Advertisements

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 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 :

3976 Post No. : 15063 Movie Count :

4133

Missing Films of 1960s – 111
– – – – – – – – – – – – – – –

“हम तो डूबेंगे सनम, तुमको भी ले डूबेंगे।“
(“hum to doobenge sanam, tumko bhi le doobenge”)

(I will drown no doubt my dear, but will take you down with me.)

Some conversations, some words, touch a certain nerve inside that they simply cannot be forgotten.  And some of them go even a step further.  Some such words become so indelibly ingrained in the collective memory of a society that they end up becoming a part of the current lingua franca, an idiom that normal people begin to use in everyday conversations.

The above dialogue is one such example. This phrase has become part of the Hindustani exchange – I am sure this is a matter of current experience for all of us. Let me tell you where this dialogue comes from. The earliest occurrence that I am aware of is this being used in a film – well, 68 years ago. The year was 1951. The film maker was Raj Kapoor. The film was ‘Aawaara’. The scene in reference is / was considered a daring scene in those times. Nargis and Raj Kapoor are seen in swimming costumes, in a splashing pool close to a beach. This comes a little before the song “Dum Bhar Jo Udhar Munh Phere. . .”.

Nargis invites RK to dive into the pool. RK feigns fear, as if expressing he does not know how to swim. This exchange is all through facial expressions. Nargis dives into the pool. RK follows. Nargis quickly scrambles out of the pool, then tells RK that the water is deep, and he might drown. RK lunges at Nargis’ hand and tries to pull her back into the pool, and speaks this dialogue – “हम तो डूबेंगे सनम, तुमको भी ले डूबेंगे।“.

The dialogues of ‘Aawaara’ (as also the story) are written by Khwaja Ahmed Abbas or KA Abbas for short. As a writer, he was associated with Raj Kapoor and RK Films all the way from ‘Aawaara’ in 1951 to ‘Henna’ in 1991. He had passed away in 1987. Raj Kapoor had started making ‘Henna’, but then he himself passed away in 1988. The film was completed by Randhir Kapoor.

The association he shared with Raj Kapoor lasted almost 4 decades. The association stands the testimony of ideology – KA Abbas was a very active member of both IPTA (Indian People’s Theatre Association) and PWA (Progressive Writers Association). And Raj Kapoor and his socialistic ideology as expressed in films like ‘Aawaara’, ‘Shri 420’, ‘Boot Polish’, ‘Ab Dilli Door Nahin’, ‘Jaagte Raho’ etc. These films have a focus on the underprivileged in the society, and are a call to make a better society.

The word “progress and progressive” attached with it has a history of its own. In 19th century England, the word progressive was the battle cry of all those who wanted a better deal for the underprivileged and wanted science and technology to spearhead the movement for social development. It stood for liberation and democracy. Munshi Prem Chand, doyen of Urdu writers, had delivered the Presidential Address of the first meeting of the PWA. It was a movement for the freedom-loving writers who were opposed to the status quo in the feudal-dominated Indian society. They thought that unless the Indian society was not transformed and the common masses were not in the driving seat, nothing could change. Writers like Krishan Chander, Ismat Chugtai, Saadat Hasan Manto, Ahmad Nadeem Qasmi, Ali Sardar Jafri, Sibte Hassan, Ehtesham Hussain, Mumtaz Hussain, Sahir Ludhianvi, Kaifi Azmi, Ali Abbas Hussaini, Makhdoom Mohiuddin, Farigh Bukhari, Khatir Ghaznavi, Raza Hamdani, M Ibrahim Joyo, Sobho Gianchandani, Shaikh Ayaz, Rajinder Singh Bedi, Amrita Pritam, Ali Sikandar, Zoe Ansari, Majaz Lucknawi, and yes, Khwaja Ahmed Abbas, made it the strongest literary movement.

My earliest introduction to Abbas Sb was sometimes in mid 1960s. Although we watched the movies diligently, on TV and on the big screen, it was not yet time to grasp all the names that came while the credits were rolling. Becoming familiar with the story writer or the art director or the choreographer, was still a few years hence. What stuck to my mind was really a very out of the way encounter. It was a tele-film which probably no one remembers any more. But somehow, that film and the name has simply remained glued in memory. It wasn’t accompanied by any pompous announcements etc. It was just a film, that happened to get telecast when I happened to be sitting in front of the television at a neighbour’s house one evening. The title of the film is ‘India, My India’. It was a very interesting documentary. Starting with the very early morning hour – like 5 am, the telefilm captured vignettes of rural and urban lifein India, from different parts of the country. For every hour, the location would change. And for the next about 5 minutes, the viewer was treated to a sampling of the local life and local color at that hour of the day, accompanied by a narrative description. Over a period of two hours, 24 different locations of the country were mapped into this documentary, showing life as it happens, at different times in a cycle of 24 hours. To my tiny intelligence, this was a wonderful new experience, and I am sure a wonderful new experiment for its creator.

Another place where this name was highlighted every week, was on the last page of the weekly tabloid – Blitz, published from Bombay and Delhi. Being a journalist household, we always had a huge selection of newspapers and magazines delivered every morning. Blitz was one of the weekly papers that was the staple of many member of our household (a joint family setup at that time). For me, Blitz was an attraction because it always carried something ‘scandalous and titillating’ 😉 . Of course, the name of KA Abbas was always prominently posted on the last page of the weekly edition, quite appropriately titled the ‘Last Page’. I remember I used to read it with interest, because it was always a wry and a sideways look at the socio-political current affairs. A good read, because it introduced many a names to my still fledgling memory, names that would become important in later decades.

KA Abbas was born in Panipat (now in Haryana). He came into a family of erudite scholars with a history of good education and social involvement. His father was a celebrated Urdu poet, Khwaja Altaf Hussain Hali, a student and scholar of Mirza Ghalib. His grandfather Khwaja Gulam Abbas was one of the leaders of the first war of independence in 1857 – the first celebrated martyr of Panipat who was blown from the mouth of a cannon. Abbas’s father graduated from Aligarh Muslim University, was a tutor of a prince and a prosperous businessman. He spearheaded an effort to modernise the preparation and manufacture of Unani medicines. Abbas’s mother, Masroor Khatoon, was the daughter of Sajjad Husain, an enlightened educationist. Abbas took his early education in ‘Hali Muslim High School’, which was established by his great grand father Hali. He was instructed in reading the Arabic text of the Quran. Abbas completed his matriculation at the age of fifteen. He did his B.A. with English literature in 1933 and LLB in 1935 from Aligarh Muslim University.

Abbas began his career as a journalist with ‘National Call’, a New Delhi based newspaper after finishing his BA. Simultaneously, while doing his LLB in 1934, he started ‘Aligarh Opinion’, India’s first university students’ weekly during the pre-independence period. In 1935, Abbas came to Bombay and joined ‘The Bombay Chronicle’. He occasionally served as a film critic. An event transpired and the film editor of the paper passed away. Abbas got promoted to be the editor of the film section.

While at The Bombay Chronicle, (1935–1947), he started a weekly column called ‘Last Page’, which he continued when he joined the Blitz magazine. ‘Last Page’, (‘Azad Kalam’ in the Urdu edition). This column continued till Abbas Sb passed away in 1987, making this the longest-running political column in India’s history (1935–87). A collection of these columns was later published as two books.

In 1936, a few months after having come to Bombay and starting work at ‘The Bombay Chronicle’, a meeting with Himanshu Rai and Devika Rani happened. As a result, the young journalist took his first steps into the film industry. He started working as a copywriter and a publicist for Bombay Talkies. And shortly thereafter, he sold his first story and screenplay to Bombay Talkies – the film being ‘Naya Sansaar’ (1941).

The world of Hindi cinema quickly opened up to him. Here was an energetic young man with liberal outlook and a new expression, seeking to inject a new wave into the world of cinema. ‘Naya Sansar’ was the first such offering. He won the Bombay Film Journalists Association (BFJA) award for the best screenplay in 1942, for this film.

1943 – the great famine of Bengal happened. A story took a foothold in his mind. He wrote the story, the screenplay, became a producer and a director also in the same step – the result was the 1945 release of ‘Dharti Ke Lal’. KA Abbas had fired the first volley of the neo-realist socially aware cinema in India. The film was made under the banner of IPTA.

In parallel, he wrote the script for Chetan Anand’s ‘Neecha Nagar’ and V Shantatram’s ‘Dr Kotnis Ki Amar Kahaani’. Both films were released in 1946.  ‘Neecha Nagar’ went on to win the Palme d’Or (Golden Palm) award at the Cannes Film Festival, in one of the three categories – the only Indian film to have that honor in the history of our industry.

In 1951, he set up his own banner – ‘Naya Sansaar’, and went on to create some very iconic films in the history of Indian cinema. Commercial success not being the criteria, the value of social awareness and the commentary on the state of current affairs in the society simply cannot be measured. A short sampling of his critically acclaimed work is as follows,

1951: Screenplay for ‘Awaara’, nominated for the Palme d’Or at the Cannes Film Festival.

1956: Screenplay for ‘Jaagte Raho’, won the Crystal Globe Grand Prix at the Karlovy Vary International Film Festival in 1957 and the Certificate of Merit at the fourth National Film Awards.

1958 Screenplay and direction for ‘Pardesi’, nominated for the Palme d’Or at the Cannes Film Festival.

1960: Direction for ‘Eid Mubarak’ (children’s documentary) , got All India Certificate of Merit for the Second Best Children’s Film

1964: Screenplay, production and direction for ‘Shehar Aur Sapna, won the National Film Award for Best Feature Film

1965: Direction for ‘Hamaara Ghar’, won award at the International Film Festival, Santa Barbara, USA

1970: Screenplay, production and direction for ‘Saat Hindustani’, won the Nargis Dutt Award for Best Feature Film on National Integration at National Film Awards

1972: Screenplay, production and direction for ‘Do Boond Pani’, won the Nargis Dutt Award for Best Feature Film on National Integration at National Film Awards

Other major films he was associated with either as screenplay/story writer, producer, or director – or all of the roles, include ‘Aaj Aur Kal’ (1947), ‘Anhonee’ (1952), ‘Raahi’ (1953), ‘Munna’ (1954), ‘Shree 420’ (1955), ‘Chaar Dil Chaar Raahen’ (1959), ‘Gyaarah Hazaar Ladkiaan’ (1962), ‘Aasmaan Mahal’, (1965), ‘Bambai Raat Ki Baahon Mein’ (1967), ‘Mera Naam Joker’ (1970), ‘Bobby’ (1973), ‘Achaanak’ (1973), ‘Faaslah’ (1974), ‘The Naxalites’ (1980), ‘Love In Goa’ (1983), ‘Ek Aadmi’ (1988), and ‘Henna’ (1991).

As a journalist, he met with and interviewed several renowned world leaders and notable personalities – including the Russian Prime Minister Khrushchev, American President Franklin Roosevelt, Charlie Chaplin, Mao-Tse-Tung and Yuri Gagarin.

As a writer, he has authored more than 70 books in his lifetime in Hindi, Urdu and English.

In 1963, Abbas wrote, produced and directed ‘Shehar Aur Sapna’. This film is an experience totally different. The theme of the film is the dream city of Bombay, and the severe housing problem it faces. The myth of this city attracts thousands of young men who arrive here every day, with a dream of their own. But the harsh realities of making a living, and of having a roof on one’s head in this city, is an experience that can shatter many a tough determined minds.

The story is told through the experiences of Bhola, a young man – almost a village bumpkin, who comes to Bombay in search of livelihood, and Radha, a young woman also from a distant village, who is duped into a sham marriage, and is then plowed into flesh trade, from where she dares to escape, to start living on her own terms in this cruel and heartless city. For a time, their home is an abandoned drain pipe. Their support system is a trio of good samaritans, who themselves are inhabitants of the world of footpath dwellers – roles played by David, Anwar Hussain and Nana Palsikar. Manmohan Krishan plays the role of a wandering homeless poet (shades of ‘Matwaala Shaayar Ram Joshi’) who is a mute observer to all the events that transpire in the lives of this set of characters.

The progression of the storyline came as a shock to many who had never visited Bombay. No doubt the events depicted are dramatized to a certain extent, but surely they are also grounded in the realities of the living experience of this city. As the film comes to a close, the young couple are now parents to a newborn, their temporary shelter hosted by the three samaritans has been razed by bulldozers, to clear the way for an apartment complex being built by a rich builder, their drain-pipe home has finally found the purpose it was originally intended for – that is, the pipeline is laid and the drain pipe buried into the earth. The closing shot of the film shows the couple walking into a dying dusk, carrying the baby and their worldly belongings in a couple of makeshift shoulder bags, not knowing where to head – maybe towards a dream – a ‘sapna’, and nothing else.

A time of his own life that Abbas Sb has talked about in his writings and interviews – he too had slept of the footpaths of Bombay during his initial days in the city. As he prepared to shoot this film, he actually walked through the streets and bylanes of the city where the have-nots dwell in large numbers, at all times of the day and in all types of weather, to be able to recreate the landscape in the film to tell the story he wanted to. People making homes in drain pipes is a reality that he has seen and experienced. So it came quite naturally that he is able to present these sequences so convincingly.

