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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 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 : 3865 Post No. : 14882

“Mere Laal”(1966) was directed by Satyen Bose for S S Chitramandir, Bombay. This “social” movie had Dev Kumar, Indrani Mukherji, Jagdev, Shekhar Purohit, Lalit Kapoor, Prakash Mishra, Abhi Bhattacharya, Jamaal, Samson, Rajkumar, Siddiqui, Ghulam Sabir, Master Anwar, Master Satyajeet, Madhuraj, Juthika devi, Darshan, Moolchand, Meenakshi, Mahesh, Ratan etc in it.

The movie had eight songs in it. Four of these songs have been covered in the past.

Here is the fifth song from “Mere Laal”(1966) to appear in the blog. The song is sung by Lata. Majrooh Sultanpuri is the lyricist. Music is composed by Laxmikant Pyarelal.

The song is picturised on Indrani Mukherji.


Song-Baadal roya naina roye (Mere Laal)(1966) Singer-Lata, Lyrics-Majrooh Sultanpuri, MD-Laxmikant Pyarelal

Lyrics

hmm mm mm
hmm mm mm
hmm hm m hmm
hahaha

baadal roya naina roye
kaajal roya wo na mila haaye
baadal roya naina roye
kaajal roya wo na mila
tan ka ujaala rain laton ki
tan ka ujaala rain laton ki
sab kuchh khoya
wo na mila ha
baadal roya naina roye
kaajal roya wo na mila
haaye
baadal roya naina roye

dhoondhte usko o o
maine ganwaayi
kya jaane kitni hi nigaahen
uske nagar mein maine bichha di
raste raste pyaar ki baahen
saagar saagar roz kisi armaan ko duboya wo na mila aa
baadal roya naina roye
kaajal roya wo na mila
baadal roya naina roye

hmm hmm
honthon pe lekar r r
khoon ki laali
gaati rahi main dard ki maari
phool ke jaise ghaav badan par
leke phiri main ban phulwaari
des vides ka kaanta pag mein
maine chubhoyaa wo na mila
baadal roya naina roye
kaajal roye wo na mila
tan ka ujaala rain laton ki
sab kuchh khoya wo na mila
baadal roya naina roye
kaajal roya wo na mila aa
baadal roya naina roye

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

Blog Day :

3864 Post No. : 14881 Movie Count :

4070

Today’s song is from a film Iqraar-42. The song is sung by Bulo C Rani, who became a Music Director himself in 1943. Music Director for this film was Khemchand Prakash. The film was directed by Manibhai Vyas. The 10 songs of the film were written by Pt. Indra and Munshi Dil. The cast of the film was, Madhuri, Motilal, Rama Shukul, Shanta Kashmiri,Bhagwandas, Tarabai, Bhoopat Rai and others.

Cut to….

———————————————
Place- Shanmukhanand Hall,Mumbai
Date 7-2-1999
Time- 7 p.m.
Programme- Felicitation to ‘ Stars from the Silent Era’
Organisers- ” Amrut” and ” Cine Society of Bombay ”

The entire hall was overcrowded. Not only all the seats were occupied,but people were standing wherever possible. Everybody wanted to see the Two STARS on the stage-Jairaj and Madhuri. Both were in their late 80s,but looked radiant and smiling. For Madhuri it was a surprise,that the organisers found her out after living in oblivion for over 50 years. She was simply overwhelmed with the people’s affection and love. For Jairaj,these things were not new. He has been around all the time.

Madhuri and Jairaj were a Popular pair in Silent film era. They worked as a lead pair in 3 films, one each in 1930-Rasili Rani, 1931-Warrior from the wild and 1932-My Hero. They came together after almost 70 years,on this stage.

Like many others, Madhuri too was an Anglo Indian. Her name was Beryl Claessen. She was born on 3-11-1913 at Delhi. Her father was a big officer in Government. Her initial schooling took place in Nainital. She learnt music too,because she wanted to become a Music Teacher. However that she never became,but on a visit to Bombay she was picked up by producer Indulal Yagnik and she started acting in silent films.

Many Heroines in those days were Anglo-Indians, Europeans or Jew girls. Since silent films did not require speaking Hindi or Urdu ( or any language,for that matter),these girls were preferred, as Indian audience loved their fair colour (Gori Mem). Additionally,these girls did not hesitate to give intimate scenes like kissing or doing stunts themselves. Most girls knew Horse riding, fencing and fighting.

In 1928,there was a Silent film Madhuri, but actress Sulochana(Ruby Myers) did this role and in 1932 there was a Talkie film Madhuri,in which also Sulochana only did the role. When Talkie films era began most of the Anglo Indian girls became jobless, since they could not speak Hindi/Urdu nor could they sing a song-the two requirements for actresses in Talkie films. However, a few intelligent and professional actresses learnt Hindi/Urdu language speaking. Madhuri and Sabita Devi (Irene Gasper) were two such clever girls who achieved proficiency in these matters.

Madhuri was very beautiful. After doing 17 silent films,she made her debut in Talike films with ‘ Pardesi Preetam’-1933. Jaswantlal Nandlal directed his first film here. Her Hero was Raja Sandow. She did many films for Ranjit under the direction of Jayant Desai. From 1933 to 1942,she acted in 26 films. They were (not in order) Kashmeera,Mitti ka Putla,Noor e watan,Secretary,Lehri lala,Rangeela Raja,Sitamgarh,Prithviputra,Thokar,Raj Ramni,Diwali,Matlabi Duniya,Toofani Toli,Shama parwana,College Girl,Nadira,Veer babruvahan,Zamin ka chaand,Ban ki chidia,Toofan Mail,mehmanSasural,shadi and Ikrar. By the way, Iqrar – 42 was Madhuri’s last film.

In 1941, Madhuri got married and retired from Film line. After this she simply disappeared for next 50 years without a trace,till the organisers of above programme located her.

This film was made by the film producing machine of the Industry- Ranjit Movietone. The huge set up of the studio, having a galaxy of stars on its roll, had at one time, as many as 300 persons on its pay roll. Most of the workers used to live in studio premises or around it. The Government had opened a Ration shop in the studio campus, for the benefit of their families.

I said it was a film machine, because at a time 5 to 6 films’ shootings took place on the 6 floors of the studio and films for future were planned at the same time. As per a News item published in Film India Magazine of November 1942, the studio had films ready for release…Gauri, Chhoti Maa, Bhakta Surdas, Dukh Sukh, Fariyad, Andhera and Iqrar. The films on floor were Tansen, Vish kanya, Sati Parvati, Kalidas, Shrawan kumar, Rakhi and Jaydev. Due to this continuous activity, the studio staff was always busy and one could hearthe musical rehearsals from near the Music Department.

Like all studios, Ranjit too had a system of employing Music Directors on monthly basis for long terms. In 1942, it was Khemchand Prakash. Hailing from Sujanghar in Rajasthan, Kemchand Prakash, born on 12-12-1907, was an accomplished Kathak dancer and a classical singer. The earthy music of Rajasthan flowed in his veins and helped him infuse irresistible charm into his compositions.

He learned Dhrupad *gaayaki* from his father Govardhan Prasad. He then went to Nepal and lived there for eight years under the patronage of the Maharaja. His career in films began when, on his return, he joined New Theatres (Calcutta) as an assistant to Timir Baran on a monthly salary of Rs.120. When he left New Theatres in 1939 he was drawing Rs. 500 p.m.

As Baran’s assistant he was said to have composed Saigal’s “baalam aaye baso more nam me.n” (in Raag Kafi) and “dukh ke ab bitat nahin” (Raag Des) in’Devdas.’ He even enacted a comic scene and sang a song “lo khaa lo madam khaanaa” in ‘Street Singer’ at the suggestion of the director, Phani Majumdar.

Khemchand migrated to Bombay with Prithviraj Kapoor and Kidar Sharma in search of independent assignments and joined Ranjit Movietone. Khemchand was employed by Ranjit Movietone from 1940 to 1945, in place of Gyan Dutt who was in Ranjit from 1937 to 1940 ( 15 films). Khemchand gave music to 20 films in 5 years period. When he left Ranjit, his friend Bulo C. Rani joined in his place. However ,by that time Ranjit was already going downhill due to financial difficulties caused by the gambling of Sardar Chandulal Shah. With ‘Meri Ankhen’ (1939) he proved himself as an independent composer. Followed ‘Pardesi’, ‘Shaadi’, and ‘Umeed’in 1941 which gave him a firm foothold in the Bombay industry.

