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

Archive for the ‘Songs of 1940s (1941 to 1950)’ Category


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

“Sangeeta” (1950) was directed by Ramanlal Desai for Sudha Pictures Production. The movie had Shyam, Nigar Sultana, Suraiya Choudhary, Ramsingh, Radha Krishnan, Pran, Mumtaz Ali etc in it.

As many as si songs from this movie have been discussed in the past. Here is the seventh song from the movie to appear in the blog. This light hearted song is sung by Lata and C Ramchandra. P L Santoshi is the lyricist. Music is composed by C Ramchandra.

Only the audio of this song is available. My guess is that this song is picturised on Nigar Sultana and Shyam, though I could be wrong. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Girgit ki tarah hain rang badalte fashion waale baabu (Sangeeta)(1950) Singers-Lata, C Ramchandra, Lyrics-P L Santoshi, MD-C Ramchandra
Both

Lyrics

girgit ki tarah hain rang badalte fashion waale baabu
girgit ki tarah hain rang badalte fashion waale baabu
girgit ki tarah hain rang badalte fashion waale baabu

munh pe choone ki safedi
tan pe kaalaa suit hai
tie aayi hai kahin se
to kisi kaa boot hai
jeb mein damdi nahin aur baate karte laakh ki
muft ki cigarette bhi peete
shaan hai ye aap ki
aur matak matak kar chalte hain ye fashion waale baabu
girgit ki tarah hain rang badalte fashion waale baabu

achchhi soorat koi dekhi
chat se aashiq ho gaye
kah diyaa bas tum hamaare
ham tumhaare ho gaye
inki baaton kaa nahin saahib mujhko koi aitbaar
inki baaton kaa nahin saahib mujhko koi aitbaar
ye kapdo ki tarah badalte maashooq bhi din mein teen baar
ye kapado ki tarah badalte maashooq bhi din mein teen baar
har nayi shakl par machalte hain ye fashion waale baabu
har nayi shakl par machalte hain ye fashion waale baabu
girgit ki tarah hain rang badalte fashion waale baabu

bholi bhaali soorat waale
hote hain sab bewafaa
inse jo ulfat kare
ho jaaye duniyaa se safaa

aison hi se karke ulfat
baad mein pachhtaate hain
rang gulaabi dekh ke sehre ka ye mar jaate hain
rah rah ke haath phir malate hai ye fashion waale baabu
rah rah ke haath phir malte hain ye fashion waale baabu
girgit ki tarah hain rang badalte fashion waale baabu

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

“Jaagriti”(1949) was directed by Manohar Ghatwai for Veerendra Chitra, Bombay. This obscure Social movie had Ravikant, Mohana, Bheem, Omkar Devaskar, lalita Rao, Leela, Manohar, Haridas, Chandrahaas, Ganpatrao Phadke, Gangaram, Jayendra sharman, Suresh Kumar, Chemist, Jaal Khambhata, baby Shyama, Baby Rekha etc in it.

The movie had nine difficult to find songs in it. Here is the first song from “Jaagriti”(1949) to appear in the blog. This highly obscure song is sung by Lalita Rao. Indeewar in the lyricist. Music is composed by K Narayan Rao.

Seeing that Lalita Rao is there in the cast, it can be assumed that the song was picturised on herself.

I request our knowledgeable readers to throw light on the movie.

With this song, “Jaagriti”(1949) makes its debut in the blog.

As many as 156 movies were released by censors in the year 1949. This movie becomes the 100th movie of 1949 to find representation in the blog.


Song-Aaye aur jaadoo daal chale (Jaagriti)(1949) Singer-Lalita Rao, Lyrics-Indeewar, MD-K Narayan Rao

Lyrics

aaye
aaye aur jaadoo daal chale
seene se dil ko nikaal chale
aaye
aaye aur jaadoo daal chale
seene se dil ko nikaal chale

aa aa aa
aa aa aa
aa
nazron ne meri
iraada kiyaa thhaa aa aa aa
aankhon ne unki
waadaa kiyaa aa aa thha
donon hi poore ho na sake ae ae ae
wo aisi bedhab daal chale
wo aisi bedhab daal chale
aaye
aaye aur jaadoo daal chale
seene se dil ko nikaal chale
aaye

kya kya na pade hain uthhaane
ek tamanna ke ae laakhon bahaane
ae ae ae ae ae ae
nashtar nazar ka
jigar pe chala aa
kar ke hamko paamaal chale
kar ke hamko paamaal chale
aaye
aaye aur jaadoo daal chale
seene se dil ko nikaal chale
aaye


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.

“Billi”(1949) was a stunt movie which was directed by Nari ghadiali for super Pictures, Bombay. The movie had Nadia, John Cawas, Vittha, Putli, azeem, Munchi Thoothy, Sheikh, Mithhoo Miyaan, Mustafa, Arvind Kumar, Mater hunar etc in it.

This obscure movie had nine obscure songs in it.

Here is the first song from “Billi”(1949) to appear in the blog. the song is a duet which is sung by Sheela and Yashwant Bhatt. C M Hunar is the lyricist. Music is composed by K Narayan Rao.

Singer Yashwant Bhatt was the uncle of Mr Jagdish Bhatt (husband of our regular Khyati Bhatt) and Mr Arunkumar Deshmukh, our beloved inhouse encyclopaedia has written a well research extremely informative article on him while discussing a song in the blog in the past.

This is a sweet song to listen to. I request our knowledgeable readers to throw light on the picturisation of this song.

With this song, “Billi”(1949) makes its debut in the blog.


Song-Itna bedard hai ye zamaana (Billi)(1949) Singers-Sheela, Yashwant Bhatt, Lyrics-C M Hunar, MD-K Narayan Rao
Both

Lyrics

Itna bedard hai ye zamaana
haay hamne na jaana
Itna bedard hai ye zamaana
haay hamne na jaana
wafaaon ke badley o o
karenge zafaa
wafaaon ke badley o o
karenge zafaa
waadaa lekar wo hamse
karenge dagaa
waadaa lekar wo hamse
karenge dagaa
haaye ae ae
hamne na jaana
itna bedard hai ye zamaana
haaye hamne na jaana

hamko aansoo milenge
mohabbat ke badley
haaye
khilaayenge wo zahar
sharbat ke badley
bijliyon par banaate hain ham ashiyaana aa
bijliyon par banaate hain ham ashiyaana
haaye ae ae ae
hamne na jaana
itna bedard hai ye zamaana
haaye hamne na jaana

haaye ae ae ae
hamne na jaana
haaye ae ae ae
hamne na jaana

itna bedard hai ye zamaana
haaye hamne na jaana


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.

“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. One song from the movie has been discussed in the blog in the past.