The film is written, produced and directed by KA Abbas, under his own banner – Naya Sansaar, Bombay. The roles of the lead pair Bhola and Radha, are performed by Dilip Raj (son of the renowned P Jairaj) and Surekha Parkar. The rest of the cast is listed as Nana Palsikar, Manmohan Krishan, David, Anwar Hussain, Asit Sen, Jagdish Kanwal, Rasheed Khan, Ravikant, Ram Murty, Nazeer Kashmiri, Narbada Shankar, Moti Beena, Master Javed, and Pardesi amongst others.

Coming to the music of this film – the thing that makes the music of this film some sort of a rarity is the fact that it was never released on gramophone records. The songs of this film are essentially a recitation of poetry that occurs at four points in the story line. The poet protagonist is Manmohan Krishan. He is the one who sings all these four pieces, accompanying significant moments in this film. The lines of this poetry are penned by Ali Sardar Jafri and the music direction is by JP Kaushik (aka Jag Phool Kaushik).

The rare thing about these poetical pieces is of course their availability. These renditions were never released on gramophone records. Furhter, despite being an award winning film, the film itself has become a rarity, not available easily in public domain. Our dear friend from Jaipur, Pawan Jha, has uploaded one poetical segment elsewhere on YouTube. In absence of the availability of all the four pieces of poetry, I have extracted and edited the four pieces into a single video clip, from a copy of the film which itself is not the best. But no complaints – at least we have what we have. Small blessings that all the four poetical pieces are available. I debated and discussed with friends, whether this should be four different poetical renditions. As one listens to the four pieces, one can make out the one single thread that runs through these four pieces, giving credence to the Geet Kosh listings that lists these four pieces as parts 1 to 4. And so I felt it important to present them together as one poem with four parts. In the edited clip, I have included a very small segment of the film appearing just before each part presents itself in the storyline, to get a flavor of the backdrop against which each of these parts is presented.

The interesting thing about this post is that the film makes its debut today on our blog, and simultaneously, we can also declare it as yippeee’d – all the songs of this film are now posted. And it also brings us close, very close, to the culmination of this series of bringing on board the missing films of 1960s.

As one reviews the history of Indian cinema, one does not, should not categorize the luminaries like Satyajit Ray, Bimal Roy, Raj Kapoor, K Asif, Chetan Anand, Ritwick Ghatak, Mehboob Khan, Mrinal Sen, Rituparno Ghosh, Muzzafar Ali and the like. These legendary film makers each are a class unto themselves. And so is Khwaja Ahmed Abbas. His body of work put together may well form an institution that will be a matter of research and debate for decades to come. The medium of cinema is undoubtedly more rich, because KA Abbas worked on it. And because a compelling film like ‘Shehar Aur Sapna’ was created by him.

Born on 7th June, 1914, today is the 105th birth anniversary of this illustrious film maker. One of the very few whose dedication went exceptionally beyond the considerations of commercial success of his creations. His focus, his commentary, never wavered away from an acknowledged social responsibility of the medium of cinema. I fall back once again on the film ‘Aawaara’ and its dialogues – two samples.

Raj is running from the police and incidentally enters the home of Judge Raghunath and Rita. There is an exchange about the identity of the intruder. In a comic way, Raj is trying to convince Rita that he is a thief. And this is how he presents it –

“बस यही तो हमारे नए समाज का कमाल है।

जो चोर हैं, दूसरों की जेब काटते हैं, पब्लिक की आँख में धूल डालते हैं, मेरे जैसे फ़र्स्ट क्लास सूट पैंट पहनते हैं, उन्हें हम शरीफ समझते हैं। और जो ईमानदारी से मेहनत मजदूरी करके पेट पालते हैं, फटे पुराने कपड़े पहनते हैं, उन्हें चोर आवारा डाकू समझ कर धर लिया जाता है। ये पूंजीपति, ये काले बाज़ार वाले सेठ, ये मुनाफाखोर, ये ब्याज लेने वाले, ये सब कौन हैं। मेरी तरह चोर।“

“Bas yahi to hamaare naye samaaj ka kamaal hai.

Jo chor hain, jo doosron ki jeb kaat’te hain, public ki aankh mein dhool jhonkte hain, mere jaise first claas suit pant pehante hain, unhen hum shareef samajhte hain. Aur jo imaandari se mehnat mazdoori kar ke pet paalte hain, fatey puraane kapde pehante hain, unhem chor aawaara daaku samajh kar dhar liya jaata hai. Ye poonjipati, ye kaale bazaar waale seth, ye munaafakhor, ye byaaj lene waale, ye sab kaun hain. Meri tarah chor.”

And in the closing minutes of the film, as the court case against Raj is in progress, the judge invites Raj to say what he wants to, in his own defence. One part of that monologue goes like –

“आप जो चाहे मुझे सज़ा दे सकते हैं।

मगर क्या आप समझते हैं के मुझे फांसी देने से ये पाप क्रोध हिंसा और अपराध का जहर जो आपकी दुनिया में फैला हुआ है, ये दूर हो जाएगा।

मैं आपको अपनी जीवन कथा सुनाना नहीं चाहता। मगर इतना ज़रूर कहना चाहता हूँ, के अपराध के कीड़े मुझे खून में अपने माँ बाप से नहीं मिले थे। उस गंदे गट्टर से मिले थे जो हमारी गंदी चाल के पास से बहता है। वो गट्टर आज भी वहाँ बह रहा है। और अपराध के कीड़े अब भी उस में पल रहे हैं। और.. और सैंकड़ों हजारों बच्चे जो आस पास की चालों में रहते हैं रोज़ाना इन कीड़ों के शिकार हो रहे हैं। मेरी फिक्र ना कीजिये, उन बच्चों की फिक्र कीजिये, अपने बच्चों की फिक्र कीजिये। ऐसा ना हो

के एक दिन आप, और आप, और आप, और आपका बच्चा भी मेरी तरह इस कटहरे में बार बार कहे के मेरी रगों में भी शरीफ बाप का खून है।”

Aap jo chaahe mujhe sazaa de sakte hain.

Magar kya aap samajhte hain ke mujhe faansi dene se ye paap krodh hinsa aur apradh ka zehar jo aapki duniya mein faila hua hai, ye door ho jaayega.

Main aapko apni jeevan katha sunaana nahin chaahta. Magar itna zaroor kehna chaahta hoon, ke apradh ke keede mujhe khoon mein apne maa baap se nahin miley the. Us gande gattar se miley the jo hamaari gandi chaal ke paas se behta hain. Wo gattar aaj bhi wahaan beh raha hai. Aur apradh ke keede ab bhi us mein pal rahe hain. Aur. . aur sainkdon hazaaron bachche jo aas paas ki chaalon mein rehte hain rozaana in keedon ke shikaar ho rahe hain. Meri fiqr na kijiye, un bachchon ki fiqr kijiye, apne bachchon ki fiqr kijiye. Aisa na ho ke ek din aap, aur aap, aur aap, aur aapka bachcha bhi meri tarah is katehre mein baar baar kahe ke meri ragon mein bhi shareef baap ka khoon hai.

Touching upon the sordid realities of human existence, and the dichotomy of the crooked and dubious haves versus the helpless have nots just trying to survive. The dialogues bring home a message that is topical even today – a message that inevitably gets lost in the glitz of commercial compulsions.

His creations, his vision is exceptional. Even when he writes the story for ‘Bobby’ – yes it is a showman’s film, an RK creation. But beneath the formula drama, there is an effort to dissect and discuss the social divide of the rich-boy-poor-girl tale. It is was an RK film – one had a ice-cream flavored happy ending.

‘Shehar Aur Sapna’ is an out and out KA Abbas statement – the ending is poignant, rooted in the real world, but still colored with an idealist’s hope looking into the future – shades of “. . . Wo Subah Kabhi To Aayegi. . .”.

[Acknowkledgements – A part of this article is adapted from the material in multiple articles on Wikipedia.]

Song – Ye Shaam Bhi Kahaan Hui  (Shehar Aur Sapna) (1963) Singer – Manmohan Krishan, Lyrics – Ali Sardar Jafri, MD – Jag Phool Kaushik

Lyrics

(Part 1)

ye shaam bhi kahaan hui
ye shaam bhi kahaan hui
shaam bhi kahaan hui

patharon ki basti hai
patharon ka zinda hai
patharon ki deewaaren
jin mein qaid insaan hai
patharon ki sejen hain
patharon ka bistar hai
patharon ke takiye hain
patharon ki chaadar hai
neend aur sapne bhi
patharon mein dhalte hain
patharon ke seene mein
kitne paap palte hain
kitne paap palte hain

shaam bhi kahaan hui
ye shaam bhi kahaan hui
shaam bhi kahaan hui

(Part 2)

pathar ka bhagwaan yahaan hai
pathar ka shaitaan
pathar ke dil
pathar ke sar
pathar ke insaan
koi rasta kaise paaye
dil ka haal kisey samjhaaye
chaaron or khadi hai dekho
pathar ki santaan
pathar ki santaan

shaam bhi kahaan hui
ye shaam bhi kahaan hui
shaam bhi kahaan hui

(Part 3)

pyaar ko aaj nai
tarah nibhaana hoga
pyaar ko aaj nai
tarah nibhaana hoga
hans ke har dard ko
har gham ko bhulaana hoga
hans ke har dard ko

aansoo’on se jo bujhe jaate hain
aankhon ke chiraagh
aansoo’on se jo bujhe jaate hain
aankhon ke chiraagh
khoon e dil de ke unhen
phir se jalaana hoga
khoon e dil de ke unhen
phir se jalaana hoga
pyaar ko aaj nai

abhi khil jaayenge masle huye
kuchle huye phool
abhi khil jaayenge masle huye
kuchle huye phool
shart bas ye hai ke
seene se lagaana hoga
shart bas ye hai ke
seene se lagaana hoga
pyaar ko aaj nai

wo jo kho jaayen to
kho jaayegi duniya saari
wo jo kho jaayen to
kho jaayegi duniya saari
wo jo mil jaayen to
saath apne zamaana hoga
wo jo mil jaayen to. . .

(Part 4)

hazaar ghar hazaar dar
ye sab hain ajnabi magar
khabar nahin ke ab kidhar
mudegi apni rehguzar

yahaan se jaayenge kahaan
amaan paayeng kahaan
ye zindagi ki bebasi
ye bebasi ki zindagi..ee..ee

ye bebasi ki zindagi..ee..ee

shaam bhi kahaan hui
ye shaam bhi kahaan hui
shaam bhi kahaan hui

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

(भाग 1)

ये शाम भी कहाँ हुई
ये शाम भी कहाँ हुई
शाम भी कहाँ हुई

पत्थरों की बस्ती है
पत्थरों का ज़िंदा है
पत्थरों की दीवारें
पत्थरों के इंसान हैं
पत्थरों की सेजें हैं
पत्थरों का बिस्तर है
पत्थरों के तकिये हैं
पत्थरों की चादर है
नींद और सपने भी
पत्थरों में ढलते हैं
पत्थरों के सीने में
कितने पाप ढलते हैं
कितने पाप ढलते हैं

शाम भी कहाँ हुई
ये शाम भी कहाँ हुई
शाम भी कहाँ हुई

(भाग 2)

पत्थरों का भगवान यहाँ है
पत्थरों का शैतान
पत्थर के दिल
पत्थर के सर
पत्थर के इंसान
कोई रस्ता कैसे पाये
दिल का हाल किसे समझाये
चारों ओर खड़ी है देखो
पत्थर की संतान
पत्थर की संतान

शाम भी कहाँ हुई
ये शाम भी कहाँ हुई
शाम भी कहाँ हुई

(भाग 3)

प्यार को आज नई
तरह निभाना होगा
प्यार को आज नई
तरह निभाना होगा
हंस के हर दर्द को
हर ग़म को भुलाना होगा
हंस के हर दर्द को

आंसुओं से जो बुझे जाते हैं
आँखों के चिराग़
आंसुओं से जो बुझे जाते हैं
आँखों के चिराग़
खून ए दिल दे के उन्हें
फिर से जलाना होगा
खून ए दिल दे के उन्हें
फिर से जलाना होगा
प्यार को आज नई

अभी खिल जाएँगे मसले हुये
कुचले हुये फूल
अभी खिल जाएँगे मसले हुये
कुचले हुये फूल
शर्त बस ये है के
सीने से लगाना होगा
शर्त बस ये है के
सीने से लगाना होगा
प्यार को आज नई

वो जो खो जाएँ तो
खो जाएगी दुनिया सारी
वो जो खो जाएँ तो
खो जाएगी दुनिया सारी
वो जो मिल जाएँ तो
साथ अपने ज़माना होगा
वो जो मिल जाएँ तो

(भाग 4)
हज़ार घर हज़ार दर
ये सब हैं अजनबी मगर
खबर नहीं के अब किधर
मुड़ेगी अपनी रहगुज़र

यहाँ से जाएँगे कहाँ
अमान पाएंगे कहाँ
ये ज़िंदगी की बेबसी
ये बेबसी की ज़िंदगी॰॰ई॰॰ई

ये बेबसी की ज़िंदगी॰॰ई॰॰ई

शाम भी कहाँ हुई
ये शाम भी कहाँ हुई
शाम भी कहाँ हुई

Advertisements

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 : 3976 Post No. : 15062

“Madmast” (1953) was directed by Jagdish Pant for Sweet Pictures. The movie had Ansari, Nirupa Roy, Shashikala, Shakeela, Sapru, Mukri etc in it.

