Archive for the ‘Songs of 1940s (1941 to 1950)’ Category
Nigaahon se kehti hai dil ke fasaane
Posted on: July 6, 2020
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4371 | Post No. : | 15706 |
“Man Ka Meet”(1950) was directed by Ratibhai Punaatar for Ajit Pictures, Bombay. This “social” movie had Nirupa Roy, Dulaari, Sarita Devi, Shanti Madhok, Manhar desai, Babu Raje, hhagan Romeo, Bhagwan Das, Ibrahim, Maruti, Kamlakant, Barkat Virani, Haridas, Popat, V D Popat etc in it.
The movie had nine songs in it. One song has been covered in the past.
Today (6 July 2020) is the 16th remembrance day of Sardul Kwatra (1928-6 July 2004). As a tribute to him, here is a song from “Man Ka Meet”(1950). This song is sung by Zohrabai Ambalewaali. Sarshar Sailaani is the lyricist. Music is composed by Sardul Kwatra.
Only the audio of the song is available. For the lyrics, it is clear that it is a mujra song. I request our knowledgeale readers to throw light on the picturisation of the song.
Lyrics of this song were sent to me by Avinash scrapwala.
Song-Nigaahon se kehti hai dil ke fasaane(Man Ka Meet)(1950) Singer-Zohrabai Ambalewaali, Lyrics-Sarshar Sailaani, MD-Sardul Kwatra
Lyrics(Provided by Avinash Scrapwala)
hmm hmm hmm
hmm hmm hmm
Nigaahon se kehti hai ae ae
Dil ke fasaane ae ae
Haan aan aan aan
Aan aan aan aan
Jawaani ki baatein
aa aa aa aa
aa aa aa aa
aa aa
Jawaani ki baatein
Jawaani ki baatein
Jawaani hi jaane
Jawaani ki baatein
Jawaani ki baatein
Jawaani hi jaane
Nigaahon se
Nigaahon se raja
Nigaahon se kehti hai
Dil ke fasaane
Dil ke fasaane ae
Jawaani ki baatein
Jawaani ki baatein
Jawaani hi jaane
Jawaani ki gardan ko
Jhukte na dekha
Jawaani ki gardan ko
Jhukte na dekha
Kisi ne ye toofaan rukte na dekha
Kisi ne ye toofaan rukte na dekha
Jawaani ka har teer
Baithha nishaane
Jawaani ka har teer
Baithha nishaane
Haan aan aan aan
Aan aan aan aan aan
Nigaahon se
Nigaahon se raaja
Nigaahon se kehti hai
Dil ke fasaane
Dil ke fasaane ae
Jawaani ki baatein
Jawaani ki baatein
Jawaani hi jaane
Na aana na jaana
Na milna milaana
Na aana na jaana
Na milna milaana
Kabhi ye bahaana
Kabhi wo bahaana
Kabhi ye bahaana
Kabhi wo bahaana
Hamen maar daalaa
Bahaane
Bahaane
Hamen maar daalaa
Bahaane
Bahaane
Haan aan aan aan
Aan aan aan aan aan
Aan aan
Nigaahon se
Nigaahon se raaja
Nigaahon se kehti hain
Dil ke fasaane
Dil ke fasaane ae ae
Jawaani ki baatein
Jawaani ki baatein
Jawaani hi jaane ae
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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4366 | Post No. : | 15695 | Movie Count : |
4326 |
Today’s song is a very rare song from an obscure film-Parbat ki Rani-1948. The film was made by Leela Chitra Mandir, owned by the heroine of the film-Leela Pawar. The lyricist and director of this film was A.Karim and the Music Composer was Master Ibrahim. He gave music to only 2 films and his only one song is available. It is uploaded by Shri Girdharilal Vishwakarma ji, who kindly tells us about who are the singers too. HFGK does not mention any singers.
When filmmaking, especially the Talkie films started, there were some reputed and well known companies who produced films. In the few initial years, the films were sold and seen only based on who had made them. These companies had that much respect in India.Companies like Imperial, Ranjit, Sharda, krishna,Madon, Sarswati, Prabhat, New Theatres, Bombay Talkies etc had their own studios, own set of actors, directors, Music Directors and Technical staff. They employed good to very good people in different departments. These companies produced films, keeping in view the profile of their audiences. Who were they ? They were the educated middle class, well to do people doing service, the small and big businessmen, women of households and generally the upper crest and the affluent section of the society.
The question came up as to what about the entertainment of the lower middle class,poor people, servants of the rich and their families, the daily earners and generally the poor class, who could not afford tickets of the posh theatres and those who hesitated to to join the white collared audience, for seeing the social films ? For them new types of films came up.Films which were cheap to make, cheap to distribute and cheap to exhibit in old theatres or theatres located in the older parts of the towns. To make the film cheap, everything about it had to be cheap, like unknown or new actors, less known composers and directors less or no expenses on settings etc etc.
Yet, the films had to appeal to the poor people. These people liked stories about Kings and Queens, injustice taken revenge of, where the poor becomes the king, stories in which the Hero has extraordinary physical powers to deal with villains and beautiful girls dancing and singing. These stories are identified with their dreams. So, film makers made such films, using Folk tales and adapted Arabian Night stories. The audience did not bother about the Histrionic capabilities of the actors or the quality of music, what they wanted to see was fighting, stunts and the daring hero winning the damsel , that all. All that they wanted to see was the Hero bashing the bad men and taking away the girl of his choice, Hero helping and fighting for the poor and punishing the wicked rich.They wanted fun, fights and few damsels. That’s all. And then, such films were made for them. This was the beginning of ‘ C ‘ grade films !
Initially, these action films were crude, but as the time went by, the films became polished and got some prestige and respect when the big film companies, like Ranjit, Mohan, Imperial, Madon and later Wadia Movietone started producing these type of films.Actors like Billimoria brothers, Jal merchant, Fearless Nadia, Radha Rani, Boman Shroff etc. brought some prestige to these films. Later on such films were done by Dara Singh, Azad etc.
Everything about C grade films was weird- from theatres to the audience. Even their Titles were strange, for example…Khooni Khanzar, Dagabaj Doctor, Shaitaan ka paash, Char chakram, Daku Rani Talwarwali, Jaadu ka dandaa, Zinda Laash, Revolver Rani, Sindbad-Alladin-Alibaba, Flying man, Fighter Sheela, Khooni Darinda, Tarzan aur Jadugar, Tarzan aur Jadui Chiraag, Golden Gang, Murde ki jaan khatare mein, Jadui putli etc.
The actors in such films,besides the main actors were…Bajar Battu, Phoolkumari, Maruti pehelwan, Bataata, Mitthoo Miyaan, Fatty Prasad, Boken Chattu, Minu the Mystic, Manchi Tuthi, Gareeb Raja, Kurbaan Jaoon, Pandit Dukhi, Vilayatu, Loveji Lavangiya, Adam Sandow, Sandow Safar, Dunlop, Chic Chak and a very strange name CHEMIST ! This name is found in 5-6 films. Many such names appeared.
Stunt films were made more attractive by including wild animals and regular animals like Horse, Dog, cat, parrot, Lion, Tiger, Elephants etc. In some films there were Hyenas and pythons too.
From 1935 onwards stunt films ,including Nadia’s,had a Horse named ‘Punjab ka Beta”, a Dog named ‘Tiger’, and a motor car named ‘ Rolls Royce ki beti’.
After Wadia brothers split and Homi started his Basant pictures, Nadia joined him and another set of animals like, Rajpoot(Horse), Moti(Dog) and Austin ki bachhi(a motor car) were included. In addition there was a Motorcycle called ‘Runnio’ as well.
Film critics and those who wrote in glossy magazines ignored these films, but a certain portion of Indian audience was a firm supporter of such films. Master Vithal, Master Bhagwan, Baburao pehelwan, John Cavas, kamran etc were their Heroes. Usually the Music Directors and Directors of these films were unknown and those available on minimum fees were always hired.
The Music Director of this film was also one such person – Master Ibrahim, who did only 2 films as MD. In the 50s and the 60s decade, there used to be a programme on Radio Ceylon, titled “Saaz aur Awaz”, at 7 am everyday. In this programme, film songs on different Musical Instruments were played-like Van Shipley on Guitar, Bismilla Khan on Shehnayi,Master Ibrahim on Clarinet. After this programme, there was ” Ek hi filmon ke geet” and at 7.30 the evergreen “Purane filmon ke geet” was scheduled.
For many years, I used to wonder as to who this Master Ibrahim was. I had read about Van Shipley and others, but information on Master Ibrahim was not seen anywhere. Finally, when my friend Javed Hamid ji from Delhi, sent me his book copies, published in Hindi, I found an article on Ibrahim, in one of his books,” Hindi cinema ke sadabahar Sangeetkar “.
His name was Ibrahim Rehmat Ali ( or E.R.Ali or Master Ajmeri, on some Record labels). He was born in 1915 at Ajmer and by his 11th year itself, he achieved expertise in playing a difficult musical instrument like Clarinet. he also learnt classical music from Banne khan, Jere khan and Dinkar Rao. From 1934 to 1936, he worked in Ranjit Movietone’s Music department. Then he joined All India Radio, for the next 6 years. In 1942, he joined H.M.V. and served there for the next 25 years.