Here is the second song from “Hamaara Ghar”(1950) to appear in the blog. This song is sung by Geeta Dutt and Rafi. Rammurty Chaturvedi 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-Chupke chupke dil mein mere aane waale ho (Hamaara Ghar)(1950) Singers-Geeta Dutt, Rafi, Lyrics-Rammurty Chaturvedi, MD-Chitragupta
Both

Lyrics

chupke chupke dil mein mere aane waale
ho
dekho preet nibhaana
chupke chupke dil mein mere aane waale
ho
dekho preet nibhaana
aji hanste hanste nainon mein bas jaane waale
ho
dekho bhool na jaana
hanste hanste nainon mein bas jaane waale
ho
dekho bhool na jaana

bachpan ke din bhole bhaale
khel khel mein beete
haan khel khel mein beete
bachpan ke din bhole bhaale
khel khel mein beete
ho khel khel mein beete

nayi kahaani kaho baalma
ham haare tum jeete
haan
ham haare tum jeete
nayi kahaani kaho baalma
ham haare tum jeete
haan
ham haare tum jeete

aaj umangon ka hai mela aa
aaj umangon ka hai mela

dheere dheere
dheere dheere rah rah ke tadpaane waale
ho
dekho preet nibhaana
hanste hanste nainon mein bas jaane waale
ho
dekho bhool na jaana

janam janam ke jeewan-saathi
saath kabhi na chhoote
ho saath kabhi na chhoote
janam janam ke jeewan-saathi
saath kabhi na chhoote
haan saath kabhi na chhoote
dekho apne madhur milan ka
taar kabhi na toote
ho taar kabhi na toote
dekho apne madhur milan ka
taar kabhi na toote
ho taar kabhi na toote

tum mere
main bani tumhaari ee
tum mere
main bani tumhaari
jhoom jhoom ke
jhoom jhoom ke dil mera bahlaane waale
ho
dekho preet nibhaana
chupke chupke dil mein mere aane waale
ho
dekho preet nibhaana
hanste hanste nainon mein bas jaane waale
ho
dekho bhool na jaana


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.

Time to Yippeee another film. Today’s film is ‘Humjoli’ – not the one from 1970, but the one from way back in 1946. This film has 10 songs listed in the Geet Kosh. Nine songs have already been showcased here on our blog. The last song for this film was posted in November last year. In that post, Atul ji has commented that the 10th song appears to be elusive, and is yet to be uploaded online. Today, as I checked for this song, I am unable to track it anywhere as yet. I could be wrong, as I have been earlier, maybe just limited by the way I searched for it. So I decided to upload this from my collection.

As per the Geet Kosh, the songs for this film have been written by Anjum Pilibhiti. Once again, not too much information is available about this songwriter, other than he was born in 1917 in the town Pilibhit; that he had a talent for poetry right from childhood, and that he got his first break in the industry with producer director Mehboob Khan, in the film ‘Najma’ from 1943. The songs of this film became very popular and contributed to the commercial success of this film. With that, Anjum became a regular songwriter for films produced by Mehboob Khan. In his entire career, he wrote approximately a little over hundred songs in about two dozen films. His last recorded credit as a songwriter is for the film ‘Akaash Pari’ from 1958. His notable films are ‘Humayun’ (1945), ‘Zeenat’ (1945), ‘1857’ (1946), ‘Anmol Ghadi’ (1946), ‘Anokhi Ada’ (1948), ‘Vidya’ (1948) etc.

The music for this film was created by Hafiz Khan (not to be confused with Khan Mastaana i.e. Hafeez Khan Mastaana, as many online and print sources do).

The star cast for this film includes Noorjehaan, Jairaj, Ghulam Mohammed, Jillo Bai, Mukri, Zeenat, Agha Jaan, Shabnam, Hussaini, Majid, amongst others. The film is produced under the banner of K Abdullah Productions, Bombay and is jointly directed by Ismail Meman and Lukman Ahmed.

The earlier posted nine songs of this film are listed below.

1.       Ye Desh Hamaara Pyaara Hindustan Jahaan Se Nyaara
2.       Koyaliya Boley Jiya Mora Doley
3.       Mori Bipat Suno Girdhaari
4.       Dukh Dard Se Jag Mein Koi Azaad Nahin Hai
5.       Raaz Khulta Nazar Nahin Aata
6.       Phoolon Mein Nazar Ye Kaun Aaya
7.       Kab Tak Teri Duniya Mein Ye Andher Rahega
8.       Jag Ki Sewa Kar Le Bande
9.       Wafaayen Meri Aazmaaoge Kab Tak

 

Although not indicated anywhere in the Geet Kosh, the last song in the above list “Wafaaye Meri Aazmaaoge Kab Tak” is reportedly written by Shams Azimabadi, as per the person who has uploaded that song online.

In terms of the storyline, I have not been able to locate any information so far. I request other knowledgeable and more resourceful friends and readers to please add more information about this film and its songs.

About this song too, there seems to be a little difference about the name of the singer. As we listen to the audio clip, the voice sounds quite much that of Shamshad Begum. This is also the opinion expressed by some other friends. However, the Geet Kosh lists the singer’s name for this song as Noorjehaan. It is possible that the error may be due to what may be printed in the booklets and other print material used as the source for information. Given that Noorjehaan was the leading lady of this film, and given the content of this song, it is my personal opinion that this song would not possibly have been performed on screen by the leading lady. And since Noorjehaan sang playback mostly for her own self, this song’s playback credit to Noorjehaan is most likely an error. However, the other side of the argument also cannot be dismissed as is – which says that the possibility for the on screen voice and the voice on 78 rpm record could be different, as is the case in some known instances. So once again, I request our more knowledgeable readers to kindly add more information to clarify / confirm the correct situation as far as this song is concerned.

With this post, we close the account for this song on our blog – with 10 perfect hits to the boundary. Time to sing the ‘Yippeee’ ditty once again. 🙂

Song – Mori Chanchal Jawaani Muskaaye Re (Humjoli) (1946) Singer – Shamshad BegumLyrics – Anjum Pilibhiti, MD – Hafiz Khan

Lyrics

mori chanchal jawaani muskaaye re
o mori chanchal jawaani muskaaye re
ithlaaye re
ho oo sabka jiya lalchaaye
mori chanchal
o mori chanchal jawaani muskaaye re
ithlaaye re
ho oo sabka jiya lalchaaye

seene mein morey halchal na daaro
dekho ji akhiyaan na maar
seene mein morey halchal na daaro
dekho ji akhiyaan na maaro
aisa na ho kahin ae morey raja
aisa na ho kahin ae morey raja
tumri nazar lag jaaye re
haaye re
tumri nazar lag jaaye re
lag jaaye re
oo oo
sabka jiya lalchaaye
mori chanchal
o mori chanchal jawaani muskaaye re
ithlaaye re
ho oo sabka jiya lalchaaye

chhed karo na main binti karat hoon
chhed karo na main binti karat hoon
torey painyyaan parat hoon
torey painyyaan parat hoon
bhaaye na mohey ye jora jori
bhaaye na mohey ye jora jori
patli kamar bal khaaye re
haaye re
kaahe mohey kalpaaye re
haaye re
kaahe mohey kalpaaye re
oo oo
sabka jiya lalchaaye

o mori chanchal
o mori chanchal jawaani muskaaye re
ithlaaye re
ho oo sabka jiya lalchaaye