One of the most popular songs composed by him during the early phase was sung by Khurshid: “pahele jo mohabbat se inakaar kiyaa hotaa.” “But Khurshid,” recalls Pandit Jagannath Prasad, a cousin and close associate of Khemchand, “was reluctant to sing the song.” And an angry Khemchand gave her the ultimatum: “Sing or get out.”

Unwilling to offend acomposer of Khemchand’s calibre, Khurshid finallygave in and rendered the song. Khurshid had her own reason for hisitating to sing the song, which was a recognizable rehash of Begum Akhtar’s famous ghazal,”deevaana bannana hai to.” She didn’t want to risk a comparison with the great Begum, for she was never really sure of her own calibre as a singer. Ironically, “pahele jo mohabbat” brought her unprecedented laurels!

Khemchand had more hits in 1942–like ‘Chandni’ and’ Khilauna.’ But it was ‘Tansen’ (1943), which sent hsi stock soaring. Based on the immortal singer’s life, ‘Tansen’ inspired Khemchand to come out with a veritable feast of light classical songs, which pleased both the connoisseur and the uninitiated. The film paired Saigal, who had been lured to Bombay by monetary considerations, with Khurshid. And Khemchand gave them a wide range of hummable songs to sing. “more baalaapan ke saathi” (Khurshid,Saigal), “dukhiyaa jiyaraa” and “baraso re” (Raag Megh Malhar–Khurshid), “ghata ghan ghor ghor” (Raag Sarang–Khurshid), “rumjhum rumjhum chaal tihaari”(Raag Shankara–Saigal), “diyaa jalaao” (Raag Deepak–Saigal) and “sapt suran teen graam” (Raag Hameer in Dhrupad–Saigal) were all brilliant compositions, which contributed in a big way to the film’s commercial suceess.

Khemchand’s sway over the Hindi film music scene continued unabated even after the influx of the robust Punjabi brand of music. He stuck steadfastly to classical and Rajasthani folk music and ghazals. His compositions in ‘Bharthari’ (“chandaa des piyaake jaa”–Amirbai), ‘Bhanwara’ (“ham apanaa unhebanaa na sake”–Saigal) and ‘Shahenshah Babar'(“mohabbat me.n saara jahaan jal rahaa hai”–Khurshid) became a rage.

Khemchand was in trouble when the Ranjit boss,Chandulal Shah, started disapproving of his association with outside producers. (Prakash Pictures’ ‘Samaj Ko Badal Dalo’ and Filmistan’s ‘Sindoor.’). The rift came to a head when Shah refused to let Khemchand use a raw voice for a song. “I don’t want an unknown voice in my film.” Shah told off Khemchand. And Khemchand walked out of Ranjit Movietone. The “unknown voice” was young Lata Mangeshkar’s! (Lata had been recommended to Khemchand by Anil Biswas, and he took an instant liking for her mellifluous voice.)

From Ranjit, Khemchand went to Bombay Talkies to score the music for ‘Ziddi.’ The success of the film vindicated his stand on Lata. Lata’s rendering of “chandaa re jaa re jaa re” based on a Rajasthani folk song “kaagaa re jaa re jaa re” was unanimously acclaimed.

‘Ziddi’ launched another eventful career–that of Kishore Kumar’s. In spite of his reputation as a ‘master yodeller’ and a singer of the frothy, light numbers, Kishore invariably excelled as a singer of sad songs. Khemchand Prakash was the first to discover this talent in Kishore. Besides the sad ‘Ziddi’ number (“marne ki duvaaye.n kyaa maangu”), he gave him another pathos-ridden song in ‘Rimjhim’ (jag mag jag mag kartaa nikalaa chaand poonam ka pyaara”).

A line in the song–“meri chaandani bichhad gayi mere ghar mein huaa andhiyaara”–proved ominously prophetic a fortnight after he’d composed the song, when his wife died, which made him a sad, lonely man, and perhaps accounted for the pathos recurring in his later compositions.

Nevertheless, Khemchand wore the facade of a ready-witted jovial person. He had an incorrigible weakness for good food and liquor. In his while dhoti and silk kurta, he was often mistaken for a rich Marwari, while he actually led a frugal existence. At Ranjit Novietone, Khemchand was paid Rs. 100 p.m. When he composed music for his last film at Bombay Talkies, he drew a salary of Rs.1,500. Producers for whom he freelanced seldom paid him his dues in spite of making the best use of his exceptional talent. Once, to collect the two thousand rupees Kishore Sahu owed him, he told the producer-director that he needed the money desperately to perform the last rites of his grandmother. When lyricist Bharat Vyas heard of this ‘bereavement’, he went to Khemchand to offer his condolences. The composer smiled wryly and said, “My grandmother is 90 and fit as a fiddle. I have been ‘killing’ her again and again only to collect my dues from the producers.”

In spite of his meagre earnings, Khemchand was a large-hearted man. He went out of his way to present a radio set to the general ward of Bombay’s K.E.M. Hospital where he had once undergone treatment. (“The antique piece is still working,” says his now physician, Dr. Hindlekar).

Khemchand never allowed his financial worries to affect his creativity. He exhibited his versatility in every composition of his of his–whether it was based on a classical raag (“kukat koyaliyaa kunjan mein”/raag Sarang/Kajjan/’Bharthari’); a Rajasthani folk tune (“silvaa de re sajanavaa mohe/Paro, SushilSahu/’Sindoor’); a ghazal (“dil lagaane mein kuchhmazaa hi nahin”/Khurshid/’Shahenshah Babar’); abhajan (“prabhu ke gun gaaoon main”/Khurshid,chorus/’Shadi’); a romantic song (“ye kaun aaj aayaare”/Kishore, Lata/’Ziddi’); or a heart-reding musical wail (“o roothe hue bhagavaan tum ko kaisemanaaoon”/Amirbai/’Sindoor’). Even as his stock went up as a musician and he came to be acknowledged as one of the best ever composers the film industry had known, Khemchand suffered an acute feeling of loneliness towards the later stages of his career after his wife’s sudden demise, and he began drowning himself in liquor.

During this phase, when he was hospitalized for abdominal ailment, he fell in love with a pretty nurse, Sridevi, who was to be his inspiration in times to come. Khemchand was in poor health when,unexpectedly, Kamal Amrohi assigned the music of Bombay Talkies’ ‘Mahal’ to him. Ashok Kumar had just come back to take over the reins of Bombay Talkies in a desperate attempt to prevent a great institution from crumbling. But the choice of Khemchand as the music director raked up a controversy, as doubts were raised about his about his ability to meet the needs of a changing breed of filmgoers. The music scene in the Bombay film industry had begun to change with breezy, catchy tunes taking over from the slow, classically oriented numbers. The rhythmic, rustic and fast-paced Punjabi folk music was becoming immensely popular. Would the ‘slow’ style of Khemchand suit the changing scene? When he heard the *mukhda* of”aayega aanevaala” in its formative stages, one of the producers of Bombay Talkies, Savak Vachcha, lost his temper, and asked Khemchand, “But when will it(the song) come?” (referring to “aayega” which is repeated five times in the song.) In his faltering Hindi the genial Parsi is said to have asked, “Aap to ‘aayega, aayega’ karte hain, vo aanevaala kidhar hai?”, which provoked the composer to walk out of the room in a fit of fury.

Sometime ago when Kamal Amrohi (who directed’Mahal’) was asked as to what had influenced the choice of Khemchand Prakash for the film, the 69-year old veteran said, “I’d been greatly impressed by Khemchand’s talent when he was with Ranjit. There was always an undercurrent of pathos in his music which reminded me of *marsia* (a dirge) and *noha*(the mournful songs of Moharrum). But he was reluctant to work with me because of my abusive tongue. When I wrote the first part (“khaamosh hai zamaane..”) of “aayega aanevaala”–the rest of the song was written by Nakhshab–and showed it to him,he instantly moved his fingers on the harmonium and played a tune… and I approved it on the spot. Though Nakhshab was angry with me for accepting the very first tune, Khemchand was relieved that I wasn’t so difficult a person after all! Nobody at Bombay Talkies, barring me, was confident of the success of ‘Mahal’ or its songs.”

The film and its music, however, went on to make history. “aayega aanevaala”, based on a Rajasthani folk tune, not only became the film’s major draw,but has remained a perennial favourite of music lovers. The song also opened floodgate of opportunities for Lata Mangeshkar.

Rajkumari, Khemchand’s favourite singer, also sang five memorable songs in ‘Mahal’ (including”ghabaraake jo ham sar ko” and “haaye mera dil”). Though, unfortunately, one of them (“suno mere nainaa”) had to be deleted from the film.