In these 25 years, Master Ibrahim played his Clarinet in more than 6000 songs, recorded at HMV. He was also the Pioneer in presenting film songs on Musical Instruments. Even during his service. A.I.R. Bombay used to arrange his Clarinet Mehfil every month. He used to present different Raagas on Clarinet as per time of the day or night.
He gave music to only two films. Both were C grade,in the 40s decade. These films were Parbat Ki Rani-1948 and Bigde Dil-1949. He worked as assistant to many Music Directors like Ghulam Hyder, V K Naidu, Shyam Sundar, Fateh Ali Khan, Gulshan Sufi and Firoz Nizami.
He played not just the Clarinet, but also played Xylophone, Vibraphone, Alto saxophone, Supranophone and a few others. After his film songs on Clarinet became popular, different artistes like Van Shipley on Hawaiian Guitar, Enoch Daniels, Goodi Seervai, Hazara Singhand Sunil Ganguly on Piano Accordion and Brian Silas on Piano also became famous and popular, with their performances.
Master Ibrahim died on 20th September 1980, due to a Heart attack. The work of preserving his music on CDs started by HMV from 2015 and so far 4 CDs are published. His contribution in songs of films like Mughal E Azam, C.I.D., Mere Mehboob, Basant Bahar, Madhumati, Maya, Goonj uthi Shehnayi etc is remembered even today. Every year Radio Ceylon celebrates his death anniversary on 20th September by playing only his records.
He had 3 sons, who all are in the Music industry. They are experts in Vibraphone. Its use is very frequent in films nowadays. ( I thank Javed Hamid ji for his article in his book ” Hindi Cinema ke Sadabahar Sangeetkar” हिंदी सिनेमा के सदाबहार संगीतकार ).
The film’s director and lyricist was an all rounder. He acted in 3 films. From the film Aaj ki Duniya-40 to Mehbooba-1965, he wrote songs for 20 films. He directed 13 films. First film was Kalakar-42 and the last film was Mehbooba-65. He also gave music to 5 films. The films were kashmir ki kali-46, Toofani Tirandaz-47, Atom Bomb-47, Maya mahal-49 and Dhumketu-49.
I do not find today’s song very good, but then it is wrong to conclude anything with just one song. This song is important, because this is the only song of Master Ibrahim as a MD that is available. With this song film Parbat ki Rani-48 makes its Debut on the Blog.
Song-Badi bekal hai mere dil ki tamanna sajna tere liye (Parbat Ki Raani)(1948) Singers- Mohantara Talpade,Yashwant Bhatt, Lyricist- A Kareem, MD- Master Ibrahim
Both
Lyrics
Badi bekal hai mere dil ki tamanna aa aa
sajna tere liye
sajna tere liye
Badi bekal hai mere dil ki tamanna aa aa
sajna tere liye
sajna tere liye
hardam seene mein teri yaad hai
hardam seene mein teri yaad hai
duniya ummeedon ki aabaad hai
duniya ummeedon ki aabaad hai
tujhko jo dekha
huye raushan meri aankhon ke diye
sajni tere liye
sajni tere liye
Badi bekal hai mere dil ki tamanna aa aa
sajna tere liye
sajna tere liye
aaoge tum to main chhup jaaungi
aaoge tum to main chhup jaaungi
dhoondhoge haath nahin aaungi
dhoondhoge haath nahin aaungi
tumko sataaungi bahut tumne mujhpe zulm kiye
sajna tere liye
sajni tere liye
Badi bekal hai mere dil ki tamanna aa aa
sajna tere liye
sajna tere liye
apna waada na kabhi bhoolnaa
apna waada na kabhi bhoolnaa
dil ki dhadkan pe sada jhoolnaa
dil ki dhadkan pe sada jhoolnaa
jab tak jeewan hai rahenge hum tum sang priye
sajni tere liye
sajni tere liye
Badi bekal hai mere dil ki tamanna aa
sajni tere liye
sajna tere liye
Badi bekal hai mere dil ki tamanna aa
sajni tere liye
sajna tere liye
Main saaz bajaaun tum gaao
Posted on: June 28, 2020
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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4363 | Post No. : | 15689 |
I do not remember when was the last time that I wrote about a NFS. I guess it might have been about 4-5 years ago. There is no specific reason for this gap. I came across a good NFS by Hemant kumar-my favourite singer- that prompted me to take it up for discussion today.
1936 to 1956 was a period when NFS were very very popular, not only in India, but wherever in the world Indian population lived. In western Music, NFS has been a routine since the beginning. For India, where different types of Music existed, it was not possible for one type of music to be popular all over the country. In olden days, like in the period of 1900 to 1940s, the Royalties of various states, depending upon the King’s or the Nawab’s liking and understanding, gave support to Classical music or Ghazals etc. Many Classical singers and Ghazal singers won the Patronage of different states. For the common public, there used to be Jalsas, stage shows or Mushayaras etc. The audience used to be different for each type of singing.
It was somewhere in the mid 1930s when an enterprising pair of a writer and a Musician decided to promote a new type of presentation – singing of Geets. Geet was a type of song which existed in Poetry, but it was not connected with Music in any way. Poet Lyricist Faiyyaz Hashmi and Musician Kamal Dasgupta identified a few aspiring singers and recorded Hashmi’s Geets in their voice. Probably the first ever such Non Filmi Song – a Geet – came out as a 78 RPM record. From 1934 to 1945, this pair (Faiyyaz and Kamal) made NFS extremely popular all over the country. For their 400 recorded songs (in Bangla and Hindi), they selected singers like Jagmohan, Pankaj Mullick, Talat Mahmood, Juthika Roy, Hemant Kumar and few others to sing these Non Film Songs. The NFS thus got established.
Those readers, who are in the age bracket of 60 to 85, will surely remember the popular NFS during their younger days. Sometimes the sales of such NFS exceeded even the popular Film songs! These NFS were popular from Kashmir to Kanyakumari, irrespective of the language barrier. Some of the popular NFS of yore were by Hemant Kumar, Geeta Dutt, Juthika Roy, Jagmohan, K L Saigal, Pankaj Mullick etc. Seeing the popularity of these NFS, even the Film Singers cut their NFS records. Some of them were Lata, Asha, Rafi, Mukesh, Shamshad Begum, Manna Dey, Laxmi Shankar, Jaddan bai, Noorjehan and even Indurani etc etc. These lists are only indicative and not exhaustive.
Today’s NFS is sung by Hemant Kumar (16.6.1920 – 26.9.1989). Hemant Kumar was very fond of singing from his childhood. While in school, one day, one teacher was absent and the period was blank. The boys started pressing HK to sing a song. He too, enthusiastically started singing and all the students started beating the benches to give ‘ music’ to his song. All this commotion went to the Head Master’s room. He came and Hemant was sent home immediately. Next day, his parents met the Headmaster, said sorry and Hemant was allowed in the school again. While he was in H.S.C. he got a call from A.I.R to sing songs.
After HSC, he joined Engineering college, but after an year, he left it and started singing. Columbia cut his few records in Bangla. Then came Bangla film playback singing in film “Nimai Sanyas”. In 1942 he gave a playback in hindi film ‘Meenakshi’-42, under the baton of Panbkaj Mullick. However there was no record issued. In film ‘Irada’-44, Pt. Amarnath gave him an opportunity to sing.
After film ‘Anand Math’-52, he came into Hindi films as an MD. He continued to sing songs even for any MD, who wanted him. Thus he sang more songs for other MDs than for his own films as MD ! On Lata’s insistence, he sang Marathi Koli Geet and some film songs too, in Marathi. He also sang in Gujarati, Punjabi,Oriya and Assamese language films. Vishwa Bharati gave him D.Litt. Sangeet Natak Akademi awarded him in 87. He refused Padmashree and later Padma Bhushan awards.
Today’s song is written by Fayyaz Hashmi, with music by Kamal Dasgupta. This must have been recorded sometime in the early 40s. This song is included in the 1961 LP No.33 E Sx 4252 ” Geets of Hemant Kumar.”
In the 1940s, Kamal Dasgupta was a star composer. He had many firsts to his name. He was the most educated man across the industry in those days. He came to the rescue of singers who were trying to break into the music world. He gave music in the most successful films of the 40s. The sale of his private records touched an all-time high. Yet the man behind many unforgettable melodies has been forgotten.
Kamal was born on July 28, 1912, in Kalia village in the district of Jasore, then in British India (now in Bangladesh). He was initiated into music by his father Prashanna Dasgupta. He later learnt it from his brother Bimal Dasgupta. Afterwards, he became a disciple of the legendary Dilip Kumar Roy and Ustad Zamiruddin Khan. He did his matriculation from Calcutta Academy. Later, he completed his B Com from Komila Victoria Collage. He joined Banaras Hindu University (BHU) for his masters. He earned his PhD from BHU for his work on Mirabai’s bhajaans and music.