This was a B grade movie which has been forgotten with time.

The movie had eleven songs in it. Two songs from this movie have been discussed in the past.

Here is the third song from the movie to appear in the blog.

This song is sung by Shamshad Begam and S D Batish. J C Pant is the lyricist. Music is composed by V Balsara.

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


Song0-Main laal paan ki begam (Madmast)(1953) Singers-Shamshad Begam, S D Batish, Lyrics-J C Pant, MD-V Balsara

Lyrics

main laal paan ki begum hoon
main laal paan ki begum
begum begum begum hoon
main laal paan ki begum
main baadshaah hoon kaale kaa
main baadshaah hoon kaale ka
main baadshah hoon
hoon oon oon oon
kaale ka ji kaale ka
main baadshah hoon kaale ka

din raat karoon main tujhe pyaar
kuchh nagdi aur thhoda udhaar
phir kyun na tujhe ho itbaar
ik chat pat
ik chat pat
ik chat pat garam masaale ka
ik chat pat garam masaale ka
ik chat pat garam masaale ka
aa aa aa aa
kaale ka ji kaale ka
main baadshaah hoon kaale ka

begum to ab bhi hai begum
shaahon ki shaahi hui khatam
le jaao ye tooti tam tam m
kya kaam
kya kaam
kya kaam hai gadbad jhaale ka
kya kaam hai gadbad jhaale ka
kya kaam hai gadbad jhaale ka \
aa aa aa aa
kaale ka ji kaale ka
main baadshaah hoon kaale ka

main kahta hoon le lo kishmis
chup be kya bakta hai english
daudo logon daudo logon daudo logon daudo
daudo logon daudo logon daudo logon daudo
rararararara

?????
dil loot liya dilwaale ka
dil loot liya dilwaale ka
dilwaale ka
dilwaale ka
dilwaale ka
dilwaale ka
kaale ka ji kaale ka
main baadshaah hoon kaale ka
kaale ka ji kaale ka
main baadshaah hoon kaale ka

laal paan ki laal paan ki laal paan ki begum
laal paan ki laal paan ki laal paan ki begum
begum begum begum hoon main
begum begum begum begum
laa paan ki
laal paan ki be…gam


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

Blog Day : 3975 Post No. : 15061

Today, 6th June, is the birth anniversary of Rajinder Krishan, one of the most prolific songwriters in Hindi cinema. As I looked up the date of birth, I find that he was born in the year 1919. So that makes today, the 100th birth anniversary for him.

A career that spans four decades in the industry saw a prolific output from his pen – close to 1700 songs, and story/screenplays and dialogues for many films. He made his debut in 1947 – as a songwriter for ‘Zanjeer’ (1947) and as a screenplay writer for ‘Janta’ (1947). He passed away in 1987, completing 40 years of active writing work in films, although films carrying songs written by him continued to be released till the early 1990s.

The 1955 film ‘Teerandaaz’ was produced and directed by HS Rawail, under the banner of Roshni Pictures, Bombay. The cast of actors for this film is listed as Madhubala, Ajit, Kuldip Kaur, Jairaj, Gope, Sunder, Randhir, Yashodhara Katju, Ridku, Chandrashekhar, Bhagwan Sinha, Ravi, Pal Sharma, Krishna Varma, Kumud Tripathi, Ramlal, Madan Bhandari, Helen, Kammo, Mohna, and Chanchal.

The six songs in this film are all written by Rajinder Krishan. Music is composed by C Ramchandra. Today’s song is sung by Lata Mangeshkar. One song of this film is already showcased here. This song is the second song of this film to take its place on our blog.

The song is a lilting melodious song, quite reminiscent of the golden era of music in Hindi films. I am hearing this song for the first time, as I prepare this post. What a lovely song, and what an enchanting rendition it is. The words of this song present an aspect of the philosophy of life – the search for a certain happiness in life that would be the true happiness. Some try to seek this solace in wine, but the poet says that happiness is not genuine – maybe the sip of the tipple from the eyes of the beloved would bring solace to the restless heart.

The more I listen to these words, the more this song becomes dear to me. I request our more knowledgeable readers and friends who may have seen this film, to please add more information about this film and the picturization of this song.

With this post, we also welcome back to the blog, our dear Nitin ji, after a long gap. We met at the luncheon gangout of Atulites at Sadanand ji’s place (in Bombay) on 3rd May. At that meeting, he had promised to become active once again. During the past four weeks or so, he has been resending lyrics of pending songs from the films of 1950s. From that, I have picked today’s lovely song, to celebrate the centenary celebration for Rajinder Krishan.


Song – Badi Bewafaa Hai, Udti Hawaa Hai (Teerandaaz) (1955) Singers – Lata Mangeshkar, Lyrics – Rajinder Krishan, MD – C Ramchandra

Lyrics (Provided by Nitin Shah)

badi bewafa hai
udti hawa hai
badi bewafa hai
udti hawa hai
ye zindagi saaqia 
aa aa aa aa
aa aa aa
aa aa aa aa aa
aa aa aa aa aa aa
wo duniya kahaan hai
milti jahaan hai
dil ki khushi saaqia 
dil ki khushi saaqia 
aa aa aa aa
aa aa aa
aa aa aa aa aa
aa aa aa aa aa aa

dekha hai hum ne
din raat pii ke
nikle na phir bhi
armaan jee ke
jhoothi hai saaqi
mai ki ye masti
roshan ho kaise
phir dil ki basti
jhoothi hai saaqi
mai ki ye masti
roshan ho kaise
phir dil ki basti
yahaan na wahaan hai
jaane kahaan hai
wo roshni saaqia 
wo roshni saaqia 
aa aa aa aa
aa aa aa
aa aa aa aa aa
aa aa aa aa aa aa
badi bewafa hai
udti hawa hai
yeh zindagi saaqia 

sheeshe mein jo hai
wo to hai naqli
kahaan pe chhupa ke
rakhi hai asli
aankho se apni
ik jaam de de
betaab dil ko
aaraam de de
aankho se apni
ik jaam de de
betaab dil ko
aaraam de de
tadpa rahi hai
rah rah ke dil ki
ye bekali saaqia 
ye bekali saaqia 
aa aa aa aa
aa aa aa
aa aa aa aa aa
aa aa aa aa aa aa

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

बड़ी बेवफा है
उड़ती हवा है
बड़ी बेवफा है
उड़ती हवा है
ये ज़िंदगी साक़ीया
आ आ आ आ
आ आ आ
आ आ आ आ आ
आ आ आ आ आ आ
वो दुनिया कहाँ है
मिलती जहां है
दिल की खुशी साक़ीया
दिल की खुशी साक़ीया
आ आ आ आ
आ आ आ
आ आ आ आ आ
आ आ आ आ आ आ

देखा है हमने
दिन रात पी के
निकले ना फिर भी
अरमान जी के
झूठी है साक़ी
मय की ये मस्ती
रोशन हो कैसे
फिर दिल की बस्ती
झूठी है साक़ी
मय की ये मस्ती
रोशन हो कैसे
फिर दिल की बस्ती
यहाँ ना वहाँ है
जाने कहाँ है
वो रोशनी साक़ीया
वो रोशनी साक़ीया
आ आ आ आ
आ आ आ
आ आ आ आ आ
आ आ आ आ आ आ
बड़ी बेवफा है
उड़ती हवा है
ये ज़िंदगी साक़ीया

शीशे में जो है
वो तो है नक़ली
कहाँ पे छुपा के
रखी है असली
आँखों से अपनी
इक जाम दे दे
बेताब दिल को
आराम दे दे
आँखों से अपनी
इक जाम दे दे
बेताब दिल को
आराम दे दे
तड़पा रही है
रह रह के दिल की
ये बेकली साक़ीया
ये बेकली साक़ीया
आ आ आ आ
आ आ आ
आ आ आ आ आ
आ आ आ आ आ आ


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 : 3974 Post No. : 15060

Welcome all to this post of today!!!

Today 5th June is the ‘World Environment Day’ which is celebrated all over the world on 5th June every year. Since 2017, we are trying to connect us with this celebration by posting a song on the blog which comes closer to the theme of the ‘World Environment Day’ of that year. Though, it is more or less difficult that we find any direct song relevant to the theme or subject, our endeavour here is to connect with those songs wherein we have ‘nature-connection’ in them or songs about nature symbols.

Nature, natural environment and nature symbols are very much an integral part of many of Hindi movie songs and where we attach ourselves with different types of feelings and emotions. Some of the greatest songs from Hindi movies comes from these types of songs too.

Also, I would like to mention here that off late we have some Hindi movies coming with the subjects related to pollution, climate change etc. and the general concern towards environment is being highlighted to make people more aware about the environmental related issues.

On the growing pollution and climate change I have written few lines ‘‘आबोहवा’ बदल गयी हैं! ( The ‘Climate’ is ‘changing’ ) six years back. I am reproducing below few lines from it;

फिजां कि बाहों में
अनगिनत जहरीलें ‘वायु’
आज घुल रहे
के हवा भी ‘रंग बदलने’ लगी हैं

This year’s environment day theme is Air Pollution#!!!

It will also be interesting to see how the yearly ‘themes’ of the ‘World Environment Day’ have been since its inception in 1974, and how due to the increasing pollution and effects of climate change we have reached a stage of ‘do or die’ and so the themes are also reflecting it like last year it was ‘Beat Plastic Pollution’ and this year it is ‘Air Pollution’ and the call is to ‘Beat Air Pollution’.

‘Air’ (Vayu, Pawan, Hawaa) as we know is the source of life, we cannot breathe and be alive if there is no ‘air’. ‘Air’ like the other natural resources is ‘God’s gift’ to human kind. If we go the dictionary meaning of air it reads ‘the invisible gaseous substance surrounding the earth, a mixture mainly of oxygen and nitrogen’.  So, may be what we are connecting with in our Hindi movie songs is its various forms i.e. wind, breeze etc.

And though ‘air, wind, breeze’ might be invisible we have a very strong bond with it and in our HFM songs our poets/lyricists have taken liberties to establish a strong relationship with it.

So, we have Gulzar Saab in his own philosophical style saying ‘Hawaaon Pe Likh Do Hawaaon Ke Naam, Hum Anjaan Pardesiyon Ka Salaam’.

When we are in upbeat mood and we have the ‘air in our favour’ we even start imagining that the ‘air’ is ‘singing’ and awakening our dreams … ‘Jhukti Ghataa Gaati Hawaa Sapne Jagaaye’.

And I think that songs like ‘Hawaa Mein Udtaa Jaaye Mora Laal Dupatta Malmal Ka Ho Ji’, ‘Thhandi Hawaa Kaali Ghataa Aa Hi Gayi Jhoomke’, ‘Pawan Deewani’, should fall in this category. . .

Even the wind when it is blowing in its full glory can remind us of someone, someone close or beloved to us …‘Jhoomti Chali Hawaa Yaad Aa Gaya Koyi’

In our movies we have plenty of songs for lovers and of their feelings and emotions, even sometimes they share their secret to the ‘cold breeze’ and invite it to listen to their lovely talks J ‘Sun Ja Aa Thhandi Hawaa’ and also reminding it that it should not be disclosed to anyone other than them. . .

Or somebody separated from his or her beloved can vent his/her feelings in ‘Ye Hawaa Ye Hawaa Ye Hawaa, ‘In Hawaaon Mein In Fizaaon Mein etc.

Actually, for those who are in love we have many many songs for the lovers on either side (male, female 🙂 ), for all types of their moods and emotions depending on the circumstances they are in; ‘Hawaa Ke Saath Saath Ghataa Ke Sang Sang, ‘Sabaa Se Ye Keh Do Ke Kaliyaan Bichhaaye, ‘Thhandi Hawaaein Lehraa Ke Aayen, ‘Ye Hawaa Ye Nadi Ka Kinaara’, ‘Ye Raatein Ye Mausam Nadi Ka Kinaara Ye Chanchal Hawaa, ‘Ye Hawaa Ye Raat Ye Chaandni, ‘Balmaa Khuli Hawaa Mein, ‘Seeli Hawaa Chhoo Gayi’, ‘Saawan Ka Maheena Pawan Kare Sor etc.