When ‘Mahal’ was released on October 13, 1950 at Bombay’s Roxy cinema to overwhelming response, Khemchand Prakash wasn’t alive to see the fruits of his labour. He had died two months earlier at the Harikisondas Hospital–on August 10, 1950–at the young age of 42.

At the time of his death, Sridevi was beside him. As she wasn’t married to Khemchand and had no legal rights over what he’d left behind, she was left high and dry.

Today, many years after Khemchand’s death, nothing seems to have changed for Sridevi. She still lives in the past, on the pavements of Borivli. Khemchand’s old physician, Dr. Hindlekar, still treats her with great care, but she’s no longer in a position to respond to anybody’s sympathy. The only sound which brings her back to ‘life’ is the strains of “aayega aanevaala.” Whenever she hears the song she stands still on the road, clutching at her only possession–a small sack of clothes and memories of a ‘melodious’ time.

( adapted from articles by Nalin Shah, Satish Chopra, Pankaj Raag and my notes, HFGK, MuVyz and Mid Day 12-2-1999.

Thanks to Harish Raghuwanshi ji )
———————————————-

I have not seen this film and I do not know its theme. However, from a photo with comments in Film India magazine, it can be presumed that the film was a Love Triangle film. Two friends, Motilal and Rama Shukul vying for the same girl Madhuri. In the process they distance themselves from each others and Madhuri tries to bring them together again. One of the actors in this film is Tarabai. She was the elder sister of Sitara Devi and mother of famous Dancer Gopi Krishna. After marriage with Marutirao Pehelwan, she fell on bad days and started working sundry roles in films. Later on her condition became worse and she used to live in Bombay’s slums. Another actor Bhagwan das, who did small roles in films, became a big time producer, later on and then became a pauper also. He had married actress Poornima. One of the 10 songs of this film is sung by one Master Vithal. He was not that Vithal who acted in Aalam Ara-31-India’s first Talkie. This master Vithal was a professional singer from Sholapur.

Today’s song is sung by Bulo C Rani (6-5-1920 to 24-5-1993). He gave music to 71 films composing 574 songs. He sang 37 songs in 19 films also. His end was terrible. He committed suicide by burning himself in his house. Bulo C Rani had joined Ranjit after Khemchand Prakash left in 1945, but by that time, Ranjit was already drowning.

This song is a very slow paced song and I feel it has inspired some other popular song from some later film, but I am unable to pinpoint the song.


Song-Muhabbat mein luta dee apne haathon zindagi apni(Iqraar)(1942) Singer- Bulo C Rani, Lyrics- Not specified, MD- Khemchand Prakash

Lyrics

Muhabbat mein luta dee
apne haathon zindagi apni
Muhabbat mein luta dee
apne haathon zindagi apni
dil apna
aarzoo apni
hansi apni
khushi apni
dil apna
aarzoo apni
hansi apni
khushi apni

meri ghamgheen raaton mein
ujaala bhi andhera hai
meri ghamgheen raaton mein
ujaala bhi andhera hai
unhi ke bazm mein ae shamma
le ja raushni apni
unhi ke bazm mein ae shamma
le ja raushni apni

main barbaad e tamanna hoon
main naakaam e muhabbat hoon oon oon
main barbaad e tamanna hoon
main naakaam e muhabbat
muhabbat ke haseen waadon pe duniya
ro rahi apni
muhabbat ke haseen waadon pe duniya
ro rahi apni

tamanna thhi ki shaam e gham
tamanna thhi ki shaam e gham
kabhi saahil pe ?? hote ae ae ae ae ae
tumhaari qaid hoti aur ?? apni
muhabbat mein ??


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 : 3863 Post No. : 14880

“Akalmand”(1966) was directed by Roop K Shorey for Mukul Pictures, Bombay. This “social” movie had Kishore Kumar, I S Johar, Sonia Sahni, Praveen Chaudhary, Kamal Kapoor, Raj Kishore, V Gopal, Majnoon, Jeewankala, Madhu Malti, Wazeer Mohammad Khan, Kumar, Tuntun, Hari Shivdasani, Pratima Devi, Khursheed, Kaajal, Rajinder Singh, S K Khosla, Ram Kamlani, etc in it.

The movie had nine songs in it. Seven of these songs have been covered in the past.

Here is the eighth song from “Akalmand”(1966) to appear in the blog. This song is sung by Bhupinder Singh and Mahendra Kapoor. Aziz Kashmiri is the lyricist. Music is composed by O P Nayyar. HFGK mentions the name of G M Durrani as well in this song, but I am unable to notice the voice of G M Durrani in the song.

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

The ninth and final song from the movie viz “jab mile pata” , appears to be a laapata song as no details of this song are available. It appears that this song was only in the movie and its records were not made. I request our knowledgeable readers to tell us about this missing song. This movie will remain one song short of YIPPEEhood unless we are able to locate this missing ninth song from the movie.


Song-O bekhabar tujhe kya pata(Akalmand)(1966) Singers-Bhupinder Singh, Mahendra Kapoor,Lyrics-Aziz Kashmiri, MD-O P Nayyar
Chorus

Lyrics

o bekhabar tujhe kya pata
mile dil jise wo hai baadshaah
o bekhabar tujhe kya pata
mile dil jise wo hai baadshaah
wo jo dard duniya ka baant le
wo vasher nahin een een
wo vasher nahin
wo to hai khuda
o bekhabar tujhe kya pata

tode jo kisi ka dil koi
kehte hain falak hil jaata hai
ik parda nasheen ki baat hai kya
dhoondhe se khuda mil jaata hai
ye bhed ki baat kahen kaise
dil waalon ne kya kya dekh liya
mansoor chadha jab sooli par
duniya ne thamasha dekh liya

hai khuda ka bhi yahi faisla
haa aa aa aa aa aa aa
hai khuda ka bhi yahi faisla
mile dil jise wo hai baadshaah
wo jo dard duniya ka baant le
wo vasher nahin
wo to hai khuda
o bekhabar tujhe kya pata

kehte hain ki duniya se pehle
dil waalon ki tasweer bani

phir husn bana
phir ishq bana
phir aashiq ki taqdeer bani

deewaane hamen gaafil na samajh
hum aashiq hain anjaan nahin
har baat ko khoob samajhte hain
hain akalmand
naadaan nahin

jo kisi ke gham se ho aashnaa
haan aan aan aan

jo kisi ke gham se ho aashnaa
wo vasher nahin
wo to hai khuda
o bekhabar tujhe kya pata


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

Blog Day :

3862 Post No. : 14879 Movie Count :

4069

#the Decade of Seventies – 1971 – 1980 #
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#Bhoole-Bisre Geet # 81 # Aaloo ki Bhaaji, Baingan ka Bhartaa #
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Dedication 🙂

This article is dedicated to ‘males’ who are good at cooking, are good chefs (the professionals):) , and the non-professionals who can cook well for themselves (for their wives (sometimes) (?), and for their family members and/or friends 🙂 as and when required :).
Also I would like to express my gratitude to all females too who cook food for their family members and do all the hard work to ensure the family members get to ‘eat’ and are’ happy’ 🙂

***
I salute to all of them and wish I could also try and be like them and learn cooking :).

I hope from the above statements nobody gets confused and misunderstands me if I am going to write about ‘cooking’ only and how it is going to be getting connected with a song, as, after all this is a blog to present songs 🙂

Yes, we are definitely going to enjoy a song which in my childhood was frequently heard on radio and so I was longing to share it here …

***
I was thinking about writing on this subject for almost two to three years. This kept getting delayed for one reason or the other…
Also this subject came to my mind because I am not good at cooking and had always found it as ‘boring’ or ‘burdensome’.

***

When I was about twenty I had to leave home and parents for my job and this was the first time that I was going to be staying alone without family members and so I would be without home cooked food by Mother who normally cooked for all of us at home. It was the first time for me when I faced this situation of having to cook food for myself.

My mother was also a working woman, so I remember that sometimes we three brothers used to assist her in some small things like sometimes getting coal for the ‘sigri’ and arranging it till it got ignited and hot enough to cook food. Sometimes we used to collect wood for burning. Those were the days and my childhood was like that, until cooking gas come to our home finally may be in 1985-86 I think.
But, I must also mention here that my Father was good at cooking some special dishes but it depended on his mood- viz on some special occasion or when the situation so0 demanded :).