Kamal Dasgupta was a versatile musical genius. He used to sing modern songs in Bangala, Hindi, Urdu and Tamil. He was a brilliant composer who composed around 8,000 songs. His first composition was recorded in 1932 in the voice of Satyaboti, (she seems to be the mother of actress Leela Desai). His composition was classical based and folk music. Later he tended to lean towards Thumri style and Naats. In 1935, Kamal Dasgupta joined the Gramophone Company of India in Calcutta as a music director. During this stint, he developed a close and lasting association with the poet Nazrul Islam. They became fond of each other and the relationship lasted for eleven years (1934-45). The culmination of their friendship were 400 songs – inspired by the works of the poet.
Calcutta was the major hub of Indian films produced in the 1930s. New Theatres and Madan Pictures were the main studios along with the other companies. After earning a name with his compositions, Kamal tried his luck in films. His first picture was Pandit Moshai (1936) in Bangla which was followed by Sarbjanin, Vivahotsab and Devyani between 1936-1942. The legendary actor, director Prathmesh Chandra Barua was impressed by his music and gave him a break in Jawaab in 1942. PC Barua directed both the version in Hindi and Bangla. The film was an instant hit. It had cult numbers like Toofan mail ye duniya toofan mail, Ae chand chhup na jana and Kuchh yaad na rahe.
Kamal Dasgupta’s next film was MP productions social, Hospital, starring Kanan Devi, Ahindra Choudhary and Heeralal. The very same year he did another Barua Production, Ranee. The cast included J Ganguly, Kalawati, PC Barua and Jamuna. Like his earlier films, his music became popular. Kamal Dasgupta was as successful in films as he was in his private recording career.
In 1944, he moved to Bombay and did the film Meghdoot (1945), based on the Sanskrit poet Kalidas. Leela Desai and Sahu Modak were in the lead. The film was directed by the legendary Debki Kumar Bose. During his stay in Bombay, he did several films across different genres. His next film was Arabian Nights, directed by Niren Lahari. The cast included Kanan Devi, Nawab and Robin Majumdar. All the numbers of the film became very popular. The same year, he did a social film Bindiya, starring Ragini, Amar, M Shakeer and E Billimoriya. The film was directed by CM Luhar. Kamal Das Gupta used the voices of Anima Dasgupta, Kalyani Das, Hemant Kumar and Amar. His next film was the mythological Krishna Leela (1946) which was directed by Debki Kumar Bose and had Kanan Devi and Paresh Banerjee in the lead. 1946 was the busiest year for Kamal Das Gupta. He did Zameen Asmaan for director Dwarka Khosla, starring Ranjana, Jeevan and Kusum Deshpande.
Coming back to Calcutta, he did Faisala (1947) followed by Manmani. The film had Ragini and Jairaj in the lead. The film was directed by Sarvottam Badami. His last film with his mentor PC Barua was Iran Ki Ek Raat (1949) – a costume drama, starring Jamuna, Narang, Chandrakant and Chandrawati. Its melodious number were: Ulfat mein jise banaya tha, Chhalke chhalke sarabein jawani ke palaye, Kaun hai teer andaaj bada, Ae dil kya and Khel hai ye zindagi. His last release was Phulwari in 1951. He had 40 films to his credit. He gave music to 17 Hindi films. His first film was Jawab-42 and the last Hindi film was Phulwari-51. He had also sung 1 song in Hindi in film Jawab-42.
Following this, the maverick composer got completely disillusioned by the film industry and recording companies. His favourite songs which were sold in the lakhs didn’t carry his name on the jackets. At the age of 44, he married his favourite singer, Firoza Begum and embraced Islam. Kamal Dasgupta, by now, became Kareemuddin Ahmed. He kept on doing movies whenever an offer came. His last film in Bangla was Bodhu Baran in 1967.
He shifted to Dhaka. When Bangladesh became independent, he became a citizen in 1972. The composer was a man of taste. He owned a Buick, a rare thing in Calcutta in the 1950s. He was a great human being. He fed hundreds of people during the Bengal famine. He was also extremely fond of cricket. He was blessed with three sons – Shafin Ahmed, Hamin Ahmed and Tahsin Ahmed. They followed their father in music and cricket. Two brothers played cricket at the state level and Hamin Ahmed was selected for the national team of Bangladesh. Kamal Das Gupta with his failing health and lack of proper medical treatment succumbed to his ailments and passed away in Dhaka on July 28, 1974, at the age of 62.
With all his work in film line, his name will be remembered forever, for making the Geet form of songs in Hindi and Bangla, popular in India. His pioneering contribution to promoting the Non Film Songs, is beyond words. Music lovers throughout the country are indebted to him for this work. Poet Lyricist Faiyaz Hashmi and composer Kamal Dasgupta were regularly churning out wonderful melodies on 78 RPM every month and listeners all over India were enjoying them fully. Surprisingly, while Kamal’s name was written correct, Hashmi was credited in several ways like F Hashmi, F. Hashmi, Faiaz Hashmi, Faiaz Hashumi, Faiyaz Hashmi, Faiyyaz Hashami, Falyyaz Hashmi, Fayyaz Hashimi etc.
Actually,in 1985,Jagmohan Sursagar wrote in his Autobiography…..
” In the initial stages Kamal Dasgupta was influenced by Rabindranath Tagore. Tagore’s songs and compositions(Rabindra sangeet) were extremely popular, but were limited to Bangla people only. Ghazal, qawwali, Dadra, Naat, Thumri, Hori, Kajari etc used to come to market but had a very limited listenership. These never reached the top.
” The fusion of Ghazal,Dadra and Qawali with Bangla Geet style gave birth to Hindi Non Film Songs or geets. As such Geet had a known and accepted place in Literature, but not in Music. To establish this new Genre, Kamal babu used lyrics by Pt.Madhur, Pt. Anjum and Faiyaz Hashmi, got them sung by Jagmohan, Hemant, Talat, Juthika etc. Their records were inscribed with ‘ Hindi Geet (Hindustani Song) ‘. What thus started as NFS Geet from 1936 continued upto next 20 years non stop. “
(adapted, with thanks, from an article by Sharad Dutt, in milleniumpost.in, ‘Yaad kiya Dil ne’ by Subhash Chandra Jadhav and my notes.)
Today’s song is a lovely NFS. I am sure you will love it too.
Song- Main saaz bajaaun tum gaao (Hemant Kumar NFS)(1943) Singer- Hemant Kumar, Lyricist- Faiyaz Hashmi, MD- Kamal Dasgupta
Lyrics
Main saaz bajaaun oon
tum gaao o
tum gaao
Main saaz bajaaun oon
tum gaao o
tum gaao
taaaron main main tumhen suna doon
is dil ki jhankaar aar
geeton mein tum mujhse keh do
chhupi baat ek baar
taaaron main main tumhen suna doon
is dil ki jhankaar aar
geeton mein tum mujhse keh do
chhupi baat ek baar
main tumko kuchh samjhaaun
tum mujhko kuchh samjhaao
main tumko kuchh samjhaaun
tum mujhko kuchh samjhaao
Main saaz bajaaun oon
tum gaao o
tum gaao
mere sur mein dard chhupaa ho o
ek jaadoo ho geet tumhaara
mere sur mein dard chhupaa ho o
ek jaadoo ho geet tumhaara
hum tum donon milen jahaan aan
hum tum donon milen jahaan
(?) wo dariya ka kinaara
meri dhun par maujen tadpen
meri dhun par maujen tadpen
tum geet se lehron ko sharmaao o
tum geet se lehron ko sharmaao o
Main saaz bajaaun oon
tum gaao o
tum gaao
Badli hawaa luti bahaar
Posted on: June 24, 2020
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day: |
4359 | Post No. : | 15682 |
Today’s song is from the film Ismat-1944 – a Muslim Social film made by Fazli brothers. This film was directed by the younger brother Sibtain Fazli, making his Debut as a Director. This was the second film of Fazli brothers to be made in Bombay, after the earlier film Fashion-43 also made in Bombay. Prior to that, they began their film making from Calcutta. This was to avoid the possible hindrance from the Muslim fundamentalists in Bombay, who were against making films depicting Muslim social life. Their first such film was Qaidi-40, made at Calcutta. It was followed by Masoom-41 and Chauranghee-42-all at Calcutta. Then they shifted to Bombay.
Films with the Muslim background of Muslim Culture were quite common in India,right from the First ever Hindi Talkie, “Aalam Ara”-31. Not just Social but different Genres like Arabian Night stories,Historical Romance, Folk Tales, Adventure Tales, Religious stories, Common King and Queen stories, Costume dramas etc had Muslim backgrounds. Indian public audiences watched these films with interest and without any bias.
If you see the film production patterns, You will realise that the biggest film companies all over India also followed the pattern of making initial films with Muslim background. Take for example the very first year of talkie films. Out of 24 films made, 7 films were on Muslim background. After Aalam Ara, there was Abul Hasan, Shirin Farhad, Laila Majnu, Noorjehan etc in 1931. Prabhat film company made Ayodhya ka Raja in 1932, but same year, next film was Jalti Nishani-32, a Pseudo-Historical Muslim background movie.
In Calcutta, New Theatres made their first 3 Talkie films in Hindi on Muslim subjects. Mohabbat ke aansoo-a household story, Subah ka sitara-a Folk Tale and Zinda Laash- an Arabian Night story. In the 30s and 40s, most stunt and costume films were on Muslim cultures.
In the initial era, the Talkie films were dependent on Parsi Urdu and Gujarati theatre stories. Before films appeared in India, the main channel of entertainment was stage dramas. Theatres were active and popular mainly in Maharashtra, Bengal and Andhra. The regional drama companies used to have mostly Mythological topics for their dramas. They also used to tour quite a lot. But their sphere of activities was limited to their language areas. Marathi drama companies toured only in Maharashtra towns or where there was a sizable Marathi population, like Baroda, Gwalior or Indore etc. So, their audiences were limited.
Similarly, Bengal and Andhra drama companies also toured where Bangla or Telugu population was the main audience. It was only the Parsee Theatre companies, Alfred, Elphinston etc etc, which toured all over the country, performing their Urdu dramas. Many times these companies used to take whole special trains to travel with artistes and material. This earned them All India acceptance of Muslim themes, which translated into the films that were made initially. In this endeavour, major contribution was from drama writers like Agha Hashra kashmiri, Syed Yavar Ali, Munshi Nazir, Betab, kathawachak, Bekal, Ehsaan etc etc.
Some early Talkie films on Muslim subjects were, Naksh e Sulemani-33, Bahar e Sulemani-35, Naadira-34, Farz e ada-35, Mumtaz Begum-34, Rashida-35 (First Muslim Social film), Noor e yaman-35, Qismat ka shikar-34, Adil e Jahangir-34, Anarkali-35, Jahan Ara-35, Shamsheer e Arab-35 and many more.
Fazli Brothers were the pioneers in making Muslim Social films from 1940 onwards. They felt that due to certain shortcomings in Muslim community, their development is suppressed. Their attempt was to highlight these points like Lack of education, for example, in their films in the garb of entertainment. Filmmakers like the great Mehboob Khan too were keen on such films, because he earnestly wanted to help his community to improve their status in Indian society.
That is why he opted for a Muslim Social theme for his Firtst movie under his own banner,” Mehboob productions”. The film was ‘ Najma-43″. Mehboob featured A grade actors like Veena, Sitara, Ashok kumar, Kumar, Yaqub, Majid and others for his first film. Later on he made yet another Muslim social film,” Elaan”-47 which was much bolder and he expected some opposition from the Muslim Fundamentalists. That is why he had warned his actors – especially Munawwar Sultana- to be ready for any repercussions from their own people, after the film was released. He gave an option to her to quit the film for safety, but she showed total faith in him and stuck to her role in the film.
Film Ismat-44 ( the Google meaning of this word is Chastity or Modesty) was made by Fazli brothers on all this background. By now, with the experience of 4 such films behind them, they had captured the technique of making films with subtle messages to their community. In this film, the darker side of the Western Culture, particularly Divorce and Separation, was highlighted.
The story of the film was – Aslam (Nandrekar) and Ismat (Nargis) get married. They both are from good traditional Muslim families. Same day Shafi Anwar (Ghori) and Ishrat (Mehtab) too get married Both had tasted western culture and follow it merrily. in due course of time, the Eastern culture (Aslam/Ismat) couple is happy, but Western Culture couple (Anwar/Ishrat) can’t adjust or compromise and are divorced. Ishrat joins a Theatre company as a Dancer at a very good salary. Soon she becomes rich and famous.
Aslam goes to Bombay to look for a job and meets with an accident with Ishrat’s car. She takes him to her home and looks after him. In this accident, Aslam loses his memory and forgets about Ismat. One day Ismat and her brother see his photo with Ishrat in a newspaper. They learn everything about his accident and loss of memory etc.
Ismat goes to Bombay and works as a maid in Ishrat’s house. She tries to remind Aslam about his past, step by step. One day Ishrat discovers this and removes Ismat from the job. Dejected, Ismat sits down for nonstop prayer. After some time, due to its power, there is a storm, lightning and thunder. In this period, Aslam is affected and suddenly his memory comes back. He escapes from Ishrat’s home and returns to Ismat. Both get happily united again and Eatern Culture wins over Western Culture.
The Hero of this film was B. Nandrekar, whose name may not ring any bells in new generation readers. Many actors-males and females- shifted from silent films to Talkie films easily as they knew Urdu/Hindi language fluently. There was an actor who easily transitioned from silent films to talkie films. This was B Nandrekar or Baba Saheb Dada saheb Nandrekar.
Nandrekar was one of the very few really handsome actors Hindi films ever had. He was born on 15th November 1910, in Sangli district of Maharashtra, near Kolhapur. Being a Muslim, he could speak Urdu/Hindi fluently. He completed his schooling from Kolhapur and joined films. Vishnupant Damle (one of the founder partners of Prabhat Films) was making silent film ‘Maharathi Karna’ (1928) for Maharashtra Film Co. He offered Nandrekar a role. Then he worked in other films like ‘Baji Prabhu Deshpande’ (1929), ‘Lanka’ (1930), ‘Kismet’ (1931) and ‘Dushman Ki Raat’ (1931).
His first talkie film was ‘Kurukshetra’ (1933). Prabhat gave him a role in ‘Sant Tukaram’ (1936) (its Hindi version came in 1948). He worked in ‘Amar Jyoti’ (1936) and became quite popular as a hero, opposite Shanta Apte. He was the hero in ‘Baghbaan’ (1938) opposite Sitara Devi.
In 1939, he became the first actor to go abroad to shoot scenes in the film ‘Africa In Hind’ – ‘हिन्द में अफ्रीका’ (1939). The shooting was done in Africa. Thus this became the first ever Hindi film to shoot in foreign country, and NOT film ‘Naaz’ (1954), as is popularly believed and also as mentioned in HFGK. Nandrekar had become very popular. The chappals he used in the film ‘Baghbaan’ became fashionable by the name ‘Nandrekar Chappals‘. This alone is enough to prove his popularity.
His lawsuit against Prabhat Film Company was a topic of discussion in the industry. There were differences between him and Prabhat over his contract with them. His lawyers were Mr. Jinnah and Mr. Setalwad, who won the case for him. He was also the first actor to work as a freelancer.
Nandrekar appeared in 23 films. His films were ‘Kurukshetra’ (1933), ‘Amar Jyoti’ (1936), ‘Jaadugarin’ (1937) (UR), ‘Baghbaan’ (1938), ‘Africa In Hind’ (1939), ‘Qaidi’ (1940), ‘Hindustan Hamara’ (1940), ‘Alakh Niranjan’ (1940), ‘Chitralekha’ (1941), ‘Mamaji’ (1942), ‘Duniya Tumhari Hai’ (1942), ‘Nai Kahaani’ (1943), ‘Andhi Duniya’ (1943), ‘Swarn Bhoomi’ (1944), ‘Lady Doctor’ (1944), ‘Ismat’ (1944), ‘Bachpan’ (1945), ‘Kamla’ (1946), ‘Jeevan Sikho’ (1946), ‘Parshuram’ (1947), ‘Meri Amaanat’ (1947), ‘Khandani’ (1947), ‘Sant Tukaram’ (1948) and last film ‘Bihari’ (1948).
He passed away in 1949. No definite information is available about his demise.
Today’s song is sung by Rajkumari. It is composed by H P Sharma (2 songs), who was a co-MD of the film with his own elder brother Pt. Govardhan Prasad (5 songs). This is the third song from film Ismat-44 to feature on this Blog.
(Ack: Information is used, with thanks, from books – ‘ stages of life ‘ by Kathryn Hansen, ‘Muslim Cinema’ by Isak Mujawar, and ‘Forgotten movies on Muslim culture’ by Kamalakar P.)
Song-Badali hawa luti bahar rang-e- chaman bigad gaya (Ismat)(1944) Singer- Rajkumari Dubey Banraswali, Lyricist- Shams Lucknowi, MD- H P Sharma
Lyrics
Badli hawa luti bahaar
rang-e- chaman bigad gaya
phoool hanse to yoon hanse
daagh bhi gar nikal gaya
gham se badal gayi khushi
maut bani hai zindagi
saans mili to jaise ek
saans mili to jaise ek
teer(??) ka dil machal(?) gaya
saans mili to jaise ek
teer (??) ka dil machal(?) gaya
thahri hawa ko chhaanv ne
sharmo haya ko raat bhar
aah magar ghame sahar
aah magar ghame sahar
kaam bana bigad gaya
aah magar ghame sahar
kaam bana bigad gaya
badli hawa luti bahaar
range chaman bigad gaya
phool hanse to yoon hanse
daagh bhi gar nikal gaya
Chori chori mat dekh balam
Posted on: June 23, 2020
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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4358 | Post No. : | 15681 |
“Hamaara Ghar”(1950) was directed by Nanabhai Bhatt for Hindustan Chitra, Bombay. The movie had Durga Khote, Umakant Desai, Veera, Agha, Meena Kumari, Geeta Bose, David, Jankidas, Ramesh Gupta etc in it.
The movie had seven songs in it. Four songs from the movie have been discussed in the blog in the past.
Here is the fifth song from “Hamaara Ghar”(1950) to appear in the blog. This song is sung by Rafi and Shamshad Begam. Bharat Vyas is the lyricist. Music is composed by Chitragupta.
Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Chori chori mat dekh balam (Hamaara Ghar)(1950) Song-Shamshad Begam, Rafi, Singer-Bharat Vyas, MD-Chitragupta
Lyrics
chori chori mat dekh
chori chori mat dekh balam
bholi dulhan sharmaayegi
dulhan ko najar lag jaayegi
to khadi khadi mar jaayegi
haaye chori chori mat dekh
ghoonghat ke pat tu khol
ghoonghat ke pat tu khol
zara saaja ki najar bhar jayegi
nazron se najar mil jayegi
to gori amar ho jaayegi
haaye chori chori mat dekh
kajre ki ret teri hamko laage pyaari
ho o pyaari
kajre ki ret teri hamko laage pyaari
ho o pyaari
mad bhari raseeli ankhiyaan jaise kataari
ho mad bhari raseeli ankhiyaan jaise kataari
haaye ankhiyaan jaise katari
chham chham chham chham teri paayaliya
jab run jhun run jhun gaayegi
hum jhoom jhoom dekhenge
jab teri patli kamar bal khaayegi
haaye chori chori mat dekh
chori chori mat dekh balam
bholi dulhan sharmaayegi
nazron se najar mil jaayegi
to gori amar ho jaayegi
haaye chori chori mat dekh
more dil ki suno more sainya
padu mai tore paiya
ha ha painya
more dil ki suno more sainya
padu mai tore paiya
haan haan paiya
mora dhak dhak dhadke jiya
chhodo mori bainya
mora dhak dhak dhadke jiya
chhodo mori bainya
haaye chhodo mori bainya
taaron ki chunariya odh dulhaniya
jab saj dhaj kar aayegi
ghoonghat ki oat daale kal
wo khud hi tujhe bulaayegi
haaye chori chori mat dekh
chori chori mat dekh balam
bholi dulhan sharmaayegi
ho najron se najar mil jaayegi
to gori amar ho jaayegi
haaye chori chori mat dekh
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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4352 | Post No. : | 15666 |
Today’s song is from the film Kaneez-49. The film had 12 songs. 11 songs are already posted. This is the last song of the film to be discussed here.
HFGK mentions mukhada of this song as ” Dil bechane nikla hai”, sung by Durrani and Rajkumari. There are at least two uploads of this song on YouTube. One is from our Sadanand Kamath ji and the other is from Saregama company. In both uploads, the first line is missing and the song starts as ” dil le lo, dil le lo”. However in the Saregama upload,, in the end , the words are ” dil bechane nikla hai, dil ka saudagar, dil le lo dil le lo”, confirming that this is the same song as mentioned in HFGK. As such, Girdharilal Vishwakarma ji has uploaded this song on Surjit ji’s site, from his record. So, there is no doubt.
Film Kaneez-49 has an interesting history of its making. As per an advertisement in a film magazine, this was first being made with a title of ” Tehzeeb”, by producers S A Shah and Krishan Kumar, for their Carvaan Pictures. It was to be directed by K D Mehra. Shatir Ghaznavi wrote the dialogues and lyrics. Due to the partition announcement. Krishan Kumar shifted to Bombay, with the incomplete film. After the partition, with a new set of actors, the film was redone and titled ‘ Kaneez ‘. Remaining dialogues were written by Hasrat Lucknowi. This time Krishan Kumar himself directed the film and released it in India and Pakistan. The film was a Hit.
Besides director Krishan Kumar, there were 2 MDs- Ghulam Haider and Hansraj Behl. Four lyricists wrote the songs. The cast of the film was Shyam, Munawwar Sultana, Urmila,Kuldip Kaur, Cuckoo, Ramayan Tiwari, Ramesh Sinha and others.
The shooting of Kaneez was in full swing in 1948 at Shrikant Studios. On another floor of that studio, a stunt film of Master Bhagwan was being shot. Isak Mujawar, Film Historian, has described an incident of that time, in his book on Master Bhagwan-” Ek Albela “. Actor Shyam was very friendly with Master Bhagwan. In those days, Shyam had grown very close to M.Sultana. One day, during a shooting break, shyam and Munawwar met Bhagwan and said,” I am very keen to work in your film”. Bhagwan smiled and said,” Before that, you must see the shooting of my films. After that, let us see what will be your decision.”
Accordingly, the next day Shyam and M.Sultana went to see the shooting of the film ” Laalach “,made by Bhagwan. The scene was Baburao pehelwan fighting with 5-6 goons, on the balcony of a house. The scene started and after some time Baburao got a hit from one villain and he slipped, falling on the ground floor where a glass table was kept. On impact, the glass table broke. There was a loud noise, commotion and shouting. Shyam and Munawwar shouted in fear and ran out of the studio. Such accidents were common to Baburao.After treating his bruises and cuts, Baburao started the fighting scene again. Shyam and M.Sultana came back to inquire about the actor’s fate. They were shocked to see him doing the fighting scene. On asking, Bhagwan told Shyam, ” In my films, such accidents are a common thing. And yes, you said you want to work in my films, isn’t it ?” Shyam said,” No , No, who wants to die doing stunts ?”. Bhagwan told him,” Be happy in doing Love scenes and singing songs in your films”. By a turn of fate, with 2 year’s time Shyam died doing a stunt for film ‘Shabistan’-51 !
In the cast, you will see Cuckoo. In those days, Cuckoo was an attraction in any film. Both Azurie and Cuckoo were in great demand. Cuckoo Moray, (4th February 1928 – 30th September 1981) was an Anglo-Indian dancer and actress. Cuckoo was the queen of film dancing in Hindi cinema of the 1940s and 1950s. Though unfamiliar in name, she was known as the “rubber girl” of Hindi cinema and her talent made cabaret dancing a must in the Bollywood films during the 1940s and 1950s. She could acrobatically bend her body at great length.
Cuckoo started appearing in films from the mid forties. She started as a child artiste. Her first film was Anjaan-41. She was seen as a background dancer in film Meghdoot-45. Cuckoo made her screen debut in the film Arab Ka Sitara in 1946. Soon after, in Sona Chandi-46, directors and greater audiences noticed her dancing abilities for the first time. One of her dances in film Parwana-47 with suggestive lyrics to the song was considered vulgar enough to get banned from the film. Then, the turning point in Cuckoo’s career was in Mehboob Khan’s films. Her dance number in his film Anokhi Ada (1948) established her as the lead dancer of the era and in Andaz(1949), a romantic drama starring Nargis, Dilip Kumar, and Raj Kapoor, gave the dancer an opportunity to display her acting skills. In Mehboob Khan’s 1952 technicolor film Aan, which was her first colour film, she had a brief cameo in a dance sequence. She only appeared in 2 colour films in her career- Aan & Mayurpankh. She would charge Rs 6,000 for a dance number, an enviable fee in the 50s.
Usually she is credited with bringing into films 2 Anglo Indian brothers Tony (Krishna kumar) and Robert (Surya kumar). However, Azuri later claimed that it was she who brought them into films from an orphanage and trained them. Dancers first, both became Choreographers of repute later.
Cuckoo remained the best dancer in Hindi films until dancers such as Helen and Vyjayanthimala came into the industry. Cuckoo was a family friend of the Anglo-Burmese dancer and actress Helen. She was also known for helping unknown actors get their break in Bollywood, such as Pran in Ziddi. Cuckoo had introduced a 13-year-old Helen into films as a chorus dancer in films such as Shabistan and Awaara (both 1951). Cuckoo and Helen most notably appeared in song and dance sequences together, such as in Chalti Ka Naam Gaadi(1958) and Yahudi (1958). Her last film appearance was in Mujhe Jeene Do in 1963 after which, she had disappeared from the film industry. She was a Heroine in the film Sona Chandi-46, under the name Kishori, but due to her faulty Hindi and pronunciation, she could not continue as a Heroine. She appeared in 155 films and 67 songs were shot on her.
Cuckoo, the legendary cabaret queen of Bollywood was one of those film stars who lived ostentatiously, spent extravagantly and died broke and penniless. Her three cars (one for her use, one for taking her dogs for a drive, and the other often used to summon protege Helen to play with her sister), her flats and whatever jewellery she had, were all taken away because the dancer had evaded income tax. She would charge Rs 6,000 for a dance number, an enviable fee in the ’50s. Cuckoo died of cancer at the age of 52; during her last days she could barely afford to buy painkillers. “She never thought of security, of tomorrow,” Helen recalls. “But what a tremendous lady she was! There wasn’t even a tear in her eye, even when the roles stopped, when the money disappeared. Instead she’d joke about her plight. Some actors did help but it was too late, much too late.”
Cuckoo died on 30 September 1981 due to cancer at the age of 53. She was forgotten and unattended by the film industry at the time of her death. (adapted from wiki, MuVyz, book ‘Edwina’ and cineplot).
Today’s song (despite the missing first line) is a good duet by G M Durrani and Rajkumari. Sadanand ji opines that the female singer is Shamshad Begum. With this song film Kaneez will be ‘ Yippeed ‘, with all its songs covered.
(I thank Sadanand Kamath ji for information about the film’s original avatar).
Song-Dil bechne nikla hai dil ka ik saudagar (Kaneez)(1949) Singers- G M Durrani, Unknown female voice, Lyricist- Shatir Ghaznavi, MD- Ghulam Haider
Both
Lyrics
dil le lo
dil le lo
dil le lo
dil le lo
o o o o
thahar saudaagar
aisa dil main khoj khoj ke haari ee
thahar saudaagar
aisa dil main khoj khoj ke haari
jo dil preet mein jalna jaane
uspe sadqe waari
jo dil preet mein jalna jaane
uspe sadqe waari
dil ka sauda karne waali
mushqil hai ye kaam kaam
mushqil hai ye kaa aam
dil ka sauda karne waali
mushqil hai ye kaam kaam
mushqil hai ye kaa aam
par aise de doon (??)bhi kya hai
dogi kitne daam
par aise de doon (??) bhi kya hai
dogi kitne daam
o o dil waale
iske badle pooraa kar doon
tere prem ka sapna aa aa
o o o dil waale
iske badle pooraa kar doon
tere prem ka sapna aa aa
tan bhi doongi
man bhi doongi
jeewan doongi apna
o o
tan bhi doongi
man bhi doongi
jeewan doongi apna
aa aa aa
?? jhoothhi aasha
sachchi teri preet
dil ki baazi naqda naqdi
jeet gayi tu jeet
main teri main teri baalam
tu mera tu mera aa
ham tum donon yoon mil jaayen
jaise saanjh sawera
ho o o
ham tum donon yoon mil jaayen
jaise saanjh sawera
ab meri jabaan pe na aayega
kabhi dilbar
ab meri jabaan pe na aayega
kabhi dilbar
dil bechne nikla hai
hai ik dil ka saudaagar
dil le lo o
dil le lo
dil le lo o
dil le lo
Everybody dance with Pa Pa Pa
Posted on: June 16, 2020
This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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4351 | Post No. : | 15665 | Movie Count : |
4315 |
Hullo Atuldom
Today 16th June is the 68th birthday of Gourang Chakraborty. He was born as the eldest son to Basantakumar Chakraborty and Santimoyee Chakraborty in East Bengal (modern day Bangladesh). He is an entrepreneur, social worker, television presenter, actor, producer, former Rajya Sabha member who has sung one song in his career that began in 1976 with the art film which was directed by Mrinal Sen’s National Award winning “Mrigayaa”.
Post “Mrigayaa” he was seen in a guest appearance in Raj Tilak directed Sanjeev Kumar -Shashi Kapoor- Vidya Sinha- Bindiya Goswami starrer “Mukti” (I saw it in his filmography, have seen the movie a few times but don’t remember seeing him there, I must have blinked at that instant).
1978 saw him in 2 Bengali and 3 Hindi films one of which was a small blink and miss role “Phool Khile Hain Gulshan Gulshan”. Of the three Hindi movies “Hamara Sansaar” and “Mera Rakshak” were remakes of South Indian movies.
1979 had him as Gunmaster G9 in Ravikant Nagaich directed “Surakshaa”; a special appearance in “Tere Pyar Mein”; a guest appearance in Rajesh Khanna starrer “Amardeep” as Rajesh Khanna’s sister’s boyfriend; a regular Basu Chatterjee hero in “Prem Vivah” alongside Utpal Dutt, Asha Parekh and Bindiya Goswami. Plus there was “Bhayanak” and Rajshri productions “Tarana”.
“Surakshaa” and “Tarana” gave him some good songs to dance to, and also these two movies are still remembered for their songs.
These days we see him on TV in the role of maha-judge on dance reality shows. And also he plays roles suited to his age in most movies like Mani Ratnam’s “Guru”; Rohit Shetty’s “Golmaal 3”; Anil Sharma’s “Veer”; Vinay Sapru- Radhika Rao directed “Lucky: No time for love” etc. The roles he has been getting are varied where he is able show off his comic side and still dance and do fisticuffs.
For today’s occasion I have a whole list of songs to choose from. Songs from movies that I have seen and loved. I have settled for a song that I heard for the first time in 1987. I even had the cassette of this movie in my collection and seen the movie at the time of its release.
This song has been on my personal waiting list for a few years now. It is from the 1987 B. Subhash produced and directed “Dance Dance”. Smita Patil, Mithun (Gourang) Chakraborty, Mandakini, Shakti Kapoor formed the primary cast with Amrish Puri and Om Shivpuri playing supporting cast. It was the story of the brother sister team of Smita and Mithun who are separated from their parents as children, grow up to be singers who are part of a troupe which performs at events and restaurants. There is the usual twist of the sister falling in love and marrying a guy who later turns bad, ditches her and also is the cause of her death. The movie comes to a close with the brother avenging his parents as well as the sister’s death.
Bappi Lahiri was the music director for this movie which was part of a series of dance based films that B Subhash made post the successful “Disco Dancer”. Anjaan was the lyrics in-charge for all these movies. Today for this birthday song we shall have a party where Shakti Kapoor and Mithun sing to an audience of oldies. It is rather sweet to see the spirit of the folks in the audience when they take to the floor with Mithun and Shakti. And we have Smita Patil among the audience egging everybody to enjoy themselves. Let us also enjoy ourselves wishing this disco dancer- break dancer – Mithunda a very Happy Birthday.
Song-Everybody dance with pa pa pa (Dance Dance)(1987) Singer-Vijay Benedict, Lyrics-Anjaan, MD-Bappi Lahiri
Chorus
Vijay Benedict + Chorus
Lyrics
tu tu tu tu tu tu turu ru ru
tu tu tu tu tu tu turu ru ru
tu tu tu tu tu tu turu ru ru
tu tu tu tu tu tu turu ru ru
coo coo coo coo wow
everybody dance with pa pa pa
everybody dance with ma ma
everybody dance with ma ma ma
everybody dance with pa pa
gaa ke dhoom machaa ke
saari raat jagaa ke
yaaron shor machaa ke
kuku kuku kuku kuku kuku
one two three four
hum saare masti ke chor
one two three four
hum saare masti ke chor
everybody dance with pa pa pa
everybody dance with ma ma
everybody dance with pa pa pa
everybody dance with ma ma
aaye hum hain aaye
aaye bin bulaaye
aaye hum hain aaye
aaye bin bulaaye
mastiyaan lutaa ke
sab ka dil churaa ke
sabke hosh udaa ke
jaayenge nachaa ke
arre haan
kuku kuku kuku kuku
one two three four
hum saare masti ke chor
one two three four
hum saare masti ke chor
everybody dance with pa pa pa
everybody dance with mama
everybody dance with pa pa pa
everybody dance with mama
aao papa
saath mein naachen
come on mama
naacho na
please
lala lala laa laa
lala lala laa laa
lala lala laa laa
lala lala laa laa
lala lala laa laa
lala lala laa laa
wow
super
great!
aah
you can’t do breakdance?
ok tequila
tequila
hahahahahaaha
arre mauka hai khushi ka
rang jame masti ka
mauka hai khushi ka
arre rang jame masti ka
aao mil ke naachen
naachen jhoomen gaayen
milke dhoom machaayen
masti mein kho jaayen
arre haan
kuku kuku kuku kuku kuku
one two three four
hum saare masti ke chor
one two three four
hum saare masti ke chor
everybody dance with pa pa pa
everybody dance with mama
everybody dance with pa pa pa
everybody dance with mama
gaa ke dhoom machaa ke
saari raat jagaa ke
yaaron shor machaa ke
kuku kuku kuku kuku kuku
one two three four
hum saare masti ke chor
one two three four
hum saare masti ke chor
one two three four
come on everybody ya
everybody dance with pa pa pa
everybody dance with mama
everybody dance with pa pa pa
everybody dance with mama
everybody dance with pa pa pa
everybody dance with mama
everybody dance with pa pa pa
everybody dance with mama
everybody dance with pa pa pa
everybody dance with mama
Ab Tere Bin Mera Nahin Thikaana
Posted on: June 14, 2020
- In: Calling the beloved | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics by Sudhir | Lyrics contributed by readers | Missing the loved ones | Post by Mahesh Mamadapur | Songs of 1940s (1941 to 1950) | Songs of 1948 | Surinder Kaur solo | Surinder Kaur songs | Yearwise breakup of songs
- 16 Comments
This article is written by Mahesh Mamadapur, 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.
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We remember Nightingale of Punjab on her remembrance day today.
Surinder Kaur (25 November 1929 – 14 June 2006) was the recipient of the prestigious Padma Shri in 2006. She was the recipient of numerous other awards including Sangeet Natak Akademi Award and also a doctorate degree by Guru Nanak Dev University. Much of her life details can be easily found on her wiki page and many other articles and interviews on the net.
Her popularity of course stems from the fact that she pioneered and popularised folk songs of Punjab to the rest of the world. However, readers are well aware that she had a very short but memorable stint in HFM in the late forties. She gave playback to 57 songs in 21 films during the golden era and many of her songs are remembered and played to this day.
She has been one of my favourite singers for as long as I can remember and there is some aspect of her voice which attracts listeners. One is bound to be spellbound and even enter some sort of a trance on hearing her voice. Very few singers of the golden era had such combination of rustic and melodious voice. Her full-throated contemporaries being the big three of Noor Jahan, Suraiya and the versatile Shamshad Begum, it’s easy to get confused when Surinder Kaur sang especially with Shamshad Begum.
I am aware of her immense popularity in Punjab and Haryana where she is nothing less than a legend, but we shall restrict ourselves to her Hindi songs in this post. This post has taken an inordinate time for self to complete. I must admit that the delay has been by several years rather than months. A few years back one of my good friends who hails from Hisar in Haryana was on his way home from Mumbai where we were working together. He asked me if there was anything that he should bring back to me. I told him I wanted a booklet on Surinder Kaur’s Hindi songs. He had a bizarre look at me and asked; Anything else? The unanswered reply being that it would be very difficult to trace such a thing. Well, crazy music enthusiasts have crazy requirements.
It’s not that I have taken several years only to compile these 57 songs in the form of a table. This work started several years back and due to lack of proper commitment and other priorities, the post continued to be put off several times. This year, I resolved to complete the work and am excited to bring out the compilation.
In this post an effort has been made to put together all her songs sung for Hindi movies. A compilation of all her Hindi songs has been made in a tabular column. Before we proceed to the total list, here is the table of the number of songs she sung under different composers. Since the tables are self-explanatory, not much detailing is further provided.
| Composers | No. of Songs |
| Gyan Dutt | 15 |
| A R Qureshi | 7 |
| Hansraj Behl | 7 |
| Ghulam Haider | 5 |
| Husnlal Bhagatram | 5 |
| Khurshid Anwar | 4 |
| Naashad | 5 |
| Others | 9 |
| TOTAL | 57 |
An interesting table of her songs with different singers follows.
| Singers | No. of Songs |
| Solo | 30 |
| Mohd. Rafi | 5 |
| Mukesh | 5 |
| Ram Kamlani | 2 |
| Talat Mehmood | 1 |
| Raja Gul | 1 |
| Other female singers and chorus | 13 |
| TOTAL | 57 |
As can be seen above, more than half of her 57 songs were sung as solo numbers while Rafi saab and Mukesh sang a maximum of 5 each with her. Many of these songs will be discussed later.
Coming to the distribution of the number of songs that she sang in each year of her short stay in Bombay, following is the table. As is evident, more than 90% of her Hindi songs were sung only in 3 years of 1948-50.
| Year | Number of Songs | Number of Films |
| 1947 | 1 | 1 |
| 1948 | 20 | 6 |
| 1949 | 17 | 6 |
| 1950 | 15 | 4 |
| 1951 | 3 | 3 |
| 1952 | 1 | 1 |
| TOTAL | 57 | 21 |
I have not made a table of her songs under different lyricists, but from the detailed table below it is quite evident that DN Madhok wrote the maximum of 27 out of her 57 songs.
43 of the 57 songs have been already represented on the blog and hardly 14 remain.
Starting with Ghulam Haider who introduced many such wonderful artists to HFM, Surinder Kaur sang her first song, a duet with actress-singer Munawar Sultana in the film ‘Mehndi’ in 1947. What followed was what made Surinder Kaur Surinder Kaur in HFM.
Three priceless solo gems in the film ‘Shaheed’ 1948 that made her voice a craze all over India. These songs can be heard on repetition any given day. Song No 02 remains in active memory of many music lovers and I suppose this is one song which many associate with her.
‘Pyar Ki Jeet’ (1948) is basically remembered for its Suraiya songs, but Surinder Kaur stood her ground with her solitary solo and the two triad songs. Apparently, the solo is so very similar to the songs that she sang in ‘Shaheed’ even though the composers were different. The solo at 06 is sung under much gusto and one can only admire the rendition skills of Surinder Kaur.
‘Nao’ (1948), composed by Gyan Dutt has some wonderful songs. “Ek Nazar Wo Yaad Hai Unki” is a masterpiece, which continues to linger in the mind long after being heard. I happened to hear this song only a few years back and have been absolutely smitten to it ever since. More the song plays forward, more the mind loiters behind to absorb and ponder the depth of the voice and the words being rendered. It is from this film that I take up today’s solo for representing in this post.
Gyan Dutt who has the highest songs rendered by her for any composer continues in 1948 with ‘Lal Dupatta’. It would have been interesting to know if he would have continued with her voice had she continued to sing in HFM. Readers may be well aware that Lata Mangeshkar has a solitary solo for Gyan Dutt.
The years of 1949 and 50 were important for she sang almost all her duets with male singers in these two years. With Mukesh she sang all her 5 duets in only two films of 1949 viz. ‘Dada’ and ‘Sunehre Din’.
For very obvious reasons, these remain my personal favourites especially “Tera Kisi Se Pyar Tha“. In “Dil Do Naino Mein Kho Gaya,” it’s interesting to hear how the two singers sing in quick succession their respective lines.
Rafi saab had one duet in 1949 and the remaining 4 in the next year. My personal favourite is the one from Sabak, “Keh Do Hamen Na Bekarar Kare” which is played quite often on SLBC to this day.
Her final two years of stay in Mumbai had other composers like SD Burman and Anil Biswas try her voice under their compositions. But then, health concerns in coastal Mumbai being the reason, Surinder Kaur shifted her base to Punjab where she became a phenomena in folk songs singing.
In this post, I am afraid I have not done enough justice to the appreciation and admiration of the voice and the popularity of her songs. However, my main intention was to club all her songs in a table so that it is easy for other knowledgeable contributors to cover her balance songs to be posted on the blog.
I have relied on a couple of biographical posts on Surinder Kaur by our Sudhir ji, valuable comments by Nitin ji, cineplot blog, the highly reliable HFGK and my notes. I express my sincere gratitude to all these sources. There were a few clarifications and attributions of songs to various singers. Again, Sudhir ji took the initiative of contacting his reliable sources and helped me at arriving to the correct compilation. I further requested him to help me with the lyrics of today’s post. I express my gratitude to Sudhir ji for all the help rendered.
Yes, Surinder Kaur sang a handful of only 57 songs in the golden era, but as they say the blessings are always to be counted. We, music lovers, are fortunate to listen to her having sung some exceptionally great songs in a voice that was a class apart and on a different level altogether.
Her name will undoubtedly and forever be etched in golden letters in the annals of Hindi Film Music.
Song – Ab Tere Bin Mera Nahin Thikaana (Naao) (1948) Singer – Surinder Kaur, Lyrics – DN Madhok, MD – Gyan Dutt
Lyrics (Provided by Sudhir)
ab tere bina
mera nahin thikaana
ab tere bina
mera nahin thikaana
o o o pardesia
ye bhool na jaana
o o o pardesia
ye bhool na jaana
ab tere bina
mera nahin thikaana
main ne suna hai
log rog laga ke pyaar ka dukh paate hain
main ne suna hai
log rog laga ke pyaar ka dukh paate hain
yahi baaten
gham se bhari raaten
dil ko samjhaate hain
yahi baaten
gham se bhari raaten
dil ko samjhaate hain
o o o dil phir se hua begaana
o o o dil phir se hua begaana
ab tere bina
mera nahin thikaana
dekho dekho ji
neha laga ke daga na dena
hamaari haaye na lena
dekho dekho ji
neha laga ke daga na dena
hamaari haaye na lena
mera nanha naazuk dil roye
dukhi hoye
dekha jaaye mo se na
mera nanha naazuk dil roye
dukhi hoye
dekha jaaye mo se na
o o o dar laage bura zamaana
o o o dar laage bura zamaana
ab tere bina
mera nahin thikaana
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
अब तेरे बिना
मेरा नहीं ठिकाना
अब तेरे बिना
मेरा नहीं ठिकाना
ओ ओ ओ परदेसिया
ये भूल ना जाना
ओ ओ ओ परदेसिया
ये भूल ना जाना
अब तेरे बिना
मेरा नहीं ठिकाना
मैंने सुना है
लोग रोग लगा के प्यार का
दुख पाते हैं
मैंने सुना है
लोग रोग लगा के प्यार का
दुख पाते हैं
यही बातें
ग़म से भरी रातें
दिल को समझाते हैं
यही बातें
ग़म से भरी रातें
दिल को समझाते हैं
ओ ओ ओ दिल फिर से हुआ बेगाना
ओ ओ ओ दिल फिर से हुआ बेगाना
अब तेरे बिना
मेरा नहीं ठिकाना
देखो देखो जी
नेहा लगा के दगा ना देना
हमारी हाय ना लेना
देखो देखो जी
नेहा लगा के दगा ना देना
हमारी हाय ना लेना
मेरा नन्हा नाजुक दिल रोये
दुखी होइए
देखा जाये मो से ना
मेरा नन्हा नाजुक दिल रोये
दुखी होइए
देखा जाये मो से ना
ओ ओ ओ डर लागे बुरा ज़माना
ओ ओ ओ डर लागे बुरा ज़माना
अब तेरे बिना
मेरा नहीं ठिकाना
This article is written by Arunkumar Deshmukh, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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4347 | Post No. : | 15657 | Movie Count : |
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Today’s song is from the film “Uljhan” (1942). This was the first of the three same title films. The second came in 1975 and the third was in year 2000. This was the second film by Acharya Art Productions, floated by director N R Acharya. This was after he left Bombay Talkies, to chart out his own path, without either following the splinter group led by S Mukherjee or remaining with the rest of Bombay Talkies staff.
Probably, he thought that with Gyan Mukherjee in Filmistan and Amiya Chakrawarty and Najam Naqvi in Bombay Talkies, he had dim chances of progressing further. Like the splinter group, Acharya too had his own followers, like Anjali Devi and Ramchandra Pal, who stayed with Acharya. In later years, Anjali Devi became Mrs. Acharya too. Obviously, she had her own private agenda in following Acharya.
This film was directed by Acharya himself and the music for the 10 songs written by Lyricist Kailash Matwala, was composed by Ramchandra Pal. The cast of the film was Sardar Akhtar, Mazhar Khan, Krishnakant, Anjali Devi, Amrutlal, Rajkumari Shukla and others.
You find a name Amritlal/Amrutlal in the cast. He was an old time actor, from the beginning of Talkie films. Sometimes he was cast even as Master Amrutlal, because he sang songs too. He was basically a comedian and was known as Chaman in the film line. There is hardly any information-practically Nil- about him available anywhere, like many of the old time artistes. What we know about him is from HFGK alone. He acted in some 20 Talkie films, starting with Vikram Charitra-1932 to film Roop Nagar-1947. There are 23 songs in 10 films on his name also. He stopped singing from the film Pagli Duniya-44. Looks like his old style singing was no more appreciated.
Here too, we find that the Same Name Confusion has played a game. There was an All India famous literature giant Amrutlal Nagar. In spite of his colossal writing work, he spent 7 years of his illustrious career, from 1940 to 1947, in film line. During this period, he wrote 33 songs in 4 films…Sangam-41,Kisi se na kehna-42, Kunwara Baap-42 and Raja-43. Amritlal Nagar ( 17-8-1916 to 23-2-1990) was an extraordinary person. He handled almost every department of Literature-except perhaps Poetry and Autobiography. Short stories, Novels, dramas,travelogues and Lyrics etc etc were written by him During 1940 to 1947 period, he was in the film industry. He wrote stories, s/p, dialogues of as many as 20 films in Bombay , Kolhapur and Madras. He dubbed M.S.Subbulakshmi’s Tamil film ‘ Meerabai’ into Hindi. He also worked to translate Russian films like Zoya and Bukhara into Hindi. He won innumerable awards, including Padma Bhushan and Sahitya academy award. He was one of the very rare Hindi Literature stalwarts to work in the film industry for such a sustained period.
Unfortunately, there is the usual mix up in the filmography of these two wholly different personalities. Added to this confusion, there was also the singer Amrutlal Oza. Novelist Amrutlal Nagar never acted and never sang a song. Amrutlal Oza began his singing career with Film Pujari-1946. Actor singer Amrutlal had stopped singing from 1944 itself. Still, many sites and Blogs and writers get confused and mix up every Amrutlal’s filmography for acting and singing.
In one of my recent posts, I had mentioned that in the early era of Talkie films, the low caste and Tawaif girls joined films so that they could get married to some rich, successful person and lead a respectful life of a housewife. Amongst such girls, few were really capable and helped their partners in conducting their business – like Gauhar Mamajiwala of Ranjit or Mehtab of Minerva. Sardar Akhtar, who was the Heroine of today’s film-Uljhan-42 was also one such capable woman, who married Mehboob Khan and shared his work. How they got married was quite Cinematic too….
The life story of Sardar Akhtar is very interesting. Sardar Akhtar was a Punjabi Muslim born in Lahore in 1915. Her mother was a famous singer on the infamous Hira Mandi Road of Lahore. Akhtar learned singing from her mother and also other ustads. Her younger sister Bahar Akhtar was beautiful and a good singer. These sisters were famous as Daaro and Baharo in Lahore. Bahar was hired by United Players Corpn. of Lahore , as a Heroine in their film ” Qatil Katar “. Producer A R Kardar was also its Hero. They fell in love. Bahar was under strict surveillance by her mother, but with the help of a friend, Kardar abducted her and they were married. When this news reached her mother, Akhtar and her mother made a Police complaint against kardar. Kardar and his unit members were arrested and kept in a lock up for a few days for abducting a Minor girl. They were released when Bahar herself gave a statement in their favour. Kardar destroyed the negatives of his film to prevent Bahar from further acting in films.
After this episode Akhtar started working in dramas. She went to Calcutta and did a small role in the film Dhoop Chhaon-35. From there she came to Bombay and joined Saroj Movietone. She did films like Eid ka chaand,Roop Basant and Naqsh e Sulemani and earned a good name. She acted in films of Minerva and Wadia-mostly stunt action films. Mehboob needed two Heroines for his film Alibaba.. He selected Waheedan Bai and Sardar Akhtar. Akhtar was the younger sister of Bahar-wife of A.R.Kardar. In an article in Filmfare dated 16-8-1957,Mehboob wrote ” the moment I saw Sardar Akhtar, I fell for her and knew that one day she will be my wife.” Sure enough, he married her later.
Mehboob khan gave her a big role in the film Aurat-40 and her image changed. She also did Mehboob’s film Roti, during which they got married on 25-4-1942.. It was during the shooting of film Aurat, Mehboob was attracted towards Jyoti- sister of Waheedan Bai and one of the cast of Aurat- and he started spending time with her, having Tea together, Lunch together etc. Sardar Akhtar noticed this and played her cards well. She encouraged Jyoti to accept outside film offers lest she would be out of circulation. Then she poisoned Mehboob by telling him that Jyoti was not a good girl and that she was more interested in outside film roles. Consequently, Jyoti’s role in the film Aurat was reduced. By the time the film Aurat was completed, Akhtar had fully influenced Mehboob and then insisted on getting married. He too wanted it and they got married just before the film was released.
They did not have any issues but they adopted Saajid khan, child star of film Son of India-62. After Mehboob’s death in 1964 May, Akhtar lived alone, occasionally visiting Sajid khan, who had settled in the USA.
Sardar Akhtar did 44 films. Her last film was Raahat-45. However, she did small roles in films Hulchal-71 and Bandhe Haath-74. Sardar Akhtar sang 92 songs in 27 films. Considering that she was not a regular or playback singer, her 92 songs were highly creditable. Not even 50% of her songs came on gramophone records. During one of her US visits, Sardar Akhtar died there on 2-10-1984. She was a devotee of sufi saint Ashraf khan, her co-star of many films including Roti-42.
Film Historian and author Shri Rajnikumar Pandya ji had interviewed N R Acharya (Nrusinh Prasad Acharya). According to him the film Uljhan-42 was totally based on a Gujarati novel- MALELA JEEV (Souls of oneness), written by Pannalal Patel.
Today’s song is sung by an unidentified female with chorus. It is a good song. With this song, film Uljhan-42 makes it’s Debut on the Blog.
(information used in this post is culled, with thanks,from various sources like ‘Sapnon ke Saudagar’ by Vithal Pandya, Kamlakar P.’s Blog, wiki, Filmdom-1946, ‘Mehboob Khan’ by S.Kinikar and my notes).
Song – Arrey samdhi to darjin ka yaar lagan ke kapde bane (Uljhan)(1942) Singers- Chorus song, Lyricist- Kailash Matwala, MD- Ramchandra Pal
Lyrics
Arrey samdhi to darjin ka yaar
lagan ke kapde bane
Arrey samdhi to darjin ka yaar
lagan ke kapde bane
arre samdhin ne paaala sunaar
arre samdhin ne paaala sunaar
naye naye gahne bane
aha naye naye gahne bane
Arrey samdhi to darjin ka yaar
lagan ke kapde bane
Arrey samdhi to darjin ka yaar
lagan ke kapde bane
kahaan bhaage ye ?? sawaar
kahaan bhaage ye ?? sawaar
bade tum chhaila bane
bade tum chhaila bane
Rupa maaregi jhaadu ki maar
haan haan
Rupa maaregi jhaadu ki maar
haan haan khasam ka yoonhi(??) bane
haan haan khasam ka yoonhi(??) bane
Arrey samdhi to darjin ka yaar
lagan ke kapde bane
Arrey samdhi to darjin ka yaar
lagan ke kapde bane
ek dikhaawan ?? jaan
apni maa ke phhodo kaan
ek dikhaawan ?? jaan
apni maa ke phhodo kaan
Rupa jab bhi gaali dewe
budhiya teri sun na lewe
Rupa jab bhi gaali dewe
budhiya teri sun na lewe
arre sun to sahi o ganwaar
arre sun to sahi o ganwaar
kahaan yoon chalte bane
kahaan yoon chalte bane
bhauji se kahe ??
bhauji se kahe ??
bhaiyya tera jaaye sad
bhaiyya tera jaaye sad
bahan bhare teri kuyen se paani
bahan bhare teri kuyen se paani
Rupa meri ban patraani
Rupa meri ban patraani
maare gin gin ke hunter hazaar
maare gin gin ke hunter hazaar
na unse rote bane
haan haan
na unse rote bane
Arrey samdhi to darjin ka yaar
lagan ke kapde bane
Arrey samdhi to darjin ka yaar
lagan ke kapde bane
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