Someone alone can even see a true friend and companion in the ‘breeze’ and sing ‘Sun Ri Pawan Pawan Purvaiyya,

We have songs where an individual is thinking of himself as form of ‘blowing wind’ ‘Main Hoon Ek Hawaa Ka Jhonka, ‘Main Jhonka Mast Hawaa Ka’, ‘. . .Ban Ke Hawaa Ka Jhonka, Main Nikal Jaaunga. . .‘. 

We even proudly speak of the eastern winds blowing in our country when we sing ‘Mere Desh Mein Pawan Chaley Purwaayi’, or when we speak about our revered river Ganga – ‘Machalti Huyi Hawaa Mein Chham Chham Hamaare Sang Sang Chaley Ganga Ki Lehren’,

And then we have some semi-philosophical songs like ‘Ae Ri Pawan Dhoondhe Kise Tera Mann’, ‘Thhandi Hawaa Ye Chaandni Suhaani Aye Mere Dil Sunaa Koi Kahaani’, ‘Chaley Pawan Ki Chaal’, or when we have turbulence in society our poets penned their thoughts by writing like ‘Aaj Hawaaon Mein Bhi Zehar Hai’ and looking for the ‘winds of change’ in the society.

And some of longing for the ‘. . .Fursat Ke Raat Din’ cannot forget ‘Ya Garmiyon Ki Raat Jo Purwaayiyaan Chalen’. . .

I would also like to mention here these songs ‘O Basanti Pawan Paagal’, and ‘O Pawan Veg Se Udne Waale Ghode , where the ‘pawan’ is invoked with special purpose and to relate ‘speed’ respectively.

Finally, coming to one of the best ‘lullaby songs’ and my favourites in this genre, where a mother is requesting the ‘wind’ or ‘hawaa’ to flow slowly as her child is sleeping … ‘Nanhi Kali Sone Chali Hawaa Dheere Aana’, or even take this lullaby for their male counterparts 🙂  respectively – ‘O Ri Hawaa Dheere Se Chal Sotaa Hai Munna Hamaara’.

And after a sound night sleep the ‘air’ can elevate our mood when we wake up next morning by singing a beautiful ‘prabhaati’ – Hawaa Ye Prabhati Sunaaye

There may be many other songs which I may not have mentioned above and still could be very much relevant to the subject, but then we have to stop, think, ponder and enjoy the today’s song too …

But before that, when we thank God for his bountiful gift to us and this beautiful nature we have to keep asking and seeking answer for ‘Hawaa Chale Jaisebecause He is the creator who only has the answer 🙂 .

For today’s post I am sharing a Non-Filmy song from the album ‘Karadi Katha – Bandar Bindaas Bandar’.

This album was published by ‘Times Music’ in the year 2000 and which I added to my collection on 11.06.2000 (the day 11th June being a special one for us). We were staying at Bareilly then.

This album, though having all children songs, is one of my all-time favourite albums because all the lyrics for this album are penned by Gulzar Saab. Music is composed by ‘3 Brothers & A Violin’.

The list of singers includes some of our greatest singers, lending their voices to the songs in this album – we have Anuradha Sriram, Aditya Narayan, Bhupinder Singh, Hamsika Kishore, Manna Dey, Sanjeevani Bhelande, Shankar Mahadevan, SP Balsubramanyam, Udit Narayan, and child artists Madhumita Birukar, Sneha Tatapudy, Sruthi Sundaram, Sumitra Tatapudy, Vallari Shah and Vidya Sundaram as singers.

Gulzar Saab has given a brief narration before each song and that is just fascinating and it takes us to an altogether different land of animals and forests. And come to think of ‘pure air’, now the forests are the only place remaining where we can get ‘air’ in its pure, clean and natural form (if I am correct). . .

Today’s song is sung by Shankar Mahadevan and child artists have provided the chorus.

(When I was looking for a song for this post and asked suggestions from my family members, the suggestion for this song came from younger daughter and I immediately decided to pick this song for this today’s post)

Let us now enjoy this beautiful song and enjoy the ‘gifts of nature’ and let us take care & control of our ‘emissions’ and ‘pollutants’, and let us pray that we have a ‘natural, pure, hygienic and pollution free’ – ‘Air’ in the future for all of us and the generations coming…


Song – Shabnami Si Hawa Hai, Ud Ke Dekhen To Kya Hai (NFS – Shankar Mahadevn) (2000) Singer – Shankar Mahadevan, Lyrics – Gulzar, MD – 3 Brothers & A Violin
Chorus

Lyrics

(Narration by Gulzar Saab)

Jungle mein bhi aise hi mausam aate hai jaise sheharon mein. Sheharon mein monsoon aata hai, baarish hoti hai to aap log rain-coat pahan lete hai. Jaanwar nahin pahante. Jo darte hai chhup jaate hai gufaaon mein. Aur jinhe achchhi lagti hai baarish, wo baahar aakar khelne lagte hai.
Koyal chahakne lagti hai, papeeha pihu-pihu karne lagta hai.
Garmiyon mein nadi sukhne lagti hai. To unhe paani ki taqleef to hoti hai. Nal to hai nahin ki kholen. Bathroom bhi nahin hai. Nadi sukhi ho to kayi kayi din nahaate bhi nahin. Phir patjhad aa jaati hai, patte girne lagte hai, ped sukh jaate hai, aur baithhne ke liye chhaaon bhi nahin milti unhe.
Phir bahaar aati hai. Sarson phoolti hai. Titliyaan udne lagti hai. Bulbul bolne lagti hai. Mujhe to jungle ke saare mausam achchhe lagte hai.

Lekin sabse achchha lagta hai bahaar ka mausam. Seeli seeli ghaas par shabnami si hawaa, jab udti hai to waah kya baat hai

 

hurraah
hurraah

hurraah
hurraah

hurraah
hurraah

hurraah
hurraah

shabnami si hawaa hai
ud ke dekhen to kya hai
sabzaa behne lagaa hai
shayad aayi hai bahaar

huraah
huraah

shabnami si hawaa hai
ud ke dekhen to kya hai
sabzaa behne lagaa hai
shayad aayi hai bahaar

huraah
huraah

sa ga pa ma ga ma ga re
sa ga re ma ga
sa ga pa ma ga ma ga re
sa ga re ma ga
sa ga pa ma ga ma ga re
sa ga re ma ga
sa ga pa ma ga ma ga re
sa ga re ma ga
sa ga pa ma ga ma ga re
sa ga re ma ga
sa ga pa ma ga ma ga re
sa ga re ma ga
sa ga pa ma ga ma ga re
sa ga re ma ga aa

kal parson se
peeli peeli
sarson phool rahi hai
baat baat pe
pankh pasaare
bulbul jhool rahi hai
kal parson se
peeli peeli
sarson phool rahi hai
baat baat pe
pankh pasaare
bulbul jhool rahi hai
shabnami si hawaa hai
ud ke dekhen to kya hai
sabzaa behne lagaa hai
shayad aayi hai bahaar
huraah
huraah

de re na aa aa aa aa
re ae
sar pe chadh ke
palm ke patte
haath hilaate hain
koyi mehmaan
hoga shaayad
paas bulaate hai
sar pe chadhke
palm ke patte
haath hilaate hai
koyi mehmaan
hoga shayad
paas bulaate hai
ho shabnami si hawaa hai
ud ke dekhen to kya hai
sabzaa behne lagaa hai
shayad aayi hai bahaar
huraah
huraah

phir aamon par
baur aaya hai
naachne mor aaya hai
phool saje hai
ghar mein rehne koyi aur aaya hai
phir aamon par
baur aaya hai
naachne mor aaya hai
phool saje hai
ghar mein rehne
koyi aur aaya hai
shabnami si hawaa hai
ud ke dekhe to kya hai
sabzaa behne lagaa hai
shayad …

aayi hai bahaar
aayi aayi hai bahaar
aayi hai bahaar
aaayi aayi hai bahaar

(aa aa aa aa …. )

aayi hai bahaar
aaayi aayi hai bahaar
aayi hai bahaar
aaayi aayi hai bahaar
aayi hai bahaar
aaayi aayi hai bahaar
aayi hai bahaar
aayi aayi hai bahaar

———————————————————-
Hindi script lyrics (Provided by Avinash Scrapvaala)
———————————————————-

(गुलज़ार द्वारा कथन –

“जंगल में भी ऐसे ही मौसम आते है जैसे शहरों में. शहरों में मानसून आता है, बारिश होती है तो आप लोग रेन-कोट पहन लेते है. जानवर नहीं पहनते. जो डरते है छुप जाते है गुफाओं में. और जिन्हें अच्छी लगती है बारिश, वो बाहर आकर खेलने लगते है.
कोयल चहकने लगती है, पपीहा पिहू-पिहू करने लगता है.
गर्मियों में नदी सूखने लगती है. तो उन्हें पानी कि तकलीफ तो होती है. नल तो है नहीं के खोलें.
बाथरूम भी नहीं है. नदी सुखी हो तो कई कई दिन नहाते भी नहीं.
फिर पतझड़ आ जाती है, पत्ते गिरने लगते है, पेड़ सुख जाते है, और बैठने के लिए छाँव भी नहीं मिलती उन्हें.
फिर बहार आती है. सरसों फूलती है. तितलियाँ उड़ने लगती है. बुलबुल बोलने लगती है. मुझे तो जंगल के सारे मौसम अच्छे लगते है.

लेकिन सबसे अच्छा लगता है बहार का मौसम. सिली सिली घास पर शबनमी सी हवा, जब उडती है तो वाह, क्या बात है. . . )

हूर्रा:
हूर्रा:

हूर्रा:
हूर्रा:

हूर्रा:
हूर्रा:

हूर्रा:
हूर्रा:

शबनमी सी हवा है
उड़ के देखें तो क्या है
सब्ज़ा बहने लगा है
शायद आई है बहार
हूर्रा:
हूर्रा:

शबनमी सी हवा है
उड़ के देखें तो क्या है
सब्ज़ा बहने लगा है
शायद आई है बहार
हूर्रा:
हूर्रा:

सा गा प् म ग म ग रे
सा ग रे म गा
सा गा प् म ग म ग रे
सा ग रे म गा
सा गा प् म ग म ग रे
सा ग रे म गा
सा गा प् म ग म ग रे
सा ग रे म गा
सा गा प् म ग म ग रे
सा ग रे म गा
सा गा प् म ग म ग रे
सा ग रे म गा
सा गा प् म ग म ग रे
सा ग रे म गा

कल परसों से
पीली पीली
सरसों फूल रही है
बात बात पे
पंख पसारे
बुलबुल झूल रही है
कल परसों से
पीली पीली
सरसों फूल रही है
बात बात पे
पंख पसारे
बुलबुल झूल रही है
शबनमी सी हवा है
उड़ के देखें तो क्या है
सब्ज़ा बहने लगा है
शायद आई है बहार
हूर्रा:
हूर्रा:

दे रे ना आ आ आ आ आ °°°
रे ए °°° °°°

सर पे चढ़के
पाम के पत्ते
हाथ हिलाते है
कोई मेहमान
होगा शायद
पास बुलाते हैं
सर पे चढ़के
पाम के पत्ते
हाथ हिलाते है
कोई मेहमान
होगा शायद
पास बुलाते हैं
हो शबनमी सी हवा है
उड़ के देखें तो क्या है
सब्ज़ा बहने लगा है
शायद आई है बहार
हूर्रा:
हूर्रा:

फिर आमों पर
बौर आया है
नाचने मोर आया है
फूल सजे है
घर में रहने
कोई और आया है
फिर आमों पर बौर आया है
नाचने मोर आया है
फूल सजे है
घर में रहने कोई और आया है
शबनमी सी हवा है
उड़ के देखें तो क्या है
सब्ज़ा बहने लगा है
शायद …

आई है बहार
आई आई है बहार
आई है बहार
आई आई है बहार

(आ आ आ °°° °°°°°° °°°

आई है बहार
आई आई है बहार
आई है बहार
आई आई है बहार
आई है बहार
आई आई है बहार
आई है बहार
आई आई है बहार


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 : 3973 Post No. : 15059

Today’s song is from the film Aabshaar aka Waterfall-1953.

To me, songs from the fifty’s decade work like a breeze of fresh air or a cup of hot filter coffee. Discussing songs from the 30s and the 40s continuously gives me a feeling of being a very old man which, actually, I am ! But then, being so and feeling so, are two different things. Toying with a song from the 50s takes me back to my college days. If the song is of Kishore, Sugar gets added to the Coffee further.

Listening to songs of Kishore Kumar from his early years is truly a feast. His song from film ‘Aandolan’-1951 is my eternal favourite. Many times, when I am in a depression, tension, sad mood or simply bored, I like to listen to Vintage songs of Kishore Kumar. For this purpose I have his songs on my Mobile phone itself. His early film songs like Funtoosh, Bahaar, Paying Guest, New Delhi, Begunah etc are unparallelled. In fact, I had run a series of 21 songs under the title ” Vintage Kishore ” from 17-12-2013 to 18-1-2014, on this Blog.