I had to leave my parents as I took up a job and started to live with my other bachelor colleagues and so the ‘cooking’ phase of my life began for me. My colleagues wondered how come I was so ignorant of this matter and why I had never been to a ‘hostel’. To my sensitive soul, it appeared as if I was being held guilty of a ‘big crime’ or ‘big sin’. 🙂

Slowly they took pity on me and started teaching me the basics of coolikng viz chopping of vegetables starting with ONIONS first, which was enough to bring ‘tears to my eyes’. 🙂

When we used to get late from work and cooking at home was not possible we had to eat in Hotels and that resulted in ‘food poisoning’ and ‘diarrhoea’ on several occasions.

We used to have this ‘rice thali’ in ‘Madras Hotel’ at Kota where I was a regular monthly member. I ate there for almost 6/7 years till I get married 🙂

Before marriage I had already learnt to cook a few dishes well and also ‘cleaning’ of utensils (even now I can do this work whenever my wife wants me to her her in cooking. :). I consider cleaning and washing easier than cooking.

Nevertheless I was very good at and keep improving in one area, viz making good ‘tea’ (‘kadak chaai’).

During those ‘bachelor days’ in the morning after waking up the first thing I would look for was ‘ek cup garam chaai’. In cse I was unable to get it for reasons such as someone forgetting to buy the necessary stock of provisions to make tea, then that would spoil my morning.

On one such instance when I wanted to have a ‘cup of tea’ but found the ‘tea powder’ (tea leaves) was out of stock!!
I think I left office a little earlier that day , determined to buy the grocery first so I bought Tea powder – one kg :). My colleageus found it amusing when they knew this reason for my leaving early in the morning. 🙂

During my stay at Kota,I often had to change accomodation as my colleagues would get transferred to other sites. I had developed a group of friends who use to cook occasionally. I learnt to cook ‘mixed Punjabi daal’ from them and I used to give the ‘daal’ a good ‘chhonka’. I also learnt the chemistry of ‘rice & water’ and there were some ‘thumb rules’ that our neighbours staying there taught to us.
One of my friend from Indore was expert in making perfect ‘round chapaatis’ and we were very happy for that, his only condition was he would eat rice daily since he was habitual of that because of his stay in interior Andhra Pradesh for some time.

This cycle of ‘cooking’ for self, or eating out and risking health, and hiring a maid to cook, later on sharing cooking activities with friend, again going back and joining hotels on monthly basis to eat ‘rice plate’ (which normally in Maharashtra means having chapati, rice, dal, sabzi etc etc) continued for five-six years till I got married.

After my marriage sometimes I had cooked ‘mixed Punjabi daal’ for my wife and this remains my favourite.

As years passed I again got disconnected from the ‘cooking habits’ and was only restricted to making Tea, since I used to have two three cups Tea in the morning and sometimes a cup in the evening too after coming back from work to home.
Later on in the morning we agreed that the first ‘tea’ would be served by my wife, the second by me and the third turn – if required – would again be by her with breakfast. 🙂

Other than this the routine continues where my wife has to do everything for all of us but now my daughters have also taken up helping their mother in cooking …

After getting married there were instances in the initial years when my wife was with my parents and I was at project sites and so she would stay with them for a few months because ‘bade bete ki shaadi ke baad garb mein bahu aayi hai to …’
After all she was the ‘badi bahu’ and since I had no sisters a new female member was welcomed with warmth and love …

Well, life is an on-going process with only ‘change’ being the only constant and we never know what life has in store for us in future …

After a few years, it so happened that I visited Mumbai for our Atulites gang-out and had to stay with our ‘Maha Guru’ at his home in Mumbai. I was feeling very great and very fortunate, but then I was very very blessed when I got to eat food cooked by our ‘Maha Guru’ himself and I was really feeling ashamed on my laziness once again (because ‘apni galti par pachhtaana har insaan ka farz hai, lekin ye pachchhataap kuchh kshnon ke liye rehta hai 🙂 ) and I decided that when our ‘guru’ in his seventies can do ‘cooking’ why not me?, and so as usually I decided that I will cook myself for my wife … or at least start helping her in domestic works :).

The ‘gang out’ was in November’16 and it so happened that the next month on the first day of the next new year I and my wife travelled to Anand to see my daughters and while she will stay there with my daughters I will visit to Khandwa for my official works and return to Nagpur.
Now the real ‘test’ was after my reaching at Nagpur!!

As was usual for me, I ate out in nearby hotels for a couple of days and then I decided that ‘now I should take inspiration from our ‘Maha Guru’ and other ‘Gurujis’ and resolved to cook for myself-at least dinner in the evening.
It was decided that I would make a video call to my wife every evening after I finalised the menu and do the preliminary cleaning chopping of ingredients as required and keep ready the basic ingredients nearby …

And thus, started my ‘online learning for cooking’ course and every day I used to call my wife in the evening after initial preparations of the menu I wish to have that evening …
This time the ‘judaai’ was longer for almost a month a little over one month …

I learnt a great deal from her in this distance learning course.

Sometimes whenever she is not feeling well, I would first suggest her to order food from outside to have a change … but then she would come up with ‘kitna achchaa hota agar koi khaana banaake mujhe khilaaye’.

So, I would suggest to her that I would cook if she allowed me … she put us a great resistance the first time.

‘Rehne do, mujhe kuchh achchha khaane ka man kar rahaa hai, aap ke haath se wo swaad nation aayega’ 🙂 ‘main khud hi banaa deti hoon’, ‘Aap agar ho sake to wo saaf-safaai kar dena bas’ 🙂 …

Now, away from our country and home and ‘ghar ka khaana’, I am missing it all. Though we are getting ‘Indian Food’ to eat here (in our Camp) and some of us (from Bihar) are also good at cooking we get to eat ‘litti chokha’ ‘samosas’ ‘jalebi’ on special occasions, it can never be a substitute for the real thing. …

All those fond memories of having food at home since childhood keep haunting me nowadays and also I also remember how once in my childhood I refused to eat ‘aaloo ki bhaaji’ and was ‘scolded’ and ‘slapped’ by my father.

***
The movie …

‘Wafaa-1972’ was directed by Ramanna for R.R.Pictures, Bombay.

It had Sanjay, Rakhi, Hina Kausar, Nazeer Hussain, Joginder, Krishan Dhawan, Naaz, Sunder, Sulochana Chatterjee, Anwar Ali, Padma Khanna, Prem Kumar, Swaraj, Jayshree T, Kalavati, Deshpande, Shabnam, Puranik, Anand,

Prem Nath, Rajendra Nath, Bipin Gupta, Madan Puri, Sapru had friendly appearance in this movie.

Lyrics for all the five songs (as per HFGK Vol V) were written by Rajinder Krishan and music was composed by Laxmikant-Pyarelal.
Asha Bhonsle, Kishore Kumar, Lata Mangeshkar and Manna Dey have given their voices to the songs in this movie.

With today’s song this movie ‘Wafaa-1972’ is making its debut on the blog.

This movie was passed by Censor Board on 30.03.1972.

Almost forty seven years back …

(We already have ‘Wafa-1950’ movie already on the blog, this ‘Wafaa-1972’ joins its company)

There is another song from the 1973 movie ‘Jwaar Bhaata’ ‘daal roti khaao prabhu ke gun gaao’ which along with the today’s song had been in my memory since childhood, the reason may be that they were frequently played on ‘radio’ in those years…
I was also surprised that the song being presented today had not been posted on the blog so far.

Let us now enjoy the today’s song where in the first half the husband is trying to cook for his wife but as usual surrenders finally 

Today (13 february 2019) also happens to be the ‘World Radio Day’ and this one ‘from radio days’ will definitely bring back memories of those days for many. 🙂

video

audio

Song-Aaloo ki bhaaji baingan ka bhatra (Wafaa)(1972) Singers-Kishore Kumar, Lata, Lyrics-Rajinder Krishan, MD-Laxmikant Pyarelal

Lyrics

Aaloo ki bhaaji
Baingan ka bhartaa
Aaloo ki bhaaji
Baingan ka bhartaa
Bolo ji bolo kya khaaoge ae
Jo bhi sajan tum khilaaoge
Jo bhi sajan tum khilaaoge

Maide ki poori
Aate ka phulkaa
Bolo ji bolo kya khaaoge ae
Jo bhi sajan tum khilaaoge
Jo bhi sajan tum khilaaoge

Shrimaan rasoi pakaaye ae
Shrimati baithh baitth khaaye ae
Shrimaan rasoi pakaaye ae
Shrimati baithh baitth khaaye ae
Kaho to kheer pakaaun
Aha ha ha
Zaraa si aag jalaaun
Achchaa
Zaraa sa chaawal laaun
Arey waah
Zaraa sa doodh milaaun
Hi hi hi hi
Pheeki kheer khilaaoge
Shakkar na milaaoge