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

मोरी चंचल जवानी मुसकाए रे
ओ मोरी चंचल जवानी मुसकाए रे
इठलाये रे
हो ओ सबका जिया ललचाये
मोरी चंचल
ओ मोरी चंचल जवानी मुसकाए रे
इठलाये रे
हो ओ सबका जिया ललचाये

सीने में मोरे हलचल ना डारो
देखो जी अखियाँ ना मारो
सीने में मोरे हलचल ना डारो
देखो जी अखियाँ ना मारो
ऐसा ना हो कहीं ए मोरे राजा
ऐसा ना हो कहीं ए मोरे राजा
तुमरी नजर लग जाये रे
हाए रे
तुमरी नजर लग जाये रे
लग जाये रे
ओ ओ सबका जिया ललचाये
मोरी चंचल
ओ मोरी चंचल जवानी मुसकाए रे
इठलाये रे
हो ओ सबका जिया ललचाये

छेड़ करो ना मैं बिनती करत हूँ
छेड़ करो ना मैं बिनती करत हूँ
तोरे पंईय्यां परत हूँ
तोरे पंईय्यां परत हूँ
भाए ना मोहे ये जोरा जोरी
भाए ना मोहे ये जोरा जोरी
पतली क़मर बल खाये रे
हाए रे
काहे मोहे कलपाए रे
हाए रे
काहे मोहे कलपाए रे
कलपाए रे
ओ ओ सबका जिया ललचाये

ओ मोरी चंचल
ओ मोरी चंचल जवानी मुसकाए रे
इठलाये रे
हो ओ सबका जिया ललचाये


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 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.

Atul ji’s 10K Song Milestone Celebrations – 11
———————————————————————-

#Claimer 🙂 #
“All the thoughts expressed in this write-up are based on real life experience and day to day happenings, feelings, and emotions triggered by such incidences related with the blog and because of the love, admiration and respect for this blog”
Any ‘resemblance’ of the thoughts mentioned in the write-up is very much expected (and is not a mere ‘coincidence’) with ‘everyman’/ ‘everywoman’s thoughts who is ‘Hindi movie buff’ and lover of HFM for which the author should not be held responsible or criticized or punished in ‘any’ form 🙂
Also, as this is the ‘man ki baat’ of the author the ‘word limit’ does not matter 🙂

 This is another one of my long pending posts which I longed to share since couple of years now. I had kept this song reserved for a ‘special occasion’. However as the write-up could not be completed in time, I missed some ‘special occasions’ and so this still remained to be shared.

But then, what could be a better timing and a ‘greater occasion’ than it is to celebrate our Atul ji’s ‘10,000th post’.  So, here we go with this post today heartily Congratulating Atul ji on his 10,000 or 10K posts on the blog!!!

I had actually drafted this post almost two years ago in June of 2015 and this particular song was marked much earlier than that, i.e. around Sep 2014 when I shared the song ‘Hanste Hanste Aana from ‘Raja Rani’ (1942) with Atul ji. That time I was searching for Zohrabai Ambalewaali’s songs so that I can share and do my part in getting her maximum songs on the blog. During that period few songs sung by her were posted regularly on the blog. But, later on it took a back seat. (We are still exactly one short of the half-way mark of Zohrabai Ambalewaali songs, to have covered 133 out 268 songs on the blog sung by her (as per Stats page).

After getting in contact with this blog and Atul ji, when I got this opportunity (after a first ‘rejection’, which was my ‘mistake’ that I had sent in a format with my ‘strings’ as I was then doing while sending my other ‘socio-political’ write-ups to other publications)  of sending my contributions to Atul ji, I was very much excited and initially I was very eager to send as much contributions as I could. I think the highest was eight in one day and like that, and it subsequently got reduced later when I understood that so many contributors sending contributions will only add to problems and issues.

At that time my focus was mainly on the songs from the seventies and songs which I had short listed as ‘my favorite songs’ and ‘songs that brings back memories’. On the blog I found that many of these songs were yet to be posted and so naturally I thought that ONLY the songs that I know – of the seventies mainly – were the songs that were yet to be posted on the blog and all songs of the earlier years must be available there. Ignorant I was of the ‘vast treasure of HFM’ and could not even imagine then, that the total number of songs till 1980 were over 40000 songs, leave alone the songs after 1980.

Well, slowly, as I get along to became aware of the vast treasure of HFM I got more anxious to share the songs I was aware and to see my contributions coming on the blog. So gradually taking from the ‘songs of the 70s (only) (and which brings back my memories of those years), and songs from Rajesh Khanna films to other songs from the black & white era, songs by Sahir Ludhianvi, and songs from earlier decades, then jumping on to songs which I came across during my daily surfing and that were yet to be posted on the blog, and whichever I find interesting, I was eager to share them so that I can get my maximum contributions there.

No doubt my contributions too were coming but not frequently sometimes or as I want them to see ‘a song every day’. 🙂

As I got involved more on the blog and get to interact with other contributors through comments/replies, I tried to guess about the other contributors’ priorities (or likes/dislikes) so as to adjust myself and focus only on selected ‘Projects’ so that all others can get their ‘due’ and nobody is offended even inadvertently by me or my activities.

Simultaneously I began to realize that the songs that were posted on the blog were not coming randomly but the posts have a great deal of serious, sincere, logical and meticulous efforts of Atul ji so I too reduced my flow of contributions and as I took on to sharing my write ups with the songs that I was sharing and I also set certain ‘goals’ for myself (so that I can at least achieve them before declaring ‘my retirement’ 🙂 from the game (Indian cricket playing in my mind 🙂 and leaving behind somewhat satisfactory statistics too 🙂 )

Thus, I shifted my focus to Sahir songs, Rajesh Khanna songs, and songs of the seventies and topics that were coming across through related incidents or memories triggering posts. Other than this there was ‘Yippeeee’ and related browsing, or browsing through posts and adding the ‘links’ wherever they were not working. However sometimes it was so happening that my contributions were coming in flow and sometimes they would not be coming in flow and giving a ‘long wait’ to me to see my contributions there.

Now during all these years (for me since Aug 2012) the daily routine for me has been so changed that whatever the planning that I was doing was not without the blog and so I was browsing the blog every now and then whenever I get time, whether I was at office, in travel or any other place and when at home everything had been centered around the blog or music so life has been overall musical.

And I was enjoying everything that was coming through me in my ‘personal’ and ‘professional’ life too. Inspired and obsessed by ‘Hindi Movies’ and ‘shayari and music’ what more can a ‘common man’ want in his life. Because a ‘common man’ like me and a ‘Hindi movie and HFM lover’ always try to seek answers to ‘questions of life’ in music and many of the ‘philosophical’ situations and songs our movies have. A common man celebrates, enjoys, grieves, gets motivated, inspired, laughs, weeps, and seeks solace in hard times, and struggles in life, in the movies. In my case I was seeking this for a positive and new development taking into stride – ‘come what may’ – and move forward, keep going and getting inspired and motivated by the music.