Film Aabshaar-53 was made by Globe Pictures and was produced and directed by Hasrat Lucknowi. When the film’s shooting started, Ghulam Hyder was the composer. He recorded 3 songs of Pakistani singer Munawar Sultana. After partition GH used to come to India to compose music to films, and at the same time, he would compose for Pakistani films too. However, his films like Shahida-49, Beqasoor-50,Akeli-51 and Bheegi Palken-52 were all flops.

While doing music of Aabshaar in India, he was also doing film Gulnar of Pakistan. Meanwhile his health worsened and he abandoned film Aabshaar and left for Pakistan to complete Gulnar. Film Gulnar was released on 2-11-1953 and Ghulam Hyder died on 9-11-1953 !

After he left, the film was given to Bhola Shreshtha and Mohd. Shafi. Bhola composed 3 songs and Shafi did 2 songs, which included today’s Kishore song. His other song was by Asha Bhosle. Besides all this jhamela in Music, film Aabshaarearned a place in Hindi Film History, for being the First ever film to start the system of ” Guest artistes”, mentioned in credits. Film Aabshaar had the cast of Nimmi, Raaj Kumar, Lalita Pawar, kuldip Kaur, Iftikhar, Tiwari and others. It had Guest artistes- AshokKumar, Shyama, Om Prakash and Nigar Sultana. The film was released in Minerva Theatre on 2-10-1953.

The Hero, Raaj kumar was still a novice, this film being onlynhis third film. he started with Rangeeli-52, then came Anmol Sahara-52 and now this film. He was kulbhushan Pandit in real life. Before coming to films, he was a Police Inspector in Bombay police force. It is believed that he was removed from Police force because a criminal died during his investigation by Raaj Kumar.

RAAJ KUMAR ( 8-10-1926 to 3-7-1996 ) – the dashing Hero known for his Dialoguebazi. In Hindi cinema after Sohrab Modi,it was Raaj kumar whose dialogues were popular. He was famous for his favourite word ” Jaani “. The other day,while going through the discussions on RMIM group of Google I found an interesting question,” Why Raaj kumar is called Jaani,when he never used this word in his film dialogues ? “. On checking thoroughly,one found that it was only in the film Saudagar and Tiranga,Raajkumar had used the word Jaani ,only once each. Thats all.
Then why this word became his identity ? The answer is this word was used by Raajkumar in private conversations and interviews very frequently,that is why !

Raaj Kumar was Extra ordinary, in the sense that most of the time he behaved unlike other stars.

He kept his personal life in close wraps. He believed in keeping personal and professional lives separate. He sent his children to Boarding schools to keep them away from films,to get the best education,and not to become like other star children.
He had built a bungalow on Worli sea face and no one except his family was ever allowed inside. Whenever he left for work,a bunch of high pedigreed Dogs used to see him off till the Gate and welcome him on his arrival. He loved his Dogs very much. He used to say ” Insan kutta ban sakta hai lekin kutta Insaan nahi ban sakta. Ye bahot achhi baat hai.”

In any Filmi party, he used to carry his own bottles. He never ever asked any special favours or concessions from any Producer. He was very punctual and one hour afternoon siesta was a must every day. This used to be one of the conditions in his work contracts with the producers. His name was never involved with any actress.

Raajkumar acted in 73 films from Rangilee-52 to God and Gun-1995.

The cast of film Aabshaar-53 was a mix of old fading artistes and new generation stars. one of them was the daredevil Kuldip Kaur. She was born sometime in 1927 and brought up like a princess. Her spoiled Sardar husband wanted his wife to be like a modern westernized lady. He wanted his wife to learn swimming and rub shoulders with the club-going English elite based in Lahore and Amritsar.Once exposed to the club culture, Kuldip Kaur also started getting a taste of its dark side.

Since Lahore was a film city, Kuldip Kaur started dreaming about becoming a film actress. According to one story, Kuldip Kaur started admiring the professional qualities of actor Pran Nath, who was in film acting in Lahore since 1940, when he successfully performed the role of a hero in Punjabi film “Yamla Jutt” (The Simple Peasant).

By July and August of 1947, communal violence erupted into a full-fledged exercise in ethnic cleansing, with Muslims on one side and Sikhs and Hindus on the other. Both Lahore and Amritsar were engulfed in the worst sectarian violence in recent history.
Both Pran and Kuldip Kaur were made to leave Lahore in a jiffy, leaving virtually every belonging behind. Her own village being right on the border was also not peaceful. So Kuldip Kaur left straight for Bombay. According to one story, in order to impress Pran, Kuldip Kaur
decided to bring Pran’s stranded car from Lahore to Bombay. In a gesture of unprecedented daredevilry, she travelled from the safety of Amritsar to Lahore and drove Pran’s car first to Amritsar and then all the way to Bombay, where she handed over
the keys to a surprised but grateful Pran.

After leaving for Bombay, Kuldip Kaur’s contact with her parents and in-laws got diminished. On arrival in Bombay, Kuldip Kaur made up her mind to plunge headlong into the film industry. She was prepared to act in Hindi/Urdu as well as Punjabi films. The experts of film industry were of the opinion that her large piercing eyes and her flat chin made her an ideal choice for the role of a vamp.

The first ranking heroines of the time included Naseem Bano, Madhubala, Nargis, Suraiya and Nutan. Other heroines included Binarai, Shyama, Nimmi, Nirupa Roy, Meena Shori, Nigar Sultana, Veena and Kamini Kaushal. There was a shortage of ladies willing to perform the role of vamps.
One of Kuldip Kaur’s first films was a Punjabi blockbuster “Chaman” (1948). Within the same year Kuldip Kaur acted in two Hindi/Urdu films “Ziddi” and “Grahasthi“. All her 1948 films did well. After that she never looked back and went from strength to strength. At one stage Kuldip
Kaur was so busy in her film roles that for a long duration she did not visit Punjab.

In 1949, Kuldip Kaur worked in at least two films “Ek Thi Ladki” and “Kaneez”. “Ek Thi Ladki” was a blockbuster. Music Director Vinod composed some great tunes for this movie. “Kaneez” did not do too well.In 1950, Kuldip Kaur acted in two great musical Hindi movies “Samadhi” and “Adhi Raat” and did two Punjabi movies “Madaari” and “Chhai”. 1951 was a great year for her: she played the roles of vamps in six movies – “Stage”, “Rajput”, “Nai Zindagi”, “Ek Nazar”, “Afsana” and “Mukhra”. Her role in film “Afsana” received critical acclaim.

1952 was another great year for Kuldip Kaur. She worked in four movies – “Shisham”, “Nau Bahar”, “Baiju Bawra” and “Anjaam”. Again her role was highly praised in what became an all-time classic, “Baiju Bawra”. In 1953 again, Kuldip Kaur had four films – “Mashooka”, “Baaz”, “Anarkali” and “Aabshar”. Of these, “Anarkali” was a super hit and her role stole the limelight. 1954 proved another great year. She was featured in three movies – “Lal Pari”, “Gul Bahar” and “Daak Babu”. 1955 was one of her busiest professional years. She played the bad girl’s role in “Teer Andaz”, “Miss Coca Cola”, “Mast Qalandar” and “Jashan”.

In 1956, things slowed down a bit. She worked in two films, but none was released. Two of Kuldip Kaur starrers spilled over into the new year and were released in 1957. These were “Sheroo” and “Ek Saal”. In 1958 Kuldip Kaur had her roles in two films “Sahara” and “Panchyat”. In 1959, she did three films – “Pyaar Ka Rishta”, “Mohar” and “Jagir”. Out of these, one film, “Mohar,” was a great musical. Its music composed by Madan Mohan was simply outstanding. When Kuldip had fewer Hindi films in hand, she worked in Punjabi films.
1960 started as a reasonably good year for Kuldip Kaur. She had a Hindi film, “Maa Baap,” and a Punjabi film, “Yamla Jutt”.But during this very year, her life was cut short when she got some thorns in her feet and legs and she pulled those out by herself. True to her character of a daredevil woman, she did not seek medical advice immediately. Her sores became not only septic, but she contracted tetanus too, which was then incurable.

Kuldip Kaur died on 3rd February 1960. She worked in 69 films. ( adapted, with thanks, from apna.org )

Everything about this film seems to be special, including 3 MDs. Today’s song is composed by Mohd. Shafi. His name may not be very well known because mostly he worked behind the scene in helping Naushad in composing music. However, he too gave music to some films. Composer Mohd. Shafi ( 25-12-1925 to 30-4-1980 ) was one of those talented artistes of Hindi Film Music who was only used by others and never got enough credit for his work.He is honoured as “The original Arranger” in the industry.He was an excellent Sitar player. He started with Imperial Film company-where he played Bulbul Tarang. In 1937 he went to Calcutta, joined New Theatres and played Sitar in films Kapal Kundala-39 and Aandhi-40, as an assistant to Pankaj Mullick and K.C.Dey. He played sitar in film “Ujala”-42. In this film, the Hero-Prithviraj kapoor was shown as a Sitar player, hence the expertise of Shafi was fully utilised in this film.

Starting with film ‘Haqdaar’-46, he gave music to 19 Hindi films and 2 Marathi films. He worked with Naushad, as his assistant and Arranger, for 14 years.He was considered a ‘Dada’ in Background music.He gave Back ground music to about 70 films( for Naushad and others). For Mughal E Azam, K. Asif used to send his personal car to fetch him to studio. It was Shafi who gave the first break to Suman Hemmadi(Kalyanpur) in Mangu-54 and Hemlata in unreleased film Iraada.

Shafi had bought his first car when he was just 15 year old. He had a posh flat in Shivaji Park area of Dadar in Bombay. In the end , everything was gone. He had helped the families of Shakeel Badayuni and Ghulam Mohammed after their deaths. However in his last difficult days , except Rafi, no one came for his help. In the final few months, his memory had gone. His Begum ruefully said,” Good that he does not remember anything. All took his advantage and gave him nothing. There were more things to forget than to remember ! ”

It is said that the entire music of Sohni Mahiwal-58 was done by him. Naushad was sick during this period and did not attend even one recording. “Do hanson ka joda”and “Dhoondho dhoondho re saajna” Gunga Jamuna-61 were his creations. He used to give tunes to many composers too-whoever asked for help.

Let us now enjoy the song sung by Kishore Kumar, a couple of unidentified male voices and chorus.


Song-Yeh duniya suit boot ki baabu (Aabshaar)(1953) Singers- Kishore Kumar, Male voice 1, male voice 2, Lyrics- Wahid Qureshi, MD- Mohd. Shafi
chorus
All

Lyrics

hooba hooba
looba looba
hingi cheeka
dooba dooba
pudra wata
pudrwati
cheeka bum
daa dru
jhingarwa jhingarwa
jhingar po o

ye duniyaa suit boot ki baabu
kara lo boot polish
kara lo boot polish
ho babu ji
suited booted
suited booted
suited booted

ho
ye duniyaa suit boot ki baabu
kara lo boot polish
kara lo boot polish
ho babu ji
suited booted
suited booted
suited booted

ho

kiya tha matric jab paas
bandhi thi kaisi kaisi aas
bandhi thi kaisi kaisi aas
banengen deputy collector
police inspector
writer actor music directar
bus conductor
tinak tin dhaagi
tinka tin dhaagi
tinak tin aa

chop
chop
chop

arre kaahe khaali peeli bom maarta hai re bhaai
kaahe ko khaali peeli bom maartaa hai ae ae
bom maarta hai
kaahe ko rota hai
arre bom maarta hai
kaahe ko rota hai

wahi hota hai
jo manzoor e khuda hota hai

wahi hota hai
jo manzoor e khuda hota hai

bom maarta hai
kaahe ko rota hai

o o o
bom maarta hai
kaahe ko rota hai

kahat kabir suno bhai saadhu
lo himmat se kaam

ho bhaiya lo himmat se kaam
usi haal mein khush raho bhaiyya
jaa mein raakhe raam

ho bhaiyyaa
jaa mein raakhe raam

raam naam hi sat hai pyaare
baaki dholam pol

sat vachan aahe
jis dharti par basti duniya
wo dharti hai gol
wo dharti hai gol

isi liye to kaha thha bhaiyya
kya kahaa thhaa

gol
gol
are duniyaa ka har anda gol
dhagita dhagita dhit
dhagita

roti gol
paratha gol
chaklaka chaklaka chaklaka
are paisa gol
rupaiya gol
dhritagida dhirtaagida
arre suraj gol aur chanda gol
jis polish se chamak damak hai
ae ae

jis polish se chamak damak hai
us polish ki dabbi gol
dabba gol
duniyaa gol
polam gol
kara lo boot polish
kara lo boot polish
ho babu ji
suited booted
suited booted
suited booted
ho
ho suited booted
suited booted
suited booted
ho

hoy
chakalaka lakalaka lakalaka lakalaka
pikchak pikchak pikchak
hey
lakalakalakalakalakalaka
ahaahaahaahaahaaha
ahaahaahaahaaha


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 : 3972 Post No. : 15058

———————————————–——————————————
Blog 10-Year Challenge (2009-19) – Song No. 34
——————————————————————————————

Ten years back, 3rd June, 2009, five songs and five films. The films are,

Shart 1954
Return of Mr Superman 1960
Ganga Jamuna 1961
Khoj 1971
Ek Baar Muskura Do 1972

The film ‘Shart’ from 1954 made its debut on the blog with the iconic “Naa Ye Chaand Hogaa Na Taare Rahenge”. In terms of completion, the films ‘Shart’ and ‘Ganga Jamuna’ have been yippeee’d already. The remaining songs of the rest of the three films are waiting in the wings.