Arey tere ki
Fail ham ho gaye pehle sabak mein
Aur koi cheez bolo khaaoge ae
Jo bhi sajan tum khilaaoge
Haan haan
Jo bhi sajan tum khilaaoge

Ho ho o la la la laa
Ho ho o la la la laa
Ae he he
O ho ho
Aha ha
Dekh dekh pyaari
Soorat tumhaari
Bhookh to hamaari mit gayi bechaari
Dekh dekh pyaari
Soorat tumhaari
Bhookh to hamaari mit gayi ji bechaari
Hato chalo hato raaja
Ye hai rasoi
Aisi jagah karta hai pyaar bhalaa koi

Chhodo chulha chauka
Hai munna raaja bhookha
Balmaa anaadi
Khichdi khayaali
Kab tak kaho ji pakaaoge

Baahon mein jab tak naa aaoge
Baahon mein jab tak naa
Tak naa
Tak naa
Aaoge ae
————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————–
आलू की भाजी
बैंगन का भरता
आलू की भाजी
बैंगन का भरता
बोलो जी बोलो क्या खाओगे ए
जो भी सजन तुम खिलाओगे
जो भी सजन तुम खिलाओगे

मैदे की पूड़ी
आटे का फुल्का
बोलो जी बोलो क्या खाओगे ए
जो भी सजन तुम खिलाओगे
जो भी सजन तुम खिलाओगे

श्रीमान रसोई पकाए ए
श्रीमती बैठ बैठ खाए ए
श्रीमान रसोई पकाए ए
श्रीमती बैठ बैठ खाए ए
कहो तो खीर पकाऊं
आहा हा हा
ज़रा सी आग जलाऊं
अच्छा
ज़रा सा चावल लाऊं
अरे वाह
ज़रा सा दूध मिलाऊं
ही ही ही
फीकी खीर खिलाओगे
शक्कर न मिलाओगे

अरे तेरे कि
फ़ैल हम हो गए पहले सबक में
और कोई चीज़ बोलो खाओगे ए
जो भी सजन तुम खिलाओगे
हाँ हाँ
जो भी सजन तुम खिलाओगे

हो हो ओ ल ल ल ला
हो हो ओ ल ल ल ला
ए हे हे
ओ हो हो
आहा हा
देख देख प्यारी
सूरत तुम्हारी
भूख तो हमारी मिट गयी बेचारी
देख देख प्यारी
सूरत तुम्हारी
भूख तो हमारी मिट गयी बेचारी
हटो चलो हटो राजा
ये है रसोई
ऐसी जगह करता है प्यार भला कोई

छोडो चूल्हा चौका
है मुन्ना राजा भूखा
बलमा अनाड़ी
खिचड़ी खयाली
कब तक कहो जी पकाओगे

बाहों में जब तक ना आओगे
बाहों में जब तक ना …
तक ना …
तक ना …
आओगे ए


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 : 3862 Post No. : 14878

“Chale Hain Sasuraal”(1966) was directed by Dharam Kumar for Krishnadeep Productions, Bombay. This B movie had Helen and Chandrashekhar in lead roles. The movie also had Bhagwaan, Meenakshi, Madhumati, Sherry, Sunder, Tuntun, Aruna Irani, Mirza Musahrraf, Sheikh, Polson, Indira Bansal, Dilip Dutt, Jerry, Jilaani, Thakur, Anwari, Raj Deewan, Maqbool, Bimla Kashmiri, RN Nambiar etc in it.

The movie had six songs in it. One song from the movie has been covered in the past (distant past viz 2012).

Here is the second song from the movie to appear in the blog. This song is sung by Rafi and Manna Dey. The light hearted lyrics are penned by Qamar Jalalabadi. Music is composed by C Arjun.

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


Song-Qismat ka khel dekho kahaan hamen laayi (Chale Hain Sasuraal)(1966) Singers-Rafi, Manna Dey, Lyrics-Qamar Jalalabadi, MD-C Arjun
Both

Lyrics

qismat ka khel dekho kahaan hamen laayi
baithe bithaaye bhaiya kaisi shaamat aayi
ham to maare gaye maare gaye maare gaye
ham to maare gaye maare gaye maare gaye

koi naseeb waala jaaye sasuraal jee
koi naseeb waala aa
koi naseeb waala jaaye sasuraal jee
waapas wo ghar ko laute hoke maalaamaal jee
waapas wo ghar ko laute hoke maalaamaal jee
kaise hain ham deewaane
aaye hain paagal khaane

naani ki chhod bhaiya naani yaad aayi
baithe bithaaye bhaiya kaisi shaamat aayi
o ham to maare gaye maare gaye maare gaye
ham to maare gaye maare gaye maare gaye

ek se ek yahaan dekho banda khaas hai
ek se ek yahaan
ek se ek yahaan dekho banda khaas hai
koi hai mughle-e-aajam koi devdas hai
koi hai mughle-e-aajam koi devdas hai
baalam aaye base more man mein
baalam
koi hai taan leta
koi farmaan deta

takht na taaj phir bhi karen badshaahi
baithe bithaye bhaiya kaisi shaamat aai
o ham to maare gaye maare gaye maare gaye
ham to maare gaye maare gaye maare gaye

sheron ki takkar hai ji
kushti ka ye ring hai
sheron ki takkar hai ji
sheron ki takkar hai ji
kushti ka ye ring hai
koi king kong yahaan koi dara singh hai
koi king kong yahaan koi dara singh hai
kushti ki chaal dekho
in ka kamaal dekho

dekhi na hogi aisi haathon ki safaai
baithe bithaaye bhaiya kaisi shaamat aayi
ham to maare gaye maare gaye maare gaye
ham to maare gaye maare gaye maare gaye

kahaan pe aake yaaron phanse hain ghareeb jee
kahaan pe aake yaaron
kahaan pe aake yaaron phanse hain ghareeb jee
kaise yahaan se bhaagen socho ye tarkeeb jee
kaise yahaan se bhaagen socho ye tarkeeb jee
rishwat chadhaa ke dekho
maska lagaa ke dekho

jaan bacha ke aji bhaago mere bhai
baithe bithaaye bhaiya kaisi shaamat aayi
o ham to maare gaye maare gaye maare gaye
ham to maare gaye maare gaye maare gaye
he he he he he


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

Blog Day :

3861 Post No. : 14877 Movie Count :

4068

Hullo to all in Atuldom

Back to writing after a break and am having a problem trying to get my thoughts in order. These last few days I have made a few posts mentally and here I am trying to write about one of my favourite actors who would have turned 99 today.

The year 1972 saw a new genre of films wherein two actors who were past their prime – 61 and 52 was definitely not the age where actors play college students or young characters- were playing the central characters in a movie where the lead actor or the supposed- hero played second fiddle to these two. I am talking of Victoria No 203 by Brij Sadanah. Brij himself made another movie a few years later “Chori Mera Kaam” with these two seniors playing central characters. I am talking of an all-time favourite Jodi of cinelovers – Ashok Kumar and Pran.

S. K. Kapur was another producer -director who made this Jodi the centre of his stories in the moves of 70s and early 80s – Apna Khoon, Shankar Dada, Durga, Maan Gaye Ustaad. But the best tribute to the lovable Jodi was Kapur’s movie “Raja Aur Rana” – it didn’t have a regular actor playing the hero. Puneet Issar made his debut in this movie and was supposed to be a hero but “Raja aur Rana” was essentially Ashok Kumar- Pran all over. They did every antic that they were famous for from the time “Victoria No 203” became a success.

Before I go any further let me clarify one thing- Ashok Kumar and Pran did not team up for the first time in “Victoria No 203”; they have been cast together in movies since the 50s or even before that. Back then they used to play serious characters, mostly the protagonist and the antagonist. “Victoria No 203” changed all that. We saw the comic timing of these two senior actors.

I need to clarify one more thing- both these actors have performed in song situations through their career but post “Victoria 203” that also changed. The ability of these two to switch from insane characters of Raja and Rana can be gauged from the fact that about the same time Ashok Kumar played the grandfather in “Anuraag” and Pran was the grandfather in “Parichay”; Pransaab (as he used to be addressed) also played a regular cigar munching villain in “Roop Tera Mastana” that year. Such great actors and trailblazers – there are no replacements for them only actors who are inspired by them and aspire to be like them.

Today I bring to the blog a song from S. K. Kapur produced and Shibu Mitra directed “Raja Aur Rana”. The cast included Ajit, Shakti Kapoor, Puneet Issar, Madhu Malhotra, Chand Usmani, Aaloka etc etc supporting Ashok Kumar and Pran (Pran was always billed in the credits of movies as “And Pran”).