We try to relate the situations with our real life situations, in particular with the songs or music, if not the story at some times. It is like this,

ज़िंदगी की जद्दोजहद और कशमकश को लफ्जों और तरानों में घोल कर पी लेते हैं और जी लेते हैं
दिलवालों का यही तो फलसफा है॰॰॰

Zindagi ki jaddojehad aur kashmakash ko lafzon aur taraanon mein gholkar pi lete hain aur jee lete hain,
Dilwaalon ka yahi to falsafaa hain…

 This is my own and it did come spontaneously during last month or to put it exactly on 8th March evening when on the birth anniversary of Sahir, Raja ji’s post was there on the blog and I congratulated him saying ‘finally we were able to do it’. Because, when I return back to Nagpur on 7th March evening, after visiting my mother at Parli-Vaijnath (495 kms), I read Atul ji’s message in the ‘whatsapp’ group that he will be on outstation trip for his official work. So I expressed my apprehensions of having no post on the next day which was Sahir’s birth anniversary. So Atul ji advised us to get in touch with Sudhir ji if he can post it. I called upon Sudhir ji and requested him which he readily agreed and then I spoke to Raja ji to know if has already sent the write-ups for the lyrics lying with him. And then I was also to send my post which was lying half done. Finally all was well coordinated and thanks to Sudhir ji the ‘posts’ were there on the blog.

On the other hand all my household was under packing condition as we had to leave Nagpur on 9th March by afternoon or early evening after the truck departs. So I was able to pack my desktop and accessories only on 8th morning after I send my write-up to Sudhir ji on 7th evening. On 8th it was going to be more hectic as I had to pack all the remaining items so that nothing is left for 9th. And, 8th evening we have to visit relatives (from my wife’s side) and 9th morning the relatives ‘from my side’ while returning back to my place.

So, when I congratulate Raja ji on the post, he enquired me when I was leaving Nagpur and when I told him all the above his reply was ‘… in spite of all of this you were still thinking of the blog and on there’!!!
But, what can a person like me do other than this?
Particularly when you are in love with HFM and this blog?

Coming back to contributing to the blog, now, given the change in my place of work and still time to be equipped with all the comforts required for sending a ‘post’, I think I will not be able to contribute that much. But then there are many of contributions still lying there and even if they keep appearing at regular intervals it will be very highly motivational for me in this time when I am away from my family and from ‘the Atulites’ and taken a ‘new challenge’ for myself in the form of a ‘new project’ away from my native country. Though I have brought with me books on my favorites viz. Rajesh Khanna, Sahir and Khayyam Saab, this time I do not carry the Geet Kosh volumes 3 and 5, fearing excess luggage issues. I think I will be able to bring it next time during my first leave to home.
[Ed Note: The author is referring to his job related posting in Kenya.]

So talking of my contributions and when not appearing of them disappointing to me sometimes, I think was better than a ‘lull’ on the blog. Because I was always eager to see posts every now and then coming on the blog, even if my contributions are not featured regularly. And this is the other altogether different angle to this story that if the blog is ‘slow’ or there is ‘no posts’ on the blog then it too is very painful for me. And it is ‘like missing a life from the life’.

The ‘happenings’ on the blog have to continue. The ‘silence’ there would be ‘killing’ and painful’, so there has to be ACTION always …  So there have to be posts and sometimes my posts too 🙂

But how to convey this to Atul ji, because I know that though I have not met him personally he knows me very well through my ‘write-ups’ where it has happened many times where I fail to get the right word to express my thoughts and Atul ji while editing the text have set it in such a perfect way by using lesser words in place of my longer sentences which also took more space 🙂 that I find it perfectly what I mean to convey it.

Well that was all ok, but how to request Atul ji to consider my contributions and post them regularly at least not every day and without longer gaps 🙂 So I thought I would put my ‘feelings’ in the form of poems and send it to Atul ji or recite it in front of him whenever I get to attend a ‘gang out’ and where he also makes it to the gang out or during any of the meetings in person with him.

At that time I had penned two poems (both inspired from Sahir songs J ), one in philosophical mood like ‘kabhi kabhi mere dil mein khayal aata hai’ and the other one also in ‘philosophical’ mood but said in comic way and inspired from Kishore Kumar mood like the song that I shared that time from the movie ‘Girl Friend -1960’ – ‘o madam main paagal hoon’.  The drafts of these two poems are still lying in my draft folder of yahoo mail; un-posted and waiting for the ‘great meeting’ 🙂

Well, keeping aside the disappointments of losing some contributions or non-featuring of my contributions regularly on the blog this is because of sheer love for the blog and the respect, admiration and love for Atul ji that I am writing this post here. And on this special occasion I would specially like to mention here that above all Atul ji is a ‘writer and editor par excellence’.

And in spite of his not conceding to ‘my various requests’ sometimes, if I were a ‘journalist’ I would have always preferred to work under his leadership since whatever he does is in the ‘bigger interest’ which was this blog and the service to the music lovers. So, whenever he would post my contributions, I always thought that this was the right time they were coming and Atul ji was very rightly holding them and like that.

 

At this moment there are many things, particularly his many posts which talks of ‘ISO’ like terminology e.g. ‘continual improvement’, and ‘earning through working (read his posts on Mehmood songs), then I always like his posts dealing with ‘social issues’ and yet not sounding talking of ‘personal’ or ‘offensive’ on the defaulters who are somehow doing harm to the society and in turn the nation (through their actions or behavior), for which I am unable to keep restrain.

At this point I also remember many of Atul ji’s posts wherein he have mentioned about social issues (though not directly hitting at it many times) I came to think of personalities like V Shantaram, BR Chopra, Sahir Ludhianvi and many others who deliberately choose ‘movies’ to convey their message to reach to the masses. And here I can relate this blog and Atul ji with doing this service and spreading ‘positivity’ and ‘motivating people’ in the right direction through his ‘writings’ on this blog.

I could only imagine Atul ji’s creativity when he just mix together the so many aspects of ‘management’ (which nowadays are common at our ‘workplaces’ ) and which most of us fondly talk (and may sometimes be practicing also in our day to day life or work). And think of the blog, think of the objective of the blog, and just think of the ‘ocean of songs’ (the so many requests, the contributions etc) which Atul ji is ‘sitting on’ (yes there is a post where he mentioned this, I am forgetting this post and given the very limited resources that I have at my hands now, I am unable to browse the blog and search and locate the post, and would request Atul ji to guide me which this post is in his comments)

As a writer I can only imagine this god gifted creative excellence that Atul ji has and practicing them which is evident there in his posts and the ‘editor par excellence’ in him, I wonder if I was in his place would I have been able to do the same – ‘justice with all’.