Coming of 1960s also saw the waning of the career of music director Anil Biswas. Active in the industry since 1935, Anil Biswas has made a very significant and a lasting contribution to the music of Hindi cinema. A trendsetter in many ways, Anil Da has also been responsible to introduce and groom some of the finest singing voices in the industry.

After two and half decades, in the beginning of 1960s, his body of work was reduced to just a trickle. In 1961, he directs the music for ‘Lucky Number’; in 1962, it is ‘Sautela Bhai’; and after many delays, ‘Chhoti Chhoti Baaten’ finally got released in 1965.  And it turns out to be his last film in the industry. He had actually moved to Delhi already, during this time frame (March of 1963) and was working at the All India Radio as the director of the National Orchestra and Chief Producer of the program ‘Sugam Sangeet’.

Today, we revisit one of his lesser known films – ‘Return of Mr Superman’ from 1960. The song is a mujra performance, presented on screen by Heera Sawant. I hope I am correctly identifying the main dancer in this clip. I request other knowledgeable readers and friends to please confirm or correct me. There are other actors in the audience that can be identified. We can clearly make out David and Rajan Haksar. There is another gentleman with ruffled hair and a large round eyes. I request the readers and friends to please help put a name to this face. Also, there is a trio of supporting singers on screen, who lip sync the chorus lines. Again, the request is to help identify these ladies.
[Ed Note: Prakash ji has identified the “. . .gentleman with ruffled hair and a large round eyes.” as Jagdish Kanwal. Thanks Prakash ji.]

The film is produced and directed by Manmohan Sabir, for his home banner – Manmohan Pictures, Bombay. The film has seven songs listed in the Geet Kosh, written by four songwriters – Anand Bakshi, Kaif Irfani, Manmohan Sabir, and PL Santoshi. This song is written by Manmohan Sabir. The music, of course, is by Anil Biswas.

The cast of the film is listed as Jairaj, Sheela Ramani, Helen, David, Naazi, Majnu, Shammi, Ram Mohan, Rajan Haksar, Jagdish Kanwal, Heera Sawant, Nazeer Kashmiri, Mohinder, Saleem Raza, Robert, Gulab, Ramesh, Arvind, Harun, Master Naveen, Krishna, and Funny Walker.

There is one interesting discussion that we have had earlier on this blog, relating to one song purportedly from this film. The song is “Stella O Stella O Stella”. The curiosity about this song is that it has also appeared earlier in the film ‘Chaar Dil Chaar Raahen’ from 1959. This earlier film also has music directed by Anil Biswas. On our blog, it so happens that this song, as it appears in ‘Return of Mr Superman’ is already posted; and the same song as it appears in ‘Chaar Dil Chaar Raahen’ has not yet been posted.

I would like to bring to the notice of interested readers, the fact that this song does NOT appear in the list of songs given in Geet Kosh for the film ‘Return of Mr Superman’. The original song, as appearing in ‘Chaar Dil Chaar Raahen’, written by Sahir Sb, is the correct attribution of this song. The appearance in the later film ‘Return of Mr Superman’ is simply a repeat use, probably inserted at a short notice to fill a certain scenario. The song certainly does not belong to this later film.

Coming back to the song for today – as one listens carefully, one realizes that this is actually a ghazal that has been presented as a mujra. An interesting variation. I am sure we will find more such instances, if we start looking carefully. Earlier, we have identified a couple of ghazals that has been presented as qawwaalis (and I am sure there are more of such instances also). So now we have another variation – I am sure we will find more cases of a ghazal presented as a mujra. As one listens to the wordings, it is really a very endearing expression –

dil to tujh ko de diya, ab jaan bhi de denge hum
jaan lene se na ab, ae jaan e mann ghabraaiye

So, remembering Anil Biswas – his rememberance day was 31st May, just three days ago. Getting on to another 10 year connect. And getting to listen to this wonderful mujra. . .

Editor note-With this song, Meena Kapoor completes 100th song as a singer in the blog.

Song – Dil Milaate Jaaiye Nazren Milaate Jaaiye (Return of Mr Superman) (1960) Singer – Meena Kapoor, Lyrics – Manmohan Sabir, MD – Anil Biswas
Chorus

Lyrics

dil milaate jaaiye..ae..ae
nazren milaate jaaiye
dil milaate jaaiye
nazren milaate jaaiye
ik nazar ae meharbaan
ab aur na tarsaaiye
ik nazar ae meharbaan
ab aur na tarsaaiye

haaye na tarsaaiye
ab aur na tarsaaiye
dil milaate jaaiye
nazren milaate jaaiye
dil milaate jaaiye
nazren milaate jaaiye

aap ka parda rahe aur
hum ko ho deedaar e yaar
aaaa aaaa aaaa aaaa
bach ke duniya ki nazar se
ae ji khwaab mein aa jaaiye
bach ke duniya ki nazar se
khwaab mein aa jaaiye
khwaab mein aa jaaiye
khwaab mein aa jaaiye
dil milaate jaaiye
nazren milaate jaaiye
dil milaate jaaiye
nazren milaate jaaiye

gair ki mehfil mein hum se
parda-daari kis liye
haaan aaaa aaaa aaaa
hum tumhaare hain
tumhaare
tumhaa..are
ae ji hum se na sharmaaiye
hum tumhaare hain
tumhaare
hum se na sharmaaiye
hum se na sharmaaiye ji 
hum se na sharmaaiye
dil milaate jaaiye
nazren milaate jaaiye
dil milaate jaaiye
nazren milaate jaaiye

dil to tujh ko de diya
ho oo oo oo oo
dil to tujh ko de diya
ab jaan bhi de denge hum
haaan aaa aaa aaa aaaa
jaan lene se na ab
ae jaan e mann ghabraaiye
jaan lene se na ab
ae jaan e mann ghabraaiye
jaan e mann ghabraaiye
ji jaan e mann ghabraaiye
dil milaate jaaiye
nazren milaate jaaiye
ik nazar ae meharbaan
ab aur na tarsaaiye
dil milaate jaaiye
nazren milaate jaaiye

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

दिल मिलाते जाइए॰॰ए॰॰ए
नज़रें मिलाते जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
इक नज़र ए मेहरबान
अब और ना तरसाइए
इक नज़र ए मेहरबान
अब और ना तरसाइए

हाए ना तरसाइए
अब और ना तरसाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए

आप का पर्दा रहे और
हमको हो दीदार ए यार
आ आ आ आ
बच के दुनिया की नज़र से
ए जी ख्वाब में आ जाइए
बच के दुनिया की नज़र से
ख्वाब में आ जाइए
ख्वाब में आ जाइए
ख्वाब में आ जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए

गैर की महफिल में हमसे
पर्दादारी किस लिए
हाँ आ आ आ आ
हम तुम्हारे हैं
तुम्हारे
तुम्हा॰॰आरे
ए जी हम से ना शर्माइए
हम तुम्हारे हैं
तुम्हारे
हम से ना शर्माइए
हम से ना शर्माइए
जी हम से ना शर्माइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए

दिल तो तुझको दे दिया
हो ओ ओ ओ ओ
दिल तो तुझको दे दिया
अब जान भी दे देंगे हम
जान लेने से ना अब
ए जान ए मन घबराइए
जान लेने से ना अब
ए जान ए मन घबराइए
जान ए मन घबराइए
जी जान ए मन घबराइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
इक नज़र ए मेहरबान
अब और ना तरसाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए


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 : 3972 Post No. : 15057

Yesterday (2 june 2019) was Sunday. I for some reason thought that there was lots of time available with me and so I would do things that I had not done for ages. Sunday morning is the day when DD national presents ‘Rangoli’.

I used to be a regular watcher of this programme when I was based at Bilaspur. That was four to seven years ago. I have rarely watched this programme since.

On this ‘Rangoli’ programme on 2 june 2019, This presenter announced that the programme would have songs dealing with nature. I found that most songs were from 1990s from movies such as ‘Roja’ etc, with a couple of songs from 1960s. There was no value addition from the anchor on these songs while discussing the songs. May be I was expecting her too keep us enthralled like an Ameen Sayani or Nalin Shah. But then those days and those knowledgeable presenter have become rare to find. We should at least be thankful that Vividh Bharti still has good presenters with knowledge as well as passion for old songs.

I then thought that instead of finding fault in the presentation of ‘Rangoli’, I should look in the mirror. Even my articles in the blog has become routine. It is time to bring some zing and enthusiasm in my writeups.

Just as the ‘Rangoli’ programme covered mainly songs from 1990s, I too noted down the lyrics of some songs from 1990s. Somehow those songs of 1990s did not bring the same “kuchh kuchh hota hai” feeling in me. I decided to randomly pick a song from 1960s. This random picking gave me a song from ‘Phool Bane Angaarey’ (1963).

‘Phool Bane Angaarey’ (1963) was directed by Suraj Prakash for Asiatic Arts Productions Bombay. This movie had Mala Sinha, Raj Kumar, Johny Walker, Aashish Kumar, Shammi, Mumtaz Begam, Mukri, Nasreen, Tuntun, Sarita Devi, Laxmi, Leela Mishra, Chaman Puri, Ravikant, Mansaram, Bhalla etc in it.

The movie has six songs in it. Three of the most popular songs from the movie have been covered in the past.

The song under discussion, that I picked by lottery, is one that I had never heard before. But when I listened to this song, I quickly realised that my hunch about the difference in quality of songs between golden era songs and songs of 1990s was not misplaced. This forgotten and less heard song from 1960s sounded so sweet and lovely. And I had never heard this song before !

This song is sung by Lata. Anand Bakshi is the lyricist. Music is composed by Kalyanji Anandji.

It was one of the earlier songs penned by Anand Bakshi in his career. This song came in the era when classy lyrics were being written by several established lyricists. So Anand Bakshi, in a bid to make his mark among such talented lyricists came up with this gem of a song. It is ironic that many of his lesser quality songs are better known than this song.

Even the music director duo were relatively new on the scene. And in this song they have tried to create a Salil Chaudhary like effect. The song and its picturisation is reminiscent of Salil Chaudhary compositions of those years.

The song is picturised on Mala Sinha.

Yesterday (2 June 2019) gave me a feeling that I failed to utilise it to the full. Nevertheless, I noted down the lyrics of some songs from 1990s, that I will discuss next.


Song-Sambhal to le dil deewaana (Phool Bane Angaarey)(1963) Singer-Lata, Lyrics-Anand Bakshi, MD-Kalyanji Anandji

Lyrics (Provided by Prakashchandra)

dil deewaana
zara
thehar
jaana

sambhal to le dil deewaana
zara thehar jaana aa
sambhal to le dil deewaana
zara thehar jaana
abhi na saamne aana
zara thehar jaana
sambhal to le

main guzri umr ko waapas zara pukaar to loon
main apne aap ko thhoda bahut sanwaar to loon
libaas gham ka nigaahon se main utaar to loon
samaa to ho le suhaana zara thahar jaana
abhi na saamne aana
zara thehar jaana
sambhal to le

khushi bhi itni achaanak main seh na paaungi
main apne aap mein bas aaj reh na paaungi
jo tum se kehna hai mujhko
wo keh na paaungi
main yaad kar loon fasaana
zara thehar jaana
abhi na saamne aana
zara thehar jaana
sambhal to le

sataane waale
tumhen main bhi thhoda tadpaaun
talaash karte phiro tum mujhe
main chhup jaaun
hazaar kehne pe bhi saamne na main aaun
banaa loon koi bahaana
zara thehar jaana
abhi na saamne aana
zara thehar jaana

sambhal to le dil deewaana
zara thehar jaana
sambhal to le

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

दिल दीवाना
ज़रा
ठहर
जाना

संभल तो ले दिल दीवाना
ज़रा ठहर जाना
संभल तो ले दिल दीवाना
ज़रा ठहर जाना
अभी ना सामने आना
ज़रा ठहर जाना
संभल तो ले

मैं गुज़री उम्र को वापस ज़रा पुकार तो लूँ
मैं अपने आप को थोड़ा बहुत संवार तो लूँ
लिबास ग़म का निगाहों से मैं उतार तो लूँ
समा तो हो ले सुहाना ज़रा ठहर जाना
अभी ना सामने आना
ज़रा ठहर जाना
संभल तो ले

खुशी भी इतनी अचानक मैं सह ना पाऊँगी
मन अपने आप में बस आज रह ना पाऊँगी
जो तुमसे कहना है मुझको
वो कह ना पाऊँगी
मैं याद कर लूँ फसाना ज़रा ठहर जाना
अभी ना सामने आना
ज़रा ठहर जाना
संभल तो ले

सताने वाले तुम्हें भी थोड़ा तड़पाऊँ
तलाश करते फिरो तुम मुझे
मैं छुप जाऊँ
हज़ार कहने पे भी सामने ना मैं आऊँ
बना लूँ कोई बाहाना ज़रा ठहर जाना
अभी ना सामने आना
ज़रा ठहर जाना
संभल तो ले

संभल तो ले दिल दीवाना
ज़रा ठहर जाना
संभल तो ले


This article is written by Nahm, 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 :

3971 Post No. : 15056 Movie Count :

4132

“Dheere Dheere“ –

Dheere Dheere Machal Ae Dil-e-Beqaraar

Dheere Dheere Chal Chaand Gagan Mein

Dheere Se Jaana Bagiyan Mein O Bhanwra

Dheere Se Aa Ja Ri Ankhiyan Mein Nindiyaa Aa Ja Ri Aa Ja

Dheere Dheere Bol Koi Sun Na Le

Dheere Chal Dheere Chal O Bheegi Hawa

O More Sainya Ji Utrenge Paar Re Nadiyaa Dheere  Baho

Pal Pal O Pal Samay Tu Dheere Dheere Chal

Then there are songs have the word in different context, like;

O Gaadi Waale Gaadi Dheere Haank Re

Man Re Tu Kaahe Na Dheer Dharay

And this category of songs cannot be thought of without the superbly melodious “Dheeme Dheeme Gaaun, Dheere Dheere  Gaaun”.