I have not seen the movie but I fell in love with this super Jodi all over again when I accidentally saw this song a few months back. We have Pransaab cross-dressing in this song and Shakti Kapoor and his henchmen playing the peeping- toms on the “loving couple”. The song was written by Varma Malik and Bappi Lahiri was the music director. We have Kishore Kumar singing for Ashok Kumar and Mahesh Kumar singing for Pransaab – the female voice belongs to Mahesh Kumar about whom our in-house encyclopaedia had written a few lines in a post of his. The post contained a song sung by Mahesh Kumar in dual voice, it seems he could sing in 32 voices.

This is such a cute husband-wife exchange with which we remember the adorable Pransaab on his 99th Birth anniversary.

I would also like to wish a fellow Atulite on his birthday today with lots of fun and music in his life. All the best to Avinashji on his birthday.


Song-Aji sunte ho (Raja Aur Rana)(1983) Singers-Mahesh Kumar, Kishore Kumar, Lyrics-Verma Malik, MD-Bappi Lahiri
Both

Lyrics

haaye haaye
haaye haaye haaye
aji sunte ho
o aji sunte ho
haan sunta hoon
aji sunte ho
lekar tum akhbaar ka panna
race ke ghode ginte ho
o aji sunte ho
koi vaid bulaao
koi doctor laao
hakeem mangaao
aji sunte ho

mujhe nauwaan lagaa hai
ik dard jagaa hai
haaye yahaan se uthha
aur yahaan gayaa hai
shaadi na hoti
main aaj na roti
dulhan na banti
bacche na janti
zaalim ye mahina
mera dhadke hai seena
tu dekh le apna
ye kaarnaama
kyun mujhe phansaaya
kar kar ke drama
ki toone mujhse
kartoot hai koi
tu mard nahin hai
jinn bhoot hai koi
o aji sunte ho
o aji sunte ho
haan sunta hoon

oye
ab kyun roti hai meri dulhan
pyaari tumhen yaad nahi aati
ab kyun roti hai meri dulhan
pyaari tumhen yaad nahin aati
woh baatein saari
har roz tu kehti
mujhe sair kara de
mujhe ticket manga de
mujhe film dikha de
chal India gate mein
zara ghoom ke aayen
aur Tajmahal mein
hum khaana khaayen
tu surkhi laali
powder bhi lagaati
aur daal ke surma
tu teer chalaati
tu karke fashion
har roz aa jaati
aur kehti le chal
mujhe Juhu Chowpati
wahaan paani puri
tu khoob udaati
kabhi idli dosa
kabhi kulfi khaati
main ho gaya kadka
palle nahin paayi
tera sair sapaata
kha gaya kamaayi
o bhool gayi tu
jab maze udaati
ab dard uthha toh
phir kyun chillaati
main sunta hoon
jeb mein kitne paise reh gaye
baitha baitha ginta hoon
main sunta hoon

munnu ke paapa
tera karoon siyaapa
mujhe hichki aaye (hitchki)
mera ji machlaaye (hitchki)
mujhe saans na aaye (hitchki)
mera sar chakraaye
mera munh bedardi
kya halaat kar di
main baithhi baithhi
khaaun hichkaule
koi amma amma
ander se bole
tu roz yeh kehta
ke munda hoga
agar tujhpe gaya woh
koi gunda hoga
main aath maheene
mushqil se bitaaye
tu pyaqr se ek din
nahin poochhne aaye
o aji sunte ho
koi vaidh bulaao
koi doctor laao
hakeem mangao
o aji sunte ho

kyon taane deti
sapnon ki raani
tere dushman mar jaayen
teri jiye jawaani
pehla aur dooja
kab tumhen laga thha
na tujhko khabar thhi
na mujhko pata thha
phir teeje maheene
meri khench rajaai
toone aadhi raat ko
khushkhabri sunaai
aur chauthhe paanchve
jab tu ghabraai
aur chhathe maheene
tujhe ulti aayi
main bhaag ke aaya
tujhe paass bulaaya
tujhe maalish ki thi
tujhe tel lagaaya
chhodo ab gussa
aa tujhe sula doon
tu thhak chuki hai
tere paanv daba doon
hai hai hai hai hai hai hai hai

biwi ke har koi (some sound by Ashok Kumar)
hai paanv dabaata
tu tel lagaake
ehsaan jataata
kis baat ke liye
phir tu akadta
gharwaala hoke
mere sar pe chadhta
aurat ka farz hai
bacchon ko janna
koi toone anokha
nahin kaam ye karna

mere paass na aana
batti na bujhaana
mujhe seeti bajaa ke
nahin kabhi bulana
meri tauba tauba
kaanon ko pakdoon
hai meri galti
main naak bhi ragdoon

jhaado na bhaashan
ka milta ration
hai ye situation
karwaao operation
dono nasbandi
chal kar karwaayen
kyun apne desh ki
aabaadi badhaayen

is mehangaai mein
ek baccha kaafi
aage se tauba
aage se maafi
aage se tauba
aage se maafi
aage se tauba
aage se maafi


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

Blog Day :

3861 Post No. : 14876 Movie Count :

4067

Today’s song is from film Toofan Queen-46. From the title itself, it is clear that this was a C grade Action/Stunt film. This is confirmed once you see its cast comprising of Fearless Nadia, Prakash, Shanta Patel, Anant Prabhu, Shyamsunder, Agha Shapur, Vijay Kumar and Motor cycle ” Champion”.

In Nadia’s films, not only the human characters had names but even her animal helpers and Auto machines had special names. As long as she was in Wadia Movietone, till 1942, she had Punjab ka beta (Horse), Gunboat (Dog), and Austin ki beti ( a jalopy). After she joined Homi Wadia’s Basant Pictures, she had Rajpoot (Horse), Moti (Dog) and Austin ki bachhi (a jalopy). In addition, whenever required, she used a Motor cycle called ” Champion” !

Stunt films was one of my favourite Genres in my younger days. Now of course, this genre does not exist anymore. The action and stunt part of the film is entrusted to the Special effects Team- deleting the need of stunt actors. The Hero of the film himself does most of the stunts and fighting, even in a social film, so the stuntmen and fighters have hardly any job now to justify a complete Stunt film. Actually the line between social and action, social and musical and social, comedy, horror, historical and stunt film is no more visible !

From the days of silent films till about the middle of the 50s, stunt type of films were being made. In early cinema, Shankar rao Vazre, Ganpat Bakre, Yeshwant Dave and Master Vithal were the popular ” Maar peet” film Heroes. Later on, Fearless Nadia took over the reigns and the Genre concluded with films made by Bhagwan dada.

Music in stunt films had insignificant value or importance, so there were no specialised composers in this field. Since stunt films were made generally on shoe-string budgets, any composer, who settles for minimum fees would be selected. Therefore one would see strange unknown composers like Dilip Chand Vedi, Master Dinkar, Brijlal, Mushtaq Ahmed, Sunder das, Master Mohammed, Mohd. Hussain, M.Chhaila, Ram Hira,H.R.Bhalla, Master manzoor, Motilal, G.A.Khan, Amir hussain Khan, Kanhaiya Pawar, Vinod Ganguli, S.N.Manjrekar, Kikubhai Yagnik, Abdul karim khan etc etc.

Some of the composers, who made a name later on in film industry, actually started their careers from stunt, action and Mythological films . One such prominent name was that of CHITRAGUPTA ( SHRIVASTAV ), who gave music to film Toofan Queen-46, our today’s film.

Chitragupta Shrivastav (16-11-1917 to 14-1-1991) was born, brought up and educated in Bihar. He was perhaps the most educated composer of his times. He had done M.A. in Economics from Patna University and also taught for few years. He came to Bombay in 1945 and having learnt classical music wanted to become a composer. He started as an assistant to S N Tripathi. His first break came in 1946 with ” Lady Robin hood”. Initially he got only stunt and devotional films to do. In 1955, Dada Burman recommended him to AVM for “Shiv Bhakta “. This was a landmark film for Chitragupta, because he used Lata for the First time. Later Lata and Chitragupta had very good relations,till the end.

Actually Chitragupta should be counted as No 1 composer who gave very melodious songs to Lata, but this is forgotten, because like Madan Mohan, Roshan,S-J, C.Ramchandra or S D Burman, he never got big banner films ( at least not very often), which became a reason to discuss only their Lata songs frequently. Chitragupta always got mostly B and C grade films,which were not famous,but he was in no way less capable of composing good tunes for Lata.

Chitragupta was a very homely family man with a middle class mentality. He had a fun group comprising of Lata, Usha, Meena, Dilip Dholakiya, Prem Dhawan and Chitragupta. They used to have lot of fun at the home of Chitragupta. Lata liked their food very much. Chitragupta Shrivastav was a Kayastha ( ” Lalaji ” as they are called in Bihar ) and their Non veg food was excellent.

In the late 80s, I came in personal contact with Chitragupta,when my close friend’s daughter married his elder son. When Chitragupta learned that I liked ” Sattu ki poori ” very much, he called me to his house and we ate Sattu Puris and Alloo Sabji, to our heart’s content !

His house in Prabhat building on Khar Road,Bombay had a Music room on the ground floor,where he composed his most tunes during 1959 to 1990. During the early 60s upto 65,he was so busy with work that-according to his son Anand- at one time 4 Lyricists were writing Lyrics in his home,Anand Bakshi in Garden,Majrooh in a room,Rajendra krishna in the Music room and Prem Dhawan under a palm tree and Chitragupta used to visit one by one to see their progress !!

Chitragupta was such a simple person that when S-J demanded 5 Lakhs per film,he hesitated to ask for 50000 !

He remained a typical Gentleman till the end. He was expert in using Bihari folk tunes in his songs. He became the First MD of the First Bhojpuri film ” Ganga maiyya tori piyri chadhaibo’-1962. His main singers remained Lata, Rafi and Mukesh.

As far as singing songs is concerned, it was his hobby. He must have sung about 30 odd songs in 16 films in his career. Most songs were for S N Tripathi,who was his Guru in film Music. He gave music to 149 films, composing 1036 songs. His last film was Shivganga-1989.

Film Toofan Queen-46 was a stunt film, featuring Fearless Nadia, prakash etc etc. A lot has been written on Nadia here and on the Internet. I too have written about Nadia, especially, how I was able to meet her in Bombay during early 80s, in one of my earlier articles. So, today we will know more about the Hero Prakash.

The real name of actor Prakash was Hashmat Ullah Khan. He was born in 1914 at Gwalior, where his father was a businessman.The family was originally a Punjabi Muslim. Hashmat studied somehow upto Inter arts and left the college. He was an overactive child , interested in acting in films. Hashmat ran away to Bombay and worked in Sagar Movietone. He got a small uncredited role in film Village Girl-1936. Not satisfied with this, he travelled to Calcutta.

In Calcutta, Hashmat worked in 3 films-Taqdeer ka teer aka Premlakshya-36,Hawai Daku aka Bandit of the Air-36 ( this was the first film of K N Singh as a Hero. Mazhar Khan was the villain here) and Dangerous woman aka Khatarnak Aurat-38. He also got a miniscule role in New Theatre’s film Abhagin-38. Not getting what he aspired, Hashmat shifted to Delhi and worked in A.I.R. as a singer. True to his nature within two years he left this job and landed in Bombay again.

It is reported that he was very arrogant, untrustworthy and a cheat of first rate. It seems he was quarrelsome, a liar and short tempered. His experiences,perhaps, taught him a lesson and he decided to change himself and concentrate on work seriously. This did good to him in his life. In Bombay first he worked in Garib ki ladki-40, but the film got delayed and was released in 41 only. Meanwhile he did Rani saheba-40 and Pyar-40 also. This time his career took a good turn. Till film Garib ki ladki-40, he used his name Hashmat for credits, but then he took a new name Prakash thereafter till the end.

A changed actor Prakash became acceptable to the industry and films were on his way. In all Prakash did 5 films as Hashmat and 38 films as Prakash. However, he got only action, stunt and C grade films. Once director W Z Ahmed met him and Prakash went to Shalimar Pictures Poona to do 3 films for them, namely Ek Raat-42, Prem Sangeet-43 and Mann ki Jeet-44. He was also a favourite of Master Bhagwan and appeared in many of his stunt films. The year 1946 proved to be the best year for Prakash, because he did 14 films in 1946.

After Partition he migrated to Pakistan and did few films there. He came back to India and did 3 films in the 60s. His last film was Suhag Raat -68. There is no information about him after that. May be he went back to Pakistan or died, we do not know.

Now enjoy today’s song. It is very melodious. I consider Chitragupta as the King of melodious songs. His song is always a guarantee of melody, a good tune and suitable musical accompaniment. Too sad, he was not recognised for his abilities by the industry and he always remained in the ‘B’ team of composers. Nevertheless, one should learn from him, how to be happy and contented with whatever one gets from Destiny !


Song-Tan pinjre mein mann ka panchhi chahak chak kar boley (Toofaan Queen)(1946) Singer- Raajkumari Dubey, Lyrics- Shyam Hindi, MD- Chitragupta

Lyrics

Tan pinjre mein mann ka panchhi
chahak chahak kar boley
jiyara doley
doley
tan pinjre mein mann ka panchhi
chahak chahak kar bole
jiyara doley
doley

chhup ke dwaar
umangon ke koi
dheere dheere kholey
jiyara doley
doley
chhup ke dwaar
umangon ke koi
dheere dheere kholey
jiyara doley
doley

jinse naina lage hamaare
bade raseele bhole bhaale
jinse naina lage hamaare
bade raseele bhole bhaale
jinki soorat basi jiya mein
wo sapnon mein aane waale
jinki soorat basi jiya mein
wo sapnon mein aane waale
jinki ?? jhoom jhoom main
paaon ke ?? khole
jiyara doley
doley
tan pinjre mein mann ka panchhi
chahak chahak kar bole
jiyara doley
doley

jo mere man ke aangan mein
kehte hain nit prem kahaani
jo mere man ke aangan mein
kehte hain nit prem kahaani
wo hain mere man ke raaja
main bani unki deewaani
wo hain mere man ke raaja
main bani unki deewaani
madhur madhur jinki baani
kaanon mein amrit ghole
jiyara doley
doley
tan pinjre mein mann ka panchhi
chahak chahak kar bole
jiyara doley
doley


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 : 3860 Post No. : 14875

“Gomti Ke Kinaare”(1972) was directed by Sawan Kumar for Mercury Productions, Bombay. This “social” movie had Meena Kumari, Mumtaz, Sameer, Rehman, Agha, Helen, Paintal, Asit Sen, Shyama, Chandrima Bhaduri, Tuntun, Daisy Irani, Master Alankar, Randheer, Sultan Mazhar, Manorama, Rajan Haksar, Nasreen, Lalita Kumari, Madhu, Aarti, Kamal, I S Johar etc in it, with special appearances by Jalal Agha and Mukri.

The movie had five songs in it. Four of these songs have been covered in the past. First and fourth song from the movie were covered on 8 february 2009 and 8 february 2019 respectively, viz at an interval of exactly ten years, which thus became a part of the ongoing blog ten year challenge series.

Here are the details of the songs from the movie that have been covered so far:-

Song Title

Post No.

Post Date

Aao aao jaane jahaan 701 8-Feb-2009
Aaj to meri hansi udaayi 13377 20-November-2011
Jeene ka din mar jaane ka mausam 6764 27-June-2017
Arre lag gaya re lag gaya…pyaar ki race mein jackpot lag gaya 14870 8-Feb-2019

Here is the fifth and final song from “Gomti Ke Kinaare”(1972). This song is sung by Manhar Udhas. Majroo Sultanpuri is the lyricist. Music is composed by R D Burman.

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

With this song, the movie gets YIPPEED and so “Gomti Ke Kinaare”(1972) joined the list of movies that have all their songs covered in the blog.


Song-Khwaab ki tasweer aankhen lab khanakte jaam se(Gomti Ke Kinaare)(1972) Singer-Manhar, Lyrics-Majrooh Sultanpuri, MD-R D Burman

Lyrics

khwaab ki tasweer aankhen
lab khanakte jaam se
aap hi kahiye
pukaaroon aapko kis naam se
o o
khwaab ki tasweeir aankhen
lab khanakte jaam se
aap hi kahiye
pukaaroon aapko kis naam se

lab kahoon chehra kahoon sab pyaar ke kaabil
sar se tum ho paanv tak jaise ke mera dil
o ho
lab kahoon chehra kahoon sab pyaar ke kaabil
sar se tum ho paanv tak jaise ke mera dil
ye kiska tum naseeb ho
baithhi aanchal thhaam ke
khwaab ki tasweer aankhen
lab khanakte jaam se
aap hi kahiye
pukaaroon aapko kis naam se

aapke ik pyaar ki daulat jise mil jaaye
reshmi rangeen badan
jis baanh mein dhal jaaye
o oh o
aapke pyaar ke ek daulat jise mil jaaye
reshmi rangeen badan
jis baanh mein dhal jaaye
sanam
usi ki zindagi
ho basar aaraam se
khwaab ki tasweer aankhen
lab khanakte jaam se
aap hi kahiye
paukaaroon aapko kis naam se
ho o
khwaab ki tasweer aankhen
lab khanakte jaam se
aap hi kahiye
pukaaroon aapko kis naam se


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 : 3859 Post No. : 14874

“Bachpan”(1963) was produced by Mrs P N Irani and directed by Nazar for New Panchratan Pictures. The movie had Menka Irani, Salim, Daisy Irani, Jeevan, Anwar Hussain, David, Manorama, Helen, Mauji Singh, Bhudo Advani, Chanda Bai, Seema,Masood, Kabuli, Babu, Mohd.Shafi, Lala Nazir, Rafi Ajmeri, Raj Mala, Kamran etc in it.

This movie had seven songs in it. Two songs from the movie have been covered in the past.

The movie had four Rafi solos and two Suman Kalyanpur solos.

There was one duet song in the movie which was sung by Suman Kalyanpur and Rafi.

Here is the this duet song from “Bachpan”(1963). Hasrat Jaipuri is the lyricist. Music is composed by Sardar Malik.

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

Lyrics of this song were sent to me by Prakashchandra.


Song-Tere hum o sanam (Bachpan)(1963) Singers-Suman Kalyanpur, Rafi, Lyrics-Hasrat Jaipuri, MD-Sardar Malik

Lyrics(Provided by Prakashchandra)

tere hum o sanam
tu jahaan main wahaan
suraj tu jarra main
tu kahaan main kahaan

tere hum o sanam

kya khabar hai tujhe
dil tera ho gaya
pyaar ki raah mein
dil mera kho gaya
kya khabar thhi mujhe
aisa din aayega
mahal ka chaand bhi
mera ban jaayega

pyaar mein fark kya
tu jahaan dil wahaan
suraj tu jarra main
tu kahaan main kahaan

tere hum o sanam

aapki baat ka
kaise aaye yaqeen
kaise nazren uthhen
itni himmat nahin

pyaar mein ek hai
kya zameen kya gagan
kaun kya hai yahaan
main na jaanoon sajan
kya kahega jahaan
soch le meharbaan

tere hum o sanam
tu jahaan main wahaan


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

Blog Day : 3859 Post No. : 14873

Greetings all – Basant is here. Today is the celebration of Basant Panchmi.

Of all the wonderful songs that have been created in Hindi films, for celebrating this King of Seasons, I would prefer to place this song today to be amongst the top five. Such a beautiful creation this is.

I myself had not heard of this song, till about five days ago. A friend in our circle enquired whether I had this song. He has been searching for it for some time now. Not being aware of it first hand, I said I will check. And when I located it in my collection, and then heard it for the first time, I am simply bowled over by the soft beauty and the delicious attractiveness of this song. The words, the music and the rendition have all come together in a conspiracy to steal your heart away.

The words are written by Saraswati Kumar Deepak. Ah, the enchantment of the lyrics that say – “चलो तारों के गजरे बना लो सखी” – come, lets make a garland from the stars. The wonderful music is from the mind of Ajit Merchant. The soft and beautiful melody – it makes such a delightful use of chorus lines interspersed with the primary singing voice. And this exquisite rendition is in the voice of Sudha Malhotra. She has rendered some of the loveliest songs in Hindi films. And this one stands right up there with her best – sung ever so sweetly.

The film is ‘Ram Bhakt Vibhishan’ from 1958 – one of the more obscure and unfamiliar productions, whose claim to fame might well just be the lovely music – like this song. The production banner is Rajni Chitr, Bombay. The film is produced by SJ Rajdev and directed by Samar Chatterji. The star cast of this film is listed as Nirupa Roy, Shahu Modak, Prem Adeeb, Krishna Kumari, Shanta Apte, Babu, Kamal, Surendra Kumar, Neema, Sarita, and Bipin Gupta. A total of nine songs are listed for this film. This is the third song for this film to appear here on our blog.

Listen to this lovely creation, and marvel – at the gems that still need to be discovered.

Song – Ritu Raja Ne Teer Chalaaya  (Ram Bhakt Vibhishan) (1958) Singer – Sudha Malhotra, Lyrics – Saraswati Kumar Deepak, MD – Ajit Merchant
Chorus

Lyrics

ritu raja ne. . .

ritu raja ne teer chalaaya
jiya lalchaaya
sajaniyaa..aa..aa
aaya basant
hua birha ka ant
sakhi aaya basant

o o oooo
ooooo oo ooooo
bhanwre chaley. . .
bhanwre chaley
bhanwre chaley gungunaate huye
suno praanon ki bansi bajaate huye
gungunaate huye
gungunaate huye
zara nainon se
zara nainon se naina milaate huye
chalo masti ki basti basaate huye
ritu raja ne
ritu raja ne teer chalaaya
jiya lalchaaya
sajaniyaa..aa..aa
aaya basant
hua birha ka ant
sakhi aaya basant

o o oooo
ooooo oo ooooo
angdaaiyaan. . .
angdaaiyaan
angdaaiyaan le ke pariaan chalin
neele neele gagan ki sundariaan chalin
dekho pariaan chalin
dekho pariaan chalin
badi natkhat hai
badi natkhat rengeeli badi manchali
saari duniya mein machne lagi khalbali
ritu raja ne
ritu raja ne teer chalaaya
jiya lalchaaya
sajaniyaa..aa..aa
aaya basant
hua birha ka ant
sakhi aaya basant

o o oooo
ooooo oo ooooo
chanda taley. . .
chanda taley
chanda taley jhoola daalo sakhi
chalo taaron ki gajre bana lo sakhi
jhoola daalo sakhi
jhoola daalo sakhi
hath chhodo ji
hath chhodo najariya utha lo sakhi
baanke balma ko apna bana lo sakhi
ritu raja ne
ritu raja ne teer chalaaya
jiya lalchaaya
sajaniyaa..aa..aa
aaya basant
hua birha ka ant
sakhi aaya basant

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

ऋतु राजा ने॰ ॰ ॰

ऋतु राजा ने तीर चलाया
जिया ललचाया
सजनीया॰॰आ॰॰आ॰॰आ
आया बसंत
हुआ बिरहा का अंत
सखी आया बसंत

ओ ओ ओssss
ओssss ओs ओssss
भँवरे चले॰ ॰ ॰
भँवरे चले
भँवरे चले गुनगुनाते हुये
सुनो प्राणों की बंसी बजाते हुये
गुनगुनाते हुये
गुनगुनाते हुये
ज़रा नैनों से
ज़रा नैनों से नैना मिलाते हुये
चलो मस्ती की बस्ती बसाते हुये
ऋतु राजा ने॰ ॰ ॰
ऋतु राजा ने तीर चलाया
जिया ललचाया
सजनीया॰॰आ॰॰आ॰॰आ
आया बसंत
हुआ बिरहा का अंत
सखी आया बसंत

ओ ओ ओssss
ओssss ओs ओssss
अंगड़ाइयाँ॰ ॰ ॰
अंगड़ाइयाँ
अंगड़ाइयाँ ले के पारियाँ चलीं
नीले नीले गगन की सुंदरियाँ चलीं
देखो पारियाँ चलीं
देखो पारियाँ चलीं
बड़ी नटखट है
बड़ी नटखट रंगीली बड़ी मनचली
सारी दुनिया में मचने लगी खलबली
ऋतु राजा ने॰ ॰ ॰
ऋतु राजा ने तीर चलाया
जिया ललचाया
सजनीया॰॰आ॰॰आ॰॰आ
आया बसंत
हुआ बिरहा का अंत
सखी आया बसंत

ओ ओ ओssss
ओssss ओs ओssss
चंदा तले॰ ॰ ॰
चंदा तले
चंदा तले झूला डालो सखी
चलो तारों के गजरे बना लो सखी
झूला डालो सखी
झूला डालो सखी
हठ छोड़ो जी
हठ छोड़ो नजरिया उठा लो सखी
बाँके बलमा को अपना बना लो सखी
ऋतु राजा ने॰ ॰ ॰
ऋतु राजा ने तीर चलाया
जिया ललचाया
सजनीया॰॰आ॰॰आ॰॰आ
आया बसंत
हुआ बिरहा का अंत
सखी आया बसंत


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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 over TEN years. This blog has over 14800 song posts by now.

This blog is active and online for over 3800 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14880

Number of movies covered in the blog

Movies with all their songs covered =1162
Total Number of movies covered =4069

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