I can go on writing and writing about Atul ji and his posts which given the limitations I have not able to recollect now. Because it is already over a month now that I could not browse the blog I used to do equipped with all my resources.

Lastly I would thank Atul ji for this wonderful gift and the everlasting joy that he has given to me and all of us in the form of this wonderful blog and all those memorable posts and many many memorable moments and memories that I will cherish till I am here on this ‘earth’.

 

As mentioned above I came across the today’s song when I shared a song from the ‘1942- Raja Rani’. At the same time I noticed this link while searching for Zohrabai Ambaalewali’s song. Now the YT uploader had mentioned the film’s name which is sounds to me something interesting which was ‘mayra geet’. And I didn’t think if this would be a film’s name. I expanded my search on myswar.com by entering the title of song and got this film there. And OMG this film too had 16 numbers of songs. The other movie which I came across during the same time i.e. ‘Raja Rani’ had 14 songs’. So on that day we find thirty songs to make it on the blog.

Though the YT uploader has mentioned the singer’s name as Zohrabai Ambaalewali (and I too think like that) myswar.com is ‘silent’ about the singer’s name of this song. So I was searching for the authentic information and this came when I met Shri Deepak Chowdhari (a great music lover and record collector) at the Nov’16 Mumabi gang out.

After the meeting I had requested him to send me the photo of songs details of this movie ‘Mera Geet’ (1946) from HFGK Vol-II since I do not have the copy of this volume. He had promptly sent it then to me, but the post got delayed and due to change in ‘work place’ and change in my phone number I lost the details sent on ‘whatsapp’. After coming to my new location outside India and thinking of completing this post and introducing this song I again requested him to send these details and he once again sent me that. My sincere thanks to him!!!

This movie has now already been introduced on the blog (and thankfully leaving aside this song, which I had been in between requesting him to hold on) by our Atul ji I am not mentioning the details here now.

I would also like to mention here that the lyrics in Devnagri script are provided by my daughter Ashwini whom I asked to do it as I do not want to break the symmetry in my ‘posts’. And given the limited resources at my disposal here I was not able to do it from here. So I asked my daughter to do it and explained to her how it works (as the settings are already there on my PC at home). I also told her to type the ‘English’ lyrics exactly as I had spelt them. While I was worrying if she could be able to do it correctly, I was surprised to note that she had done it without any mistake.

Well, today’s song is composed by Ghulam Miyaan (there were five music directors who contribute for this movie). Lyrics for the song are by Ramesh Gupta who is the lyricist for all songs of this movie. The singers’ names are not mentioned in HFGK. The same are noted by Shri Chowdhari in his copy of HFGK. The singer for this song is Zohrabai Ambalewaali (which I am also sure), however I think that there are two voices in this song, the other I am unable to identify. I would request knowledgeable readers to throw more light on this.

So from a ‘common man’ and ‘music lover’ here is this ‘lovely song’ which makes a request ‘rooth na jaana’ to Atul ji, this blog ASAD, Atulites (respected members), visitors, well-wishers and readers of this blog.

Awaiting many thousand more songs on this blog, from you, dear Atul ji.


Song – Hum Se Roothe Hi Bhale Saara Zamaana (Mera Geet) (1946) Singer – Zohrabai, Unidentified Female Voice, Lyrics – Ramesh Gupta, MD – Ghulam Miyaan
Zohrabai + Unidentified Female Voice

Lyrics

hum se roothhe hi bhale..ae
saaraa zamaanaa
magar tum
rooth na jaana
hum se roothhe hi bhale..ae
saaraa zamaanaa
magar tum
rooth na jaana

jo hum ko chhodna chaahe
balaa se chhod jaaye
ho balaa se chhod jaaye
jo mukhdaa modna chaahe
balaa se mod jaaye
ho balaa se mod jaaye
balaa se dushman baney
saara zamaana
balaa se dushman baney
saara zamaana
magar tum rooth na jaana
hamse roothhe hi bhale..ae
saara zamaana
magar tum
rooth na jaana

hamaari dekh ke ulfat
mohalle waale jalte hain
kayi ladkon ke dil par
haaye
kayi ladkon ke dil par haaye
gham ke aarey chalte hain
jalnewaalon ko
aji aur jalaana
jalnewaalon ko
aji aur jalaana
magar tum rooth na jaana
hamse roothhe hi bhale..ae
saaraa zamaanaa
magar tum
rooth na jaana

jab se dekha hai tumhe..ae
duniya ka gham bhool gaye
ae ae ae ae ae
waah kya kehne ae
jab se dekha hai tumhe
duniya ka gham bhool gaye ae ae ae
aa aa aa
aa aa aa aa aa aa
kaun the kya huye
hum teri kasam bhool gaye
koi kehta hai majnu
koi deewaana
koi kehta hai majnu
koi deewaana
magar tum rooth na jaana
hamse roothhe hi bhale..ae
saaraa zamaanaa
magar tum
rooth na jaana
hamse roothhe hi bhale..ae          
saaraa zamaanaa
magar tum
rooth na jaana

o jaana
rooth na jaana aa


———————————-
Hindi script lyrics (Provided by Ashwini Scrapwaala)
———————————–

हमसे रूठे ही भले॰॰ए
सारा ज़माना
मगर तुम
रूठ न जाना
हमसे रूठे ही भले॰॰ए
सारा ज़माना आ
मगर तुम
रूठ न जाना  

जो हमको छोड़ना चाहे
बला से छोड़ जाए
हो बला से छोड़ जाए
जो मुखड़ा मोड़ना चाहे
बला से मोड़ जाए
हो बला से मोड़ जाए
बला से दुश्मन बने
सारा ज़माना
बला से दुश्मन बने
सारा ज़माना
मगर तुम रूठ न जाना
हमसे रूठे ही भले॰॰ए
सारा ज़माना आ
मगर तुम  
रूठ न जाना

हमारी देख के उल्फत
मोहल्लेवाले जलते है
कई लड़कों के दिल पर
हाए
कई लड़कों के दिल पर हाए
ग़म के आरे चलते है
जलनेवालों को
अजी और
जलाना
जलनेवालो को
अजी और
जलाना
मगर तुम रूठ न जाना
हमसे रूठे ही भले॰॰ए
सारा ज़माना
मगर तुम  
रूठ न जाना

जब से देखा है तुम्हे
दुनिया का गम भूल गए
ए ए ए ए ए
वाह क्या कहने 
जब से देखा है तुम्हे ए ए
दुनिया का गम भूल गए ए ए ए
आ आ आ
आ आ आ आ आ आ
कौन थे क्या हुए
हम तेरी कसम भूल गए
कोई कहता है मजनू
कोई दीवाना
कोई कहता है मजनू
कोई दीवाना
मगर तुम रूठ न जाना
हमसे रूठे ही भले॰॰ए
सारा ज़माना आ
मगर तुम
रूठ न जाना
हमसे रूठे ही भले॰॰ए
सारा ज़माना आ
मगर तुम  
रूठ न जाना
ओ जाना
रूठ न जाना


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

BINDIYA (1946) was produced under the banner of Sun Art Pictures and was directed by Chimanlal Luhar. The star cast included Amar, Ragini, E Billimoria, Kamal Zamindar, Leela Mishra, Pratima Devi, Shakir, Bhagwandas, Leela Pawar etc. The film was reviewed in August 1946 issue of ‘Filmindia’. I was surprised to find for a change that the review was somewhat lengthier than the usual. After reading the review, I came to know as to why it was so. The additional length of the review was utilised for heavily criticising the director of the film for his inapt handling of the emotional scenes and for Prabhulal Dwivedi, the story writer for the film story based on a mix of several mythological stories.

I have attempted to make a condensed version of the review which is given below:

Raja Ganesh Prasad disappears leaving his wife, a little son and a huge property to his manager, Jagdish. Over a period of time, Jagdish misappropriates the property and expels the mother and the child. He now takes a new title, Raja Jagdish Prasad. He has a new manager, Prakash (E Billimoria) who is an ambitious and a greedy person. He has an eye over the huge property and Jyoti (Ragini), the daughter of Raja Jagdish Prasad.

As the years passed, the mother, Saraswati and the grown up son, Niranjan (Amar) devote their time for the services of the villagers. Prakash makes the first move towards his goal by arresting a cashier of the firm on a false charge. This brings Niranjan in the direct confrontation with Prakash. After the intervention of Raja Jagdish Prasad, the cashier is let off.

During the course of the negotiation for releasing the cashier, Niranjan introduces himself as the son of Raja Ganesh Prasad which makes Raja Jagdish Prasad uncomfortable. He gets a heart attack. He decides that the property which he had misappropriated from Raja Ganesh Prasad should be given back to Niranjan. But this is not to the liking of Prakash who now plans to frame up Niranjan. He also starts blackmailing Raja Jagsidh Prasad of his wrong doings.

In the meanwhile Jyoti, who is now in college, suddenly finds one sadhu giving astrological prediction and tells Jyoti that she is destined to become a widow on the day of her marriage. He also gives a prediction to Prakash that he would have blood of his father on his hand and tells another person that soon police will put chain around his wrists. This was all the handiwork of Prakash as he wanted to frame Niranjan. However, instead of Niranjan, another person is arrested by the police and chained on his wrists. So the first of Sadhu’s predictions has become true by design.

Jyoti loves Prakash and is about to get married. But Prakash backs out when he comes to know that Raja Jagdish Prakash would not give him the gold during the marriage. The story now takes an unusual turn. Jyoti gets married to Nirnajan under a tree in a forest and at that very time the lightning strikes Niranajan who is deemed killed. Jyoti becomes widow on the day of her marriage as predicted by the sadhu.

After some crying and wailing followed by singing of a song over her loss, a group of sanyasi finds Niranjan very much alive. The hero and the heroine are united. Prakash, the villain has a change of heart thanks to the group of sanyasis, the head of which is none other than Raja Ganesh Prasad. The film ends with a happy note.

BINDIYA (1946) had 11 songs written by Pandit Madhur (9) and Rammurthi Chaturvedi (2) which have been set to music by Kamal Dasgupta. Here is the first song ‘baadal baras baras ke tu paighaam suna de’ from the film to appear on the Blog. It is a multiple version song – the first one being duet sung by Amar and Kalyani Das. The second version is a solo sung by Kalyani Das with different antara lyrics. Both the versions of the songs are written by Pandit Madhur.

Since Amar is a lead actor in the film, it is apparent that the duet version is picturised on Amar and Ragini. In the film review referred to above, there is a mention that immediately after the marriage, Niranjan (Amar) is deemed to be killed by a lightning strike. At that time, Jyoti (Ragini) sings the song lamenting over her loss of ‘bhaag kaa sindoor’. After the end of the song, both Jyoti and Niranjan slowly walk towards each other and are united. The solo version of the song seems to fit in the situation.

With these songs, ‘Bindiya’ (1946) makes its debut in the Blog.

Duet Version :

Female Solo Version :

Song-Baadal baras baras ke tu paighaam suna de (Bindiya)(1946) Singers-Amar, Kalyani Das, Both/ Kalyani Das, Lyrics-Pt Madhur, MD-Kamal Dasgupta

Lyrics
—————————–
Duet version
—————————–

baadal baras baras ke
baadal baras baras ke tu
paighaam suna de
paighaam suna de
paimaana choor choor hai
tooti hai suraahi
har oar gham hai dard hai
aansoo hai tabaahi
manzil abhi baaqi hi rahi
thhak gaya raahi
hai door kinaara
usse tu paas mein laa de
manzil abhi baaqi hi rahi
thhak gaya raahi
hai door kinaara
usse tu paas mein laa de
baadal baras baras ke tu
paighaam suna de
paighaam suna de

deepak ne raushni bhi di
aur ghar bhi jalaaya
aur ghar bhi jalaaya
deepak ne raushni bhi di
aur ghar bhi jalaaya
aur ghar bhi jalaaya
sooraj ne jal ke chaand kaa
sansaar basaaya
sansaar basaaya
sooraj ne jal ke chaand kaa
sansaar basaaya
sansaar basaaya

parde mein chhupi zindagi
parde mein chhupi zindagi
parda tu hataa de ae ae
parda tu hataa de
parde mein chhupi zindagi
parda tu hataa de ae ae ae
parda tu hataa de
taqdeer ke likkhe ko mita de
tu mita de ae
taqdeer ke likkhe ko mita de
tu mita de
mita de
mita de ae

————————
Female Solo Version
————————-
baadal garaj garaj ke
baadal garaj garaj ke tu
paighaam suna de ae ae ae
paighaam suna de
baadal garaj garaj ke tu
paighaam suna de ae ae
paighaam suna de
dharti se aasmaan tak
dharti se aasmaan tak
toofaan macha de ae ae ae
toofaan macha de
dharti se aasmaan tak
toofaan macha de ae ae ae
toofaan macha de

haathhon se abhi mehandi bhi
ho na saki door
haathhon se abhi mehandi bhi
ho na saki door
hai loot liya jisne mere bhaag kaa sindoor
hai loot liya jisne mere bhaag kaa sindoor
uss lootne waale kaa dil ek baar
ek baar
ek baar hi la de ae ae
ek baar hi la de
baadal garaj garaj ke tu
paighaam suna de ae ae
paighaam suna de
baadal garaj garaj ke tu
paighaam suna de ae ae
paighaam suna de…ae


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.

“Dilruba” (1950) was directed by Dwarka Khosla for Lotus Orient Films, Bombay. The movie had Rehana, Dev Anand, Yakoob, Cuckoo, Balam, Achala Sachdev, Gogia Pasha etc in it.

This movie had eleven songs in it which were penned by six lyricists. The breakup of lyricists is known for six songs. Lyricists for the remaining five songs are not known. P L Santoshi and D N Madhok are among the six lyricists and the songs penned by them are not known. So most likely these two lyricists had penned some/ most/all of these five songs.

Ten songs from “Dilruba” (1950) have been discussed in the past. Here is the eleventh and final song from the movie to appear in the blog. This song is sung by Pramodini Desai, G M Durrani and chorus. Gyan Dutt is the music director. This is one of those songs of the movie whose lyricist is not known.

The song is picturised on several female dancers who sing in chorus. It is Cuckkoo who lip syncs and dances in Pramodini Desai’s voice. I am unable to idenntify the actor who lip syncs in G M Durrani’s voice. I request our knowledgeable readers to help identify the actor.

I have not been able to get a few words right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.

With this song, “Dilruba” (1950) joins the list of movies that have all their songs covered in the blog.


Song-Chiraiyya udi jaaye re (Dilruba)(1950) Singers-Pramodini Desai, G M Durrani, MD-Gyan Dutt
Chorus

Lyrics

Chiraiyya udi jaaye re
Chiraiyya udi jaaye re
Chiraiyya udi jaaye re
Chiraiyya udi jaaye re

dil ka pinjra khaali
tu ismein aaja
tu ismein aaja
o bulbul matwaali
tu ismein aaja
arri tu ismein aaja

mahanga padega more raaja
o more raaja
mahanga padega more raaja

ye bulbul preet ke moti khaaye re
bulbul preet ke moti khaaye re
chiraiyya udi jaaye re
chiraiyya udi jaaye re
chiraiyya udi jaaye re
chiraiyya udi jaaye re
chiraiyya udi jaaye re
chiraiyya udi jaaye re

aankhon ka main jaal bichhaa loon
tujhko main chup-chaap phansa loon
dil mein bithhaa loon
aankhon ka main jaal bichhaa loon
tujhko main chupchaap phansa loon
dil mein bithhaa doon

phir to ?? na bin paani
banke ?? raani
phir to ?? na bin paani
banke ?? raani
har dam tere hi gun gaaye re
har dam tere hi gun gaaye re
chiraiyya udi jaaye re
chiraiyya udi jaaye re
chiraiyya udi jaaye re
chiraiyya udi jaaye re


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

The song which I heard today for the first time, made me to prepare a short write up on it. The song is ‘uthhaa hai ik toofaan seene mein hai talaatum’ sung by Shamshad Begum in the film CHILMAN/JANNAT (1949). The poignant song was written by M K Chibbar and was set to music by Hanuman Prasad. By the way, I came across for the first time, the Urdu word ‘talaatum’ in the song. According to http://www.rekhta.org, the word means ‘dashing of waves, sea storm, or upheaval’.

I had come to know from ‘Filmindia’ magazines of 1949 that the film was originally titled CHILMAN (1949) as all advertisements and the film’s still photographs were in the name of CHILMAN. From the magazines, it is not known as to when the name of the film was changed to JANNAT (1949). Both the films have the same banner and the same director, viz O S S Productions (Orient Sound Studio Production) and M Changezy, respectively. The main star casts in both these films were the same – Ajit, Rehana, Shanti Madhok, Pritama Malhotra, Nazir Kashmiri, Anwari etc.

The change in title of the film at the last moment before the release is not new to the Hindi film industry. Off hand, I can recall that the film’s title ‘Dil Hi To Hai’ (1939) was changed to ‘Aulad’ (1939) at the time of its release. Similarly, ‘Dil Ki Aawaz’ (1948) was released as ‘Anokha Pyaar’ (1948). However, in case of ‘Chilman’ (1949), the film, in its new avatar as ‘Jannat’ was released with the original 10 songs of ‘Chilman’ (1949) and two additional songs – both the songs being sung by Kalyani (I have not heard these two songs. So I am not able to say whether these two songs were sung by Kalyani Das or Kalyani Bai). In this context, I reproduced below the comments by Sudhir ji on my post zahe kismat teri mehfil se jo paighaam aaya hai which solves the ‘puzzle’:

Regarding the two films, ‘Chilman’ and ‘Jannat’; yes, they are the same film. Released once, and then re-released under a different banner (financial compulsions maybe – one banner selling the rights to the movie to another banner, and the re-release happens in a different name to avoid any legal complications). The peculiar thing would be that it is re-released within the same year. As you have pointed out, all songs of ‘Chilman’ are also present in ‘Jannat’, and that ‘Jannat’ has two extra songs.

This means that ‘Chilman’ (1949) was released first with 10 songs and later on it was once again released as ‘Jannat’ (1949) after some re-shooting and adding two songs as mentioned above. The change in banners of these two films was only cosmetic. ‘Chilman’ was produced under the banner of O S S Productions. When the ‘Jannat’ was released, the name of the banner was changed to Orient Sound Studio Production, the full form of the earlier banner.

Shamshad Begum is mainly known for singing light-hearted songs which have become very popular. But the song under discussion is a poignant one and in my view she has beautifully rendered the song keeping her high throated voice in control. I wish, music directors especially of 1950s and 1960s could have utilised her voice more often for such type of songs which in those years went mainly to Lata Mangeshkar by default.

This is the song which has one of the best amalgams of voice, melody and lyrics. Unfortunately, the song did not become popular probably due to the failure of the film at the box office.


Song-Uthhaa hai ik toofaan (Chilman/ Jannat)(1949) Singer-Shamshad Begam, Lyrics-M K Chhibbar, MD-Hanuman Prasad

Lyrics

uthhaa hai ik toofaan
seene mein hai talaatum
uthhaa hai ik toofaan
seene mein hai talaatum
jee ho raha hai bekal
khushiyaan palat gayi hain
dil hai mera pareshaan
dil hai mera pareshaan
uthhaa hai ik toofaan
seene mein hai talaatum

kyun chaand chhup raha hai
bijli chamak rahi hai
main jaanti hoon meri
kismet pe hans rahi hai
kismet pe hans rahi hai
main ho rahi hoon hairaan
main ho rahi hoon hairaan
uthhaa hai ik toofaan
seene mein hai talaatum

maathhe pe kya likha hai
ye kaun jaanta hai
kismet zama ke meri
khaamosh ho gayi hai
khaamosh ho gayi hai
nikle na dil ke armaan
nikle na dil ke armaan
uthhaa hai ik toofaan
seene mein hai talaatum

aayi khabar khushi ki
ik aas paa gayi hai
ab hai gham e judaai
milne ki phir khushi hai
milne ki phir khushi hai
dil ho raha hai shaidaa
dil ho raha hai shaidaa
uthhaa hai ik toofaan
seene mein hai talaatum


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.

With this post, the blog has now clocked thirteen thousand two hundred unique songs. It may be so that these century milestone are now an expected regularity. But then, it is these (now) minor milestones, that come together and collectively put together and characterize the larger milestones – A journey of a thousand steps is made up of a thousand steps.

Congratulations to all members of the bandwagon. This, and many, many more such milestones put together, are the entire story of this blog.  The ‘wood’ is the outspread treasure that is dear to us, and every ‘tree’ is a different fruit, different flavor. The ‘wood’ – it is our honor and pride. The ‘trees’ – each one is a feast of different flavor and listening pleasure.

As we saunter about the woods and seek to explore newer flavors, the senses want to come to explore and to taste the rare and untouched flavors. The ritual is consistent and persistent. And the wood, it is rife with trees of un-tasted flavors, some of them so rare that it is a realization and a triumph, to be able to seek them, touch them, feel them, and partake of its flavor.

It is an anniversary also that we are celebrating with this song. In the 1940s and 1950s, there was a music director active whose name is simply Premnath. (Mind you, different from the actor Premnath). Today is the anniversary of the passing away of music director Premnath.

One of the mysterious and enigmatic names in the history of Hindi film music – Premnath belongs to that list of music directors who have a reasonably sized body of work spread over a good number of years; and yet, despite having a recognizable body of work, there is very little of almost nothing known about him. I have searched and checked with some of the more important sources of information relating to Hindi films and film music. But have consistently drawn a blank. Pankaj Raag in his book, ‘Dhunon Ki Yatra’, has put in almost a full page to this music director. But the write up is more of a sampling of Premnath’s body of work.

Premnath was born in the town of Gujranwala (now in Pakistan), on 5th July, 1918. His education as well as training in classical music happened in Multan, Lahore and Amritsar. In his early twenties, he gravitated to the nascent Punjabi film industry and Lahore. His did act in small roles – one film identified by Pankaj Raag is ‘Shehar e Khamoshi’. The author also identifies a film ‘Sohni Mahiwal’ from 1938, in which he also sang a song.

In the first half of1940s, he got married and migrated to Bombay in search of a career in films. In 1946, he made his debut in the Bombay film industry as a music director, with the film ‘Rangbhoomi’. With a certain regularity, he would be directing the music for one to three films over a little less than a decade or so.

In 1947 came ‘Dehati’, ‘Pehla Pyaar’ and ‘Chandrahaas’. 1948 saw the release of his most discussed film, ‘Chaand Sitaare’ which carries the popular “Kaali Ghataayen Hain, Thandi Hawaaein Hain” in the voice of Mukesh. As per available information, Premnath was also the producer of ‘Chaand Sitaare’. This film also has some more notable songs in the voices of Shamshad Begum and Geeta Dutt. In 1951 came ‘Alakh Niranjan’ and ‘Maaya Machhindra’. Then there is a gap of a few years, and Premnath reappears as music director in 1959 with the religious film ‘Sati Vaishalini’. In the interim he recorded some songs for the film ‘Qaatil Kaun’, but that one remained unreleased. The career slowly fading away, he appeared as a joint music director for ‘Main Hoon Jaadugar’ (1965) with Nashaad, and for ‘Tarzan In Fairyland’ (1968) with Jimmy (James Singh).

In the few films that he has worked on, there are some notable gems as one gets to listen. The rare song being presented today, in the voice of Amirbai Karnataki Rajkumari Dubey, is a delightful composition. The words are from the pen of Rammurty Chaturvedi. Names that are obscure and unfamiliar, have come together to create a beautiful song that is a pleasure to listen to.

Song – Se Naina, Morey Naina Jhuk Jhuk Jaayen (Dehati) (1947) Singers – Rajkumari, Lyrics – Rammurty Chaturvedi, MD – Premnath

Lyrics

sharam se naina

sharam se naina
sharam se naina
morey naina jhuk jhuk jaayen
sharam se naina
morey naina jhuk jhuk jaayen
sharam se naina
chori chori chupke chupke
jab shyam hamaare ghar aayen
sharam se naina
morey naina jhuk jhuk jaayen
sharam se naina

door rahen to paas bulaaun
paas bulaaun
door rahen to paas bulaaun
paas bulaaun
paas rahen kuchh keh na paaun
keh na paaun
paas rahen kuchh keh na paaun
keh na paaun
bina kahe main samajh naa paaun
kya samjhe samjhaaun
bina kahe main samajh naa paaun
kya samjhe samjhaaun
sharam se naina
sharam se naina
o sharam se naina
morey naina jhuk jhuk jaayen
sharam se naina
morey naina jhuk jhuk jaayen
sharam se naina

jiya hamaara dag mag doley
dag mag doley
paagal mann
mann hi mann boley
main mein boley
jiya hamaara dag mag doley
dag mag doley
paagal mann
mann hi mann boley
main mein boley
bichhde shyam miley hain aa ke
kaise preet jataaun
sharam se naina
sharam se naina
ho sharam se naina
morey naina jhuk jhuk jaayen
sharam se naina
chori chori chupke chupke
jab shyam hamaare ghar aayen
sharam se naina
morey naina jhuk jhuk jaayen
sharam se naina

———————————————————

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

शरम से नैना

शरम से नैना
शरम से नैना
मोरे नैना झुक झुक जाएँ
शरम से नैना
मोरे नैना झुक झुक जाएँ
शरम से नैना
चोरी चोरी चुपके चुपके
जब श्याम हमारे घर आयें
शरम से नैना
मोरे नैना झुक झुक जाएँ
शरम से नैना

दूर रहें तो पास बुलाऊँ
पास बुलाऊँ
दूर रहें तो पास बुलाऊँ
पास बुलाऊँ
पास रहें कुछ कह ना पाऊँ
कह ना पाऊँ
पास रहें कुछ कह ना पाऊँ
कह ना पाऊँ
बिना कहे मैं समझ ना पाऊँ
क्या समझे समझाऊँ
बिना कहे मैं समझ ना पाऊँ
क्या समझे समझाऊँ
शरम से नैना
शरम से नैना
ओ शरम से नैना
मोरे नैना झुक झुक जाएँ
शरम से नैना
मोरे नैना झुक झुक जाएँ
शरम से नैना

जिया हमारा डगमग डोले
डगमग डोले
पागल मन मन ही मन बोले
मन में बोले
जिया हमारा डगमग डोले
डगमग डोले
पागल मन मन ही मन बोले
मन में बोले
बिछड़े श्याम मिले हैं आके
कैसे प्रीत जताऊँ
बिछड़े श्याम मिले हैं आके
कैसे प्रीत जताऊँ
शरम से नैना
शरम से नैना
हो शरम से नैना
मोरे नैना झुक झुक जाएँ
शरम से नैना
चोरी चोरी चुपके चुपके
जब श्याम हमारे घर आयें
शरम से नैना
मोरे नैना झुक झुक जाएँ
शरम से नैना


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What is this blog all about

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

This is a labour of love, where "new" songs are added every day, and that has been the case for more than eight years. This blog has over 13200 song posts by now.

This blog is active and online for over 3150 days since its beginning on 19 july 2008.

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