All the above songs are already posted in the blog.  I had actually planned to do a series on ‘dheere dheere’ songs.  I also have plans for a few more such word based theme posts.   But for all these themes I am finding only newer songs.  So the series idea is dropped, will just be preparing random posts for which ever song appeals.

Here I am presenting a song which suits the theme to the ‘T’. Its from the movie ‘Aashiqui’ (1990) which is making its debut here. More than 29 years ago this movie came and the music created a storm. I personally am witness to the rage these songs were. In recent days I have been listening to the songs of this film and I am having to revise my choice of best song in the movie. This song ‘Dheere Dheere Se Meri Zindagi Mein Aana” used to by my favourite and I thought this was the best. But the other songs like the title song “Saanson Ki aroorat Hai Jaise”, “Jaan-e-Jigar Jaan-e-Mann”, “Main Duniya Bhulaa Doonga”,  “Nazar Ke Saamne Jigar Ke Ppaas”, “Ab Tere Bin Jee Lenge Hum”, “Tu Meri Zindagi Hai “, “Dil Ka Aalam Ab Kya Sunaaun Tumhen” etc.  Total 9 songs all are chartbusters. At the time this movie came and songs were so popular, it was a known fact that the songs were all from the Music Bank created by T-series (Gulshan Kumar). I think Mahesh Bhatt may have got to select the songs he wanted for his film. That is the only explanation for such high quality melodious songs in one film, when films used to succeed on only one or two good songs. Such was the condition of film music, despite the ghazal already having made a big comeback in Hindi film music. All songs in a film couldn’t be ghazal recitiations like in ‘Umrao Jaan’, so the film makers were making use of the urdu ghazal selectively.

There was at least one song in the above mentioned list which is a direct lift from an existing older song.

The music of the film was by Nadeem-Shrawan, and the singers were Kumar Sanu and Anuradha Paudwal. The lyrics are by Rani Malik for this song. The film had newcomers Anu Agarwal and Rahul Roy for hero and heroine, with support cast of Deepak Tijori as the friend, Reema Laagu as the mother, Tom Alter as the warden, among others.

Here is an excerpt of a review on imdb.com :

“Each and every song of this movie is timeless. Nadeem-Shravan may not be creative and experimental like A. R. Rehman, but it is true that if “melody” had a second name it would be Nadeem-Shravan. “Aashiqui”, “Dil Hai Ki Manta Nahin”,”Sadak”, “Saajan”, “Deewana”, “Dil Ka Kya Qusoor”, “Salami”, “Damini”, “Dil Waale”, “Raja Hindustani”, “Jeet”, “Pardes” are examples of this genius combination. Mahesh Bhatt is one of the finest filmmakers we had, but it is sad that his biggest commercial success is probably his weakest work as a director, or probably got overshadowed by the lovable music.”

I can’t agree more with the above para. I don’t know the songs of ‘Dil Waale’ and ‘Jeet’ of the above listed films, but can add ‘Hum Hain Raahi Pyaar Ke’ and ‘Dhadkan’ which came much later, to this list. ‘Pardes’ would be the highest point or the culmination of this phenomena called Nadeem-Shrawan.

The music of this film did make a clean sweep of the Filmfare Awards of 1991

Best Music Director : Nadeem Saifi – Shravan Rathod

Best Lyricist : Sameer (For the song “Nazar Ke Saamne”)

Best Playback Singer – Male :
Kumar Sanu  (For the song “Ab Tere Bin”)

Best Playback Singer – Female :
Anuradha Paudwal  (For the song “Nazar Ke Saamne”)

This is the tally of these artists in the blog so far,

Nadeem Shrawan 15
Anuradha Paudwal 35
Kumar Sanu 22
Sameer 30

No wonder that the songs of ‘Aashiqui’ have been rehashed multiple times and reused a couple of times for ‘Aashiqui’ – 2 & 3.  I have come across very very high praise for Nadeem-Shrawan, some go to the extent of calling them SD Burman-ish.  Output wise I am inclined to agree that they were able to maintain a particular standard, which was a difficult task, given the market and commercial requirements.   As for being SDB-ish, I have found a song or two by them to be in the SDB mode.

Anyway, the songs of this movie are on their way to becoming sort of folklore/folk songs in the next century 🙂 🙂 , at the current rate and trends.

Video

Audio

Song – Dheere Dheere Se Meri Zindagi Mein Aana (Aashiqui) (1990) Singer – Kumar Sanu, Anuradha Paudwal, Lyrics – Rani Malik, MD – Nadeem Shravan

Lyrics

dheere dheere se
meri zindagi mein aana
dheere dheere se
dil ko churaanaa
tum se pyaar hamen hai kitna jaane jaana
tum se mil kar tum ko hai bataana

dheere dheere se
meri zindagi mein aana
dheere dheere se
dil ko churaanaa
tum se pyaar hamen hai kitna
jaane jaana
tum se mil kar tum ko hai bataana

jab se tujhe dekha
dil ko kahin aaraam nahin
mere hothon pe ek tere siwa
koi naam nahin
apna bhi haal tumhaare jaisa
hai saajan
bas yaad tujhe karte hain
aur koyi kaam nahin
ban gayaa hoon main
teraa deewaana
dheere dheere se dil ko churaana
oo dheere dheere se meri zindagi mein aana
dheere dheere se dil ko churaanaa

tu ne bhi aksar mujh ko jagaaya
raaton mein
aur neend churaai
meethi meethi baaton mein
tu ne bhi beshaq
mujh ko kitna tadpaaya
phir bhi teri har ek adaa pe
pyaar aaya
aa jaa aa jaa ab kaisa sharmaanaa
dheere dheere se dil ko churaana
oo dheered heere se meri zindagi mein aana
dheere dheere se dil ko churaanaa
tum se pyaar hamen hai kitna jaane jaanaa aa
tum se mil kar tum ko hai bataana
dheere dheere se meri zindagi mein aana
dheere dheere se dil ko churaanaa

———————————————————-
Hindi script lyrics (Provided by Nahm)
———————————————————-
धीरे धीरे से
मेरी ज़िंदगी में आना
धीरे धीरे से
दिल को चुराना
तुम से प्यार हमें है
कितना जाने जानां
तुम से मिल कर
तुम को है बताना
ओह ….
धीरे धीरे से
मेरी ज़िंदगी में आना
धीरे धीरे से
दिल को चुराना
तुम से प्यार हमें है
कितना जाने जानां
तुम से मिल कर
तुम को है बताना

जब से तुझे देखा
दिल को कहीं आराम नहीं
मेरे होंठों पे एक तेरे सिवा
कोई नाम नहीं
अपना भी हाल तुम्हारे जैसा
है साजन
बस याद तुझे करते हैं
और कोई काम नहीं
बन गया हूँ मैं
तेरा दीवाना
धीरे धीरे से
दिल को चुराना
धीरे धीरे से
मेरी ज़िंदगी में आना आ
धीरे धीरे से
दिल को चुराना

तू ने भी अक्सर मुझ को 
जगाया रातों में 
और नींद चुराई 
मीठी मीठी बातों में
तू ने भी बेशक
मुझ को कितना तड़पाया
फिर भी तेरी हर एक अदा पे
प्यार आया
आ जा आ जा अब कैसा
शरमाना
धीरे धीरे से
दिल को चुराना
धीरे धीरे से
मेरी ज़िंदगी में आना आ
धीरे धीरे से
दिल को चुराना
तुम से प्यार हमें है
कितना जाने जानां
तुम से मिल कर
तुम को है बताना
धीरे धीरे से
मेरी ज़िंदगी में आना आ
धीरे धीरे से
दिल को चुराना


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

Blog Day :

3971 Post No. : 15055 Movie Count :

4131

Today’s song is not only unique and rare,but it is also one of the few real early songs of the Talkie Films. It is from film Vikram Charitra aka Rajkumar Thaksen – 1933. Thanks to Mr. Shalin Bhatt, who has uploaded this rare Gem, sung by Gauhar Karnataki.

When you see the title of the film, one feels that it is about King Vikramaditya, but when you see the other title Rajkumar Thaksen, you know that this is something else. When Talkie films started, it had profound influence of stage dramas, because that was the only accepted form of entertainment in India, till films arrived…Silent or Talkie. Parsee, Gujarati and Marathi theatre stories, Natya Sangeet and the artificial way of stage acting were things followed in early films,cent percent. Fairy tales, folk tales, Panchatantra stories and Traditional Grand ma stories started appearing as films, after some time.

When I first bought the 5 volume set of HFGK, I started going through the films of 1930s. I read this film title and I suddenly remembered the story of Raja Vikram and Rajkumar Thaksen I had read, when I was about 10-12 years young. That was one of my favourite stories and I felt it was a good competition to Arabian Night stories of Alibaba, Alladin or Sindbad. The Thaksen story had Indian background and felt closer to heart.

However, during the growing years, the tastes changed and the Thaksen story went into the background. Now, when I decided to write on this film song, I tried to recollect the story, but could not recall it fully or cohesively. Despite searching on the net for several days, the story eluded me. Suddenly, one day I bumped into a children’s story book ” Raja Vikram and Rajkumar Thaksen”. I simply can not put into words, how much joy I got after reading this story all over again !

The story of King Vikram, his queen Shashikala and Rajkumar Thaksen was first filmed in 1929, as Prince Thaksen, by Aryan Film company, Poona, in which the role of Thaksen was done by the handsome Nandram Pehelwan. This was a Silent film. In the Talkie era, the first film on Thaksen was this- Vikram Charitra-1933 by Sharda Movietone. In 1933 itself a sequel to this film was made as ” Rambha raniaka Stree Charitra” made by same company, with the same cast and team as Vikram Charitra. This was followed by another film ” Bhedi Rajkumar aka The Mysterious Prince aka Rajkumar Thaksen” in 1934, by Saraswati Cinetone, Poona belonging to R G Torney. After a gap, ” Vikram Shashikala ” was made in 1949, by Chitravani productions, Bombay featuring Master Vithal as Thaksen.

In short, film makers were attracted towards the story of Thaksen. What is this story all about. The story, in short, is thus described in the book….

Raja Vikram of Avanti Nagari was having 7 queens, but he loved queen Shashikala most and used to take her on tours with him. This made the other queens jealous and they conspired to teach her a lesson. When the king came to them, they unanimously complained against Shashikala that she criticised the king on his back. This enraged the king and he deserted Shashikala. She was kept far away in a fortress, surrounded by a water trench all around, with only one entrance. The queen was pregnant, but the king was not aware of it.

In due course, Shashikala gave birth to a handsome prince, who was named Raj Ratan. The king was duly informed, but he never came to see his son. As the Prince grew, he became an expert in the Bird’s and Animal’s languages. He also learnt how to disguise skilfully. Once he tricked even his mother and mother lovingly called him Thaksen ( one who cheats). This name became his name for all purposes.

One day Thaksen came to know about what Raja Vikram did to his mother and he prepared to take revenge. Despite mother’s request, he started for the capital.

To cut the story short, how he reaches the king, teaches him a lesson, saves the king from foreign aggression, how he falls in love with Rambha Rani etc has to be read from the original book itself. It is full of adventures, magic and stories of Thaksen’s valour. In the end, all is well and Shashikala is honourably recalled to the Capital by Vikram etc etc.

