat
koi iska ticket kata lo
meri maa mujhe bacha lo

sun baal brahmchaari
main hoon kanya kunwaari
sun baal brahmchaari
main hoon kanya kunwaari
tere man me preet ka rang bhar du
aaj tapasya bhang kar doon
sun baal brahmchaari
main hoon kanya kunwaari
sun baal brahmchaari
main hoon kanya kunwaari


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over THIRTEEN years. This blog has over 16600 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2021) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

16615

Number of movies covered in the blog

Movies with all their songs covered =1280
Total Number of movies covered=4520

Total visits so far

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Active for more than 4000 days.

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