The film was made by Sharda Movietone and was directed by Harshadrai Sakerlal Mehta. The cast of the film consisted of Baburao Apte (as Vikram) and Madhav Kale (as Thaksen), along with Gauhar Karnataki, Dulari, Shivrani etc etc. Baburao Apte is the same as elder brother of actress Shanta Apte-about whom I wrote just last month. We do not know the names of the Lyricist or the Music Director, as HFGK is silent on these.

It is a well known established fact that in the early years, women artistes came from lower classes, singing families or Tawayafs and similar types. Most of these girls joined the film line in order to get a a rich Seth ji or a suitable husband and spend the rest of the life respectfully. There are many examples of such ‘ planned’ marriages in the early era. However, this process continued even in later times.

Film industry is one industry where men and women have to work together. Whether it is Actor-director or Singer-Composer, for the sake of work they have to spend much time together. No wonder then that Cupid does his work overtime. Sometimes there are mutual attraction and at times there are one sided fires burning. In most cases the one sided fire is extinguished in a very painful way, like what P L Santoshi faced with actress Rehana or the slap Sanjiv Kumar got from actress Nutan.

There were cases when love of Dilip kumar for Madhubala, died in the High court witness Box, when he gave evidence against her father in the ‘ Naya Daur ‘ legal case. Dev Anand’s love with Suraiyya ended happily for Dev Anand with him marrying Kalpana Kartik, but Suraiyya stayed “Unmarried”, in his ” yaad”, throughout her life. Here the villain was her so called ” Grand mother “, who actually was her own mother, as documented in the book “Stars from another sky” by Saadat Hasan Manto !

The successful 2-way traffic usually ended with a marriage. We can see marriages between producers and Actresses( Himanshu Rai-Devika rani and W Z Khan and actress Nina), directors and singers/actresses ( Nalini jaywant-Virendra Desai, Shaukat Hussain-Noorjehan, Geeta Dutt-Guru Dutt, Lalita Pawar-G.P.Pawar, Rattanbai-Hafiz Khan), Actors and Actresses ( Arun Ahuja-Nirmala devi, Snehprabha Pradhan-Kishore Sahu, Dev Anand-Kalpana Kartik, Dharmendra- Hema Malini, Rajesh Khanna-Dimple Kapadiya, Amitabh Bachchan-Jaya, Abhishek-Aishwarya, Kishore Kumar-Madhubala, Premnath-Bina Rai, Karan Dewan-Manju Desai, Marutirao Pehlwan-Tara Devi.)

There were some odd combinations like Satyendranath Athiah-Bhanu Athaiya (Lyricist-Costume designer),Lyricist-Singer (Amar Verma-Manik Verma), Singer-villain (Shakti Kapoor- Shivangi Kolhapure),Music teacher-student ( Roshan-Ira Moitra, Hemant Kumar-Bela Mukherjee, C.Ramchandra-‘Ben’ Ratan Thakur), and even a singer-Orchestra player (Vinita Amladi-Krishna Chakravarty) and lastly between singer-singers ( Jyoti-G M Durani, Gauhar Karnataki- Bal Gandharva). There were those pairs who were singers-actors ( Amirbai- Himalayawala,Rafiq Gazanavi- Anwari bai).

The interesting group, however,was that of Composer-Singers ( Sudhir Phadke-Lalita Deulkar, Asha Bhosle-R D Burman, Naashad-Premlata, Anil Biswas-Meena Kapoor, Pannalal Ghosh-Parul Ghosh, Khayyam-Jagjit Kaur, Ghulam Haider-Umrao Zia begum, Kamal Dasgupta-Firoza begum, Ninu Majumdar-Kaumudi Munshi).

The Heroine of today’s film- Gauhar karnataki was also one such artiste who did a ‘planned’ marriage. Her life story is interesting. Tabla player Hussain khan,living in a small town Belagi,near Hubli,had 6 daughters. The first was Allamma(Ahilya),then Amirbai,next was Gauhar(Born in 1908),then a series of badi Munni,Chhoti Munni and Nanhi Munni. Son was Dastgir.

Being from a singing family,Amirbai and Gauhar(Gauramma) worked in a drama company called Vanivilas Natak mandali. Since Hubli, Dharwad, Belgaum came under Bombay Presidency and also near Sangli/Miraj and Kolhapur, the sisters were experts in Marathi too.

Brother Dastgir went on to study B.Sc and did a job in AIR, Belgaum. From the beginning only, Amirbai and Gauhar did not get on well with each other. May be professional jealousy. Gauhar got classical music training from a blind teacher NIlkanth Panchakshari Buwa. Great classical singer Mallikarjuna Mansur’s brother Basavanna wrote songs for Gauhar and also accompanied her on Harmonium.

Marathi singer actor Chaphekar took the sisters to Bombay for working in films. Gauhar and Chaphekar stayed as companions in Bombay for few years. Meanwhile Gauhar got a daughter Ashamma. Her father’s name is not known. Ashamma remained with Gauhar till her death.

Gauhar started acting in Marathi and Hindi films. She acted,sang and also composed her own songs,but no records were brought out.

Gauhar was mesmerised by the famous Marathi singer actor BAL GANDHARVA. She first met him in 1937,in actor Himalayawala’s flat(Amirbai karnataki’s cruel Husband). It is widely believed that Gauhar used Black magic to attract Bal Gandharva to her. As expected he fell in her love and Gauhar joined his Balgandharva Natak Mandali in 1938. After her arrival into the Mandali, all senior artistes left the company as they were afraid of Gauhar’s black magic.

From 1938, Gauhar remained with Balgandharva till she died in 1964. Balgandharva’s wife died in grief in 1940 and Gauhar married Balgandharva in 1951.

She acted in films like Raas vilas-32,Kala pahad and Sohni mahiwal-33,Kala vagh and Shak karta Shivaji(M)-34,Pyar ki Maar-35,Bansriwala,Gol Nishan and Graduate-36,kala Bhoot and Chabuk swar-37,Vijay Danka-38,hawai khatola and swadesh sewa-46. chabuk swar-37 was a stunt film a-la Fearless Nadiya style wherein she did some stunts and fencing too. (Thanks to lifekidhun,warren senders,wiki and HFGK for some information used above.)

Gauhar is mentioned as Gauhar karnataki or Gauhar from Bijapur in the HFGK. She must have sung at least 100 songs but since there were no records, there is no information.As her many films were C grade, no records were issued even for them. However she has sung many Marathi natyageet and Bhajans.

There can not be any comparison with her sister Amirbai since Amirbai was in a higher league and her records were also made. She had many composers and singers to sing along.

Film Vikram Charitra-33 was written by C M Luhar, who became a well known director later on. There were 15 songs in the film. This song was recorded by Gauhar Karnataki in June 1934, according to the uploader. Since hardly any records of Gauhar Karnataki are available, this song becomes a rare song. let us enjoy this 85 year old recorded song. With this song, film Vikram Charitra-33 makes its Debut on the Blog.


Song-Raaja ke chaman se laayi manke ki maala (Vikram Charitra)(1933) Singer- Gauhar Karnataki, Lyrics- Not Known, MD- Not known

Lyrics

Raaja ke chaman se laayi
Raaja ke chaman se laayi
Manke ki maala
Raaja ke chaman se laayi
Raaja ke chaman se laayi
Manke ki maala
joohi manke ki maala
joohi manke ki maala
joohi manke ki maala
joohi manke ki maala
joohi manke ki maala
Raaja ke chaman se laayi
Raaja ke chaman se laayi
Raaja ke chaman se laayi
manke ki maala
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
manke ki maala
joohi manke ki maala
joohi manke ki maala
Raaja ke chaman se laayi
Raaja ke chaman se
hamaara kaam hai
sabhi ne ??
sabhi ne ??
sabhi ne ??
sabhi ne ??
??
aa aa aa
jaise nihaar ??
jaise nihaar ??
jaise nihaar ??
jaise nihaar ??
manke ki maala
joohi manke ki maala
joohi manke ki maala
joohi manke ki maala
Raaja ke chaman se laayi
Raaja ke chaman se laayi
Raaja ke chaman se laayi
manke ki maala
Raaja ke chaman se laayi
manke ki maala
joohi manke ki maala
Raaja ki


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 : 3970 Post No. : 15054

Peevesie’s mom is one blog regular who keeps in touch with me on phone almost on a regular basis. Nearly one month ago, she phoned to enquire whether my daughter was at Mumbai seeing that summer vacations had started in Mumbai colleges. So I informed her that my daughter, and also my wife, were on their way to join me for their respective vacations.

So it came as no surprise to Peevesie’s mom when my posts during the last month were reduced to a trickle.

Day before yesterday, Peevesie’s mom phoned me informing me that she had sent a late article in the evening and whether I would be able to post it. I informed her that I was on the job. She enquired why I was not posting my articles in the blog. I was posting guest articles all right but she was interested about my “man ki baat”” kind of articles. I informed her that my wife was still around and I would be able to post by “well” researched article only after I am away from the watchful eyes of my wife, which would be from the afternoon of 1 june 2019. 🙂

Then the talk veered to the TV programme that I was watching. She asked whether I was watching the world cup cricket match or the swearing in ceremony of Indian ministers. I informed her that I was watching the later, viz the swearing in ceremony.

We agreed that Indians were busy for the last one month and a half in General elections and now they would get busy following cricket world cup for the next one month and a half. Peevesie’s mom is not aware that I would stay busy after the cricket world cup as well, seeing that Premier Kabaddi League would start immediately after cricket world cup.

My wife stayed with me for nearly one month and she is leaving in the afternoon. So the excuse of there being no time for blogging will no longer be there for me. 🙂

There are lots of topics that I would have loved to discuss but I could not find time. I can even hold forth on a subject like “JCK ki khudaai” if I can find time and I apply my mind to it. 🙂 Yesterday, I was actually invited to watch “JCB ki khudaai” inside my workplace. 🙂

Right now, I was trying to post one article a day. Hopefully I will be in a position to be able to post several articles a day which used to happen so regularly in the past. I could try to turn the clock back a decade, when there used to be six or seven songs a day everyday. 🙂

“Badalte Rishte”(1978) was directed by R Jhalani for Vijayshree pictures Bombay. The movie had Jeetendra, Rishi Kapoor, Reena Roy, Asrani, A K Hangal, Pinchoo Kapoor, Shubha Khote, Urmila Bhatt, Deena pathak, Master Raju, Omkar, Madan Joshi, Pardesi, Raja Duggal, Makhan Singh, Chandar Dhaani, Chandra Prabha, etc in it, with new discoveries Shashi Bala Saxena and Rachna Bhatt.

The movie had five songs in it. Two songs have been covered in the past.

This song, the third song from the movie, is sung by Kishore Kumar and Suman Kalyanpur. Anjaan is the lyricist. Music is composed by Laxmikant Pyarelal.

This “naa naa followed by haan haan” kind of “iqraar” song is picturised on Rishi Kapoor and Reena Roy.

This movie is from 1978, a year when I becan to watch movies with a vengeance. But I did not watch this movie and I was not aware of this song. So this song is a “new”song for me and I haerd this song for the first time today, more than four decades after this song was created.


Song-Tum chaahe hamko pasand na karo (Badalte Rishte)(1978) Singers-Kishore Kumar, Suman Kalyanpur, Lyrics-Anjaan, MD-Laxmikant Pyarelal

Lyrics

tum chaahe humko pasand na karo
par tum humko pasand ho
pasand ho
par tum humko pasand ho
chhaliya jo sau sau roop badle ae ae
wo humen kaise pasand ho
pasand ho
wo humen kaise pasand ho

chhaanv jaise baadal ki
dhoop jaise saawan ki
waise na jaane kis pal tum badlo
baat jaise sapne ki
rang jaise mausam ka
waise na jaane kis pal
tum badlo

deewaane ko kyun tadpaana
tum jo humen dil se pasand kar lo
apni to kismat buland ho
buland ho
apni to kismat buland ho
chhaliya jo sau sau roop badle ae ae
wo humen kaise pasand ho
pasand ho
wo humen kaise pasand ho

bin soche dil kho ke
pyaar mein paagal hoke
tum in bahaaron mein kabhi ee khoyi nahin
ye bahaaren bolengi
bhed dil ke kholengi
dil mein tumhaare siva to koi nahin
laakh manaaya dil na maana
hum kaise tumko pasand na karen
jab tum dil ko pasand ho
pasand ho
haan tum dil ko pasand ho
haan tum humko pasand ho
pasand ho
haan tum humko pasand ho


Advertisements

Important Announcement

(© 2008 - 2019) 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.

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 15000 song posts by now.

This blog is active and online for over 3900 days since its beginning on 19 july 2008.

Total number of songs posts discussed

15070

Number of movies covered in the blog

Movies with all their songs covered =1171
Total Number of movies covered =4135

Total visits so far

  • 11,778,896 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,726 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Archives

Stumble

visitors whereabouts

blogcatalog

Music Blogs - BlogCatalog Blog Directory

blogadda

Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

Advertisements
%d bloggers like this: