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Bolo bhee Bhagwaan

Posted by: on: February 16, 2024


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

Blog Day :

 5691 Post No. : 18208

Today’s song is from the film ‘Maa Baap ki Laaj’-1946.

The film was made by Hind Pictures – owned by actor, director and producer Nazir Ahmed Khan. However, in this film, though he acted as the Hero, he did not direct the film. The film was directed by Nanubhai Bhatt. For Nanubhai this film was a ‘ hard to come by’ social film for direction, because he was known as a director for B and C grade stunt and costume films only. The cast of the film was Swarnalata, Nazir, Jayant, Kusum Deshpande, Majid, Gulab, Anwari and many others.

The Music Director was Alla Rakha Qureshi, who became famous as an International Tabla Player (and the father of more famous son Zakir Hussain), after he left the film industry. This case of Alla Rakha is not unique. Hindi film industry has been a Mayanagari and an attraction for millions of indian people since the Talkie started. The experts of classical music- Vocal as well as instrumental-were not exceptions. The history of films has many such experts who could not resist its attraction and had joined it – albeit for a short period- before they returned to their first love and excelled in that field.

Names of expert vocal classical musicians who tried their hand at films are many. here are some names like Firoz dastoor, Manakabai Shirodkar, Ram Marathe, B.R.Deodhar, D.V.Paluskar, manik Verma, Shobha Gurtu, Bade Ghulam Ali Khan, S.D.Batish , Laxi Shankar, Pt. Amarnath Chawla, Pty. Bhishmadev Chatterjee and the famous sibling trio of Hirabai Badodekar, Saraswati rane and Suresh babu Mane etc. This list is only indicative and not exhaustive, please.
Expert instrumentalista like Ravi Shankar, Ali Akbar khan and Bismilla khan are also in this list. The case of Alla Rakha is one of these musicians.

Ustad Allah Rakha, born as Allah Rakha Khan Qureshi, was born in Jammu and Kashmir on 29-4-1919. He was an Indian tabla player who popularised the art of tabla playing all over the world. Allah Rakha was born to a soldier, who later returned from the army and worked as a farmer after that to earn his bread and butter. Being the eldest of seven sons, his father did not expect him to learn music and opposed his idea of learning classical music.

Ustad Allah Rakha, as a young boy of 12 years, found the instrument fascinating while visiting his uncle in Gurdaspur. His inclination towards Indian classical music and the Performing Arts made him run away to Lahore for further learning, as he found little scope of learning the art-form in his home-town. Allah Rakha studied at the Punjab school of classical music (gharana) where he became a student of Ustad Mian Khadarbaksh Pakhawaji (Mian Quader Bakshi). He was trained to be a singer under Ustad Ashiq Hussain.

Allah Rakha was also associated with theater as he lived in Pathankot for sometime and worked for a theater company. In 1930, Allah Rakha worked at radio station in Lahore. According to reports, he moved to Delhi after six years, in 1936, to work with All India Radio. In 1940, he moved to Bombay and worked with Pandit Ravi Shankar and again on All India Radio. He was the station’s first ever tabla solo player then.

After which he even composed music for 42 Hindi films from 1943 to 1958. His first film as a MD was Mahasati Anusuya-43 and the last released film was Idd ka chaand-64. He even sang 14 songs in 7 films between 1942 to 1949.He worked mostly in films made by Hind Pictures, Magnet films, Sunrise films and Mohan studios of Dave brothers. Barring 1 or 2 films like “Bewafa”-52, he got only C grade stunt films or Muslim ibadat films. He gave music in 3 Punjabi Films Madari -1950,Fumman-1951, Jagga-1964. He gave BG music in PYar Ki Baatein 1951. He acted in Aabida- 1947. Uma Devi (Tuntun) first sang in Wamiq Azra-46 under MD A R Qureshi.

Ustad Allah Rakha had married twice. He was first married to Bavi Begum and had three sons, Zakir Hussain, Fazal Qureshi and Taufiq Qureshi and two daughters Khurshid Aulia née Qureshi and Razia. Razia served him in his later years and was like a constant companion to her father. She died after a routine cataract surgery and Allah Rakha could not cope with the shock of her death and immediately slipped into a coma and passed away within 24 hours on 3-2-2000. Zakir Hussain is one of the most renowned tabla players of India.

Allah Rakha’s son Zakir Hussain grew up to be another legend in the country. Zakir Hussain has also been honoured with the Padma Shri in 1988 and the Padma Bhushan in 2002, by the Government of India. The honour that was bestowed upon his father by the Sangeet Natak Akademi came to him as well in 1990. Hussain has been working in films and on albums in India as well as abroad. Hussain owes his career to his father, who had made sure that he remained focused on this art-form.

Ustad Allah Rakha had established the Alla Rakha Institute of Music in Bombay in 1986 and imparted his knowledge of the instrument to all his disciples in the institute. Allah Rakha and sitar maestro Pandit Ravi Shankar brought classical Hindustani music to Western audiences as well. He was honoured with the Padma Shri Award by the Government of India in 1977 for his contributions to elevate the reach of tabla playing as an art form across the globe. Later on, Sangeet Natak Akademi also honoured him.

Ustad Allah Rakha and sitar maestro Pandit Ravi Shankar brought classical Hindustani music to Western audiences as well. Their partnership reached legendary heights with performances at the Monterey Pop Festival in 1967 and the Woodstock Festival in 1969. The two performed together in many festivals and elevated the respect and popularity of tabla playing as an art form. Other than Pandit Ravi Shankar, he also worked with renowned Kathak dancers like Sitara Devi and Birju Maharaj.

Ustad Allah Rakha found fans not only in India but abroad as well. Reportedly, American percussionist, the Grateful Dead’s Mickey Hart, was his huge fan. Hart always tried to learn from him even from single visits that Ustad used to make to his country. Hart was also quoted saying, “Alla Rakha is the Einstein, the Picasso; he is the highest form of rhythmic development on this planet.”

Other than the Grateful Dead drummer, Mickey Hart, Ustad Allah Rakha inspired George Harrison from The Beatles as well. Both of them performed together for a Concert for Bangladesh in 1971. Mickey Hart also collaborated with him for Rolling Thunder in 1972. The picture we have here is of Hell’s Angels member Terry The Tramp with tabla player Ustad Alla Rakha as they were set to perform together at the Monterey International Pop Festival, June 17th, 1967. He had collaborated with many prominent rock groups.

While Ustad used to generally team up with Pandit Ravi Shankar for his performances, he once collaborated with jazz drummer Buddy Rich for an album, Rich à la Rakha in 1968. Some of his greatest works have been in the form of albums Improvisations, West Meets East, Album 3 (with Ravi Shankar, Yehudi Menuhin, Jean Pierre Rampel, Martine Gelliot), Angel (1976), Master Drummers with Zakir Hussain (1991), Tabla Duet, Chhanda Dhara (1994), Ultimate in Taal-vidya, Magnasound/OMI (1996).

Film Maa Baap ki Laaj-1946 was a story of 2 sisters who were not twins, unlike in an earlier film ” Muqabala”-1942 wherein the Fearless Nadia had played the roles of twin sisters, in a double role. The story of this film was…..

A widow mother has 2 daughters-Bimla and Kamala. Elder one Bimla (Kusum) is in love with Sharat (Jayant) and both are modern minded. The younger Kamala (Swarnalata) is Traditional minded. Bimla’s marriage is fixed with Anup (Nazir), who is a traditional boy. Bimla, to avoid the marriage, runs away with Sharat. To save the family’s ‘Izzat’, Kamala is married to Anup. His mother Gangubai (Gulab) is shrewd and troubles Kamala very much, but she bears everything to make everyone happy. Slowly Gangubai’s opinion changes. All are happy with her now.
Meanwhile Bimla and Sharat’s life is miserable as his job is gone and money is gone due to their extravagant habits and modern style of enjoying life. They realise their mistake. Anup gets a job for Sharat. In the end all’s well that ends well.

The Heroine of this film was Swarnalata, who was well known in the 1940’s decade. Swarnalata was born on 20-12-1924 in a Siyal Jat Sikh family in Rawalpindi. She came to Delhi to complete her education and then joined The Academy of music and Arts,at Lucknow. She lost her parents early and lived with her elder brother. She was spotted at a hostel in Lucknow when she got an offer to act in films. Her initial reaction was to refuse outright but the director, who had spotted her, convinced her brother who in turn convinced her and soon Swarnalata found herself in Bombay.

Swarnalata made her film debut in 1942 with Awaaz (1942). Followed films like Tasveer (1943) and Raunaq (1944) opposite Motilal and Ishara (1943) with Prithviraj Kapoor before she hit the big time with Rattan (1944). Old timers still fondly recall the image of her running after Karan Dewan, who is seated on the tonga, ‘singing’ the most popular song of her career in India and imploring him – Ankhiyan Mika ke Jiya Bharma ke Chale Nahin Jana. Rattan was a huge success launching the career of music director Naushad. Ironically, this tale of two young lovers separated when the woman is married off elsewhere was thought to be a commercially risky venture and the original distributors re-sold the film rather cheaply fearing the worst. The rest as they (always) say is history as Rattan became the biggest hit of the year. Another extremely popular song of the film was Sawan ke Badalon.

Swarnalata played leading lady to Dilip Kumar in only his second film, Pratima (1945), made at Bombay Talkies. The same year saw the release of Preet and Laila Majnu where Swarnalata was cast opposite Nazir in both films. The two fell in love and Swarnalata got married to Nazir and converted to Islam taking on the name Sayeeda Bano. However, she continued to retain her screen name for her films as an actress though she did give her Islamic name as producer. Following her last film Ghar Baar (1948) in India, Nazir and Swarnalata migrated to Pakistan. Recalling the shift, Swarnalata said it was no big deal. Nazir decided they should go to Pakistan so they did! Swarnalata was already an established heroine in Hindi cinema before she opted to migrate to Pakistan with husband Nazir, a prominent actor-producer-director, following the partition of India. Swarnalata enjoyed a successful career in Pakistan as well proving to be a popular leading lady in both Urdu and Punjabi films across the border.The first film they produced there, Heer Ranjha, ended in tragedy as whatever they shot was out of focus and so, the film had to be shelved. ( This Nazir was an actor,producer and director. He was the maternal uncle of K.Asif,maker of Mughal-e Azam. In his struggling days,Asif stayed with his mama. That time Nazir’s wife was Sitara Devi-who eloped with K.Asif to Delhi. Nazir gave her divorce and then married Swarnalata)

Swarnalata then officially made her debut in Pakistani cinema with Sachai in Urdu and Pherayin Punjabi, both the films releasing in 1949 with her cast opposite husband Nazir in both.Sachai, which unfortunately flopped, also saw Swarnalata become Pakistan’s first ever woman producer. However, Pheray, also directed by Nazir and based on Noor Jehan’s Village Girl (1945) that incidentally saw Nazir star opposite the legendary singing star, became Pakistan’s first ever silver jubilee hit film! Pheray’s music by the great GA Chisti proved extremely popular, especially Mainu Rab di Sohn Tere Naal Pyaar and Ki Kitta Taqdeer. The team of Nazir-Swarnalata-GA Chisti followed Pheray with Laarey the following year but unfortunately the film did not have quite the same impact even though it was a musically strong film.

After a somewhat lean period with flops like Anokhi Dastan (1950) and Bheegi Palken (1952),Shehri Babu (1953), a Punjabi film, produced and directed by Nazir, proved to be a huge blockbuster with the reigning top star of Pakistani cinema, Santosh Kumar, cast opposite Swarnalata. The film boasted of a superb musical score by Rashid Attre bringing to the fore singer Inayat Hussain Bhatti as an actor besides also featuring Zubeida Khanum’s early hit songs and remains one of the most popular films ever to come out of Pakistan. Swarnalata was now at the peak of her career in Pakistan.

Though not a conventional good-looker, Swarnalata was a more than capable actress besides being a graceful enough dancer as well. In one of her last interviews given on television in Pakistan, she emphatically stressed,

“Swarnalata ka apna style tha. Koi Swarnalata ko koi copy nahin kar saka. (Swarnalata had her own style. No one could copy her).”

Heer (1955) was undoubtedly Swarnalata’s best known and most popular film in Pakistan. Returning to the Heer-Ranjha legend, this Punjabi film was a huge success at the box office with Inayat Hussain Bhatti and Swarnalata playing the doomed lovers. But it was also to be the last high point of a glorious career.

Post Heer saw the decline in Swarnalata’s career as films like Sauteli Maa (1956), Sabira (1956) and Noor-e-Islam (1957) flopped at the box office. Singing star Noor Jehan was still around and younger heroines like Sabiha Khanum, Shamim Ara and Mussarat Nazir had begun to rule the roost in Pakistani cinema. The Swarnalata – Nazir combine still came out with the odd film like Shama (1959) and Billo Jee (1962) but by now, their glory days were clearly behind them. Swarnalata’s last roles saw her supporting Sabiha and Saloni in Sawaal (1966) and Zeba in Duniya Na Mane (1971) after which she retired gracefully from the silver screen.

Some other films of Swarnalata include Inkar (1943), Us Paar (1944), Shyam Savera (1946),Maa Baap ki Laaj (1946) and Abidah (1947) in India besides Naukri (1955) – a remake of the Indian film Aulad (1954) and Khatoon (1955) in Pakistan. Swarnalata died in Lahore in Pakistan on February 8, 2008.

So, here is a song from this film, sung by Naseem Akhtar. Enjoy….


Song – Bolo bhi Bhagwaan (Maa Baap Ki Laaj)(1946) Singer – Naseem Akhtar, Lyricist- Not known, MD- Allah Rakha Qureshi

Lyrics

bolo bhi Bhagwaan
bolo bhi Bhagwaan
bolo bhi Bhagwaan
bolo bhi Bhagwaan
kaisee rachaai toone maaya aa aa
kaisee rachaai toone maaya
kaisa ye sansaar banaaya
kaisa ye insaan
bolo bhi Bhagwaan
bolo bhi Bhagwaan
bolo bhi Bhagwaan
bolo bhi Bhagwaan

thhake tumhaari karke bhakti
thhake tumhaari karke bhakti
dekhee na koi tumhaaree shakti
kaise tum Bhagwaan
kaise tum Bhagwaan
bolo bhi Bhagwaan
bolo bhi Bhagwaan
bolo bhi Bhagwaan
bolo bhi Bhagwaan

bolo to kyun tumhen rijhaaun
bolo to kyun tumhen rijhaaun
pooj ke tumko kyun pachhtaaun
kyun ?? jeewan ??
kyun ?? jeewan ??
bolo bhi Bhagwaan
bolo bhi Bhagwaan
bolo bhi Bhagwaan
bolo bhi Bhagwaan

Tags: , , ,

Apna apna kaam kiye jaa

Posted by: on: August 9, 2023


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

Blog Day :

 5500 Post No. : 17941

Today’s song is from the film Room No. 9 (1946).

There were 2 more rooms on which films were made – Room No. 17 and Room No.203. I wonder what happened to the other rooms ? I am also hurt by the title of a film as ” B-13 -Fear has a New Address” made in 2009. My flat number in Mumbai is B-13 and I never ever saw any Atulite frightened in my flat when so many ASAD meetings were held here ! And also when some members had stayed here overnight also ! However, I did not file any case against the film’s producer, lest it became ‘ an address to fear ‘ for him !

Certain years in Film industry are quite significant for its changing phases. One of these years was 1946. By 1946 to 1950 old towers shook hard to crumble. The studio system almost disappeared. Film industry could now boast of people highly educated, talented and hard working. Even artistes with International experience and success like Dewan Sharar, Shakuntala Paranjpye, actor Ranjan, Balraj Sahni etc contributed to Indian films. The old horse of Calcutta-New Theatres broke down and actors, directors and Music specialists from Bengal made a Bee-Line to Bombay, thus making it the strongest ever film centre.

1946 was also an year of consolidation, in a sense that due to the iminent Partition of India on the basis of Religion, agreed upon by Gandhi-Nehru combine, made Muslim artistes and filmmakers plan to pack their bags and move over to the new Utopia across the border. Their vacancies were to be filled up by the waiting second line of actors, directors and MDs. The film industry was to have a complete new look within 1-2 years and the beginning was from 1946. Thus the year was very important.

The year 1946 was an year which saw many changes in the film industry. The IInd world war had just ended. Rationing and control on many items had created Black marketing. This made many people Millionaires. The extra income started getting invested in Film making. The increased cost of Raw Films made filmmaking 7 to 8 times costlier. A film which was made in about 1 Lakh rupees in 1940, needed 8 Lakhs now. Studio system was waning and artiste rates increased in Lakhs instead of thousands.

In 1945, only 74 films were made. This number increased to 153 films in 1946. Further, in 1947, the film industry produced a record number of films – 181, but of course that was due to Partition. The quality of films was sacrificed at the cost of the quantity of films made in 1946. However, some quality films were made in 1946, indicating the changing face of filmmaking.

Film Dharati ke Lal-46 was made by IPTA people and it became the first film to be exhibited in Russia. Neecha Nagar-46 won the Grand Prix award in the French Film Festival. Film Dr. Kotnis ki amar kahani-46 was dubbed in English as ‘ The journey of Dr. Kotnis’. It was shown in the USA and then in the Venice Film Festival. Two musical films- Anmol Ghadi and Shahjahan were made in 1946.

Year 1946 also saw the Debut of several stars and artistes. In fact one can call 1946 as the ” Debut year” of the Hindi film industry. See this….

Nirupa Roy debuted in film Amar Raaj-46

Nasreen (real name Zareena), daughter of Rafiq Gaznavi and Anwari bai had debuted in her first released film ” Shahjahan-1946.

Geeta Bali debuted with a dance in film Badnami-46

Geeta Roy sang her first film song in film Bhakta Prahlad-46

Balraj Sahni debuted in the film Insaaf-46. It was a small role,though.

K A Abbas-Director, Pt.Ravi Shankar-MD, Balraj Sahni as Hero and Damayanti Sahni as Heroine made their Debut in film Dharti Ke Lal-46.

Meena Kapoor sang her first released Hindi film song in the film Eight Days-46. She also recorded her first Hindi film song in the film ‘Door Chalen’-1946, which was released later than film Eight Days-46.

Sudhir Phadke debuted as MD in film Gokul-46

P L Santoshi as Director, Dev Anand, Rehman, Rehana and Kamla Kotnis debuted as actors in film Hum Ek Hai-46.

Chitragupta did his first film as MD in Lady Robin Hood-46.

Ram Ganguly became MD with film Maharana Pratap-46.

Abhi Bhattacharya debuted in Hindi film Milan-46.

Chetan Anand as Director, Uma Anand and Kamini kaushal as actresses debuted in film Neecha Nagar-46.

Hansraj Behl debuted as MD with film Pujari-46.

Majrooh Sultanpuri wrote his first Hindi film song in film Shahjahan-46

S D Burman as MD and Kishore Kumar as an actor debuted with film Shikari-46

So, you will find the year 1946 was truly an year of change. The winds of Partition were already blowing and the second line of supplementary artistes was ready to replace the Migrators, after the Partition.

Film Room No.9 was produced by S.R.Rajguru and directed by Vedi. The banner was Navyug Chitrapat, Bombay. The music was by R.A.Atre. By a strange coincidence the owner of the banner Navyug was P.K.Atre -a writer, dramatist, novelist, poet, director, a Newspaper owner and a big Politician in his later years !

For information on films made during the period 1937 to 1949, an authentic source is the archived issues of the magazine FILM INDIA, online.One can get information on films of this period through the films’ advertisements and reviews in these issues. Though the editor Baburao Patel rarely ever praised any film, direction, music or acting, still the factual information like release date and theatre, cast in details,other credits and the story of the film etc. is available here. Information about this film is given in the august 1946 issue of Film India. The film was released on 15-6-1946, at Krishna Theatre in Bombay.The review is full of pointwise criticism of the film.

Here is its story, adapted and given by Sadanand Kamath ji a few years back…..

Geeta (Geeta Nizami) is an heiress to a huge fortune left by her father. With this, Geeta’s life is at risk as her uncle is eyeing on her fortunes. For the attainment of his objective, he employs Pratap (K N Singh) a crook to do the needful.

For completing the formalities of handing over the fortunes to Geeta, Barrister Premchand (Raj Bishwas), the executor of the will, comes to the city and stays in a hotel where his son, Shyam (Shyam) escorts Geeta to the hotel room. However, Geeta suspects Shyam to be a crook without knowing that he is the son of Barrister Premchand. Instead, she relies on Pratap, the crook who kidnaps her. However, Shyam rescues her.
Thakur Ajit Singh (Randhir) who is a regular guest in the hotel gets attracted towards Geeta though he already has Rani (Saroj Borkar) as his mistress who is a disgraced wife of Barrister Premchand and the mother of Shyam. Neither Rani nor Shyam is aware that they are mother and son.

In Geeta’s room, Thakur Ajit Singh tries to molest her and, in this milieu, Thakur is shot dead. Thinking that Geeta must have shot him, Shyam takes the crime on himself and runs away from the police. However, he is arrested and put on trial for the murder of Thakur Ajit Singh. Based on the evidence given by Rani, Shyam is sentenced to death by hanging.
Barrister Premchand appeals to the high court for the review of the lower court’s verdict. In the court, he produces the childhood photograph of Shyam with his mother Rani. The mother in Rani makes her confess that she had shot dead Thakur Ajit Singh in that fateful night. Shyam is acquitted and there is a happy end to the film.

The Music Director Rasheed Atre was not a very famous or successful composer while in India. After his migration to pakistan, post its formation, he became quite successful. It is a matter of surprise that barring a few well known MDs, like Ghulam Haider, K.K.Anwar, and Kamal Dasgupta, all other MDs like Firoz Nizami, Rasheed Atre, G.A.Chishti, Nissar Bazmi, Naashad and Tufail Faruqi etc who were only B or C grade Mds in India, became big names after migrating to Pakistan. Naturally so, because the Pakistani film industry was taking a shape and growing big in the initial years and these ready-made composers got many films, name and fame. However, history indicates that there was no second line of MDs in the making and after these migrated MDs retired, the film music scene in Pakistan became weak and pathetic.

Composer RASHEED ABDUL ATRE was born in Amritsar on 15-2- 1919. His father Khushi Mohammed was a well known musician and singer. Rasheed learnt music from Ustad Khan saheb Ashfaq Hussain. Then he went to Calcutta and worked under R.C.Boral. During his stay in Calcutta he is presumed to have composed songs for films “Pardanasheen”-1942 and “Mamta”-1942, under the name R.A.Atra. After coming back to Bombay he joined Jhande Khan and Gobindram in composing songs for “Pagli”-43. He was assistant to composer Amir ali in “Panna”-44. With Pt.Amarnath,he composed songs for “Shirin Farhad”-45. Then came Room No.9-46,Nateeja-47,Paro-47 and Shikayat-48. From 43 to 48 he gave music to 6(confirmed) films. Not much, but then he did not get much time either.

Nateeja was a Muslim social made by Bombay Talkies and he was specially called for it. Nateeja music was his best in India and all its songs became very popular. for Room No 9-46,he worked in Navyug Chitrapat co. where one of the owners was P K Atre, a noted Marathi writer and Dramatist. P K Atre was ,of course, a Hindu,but it was a coincidence.

After Partition Atre went to Pakistan. He first served Radio Pakistan, Rawalpindi and then at Lahore. He prospered in Pakistan and gave music in 54 Urdu and Punjabi films. He was awarded the coveted Nigar Award 3 times in a row. The famous Marching song of Pakistan ” Allah o Akbar ” was composed by Rasheed Atre. The first Pakistani film for which Rasheed Attre lent his music was director Masood Pervez’s Beli (1950).

Three years after Beli, Rasheed was in-charge of music for director Nazir Ahmed Khan’s Punjabi film, Shehri Babu (1953), whose evergreen songs still are popular in Pakistan . Attre’s music for director W.Z. Ahmed’s 1954 family-friendly film Roohi (1954) was a huge success.

Rasheed Attre’s music is all very praise-worthy in director Nazir Ahmed Khan’s film Khatoon, which was popular for its thumri. Attre’s composition exhibits an astonishing range and power in director Anwar Kamal Pasha’s superhit film Sarfarosh (1956). In 1956, Rasheed was also given the responsibility of composing songs for director Anwar Kamal Pasha’s golden jubilee punjabi film Chann Mahi (1956) (lyrics: Tufail Hoshiarpuri, starring: Bahar, Aslam Pervaiz). Attre was, indeed, a powerhouse of a musician and a case in point is director W.Z. Ahmed’s all-time favorite film, Waada (1957), which happened to be a movie from a more idealistic time. At the height of his fame, Attre came up with his magical composition for film director Anwar Kamal Pasha’s semi- historical movie, Anarkali (1958). To be precise, it was a joint venture of 2 film music composers Rasheed Attre and Master Inayat Hussain.

Rasheed Attre passed away on December 18, 1967, at the age of 48.

Today’s song is sung by a chorus-a comedy song- and some unidentified male and female voices also can be heard in it. Enjoy…..


Song- Apna apna kaam kiye jaa (Room No. 9)(1946) Singers- Amirbai Karnataki, unknown male voices, Lyricist- Nakshab Jarachavi, MD- Rashid Atre

Lyrics

Apna apna kaam kiye jaa
apna apna kaam kiye jaa
duniya hai deewaani
duniya hai deewaani
Apna apna kaam kiye jaa

taaza taaza makkhan aaya
toast ye taiyyaar
taaza taaza makkhan aaya
toast ye taiyyaar
sabzi aaloo ghiya tamaatar
??
??
?? ulloo
??
aate hain sarkaar

garam garam hai chaawal machhli
butter chicken biriyaani
kuchh khaalo mere jaani
kuchh khaalo mere jaani
apna apna kaam kiye jaa

raat suhaanee
din hai suhaanaa
raat suhaanee
din hai suhaanaa
aankh milaakar dil se milaana
aankh milaakar dil se milaana
preet ?? hai
preet nibhaana
preet ?? hai
preet nibhaana
apne waade bhool na jaanaa
apne waade bhool na jaanaa
hum bhi musaafir
hum bhi musaafir
baat hai ye sab jaanee
Apna apna kaam kiye jaa
duniya hai deewaani

O my sweet
O my sweet
ye bhi dekho
ye bhi chakho
main tumse good bye
?? murgi ?? andaa
khhaalo meree jaan
ajee kuchh khaa lo meree jaan
ajee kuchh pee lo meree jaan

whisky whisky whisky
whisky whisky whisky
beer brandy rum aur whisky
whisky whisky whisky
pee lo meree jaan

johny walker pee kar dekho
right hai yaaron
hic
one eighteen twenty
??
?? going ??

mad ke rasiyaa
o matwaale
mad ke rasiyaa
o matwaale
der na kar ??
gar tu uthhaa le
der na kar ??
gar tu uthhaa le
rut pe nahin hai
peene waale
rut pe nahin hai
peene waale
aag miley yaa panee
aag miley yaa panee
apna apna kaam kiye jaa
apna apna kaam kiye jaa
duniya hai deewaani
duniya hai deewaani

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Wo humse jo roothhe hain

Posted by: on: June 12, 2023


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

 5442 Post No. : 17835

“Laaj”(1946) was directed by Shahzada Ayyaz, Saiyyad Munawwar H Qasim for Ayyaz Productions, Bombay. This social movie had Shamim, Radharani, Ramesh, H Prakash, Rajan, Rehana, Gadagkar, Master Nisar, Madhurika, Mumtaz, Moti etc in it.

The movie had ten extremely rare songs in it. So any song from this movie that we bring on board is a minor achievement for us. Only one song from the movie has been covered in the blog so far.

Here is the second song from “Laaj”(1946) to appear in the blog. HFGK is silent as far as name of singers for seven songs are concerned, including this song. For other three songs Radharani is mentioned as the singer. The first song from this movie to be covered in the blog was one such song, but on listening to the song, it turned out that the song was sung not by Radha Rani but by Shamshad Begam.

This second song is sung by S D Batish as mentioned by the uploader, and the voice does sound like S D Batish.

Saghar Nizami is the lyricist. Music is composed by Ramchandra Pal.

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

I have not been able to note down a few words to my satisfaction. I request our knowledgeable readers with keener ears to help fill in the missing words/ suggest corrections in the lyrics wherever applicable.

PS-Now we know thanks to Sadanand Kamath jee and Girdharilal Vishwakarma jee, that the singer is not S D Batish, but Ramesh, who was an actor-singer and he has acted in this movie. Thanks are also due to Avadh Lal jee for providing the correct word “samt” thus helping fill up the gap in the lyrics.

With all these new information, we have unearthed a new actor-singer Ramesh that we were unaware of till now.


Song-Wo humse jo roothhe hain (Laaj)(1946) Singer-Ramesh, Lyrics-Saaghar Nizami, MD-Ramchandra Pal

Lyrics

wo humse jo roothhe hain
wo humse jo roothhe hain
naaraaz zamaana hai
naaraaz zamaana hai
ek un ko manaana kya
ek un ko manaana kya
duniya ko manaana hai
duniya ko manaana hai
wo humse jo roothhe hain

dekhen wo kidhar jaayen
ulfat ke doraahe pe
ek samt muhobbat hai
ek samt muhobbat hai
ek samt zamaana hai
ek samt zamaana hai
wo humse jo roothhe hain

toofaan ka bharosa kya
kashti ki shikaayat kya
maujon se kinaare tak
maujon se kinaare tak
khud doob ke jaana hai
khud doob ke jaana hai
wo humse jo roothhe hain

duniya to meri tum ho
tum ho o o o o o
kismat to meri ee tum ho o o o o o
kismat ka gila tum ho
kismat to bahaana hai
wo humse jo roothhe hain
naaraaz zamaana hai
wo humse jo roothhe hain aen aen

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Main kiski laaj nibhaaun aur kaise laaj nibhaaun

Posted by: on: June 8, 2023


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Blog Day :

 5438 Post No. : 17827

If one looks at the details of “Milan”(1946) in HFGK part 2, we get the information that it is a “Social” movie that was directed by Nitin Bose for Bombay Talkies, Bombay. The movie had Dilip Kumar, Meera Mishra, Ranjana, Pahadi Sanyal,Moni Chattterjee, Sham Laha,S Nazeer. HFGK mentions eight songs in this movie. Four songs each were penned by Aarzoo Lucknowi and P L Santoshi. HFGK mentions the name of singers in five songs and record numbers in six songs. Details of singers and record numbers are not given for two songs.

That is as far as HFGK is concerned. We in this blog have gathered far more information about this movie that is not available anuwhere else. For example, we now know Thanks to our beloved inhouse encyclopaedia Mr Arunkumar Deshmukh, that this was not just a “social” movie, but it was a movie based on a Rabindranath Tagore novel “Naukadoobi”. This novel has been a constant source for movie making. Several Bangla and Hindi movies (andf may be movies in other languages too) have been made based on this story. The reason is that the story seems tailormade for Indian movies as it has masalas like people separated in a mishap, cases of mistaken identities taking place subsequently, good amount of drama, including melodrama etc. The details are provided in past writeups on a few songs of this movie.

The story of the movie , as described in a past writeup by Arunkumar Deshmukh jee, is reproduced here:-

The story is set in 1905. Ramesh (Dilip Kumar) is studying law in Calcutta and has just appeared for his final exams. He is a friend and neighbour of Jogen who is also studying law. Jogen (Shyam Laha) lives with his father Annada Babu (Moni Chatterjee) and sister Hemnalini (Ranjana). Ramesh and Hemnalini are fond of each other and Ramesh visits their house most days for tea. Their association is disliked by another friend Akshay (Pahadi Sanyal) who also likes Hemnalini.

Ramesh has been asked to come back to his village for the holidays by his father but is dissuaded from going by Hemnalini. Ramesh’s father Braja Mohan (KP Mukherjee) is from the priestly caste and lives in the village. He receives an anonymous letter stating that his son is involved with the neighbour’s daughter who comes from a tradesman caste and that he spends his entire time there.

Braja Mohan goes to the city and brings Ramesh back with him to the village. He has arranged Ramesh’s wedding with a poor widow’s daughter. Ramesh tries to convince his father about his involvement with Hemnalini. His father after satisfying himself that Ramesh has as yet not committed himself to Hemnalini prevails upon Ramesh to marry Sushila because of the promise he had given to the girl’s mother. There is a storm at night when the wedding party from the groom’s side is returning to their village by boat. During the crossing the boat capsizes. Nearly all on the boat are drowned including Ramesh’s father and Ramesh appears to be the only one to survive. He sees a woman in bridal dress lying unconscious on the bank. He brings her to his village but soon understands that this is a case of mistaken identity. She continuously checks him when he calls her Sushila and tells him her name is Kamala (Meera Mishra). He realizes there was another bridal procession and their boat too had capsized.

After the formalities of his father’s funeral service Ramesh decides to take Kamala to Calcutta. He finds out about her only living relative, an uncle, and writes to him. A letter arrives telling him of the death of Kamala’s uncle but the sender has mentioned Kamala’s husband’s name and profession. His name is Nalin and he’s a doctor. Ramesh now starts searching for Dr. Nalin. He has so far made no mention about his marriage to Hemnalini or her family nor told anyone regarding the mistaken identity of his supposed bride to avoid any embarrassment to the girl.

On arrival in Calcutta, Ramesh suggests that Kamala get an education. After allaying her apprehension regarding her age he admits her in a girl’s boarding school. Akshay’s sister also studies in the same school and through her Akshay gets to know the truth about Ramesh’s marriage. In the evening he questions Ramesh in front of Hemnalini. Ramesh deflects the question and asks Hem to trust him. Preparations are on at Annada’s house for the wedding of Hemnalini and Ramesh. Their wedding is set for the coming Sunday but Ramesh is asked by the principal to take Kamala home for the weekend. Ramesh postpones the wedding and brings Kamala back from school. Akshay brings Jogen to Ramesh’s house where they see Kamala and on being questioned Ramesh keeps silent. Hemnalini goes into a state of shock when she’s told about Ramesh’s wife.

Her father takes her to Kashi to recuperate. Ramesh decides to leave Calcutta and he takes Kamala with him to Ghazipur. Kamala reads the letter Ramesh has written to Hem explaining the entire situation and mentioning Kamala’s husband’s name. She finally recognizes the truth about her and Ramesh’s situation. She decides to kill herself and leaves the house. She is rescued and comes under Nalin’s mother’s care.

She realizes that Nalin is her husband but finds out that Hemnalini and he are to be betrothed. However, Nalin is not happy about the betrothal as he refuses to believe that Kamala is dead and wants to wait a while longer. Finally the truth comes out and she’s accepted by her husband and his mother while Ramesh and Hemnalini get back together.

The movie had eight songs in it. There are missing details in some of the songs as mentioned above. But by now we have been able to fill up all the missing details.

Here are the details of the songs (including missing details) contained in the movie:-

SNo in HFGK Song Title Singer/s Lyrics Posted On Record number Remarks
01 Gun gun gun gun boley bhanwraa Parul Ghosh P L Santoshi 19 February 2018 HMV N35039 All details available
02 Ooper hai badariya kaari Shankar Dasgupta, chorus P L Santoshi 3 February 2014 HMV N35041 All details available
03 Suhaani beriyaan beeti jaayen Parul Ghosh Aarzoo Lucknowi 20 December 2010 HMV N35040 All details available
04 Wo kahen aap ki do chaah ka inaam mujhe Pahadi Sanyal (HFGK silent about singer) Aarzoo Lucknowi 10 May 2011 No record number Video available. Picturised on Pahadi Sanyal himself. Record not made of this song
05 Chhan mein baajegee baansuriyaa Geeta Dutt(HFGK silent about singer) P L Santoshi 3 June 2023 HMV N35041
06 Tumhen saajan manaayen tum roothh jaana Geeta Dutt(HFGK silent about singer) P L Santoshi 3 June 2023 No record number It is same song as number 5. Can be considered as multiple version song
07 Jisne bana di baansuri geet usi ke gaaye jaa Parul Ghosh Aarzoo Lucknowi 30 September 2015 HMV N 35039 All details available
08 Main kiski laaj nibhaaun Parul Ghosh Aarzoo Lucknowi Song under discussion HMV N 35040 All details available

It can be observed from the above that Geeta Dutt (who is uncredited in HFGK for this movie) sings for one leading lady and Parul Ghosh for the other leading lady in the movie.

Here is the eighth and final song from “Milan”(1946) to appear in the blog. The song is sung by Parul Ghosh. Aarzoo Lucknowi is the lyricist. Music is composed by Anil Biswas.

Video of the song is available. Prakashchandra, who sent me the lyrics of the song, guesses that the lady lip syncing the song is Meera Mishra. I request our knowledgeable readers to throw light on the picturisation of this song as well as other songs that we can update the details about the picturisation of all the songs of this movie.

PS-Sadanand Kamath jee informs that all Parul Ghosh songs, including this one, are lip synced by Ranjana in the movie.

With this song, all the songs of “Milan” (1946) are covered in the blog. The song thus joins the list of movies that have been YIPPEED in the blog.

Audio

video link:

Song-Main kis ki laaj nibhaaun aur kaisey laaj nibhaaun (Milan)(1946) Singer-Parul Ghosh, Lyrics-Aarzoo Lucknowi, MD-Anil Biswas

Lyrics(Provided by Prakashchandra)

main kis ki laaj nibhaaoon
aur kaisey ae laaj nibhaaoon oon oon
main kis ki laaj nibhaaoon
ye jag ki reet ka bandhan
aur preet ki ye ae hai nishaani..ee..ee
ek mein hai haathon ki shobhaa…aaa
ek mein mann ki kahaani..ee.. ee
ek mein hai haathon ki shobhaa..aa
ek mein mann ki kahaani
jaagte pyaar se dheer dharoon yaa
ya sotaa prem jagaaoon oon oon
main kis ki laaj nibhaaoon..oon

karam ka likhaa aa padh na paaoon
dhoondhoon kaun sahaaraa..aa..aaa..
dharm bhi pyaaraa..aaa
prem bhi pyaaraa
kis se karoon kinaaraa
dharm bhi pyaaraa..aaa
prem bhi pyaaraa
kis se karoon kinaaraa
ek mandir ki neenv padey
jab ek mandir ko dhaaoo`n
main kis ki laaj nibhaaoon
aur kaisey ae laaj nibhaaoon oon oon oon
main kis ki laaj nibhaaoon oon oon

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Chhan mein baajegee baansuriyaa

Posted by: on: June 3, 2023


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Blog Day :

 5433 Post No. : 17820

Many Rabindranath Tagore Novels have been made into films. One such novel that has inspired many movies in “Naukadoobi”, that was published in 1906. This story was made into Bangla movie wit h the same title in 1932, 1947, 1979 and 2011. This story inspired three Hindi movies as well, but these movies had different titles. They were made under the titles of “Milan”(19460, “Ghoonghat”(1960) and “Kashmkash”(2011).

The above information would come as a new information to many music lovers. But this information was given in the blog by our beloved inhouse encyclopaedia , Mr Arunkumar Deshmukh, more than five years ago, while discussing a song from “Milan”(1946).

The making of “Milan”(1946) itself was quite eventful. Those were the days when Kolkata was losing its stranglehold as a movie centre. There was an exodus of talent from Calcutta to Bombay. In Bombay, these erstwhile Calcutta movie makers tried to make a movie using their moviemmaking expertise hones over the years in Calcutta.

Bombay Talkies, owned originally by Bengali owners, viz Himanshu Roy, Devika Rani, Shashdhar Mukherjee etc. When Nitin Bose came from Calcutta to Bombay. He was welcomes into the folds of Bomaby Talkies.

Nitin Bose proposed to make a movie based on Rabindranath Tagore’s novel “Naukadoobi” and the proposal was aprroved by the owners of Bombat Talkies. It was planned to make it in Hindia as well as Bangla. Bangla version was “Naukadoobi”(1947).

Dilip Kumar and Ranjana, both on the rolls of Bombay Talkies were signed up to play Ramesh and Sunalini respectively. The story denmanded another lead actress to play Kamala. Advertisements were given in newspapers and many aspiring ladies applied. The lucky lady was Meera Mishra, a Bangla speaking lady from Kanpur. This news generated considerable sensation, as she was the wife of an IPS officer. She played the role of Kamala in Hindi as well as Banglade versions. In Bangla version Abhi Bhattacahrya replaced Dilip Kumar and Meera Sarkar replaced Ranjana.

The movie, which was produced by Hiten Choudhury and directed by Nitin Bose for Bombay Talkies, also had Pahadi Sanyal, Shyam Laha, S.Nazir, Moni Chatterjee, KP Mukherjee etc. in it.

The story, as recounted by our beloved inhouse encylopaedia, Mr Arunkumar Deshmukh is:-

The story is set in 1905. Ramesh (Dilip Kumar) is studying law in Calcutta and has just appeared for his final exams. He is a friend and neighbour of Jogen who is also studying law. Jogen (Shyam Laha) lives with his father Annada Babu (Moni Chatterjee) and sister Hemnalini (Ranjana). Ramesh and Hemnalini are fond of each other and Ramesh visits their house most days for tea. Their association is disliked by another friend Akshay (Pahadi Sanyal) who also likes Hemnalini.

Ramesh has been asked to come back to his village for the holidays by his father but is dissuaded from going by Hemnalini. Ramesh’s father Braja Mohan (KP Mukherjee) is from the priestly caste and lives in the village. He receives an anonymous letter stating that his son is involved with the neighbour’s daughter who comes from a tradesman caste and that he spends his entire time there.

Braja Mohan goes to the city and brings Ramesh back with him to the village. He has arranged Ramesh’s wedding with a poor widow’s daughter. Ramesh tries to convince his father about his involvement with Hemnalini. His father after satisfying himself that Ramesh has as yet not committed himself to Hemnalini prevails upon Ramesh to marry Sushila because of the promise he had given to the girl’s mother. There is a storm at night when the wedding party from the groom’s side is returning to their village by boat. During the crossing the boat capsizes. Nearly all on the boat are drowned including Ramesh’s father and Ramesh appears to be the only one to survive. He sees a woman in bridal dress lying unconscious on the bank. He brings her to his village but soon understands that this is a case of mistaken identity. She continuously checks him when he calls her Sushila and tells him her name is Kamala (Meera Mishra). He realizes there was another bridal procession and their boat too had capsized.

After the formalities of his father’s funeral service Ramesh decides to take Kamala to Calcutta. He finds out about her only living relative, an uncle, and writes to him. A letter arrives telling him of the death of Kamala’s uncle but the sender has mentioned Kamala’s husband’s name and profession. His name is Nalin and he’s a doctor. Ramesh now starts searching for Dr. Nalin. He has so far made no mention about his marriage to Hemnalini or her family nor told anyone regarding the mistaken identity of his supposed bride to avoid any embarrassment to the girl.

On arrival in Calcutta, Ramesh suggests that Kamala get an education. After allaying her apprehension regarding her age he admits her in a girl’s boarding school. Akshay’s sister also studies in the same school and through her Akshay gets to know the truth about Ramesh’s marriage. In the evening he questions Ramesh in front of Hemnalini. Ramesh deflects the question and asks Hem to trust him. Preparations are on at Annada’s house for the wedding of Hemnalini and Ramesh. Their wedding is set for the coming Sunday but Ramesh is asked by the principal to take Kamala home for the weekend. Ramesh postpones the wedding and brings Kamala back from school. Akshay brings Jogen to Ramesh’s house where they see Kamala and on being questioned Ramesh keeps silent. Hemnalini goes into a state of shock when she’s told about Ramesh’s wife.

Her father takes her to Kashi to recuperate. Ramesh decides to leave Calcutta and he takes Kamala with him to Ghazipur. Kamala reads the letter Ramesh has written to Hem explaining the entire situation and mentioning Kamala’s husband’s name. She finally recognizes the truth about her and Ramesh’s situation. She decides to kill herself and leaves the house. She is rescued and comes under Nalin’s mother’s care.

She realizes that Nalin is her husband but finds out that Hemnalini and he are to be betrothed. However, Nalin is not happy about the betrothal as he refuses to believe that Kamala is dead and wants to wait a while longer. Finally the truth comes out and she’s accepted by her husband and his mother while Ramesh and Hemnalini get back together.

We can see that Rabindranath Tagore too has written quite a Manmohan Desai kind of lost and find story (full of mistaken identities), a story that moviemakers so love to make in India. 🙂

“Milan”(1946) had eight songs in it. Five songs have been covered so far.

Here is the sixth song from “Milan”(1946) to appear in the song. The song is sung by Geeta Roy (alter Dutt). P L Santoshi is the lyricist. Music is composed by Anil Biswas.

Video of the song shows two ladies, one advising the other how to deal with her husband. My guess is that they are Ranjana and Kamala, but I cannot tell who is who. I request our knowledgeable readers to throw light on the picturisation of the song.

Audio

Video

Song-Chhan mein bajegi baansuriya preet bhari preet bhari(Milan)(1946) Singer-Geeta Dutt, Lyrics-P L Santoshi, MD-Anil Biswas

Lyrics(Provided by Prakashchandra)

chhan mein bajegi baansuriya
preet bhari
preet bhari
chhan mein baajegi baansuriya
preet bhari
preet bhari
dekho gori
chupke chupke
chori chori
preet bhari
preet bhari
chhan mein baajegi bansuriya

tumko bulaayenge tumhre saanwariya
tumko bulaayenge tumhre saanwariya
brij ban jaayegi man ki nagariya
brij ban jaayegi man ki nagariya
kheloge preetam se tum hori
heloge preetam se tum hori
preet bhari
preet bhari
chhan mein baajegi baansuriya
preet bhari
preet bhari
chhan mein baajegi baansuriya

tumhen saajan manaaaye
tum roothh jaana
tumhen saajan manaaaye
tum roothh jaana
tumhen paas bulaayen kahen na na na
tumhen saajan manaaaye
tum roothh jaana

hamen la jhumka
hamen laa kangna
hamen la jhumka
hamen laa kangna
hamen laaon reshan ki chunariya
hamen laaon reshan ki chunariya

chhan mein bjegi baansuriya
preet bhari
preet bhari
dekho gori
chupke chupke
chori chori
preet bhari
preet bhari
chhan mein baajegi bansuriya
chhan mein baajegi bansuriya
preet bhari
preet bhari
chhan mein baajegi bansuriya
preet bhari
preet bhari
dekho gori
chupke chupke
chori chori
preet bhari
preet bhari
chhan mein baajegi bansuriya

Tags: , , , ,

Aaj huyee hai bhor suhaanee

Posted by: on: June 2, 2023


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

 5432 Post No. : 17818

I make it a point to wake up around 4 AM every morning. I do that without fail. The idea is to take my two dogs on their morning walks, one dog at a time. The first dog (Junior Dog Izza) goes first. Her walk starts at around 4:30 and she is back by around 4:50. Then Bhole (the senior dog) goes on walk. His walk typically ends at 5:10 AM. That is the time when the sky begins to get brighter. It is then that “morning walkers” start coming out on roads for their morning walk. To my mind, the best time for morning walk is between 4:30 to 5 AM or so. That is the window of opportunity for a meaningful morning walk. At that time, it is actually morning (viz it is still pre dawn), very few people are out at that time, and one has true privacy, so to say. By the time it is 5:10 AM or so, roads become crowded and the window of opportunity for morning walk is over. During winter season, this window of opportunity is from 5:30 AM to 6 AM. In winter, most of the summer ime morning walkers are nowhere to be found. They go on hibernation during winter season and they resume their morning walk only in summer season. They keep away from morning walk on rainy season, windy days ets as well. In other words, most morning walkers are strictly fair weather morning walkers. A slight change in weather rendering it a bit adverse, and most morning walkers are no where to be found.

I and my dogs are hardcore morning walkers though. 🙂 Even rain or storm, or fog or any other adverse weather conditions do not deter us.:)

I had started this morning walk practice from 2015 when I got posted at Izatnagar (Bareilly) in 2015. I kept up this practice throughout my three years stay there. Then I was transferred to Gorakhpur. In Gorakhpur, there was no need to take the dogs on their morning walk. My official residence there had vas space around the residence, all fenced by high walls. So my dogs could do all their morning walk on their own inside the compound, without the fear that they would go out and would lose their way. Not just walk, the dogs would run all around, roll on the lawn, and in general would have a great time.

After I left Gorakhpur and settled down at Bhopal, I have resumed my morning walks, mainly for the sake of the dogs.

One benefit of morning walk is that you feel refreshed and cheerful for the whole day. That is more true for the dogs and less true for me. The dogs often wake me up at odd hours. My wife and daughter cannot be bothered to wake up, so it is my responsibility to take care of the dogs. I have great patience, unlike my wife and I do not get irritated even if the dogs wake me up at odd hours.

Today morning (2 June 2023) would start the same way, viz with me taking my two dogs on their morning walk. But then the rest of the day is going to be different from what it has been for the last 11 months. after I arrived at Bhopal in July 2022, I have been out of Bhopal only on two days. On both occasions, I went to Jabalpur by early morning train, and was back at Bhopal my night train.

Today, I am going to undertake a much longer journey.

Today, I will board a morning flight from Bhopal to Mumbai. Initially I had booked my ticket on an even earlier flight, but the timing of that flight got deferred to afternoon, and that defeated the very purpose of my visit. The next available flight would leave Bhopal at 10:30 am and I would land at Mumbai at 12 noon.

My visit to Mumbai is to meet our blog regulars at the residence of our Mumbai stalwart and our beloved inhouse encyclopaedia Mr Arunkumar Deshmukh. The occasion is a get together of our blog regulars. Mumbai regulars M/s Sadanand Kamath and Nitin Shah will be there. Sudhir jee and Bakhshish jee will arrive from Delhi. Avinash Scrapwala will arrive from Vadodara. Mr Satish Shenoy will arrive from Bangalore. So it is going to be a golden chance to meet so many blog regulars. I have met M/s Sadanand Kamath, Nitin Shah, Sudhir Kapur and Bakhshish Singh jee in the past, and I will be meeting the others for the first time.

I had attended an earlier gangout in Mumbai in Devember 2014, and that was a very well attended get together as well. Lots and lots of reports of that meeting is available in the blog. I am sure we will have another great get together this time as well. This will be followed by reports on the meeting by the participants.

The meeting is scheduled to begin at 11 AM. I will be able to join hopefully by 12 :30 or so. I will have a return flight at night and I will be back to my home on the same night. So hopefully my dogs will once again have me to take them on their morning walk the next morning. 🙂

Our Hindi movies have songs for many occasions. There are some very fine “morning” songs that have already been covered.

While posting a blog Ten Year challenge article in the month of may 2023, I came across a “morning” song. Morning was already over at that time, so I saved this song for future use and discussed another song from the same movie.

That future use is now. Here is this morning song from “Arabian Nights”(1946).

“Arabian Nights”(1946) was directed by Niren Lahiri for P R Productions. This movie had Kanan Devi,Nawab, Robin Majumdar, Debi Mukherjee, Molina, Meera Dutt,Hiralal, Sunder,Rirkoo,Shayam Laha etc in it.

“Arabian Nights”(1946) had 14 songs in it. Five songs have been covered in the blog in the past.

Here is this sixth song from :”Arabian Nights”(1946). This song is sung by Kanan Devi. Faiyyaz Hashmi is the lyricist. Music is composed by Kamal Dasgupta.

This song post appears in the blog at 5 AM, just when the morning is about to break and the fair weather morning walkers are about to leave for their morning walks. 🙂

Lyrics of the song were sent to me by Prakashchandra.

audio link:

Song-Aaj huyee hai bhor suhaanee (Arabian Nights)(1946) Singer-Kanan Devi, Lyrics-Faiyyaz Hashmi, MD-Kamal Dasgupta

Lyrics(Provided by Prakashchandra)

aaj huyee hai ae ae
bhor suhaanee
bhor suhaanee ee ee ee ee ee ee

aaj huyee hai bhor suhaanee
pehli baar
pehli baar
aaj huyee hai bhor suhaanee
pehli baar
pehli baar

chamak bharee ye laalee ee
maine ae ae ae
ae ae
maine kabhee na dekhee
chamak bharee ye laalee
maine ae aey ae ae ae
maine kabhee na dekhee
bin torey deewaalee ee
maine ae ae ae
maine kabhee na dekhee
sooraj mein hai
sooraj mein hai nayee jawaanee
pehli baar
pehli baar

sau phool khiley aansoo ke
ya/ye husn kabhi na paaye
sau phool khiley aansoo ke
ye husn kabhi na paaye ae ae
sau rang chaman ne badlaa
ye rang nazar na aaye ae ae
sau rang chaman ne badlaa
ye rang nazar na aaye ae ae
khwaab mein aayee
khwaab mein aayee
rut ki raanee
pehli baar
pehli baar

bhanwraa aur kali ka mel
mujhko kabhee na bhaayaa aa
bhanwraa aur kali ka mel
mujhko kabhee na bhaayaa aa
gulshan mein ye pyaar ka khel
mujhko kabhee na bhaayaa aa
nayee lagee hai
nayee lagee hai
baat puraanee
pehli baar
pehli baar
aaj huyee hai ae bhor suhaanee
pehli baar
pehli baar

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Door basat hain piyaa na laagey jiyaa

Posted by: on: May 28, 2023


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

 5427 Post No. : 17803

———————————————–—————————————
Blog 10-Year Challenge (2013-2023) – Song No.129
————————————————————————————–

On this date ten years ago (28 May 2013), four songs from four different movies were covered in the blog. Here are the details:-

Post No Song Title Name of the movie Remarks
8138 Rut madhur milan ki aayi hai Khaamosh Nigaahen (1946) 5 Songs covered out of 11 by now
8139 Meri ulfat soyi hai yahaan Oot Pataang (1955) 6 songs covered out of 9 by now
8140 Chal ae dil e majboor Surang (1953) Movie YIPPEED in the blog by now
8141 Mausam bada rangeela Zimbo Comes To Town (1960) Movie YIPPEED in the blog by now

We observe that two movies (out of four) whose songs were covered on this date ten years ago have since been YIPPEED in the blog. That leaves us with two unYIPPEED movies that are eligible for Blog Ten Year Challenge today (28 May 2023).

“Khaamosh Nigaahen”(1946) is one such BTYC eligible movie.

“Khaamosh Nigaahen”(1946) was directed by Moti B Gidwani for Shorey Pictures. The movie had Manorama, Al-Nasir, Majnu, Jauhar, Pran, Zahoor Shah, Iqbal Sheikh, Kamla, Nafees, Neeta, Haidari, Fazal Shah, Ghlam Qadir etc in it.

The movie had 11 songs in it. Five songs have been covered in the past.

Here is the sixth song from the movie to appear in the blog. The song is sung by Zeenat Begam. aziz Kashmiri is the lyricist. Music is composed by Vinod.

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

Lyrics of the song were sent to me by Prakashchandra.

Audio link:

Song-Door basat hain piyaa na laagey jiyaa (Khaamosh Nigaahen)(1946) Singer-Zeenat Begam, Lyrics-Aziz Kashmiri, MD-Vinod

Lyrics(Provided by Prakashchandra)

Door basat hain piyaa
na laagey jiyaa
na laagey jiyaa
bahut tadpaaye rey
haayye rey haayye
haayye rey haayye
door basat hain piyaa
na laagey jiyaa
na laagey jiyaa
bahut tadpaaye rey
haayye rey haayye
haayye rey haayye

o o o oo
dekh dekh ghat kaalee
o o o o
dekh dekh ghat kaalee
morey man mein aen
morey man mein
uthhey uchhaalee
morey man mein
uthhey uchhaalee
aisey mein teri yaad aaye rey
yaad aaye rey
jiyaa lalchaaye rey
jiyaa lalchaaye rey
ghataa tadpaaye rey
haayye rey haayye
haayye rey haayye
door basat hain piyaa
na laagey jiyaa
na laagey jiyaa aa
bahut tadpaaye rey
haayye rey haayye
haayye rey haayye

ho o o o o
hho shyaamaa hho shyaamaa hho o o
ho o o o
hho shyaamaa hho shyaamaa hho o o
haayye padey baagon mein jhooley
baagon mein jhooley
kahey raadhaa hamein kaahey bhooley ae
kahey raadhaa hamein kaahey bhooley ae
tere binaa chain na aaye rey
naa aaye rey
jiyaa lalchaaye rey
jiyaa lalchaaye rey
ghataa tadpaaye rey
haayye rey haayye
haayye rey haayye
door basat hain piyaa
na laagey jiyaa
na laagey jiyaa
bahut tadpaaye rey
haayye rey haayye
haayye rey haayye
door basat hain piyaa aa aa

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Meri wafaaon ka silaa ishq ne mujhko kya diya

Posted by: on: May 15, 2023


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

 5414 Post No. : 17757

———————————————–—————————————
Blog 10-Year Challenge (2013-2023) – Song No.115
————————————————————————————–

On this date ten years ago (15 May 2013), four songs from four different movies were covered in the blog. Here are the details:-

Post No Song Title Name of the movie Remarks
8084 Jhilmil sitaare chanda ke dwaare Thokar(1953) 4 songs covered out of 9 by now
8085 Main naagan hoon Durbaan (1946) One song covered out of 10 by now
8086 Goya ke chunaanche Manoranjan(1974) Movie YIPPEED by now
8087 Tumse mil ke aisa laga tum se mil ke Parinda (1989) 4 songs covered out of 7 by now

We observe that one movie (out of four) whose songs were covered in the blog on this date ten years ago has since been YIPPEED in the blog. That leaves us with three unYIPPEED movies that are eligible for Blog Ten Year Challenge today (15 May 2023).

“Durban”(1946) is one of the unYIPPEED movies. This movie was directed by S M Yusuf for Harishchandra Pictures, Bombay. It had Kumar, Kaushalya, Sulochana Chatterjee, Yakub, Narang, Leela Mishra etc in it.

“Durban”(1946) had ten songs in it. One song has been covered in the blog.

Here is the second song from the movie, appearing in the blog exactly ten years after the movie made its debut in the blog. The song is sung by Binapani Mukherjee. M Naseem is the lyricist. Music is composed by Gulshan Soofi.

Only audio of the song is avilable.

I request our knowledgeable readers to throw light on the picturisation of the song.

Lyrics of the song were sent to me by Prakashchandra.

audio link:

Song-Meri wafaaon ka silaa ishq ne mujhko kya diya (Durban)(1946) Singer-Binapani Mukherjee, Lyrics-M Naseem, MD-Gulshan Soofi

Lyrics(Provided by Prakashchandra)

meri wafaaaon kaa silaa aaa
ishq ne mujhko kyaa diyaa aaa
teri wafaaon ka silaa
ishq ne mujhko kyaa diyaa aaa
loot liyaa qaraar-e-dil
ronaa mujhe sikhaa diyaa
loot liyaa qaraar-e-dil
ronaa mujhe sikhaa diyaa
ishq ne mujhko kyaa diyaa aaa
teri wafaaaon ka silaa aaaa

dil ko naheen zaraa sakoon
tumhee bataao kyaa karoon oon
tumhee bataao kyaa karoon
dil ki har ek ummeed ko ooo
ishq ne kyon mitaa diyaa aaa
dil ki har ek ummeed ko ooo
ishq ne kyon mitaa diyaa
meri wafaaaon ka silaa aaa

roothh gayee hain shokhiyaan aan aaan aaan
chhaa gayeen khamoshiyaan aan aan aaa
chhaa gayeen khamoshiyaan aa aaa aaan
aaa aaa aaaan aaa aaan
main wohee ban gayee hoon jo o o
tumne mujhe ae banaa diyaa
main wohee bann gayee hoon jo o o
tumne mujhe ae banaa diyaa aaa
teri wafaaon ka silaa
ishq ne mujhko kyaa diyaa aaa
teri wafaaon ka silaa aa aaaa

Tags: , , , ,

Hamaari gali aana humse ankhiyaan milaana

Posted by: on: May 8, 2023


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

Blog Day :

 5407 Post No. : 17740

Today’s song is from the film ‘Maharana Pratap’ (1946).

All those who know a little bit of Indian history, know about Maharana Pratap – a brave king who fought with the mighty Mughals, with meager support from other Indian kings from his region. He is one who never lost any battle. The names of Maharana Pratap and his famous horse Chetak are well known to us.

Pratap Singh I, popularly known as Maharana Pratap (c. 9 May 1540 – 19 January 1597), was a Hindu Rajput king of Mewar from the Sisodia dynasty. He fought several major battles against Akbar including the Battle of Haldighati in 1576 to resist the expansionist policy of the Mughal empire. Pratap became a folk hero for his military resistance through guerrilla warfare which proved inspirational for later rebels against Mughals including Malik Ambar and Shivaji. Chetak is the name given in traditional literature to the horse ridden by Maharana Pratap at the Battle of Haldighati, fought on 18 June 1576 at Haldighati, in the Aravalli Mountains of Rajasthan, in western India. Though wounded in the battle of Haldighati, Chetak ran fast and took Maharana Pratap to safety, before dying.

Film ‘Maharana Pratap’ (1946) was made by Jayant Desai Productions, Bombay. The Producer and the Director was Jayant Desai. Jayant Jhinabhai Desai was born in Surat, Gujarat, on 28-2-1909, in a well-to-do family. He graduated from Bombay University and entered the film line as an exhibitor in Surat. Later on he started writing screenplays for London Films, Rangoon and then for Krishna and Sharada studios. He joined Chandulal Shah’s Ranjit Studios in 1929, as his assistant for the silent film ‘Rajputani’. Director Nandlal Jaswantlal Bhatt (‘Nagin’, ‘Taj’, ‘Champakali’ etc.) was another assistant in Ranjit.

When Nandlal left Ranjit to go to Europe, Jayant completed his film ‘Pahadi Kanya’ (1930)’. At Ranjit, Jayant directed 12 silent films. He was with Ranjit till 1943 and Directed 33 talkie films, while in Ranjit. Some of these films were ‘Chaar Chakram’, ‘Bhool Bhulaiyan’, ‘Nadira’, ‘Toofan Mail’, ‘College Girl’, ‘Matlabi Duniya’, ‘Toofani Toli’, ‘Billi’ ( a copy of a Hollywood film, based on PG Wodehouse’s novel “A Damsel in Distress” ), ‘Sant Tulsidas’, ‘Diwali’, ‘Shaadi’, ‘Chandni’, ‘Bhaktaraj’, ‘Tansen’ (with KL Saigal), ‘Zaban’ etc.

After leaving Ranjit, Jayant Desai established his own studio, Jupiter Films Studio, Jayant Desai Productions and Hemlata Pictures. He also had exhibition interests in Hindmata and Star Theatres in Bombay’s Dadar area. In the 50s, he operated as a distributor with his Jupiter films.

While in Ranjit, he had Directed KL Saigal in the film ‘Tansen’ (1943). Sardar Chandulal Shah had called Saigal on a contract of 60 days. Jayant completed ‘Tansen’ in flat 51 days. Kidar Sharma then used those 9 days to make a quickie – ‘Bhanwara’ (1944), with Saigal.

C Ramchandra was with Jayant Desai for more than 3 years and gave 5 successful films. It was Jayant Desai who gave him the name C Ramchandra for use in films. It was also Jayant Desai who was responsible for the rise of C Ramchandra in a major way. After leaving Ranjit, Jayant started his own company. In his new company, Jayant had hired C Ramchandra as a paid composer on a salary of Rs. 300 pm. C Ramchandra gave music to many of his films like ‘Zaban’, ‘Lalkar’, ‘Manorama’, ‘Chandragupta’ etc. and all films became popular. C  Ramchandra was proud of his achievement. Under the banner Jayant Desai productions, one more Saigal film – Tadbeer’ (1945), with Suraiya in the lead was made. Jayant Desai directed 65 films in all. His last film was ‘Zamana Badal Gaya’ (1961). He died in Bombay on 19-4-1976.

The cast of the film ‘Maharana Pratap’ was Khursheed, Ishwarlal, Kantilal, Mubarak, D S Salvi, Noorjehan Sr., Reva Shankar, Bhagwandas, Sati Devi and many others. We do not know the story of this film, but from the type of songs this film had, it seems to be a mix of Pratap’s life story consisting of his fights and family life. The period from 1945 to about the early 50’s was the time when most of the old actors and actresses coming from the early era and those who were a part of the spill over from the silent film era saw their last lap of career and they all disappeared during this period. Today’s film is the best example.

Khursheed – last film in India- ‘Aap Beeti’ (1948).
Ishwarlal – Stopped singing in 1945. Last film ‘Badi Maa’ (1945).
Kantilal – Last film ‘Jai Shiv Shankar’ (1951). Last song ‘Bhaktraj’ (1943).
Sati Devi – Last song ‘Door Chalen’ (1946).
Noorjehan sr. – Last song- ‘Aadab Arz’ (1943). Last film – ‘Anarkali’ (1953).
Reva Shankar – Last film  ‘Jai Mahadev’ (1951). Last song – ‘Mahasati Tulsi Vrinda’ (1947). Last film as MD ‘Matrubhumi’ (1949).
Bhagwandas – Last film ‘Jalpari’ (1952).

For two artistes, this film was a landmark film.

1. For Music Director Ram Ganguly – this was his first film as a Music Director. It was his debut film. There are cases in history, where talent alone has not helped. The luck factor plays a vital role in one’s life. But then, what is luck ? Call it opportunity, recognition, fame, money. . . call it what you may like to, but luck is a factor.

Otherwise, so many talented actors, singers, composers, directors or even producers would not rot in the film industry. The case of the film ‘Jai Santoshi Maa’ (1975) can be quoted in this connection. If it was not for luck, how come a low budget film, made by a repeatedly failed producer Satram Rohra, became one of the top blockbusters of all time ? Surprisingly, after this movie, the next ventures of Satram Rohra were again failures. Though he was benefited by ‘Jai Santoshi Maa’, neither the Music Director C Arjun nor the film’s director Vijay Sharma got any benefit from the film. Probably they were not as lucky.

I do not want to dwell upon examples and a lengthy claim in favor of luck, but let us not forget that many talented artistes, who showed great promise with their initial achievements failed inexplicably, later in their career. At least two examples can be quoted, of composer Ram Ganguly and singer Mubarak Begum (RIP).

Unfortunately, Ram Ganguly has no identity beyond his most famous film ‘Aag’ (1948) (his only 3rd film), making many people think that this was the only film that he did. Sometimes he is mistaken even for composer Ramlal (Choudhari).

Born on 6-8-1916, Ram Ganguly soon achieved expertise in playing violin, at the age of just 10 years. He was most appreciated when he played violin at the All India Congress Party Session at Calcutta in 1933. Listening to his violin, composer RC Boral offered him a job in New Theaters immediately. He remained 7 years in New Theaters. First he was assistant to Timir Baran for film ‘Devdas’ (1935), then assisted RC Boral and finally assisted Pankaj Mallick for film ‘Dushman’ (1939). There he met Prithviraj Kapoor and they became friends. Following Kapoor, Ram too proceeded to Bombay. He started a Dance and Music school in Khandala, in 1946. In 1943, he joined Prithvi Theaters as a music director for stage dramas. His music for the famous drama ‘Deewar’ in 1945 became popular. Raj Kapoor had sung a song in that drama, for which HMV took out a record also “Hum Babu Naye Niraale Hain“.

Ram’s first film as a film MD was Jayant Desai’s ‘Maharana Pratap’ (1946). He did one more film for Desai, ‘Maha Tulsi Vrinda’ in 1947. When Raj Kapoor made his first film, ‘Aag’ (1948), selection of Ram Ganguly as its MD was natural, because Raj knew him very well from the Prithvi days. Ram Ganguli took tabla player Shanker and harmonium player Jaikishen as his assistants, having known them earlier. Little did he know at that time that this pair would edge him out from Raj camp and establish themselves there. Ram Ganguli gave excellent songs for the film ‘Aag’ (1948), sung by Shamshad, Mukesh and Sailesh Mukherjee.

Inspite of his good performance, he was thrown out by Raj Kapoor for his next venture ‘Barsaat’, for 2 reasons. One – Ganguly being an old guard did not fit into the future plans of Raj Kapoor, who wanted to innovate and bring in new ideas. And two, he was told that Ganguly was trying to use ‘Barsaat’ tunes for outside producers. While the first reason seems to be plausible, the second reason seems to be an excuse. God only knows the truth, but S-J were capable of anything – if one knows what they did in the coming years to win awards and contracts.

In all, he gave music to just 14 films with 146 songs and 1 unreleased film. His films were ‘Maharana Pratap’ (1946), ‘Maha Tulsi Vrinda’ (1947), ‘Aag’ (1948), ‘Jalsa’ (1948), ‘Banvaasi’ (1948), ‘Anmol Moti’ (1949), ‘Ram Darshan’ (1950), ‘Deepak’ (1951), ‘Sangam’ (1954), ‘Gawaiya’ (1954) (this film also saw the end of Surendra’s singing career), When Prithviraj Kapoor decided to make his famous drama ‘Paisa’ into a film (in 1957), he called only Ram Ganguly. Originally, for the drama too he had been the MD. He gave good songs but they were not popular. Then came ‘Ten O’clock’ (1958) and then the next film was ‘Saaya’ (1961). His last film was ‘Suhaani Raat’ (1974). In between, a film ‘Postmaster'(1955) remained unreleased.

Slowly Ram Ganguly was forgotten . He stopped getting films. No one came to him. Finally, frustrated, he left for Calcutta and died there sometime in 1983.

2. DS aka Dada Salvi – This was his last Hindi film. Dinkar Shivram Salvi (04 December 1904 – 29 October 1980) better known as screen name “Dada Salvi”, was an actor of the silent and talkie era of Indian Cinema. He was a part of the first Indian talkie film ‘Alam Ara’ (1931). He has acted in 20 silent movies. He has worked in Hindi & Marathi movies.

Dinkar Shivram Salvi aka Dada Salvi was born on 04 December 1904 in a village Phansob in Ratnagiri, Bombay Presidency, undivided India, now in Maharashtra. After completing his education, he joined the Police Department. During service period, he was taking part in plays. Shri Tipnis, a well known play master saw Salvi and advised to come to Bombay. Acting in plays became a part of his life, so he decided to leave the job and came to Bombay.

In Bombay, Tipnis introduced Salvi to KB Athawale, working as manager, actor, director in Excelsior Film Company owned by Seth Wazeer Aziz. The company was searching for talented actors and Athwale offered Salvi to join Excelsior Film Company on a monthly salary of ₹ 25. Salvi accepted the job & joined Excelsior Film Company.

Salvi’s first silent film was ‘Khoon-e-Nahaq’ (1928) and became very popular. Looking at his potential in acting, the Imperial Film Company offered Dalvi work with higher monthly pay. After joining Imperial Film Company, Salvi acted in 20 silent films like ‘Madan Manjri’, ‘Indira BA’, ‘Bhola Shikar’, ‘Cinema Girl’, ‘Hamara Hindustan’, ‘Raat Ki Baat’, ‘Khuda Ki Shaan’ and many more. It is said, while working with Imperial Film Company, Salvi fell in love with his co-actress Sakhubai & later they married. Probably it was the first love marriage of the first Maharashtrian acting couple of Hindi films.

Salvi worked with Jayant Desai in the film ‘Poladi Pahelwan – Iron Man’ (1931) for Paramount Films. He also acted in Marathi films like ‘Aut Ghatkecha Raja’, ‘Bhakta Prahlad’, ‘Chatrapati Sambhaji’, ‘Thaksen Rajputra’ under Dadasaheb Torne of Saraswati Cinetone. Salvi’s role in ‘Chatrapati Sambhaji” as Sambhaji’s evil advisor Kalusha Kabji won him great acclaim. Impressed with the acting of Salvi as Kalusha Kabji, Hans Pictures, Kolhapur, invited him to join them on a three figure salary. Salvi left Imperial and joined Hans.

‘Premveer’ (1937) was Salvi’s first film with Hans Pictures. This was a turning point in his career where he came to be associated with Master Vinayak and Marathi Films. Their team led to many wonderful performances. He was then seen mostly in Marathi Films with an occasional Hindi film. In ‘Brahmchari’ (1938), Salvi played the role of the father of the heroine. Salvi acted in Marathi films like ‘Savangadi’, ‘Brandi Chi Batli’, ‘Devta’ and many more.

Later Hans Pictures changed to Navyug Chitrapat and made ‘Amrut’ (1941). Salvi then worked in many Hindi and Marathi films with Master Vinayak, V Shantaram. After 1947, Dada Salvi mainly worked in Marathi films. He acted in 23 Hindi films and even sang a song in the film ‘Awara Shahzada’ (1933).

Dada Salvi died on 29 October 1980 in Poona (Pune), Maharashtra.

Today’s song is sung by Khursheed as a solo. HFGK mentions one duet having the same mukhda, sung by Zohra Bai and Reva Shankar. However, this duet is not available on YouTube. Today’s song is very pleasant. Enjoy. . .


Song-Hamaari gali aana humse akhiyaan milaana (Maharana Pratap)(1946) Singer- Khursheed Bano, Lyricist- Swami Ramanand, MD- Ram Ganguly

Lyrics

hamaari gali aana
hamse akhiyaan milaana
kahin bhool na jaana
tumhen yaad rahe
hamaari gali aana
hamse akhiyaan milaana
kahin bhool na jana
tumhe yaad rahe

yaad rahega pyaar tumhaara
yaad rahega pyaar tumhaara
bhool na jaana haan
bhool na jaana khayaal humaara
bhool na jaana khayaal humaara
kabhi bhoole se phir bhi aana
haan aana
kahin bhool na jaana
tumhen yaad rahe
kabhi bhoole se phir bhi aana
haan aana, kahin bhool na jana
tumhen yaad rahe
hamaari gali aana
hamse akhiyaan milaana
kahin bhool na jaana
tumhe yaad rahe

dil mein leke yaad suhani
raaja yaad suhani
dil mein leke yaad suhani
raja yaad suhaani
dagmag dole, dagmag dole
haaye mori mast jawaani
dagmag dole, dagmag dole ae ae
mori mast jawaani
mast jawaani ki tumko kasam
mast jawaani ki tumko kasam
humko na tarsaana
kahin bhool na jaana
hamko na tarsaana
kahin bhool na jaana
tumhen yaad rahe

hamaari gali aana
hamse akhiyaan milana
kahin bhool na jaana
tumhe yaad rahe
hamaari gali aana
hamse akhiyaan milaana
kahin bhool na jaana
tumhen yaad rahe

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

हमारी गली आना
हमसे अखियाँ मिलाना
कहीं भूल ना जाना
तुम्हें याद रहे
हमारी गली आना
हमसे अखियाँ मिलाना
कहीं भूल ना जाना
तुम्हें याद रहे

याद रहेगा प्यार तुम्हारा
याद रहेगा प्यार तुम्हारा
भूल ना जाना हाँ
भूल ना जाना खयाल हमारा
भूल ना जाना खयाल हमारा
कभी भूले से फिर भी आना
हाँ आना
कहीं भूल न जाना
तुम्हें याद रहे
कभी भूले से फिर भी आना
हाँ आना
कहीं भूल न जाना
तुम्हें याद रहे
हमारी गली आना
हमसे अखियाँ मिलाना
कहीं भूल ना जाना
तुम्हें याद रहे

दिल में ले के याद सुहानी
राजा याद सुहानी
डगमग डोले
डगमग डोले
हाए मोरी मस्त जवानी
डगमग डोले
डगमग डोले॰॰ए
मोरी मस्त जवानी
मस्त जवानी की तुमको कसम
मस्त जवानी की तुमको कसम
हमको ना तरसाना
कहीं भूल ना जाना
तुम्हें याद रहे

हमारी गली आना
हमसे अखियाँ मिलाना
कहीं भूल ना जाना
तुम्हें याद रहे
हमारी गली आना
हमसे अखियाँ मिलाना
कहीं भूल ना जाना
तुम्हें याद रहे

Tags: , , , ,

Hum dil ko dil hum ko samjhaaye

Posted by: on: May 5, 2023


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

 5404 Post No. : 17732

———————————————–—————————————
Blog 10-Year Challenge (2013-2023) – Song No.112
————————————————————————————–

On this date ten years ago (5 May 2013), eight songs from eight different movies were covered in the blog. Here are the details:-

Post No Song Title Name of the movie Remarks
8038 Matwaale nainon waale ke main waari waari jaaun Beqasoor (1950) Movie YIPPEED by now
8039 Daya kar hey girdhar gopal Shabaab(1954) Movie YIPPEED by now
8040 Maine dekha khwaab mein ek niraala jahaan Arabian Nights (1946) 4 songs covered out of 14 by now
8041 Ghar aaya mehmaan koi jaan na pehchaan Udan Khatolaa (1955) Movie YIPPEED by now
8042 Jabse chale gaye hain wo Naatak(1947) Movie YIPPEED by now
8043 Hamen jo koi dekh le ek nazar bhar ke Deewaana (1952) Movie YIPPEED by now
8044 Haay haay rasiyaa tu bada bedardi Dil Diyaa Dard Liyaa (1966) Movie YIPPEED by now
8045 Aa jaa re aaja re o mere dilbar aaja Noorie (1979) Movie YIPPEED by now

We oibserve that eight songs from eight different movies were covered in the blog on this date ten years ago (on 5 May 2013). As many as seven movies (out of eight movies) have since been YIPPEED in the blog. That leaves us with just one unYIPPEED movie that is eligible for Blog Ten Year Challenge today (5 May 2023).

That movie is “Arabian Nights”(1946).

“Arabian Nights”(1946) was directed by Niren Lahiri for P R Productions. This movie had Kanan Devi, Nawab, Robin Majumdar, Debi Mukherjee, Molina, Meera Dutt, Hiralal, Sunder,Rirkoo, Shayam Laha etc in it.

“Arabian Nights”(1946) had 14 songs in it. Four songs have been covered in the blog in the past.

Here is the fifth song from the movie to appear in the blog. This is a sad song which is sung by Kanan Devi. Faiyyaz Hashmi is the lyricist. Music is composed by Kamal Dasgupta.

Only audio of the song is available. It is clear that the song is picturised on Kanan Devi herself.


Song-Hum dil ko dil hum ko samjhaaye (Arabian Nights)(1946) Singer-Kanan Devi, Lyrics-Faiyyaz Hashmi, MD-Kamal Dasgupta

Lyrics

hum dil ko
dil ham ko
samjhaaye ae ae
hum dil ko
dil ham ko samjhaaye ae
na haansi
na rona
na vo aaye ae ae
ek pal bhi
khush rahne nahin paaye ae ae ae ae
ek pal bhi
khush rahne nahin paaye ae ae ae
hum apni
kismat se
sharmaaye ae ae
hum apni
kismat se sharmaaye haaye

seene mein ummeeden marti haaye
seene mein ummeeden marti haaye
hum aise jeene se baaz aaye ae ae
hum aise jeene se baaz aaye haaye
main dekhoon khud apni barbaadi ee ee ee
main dekhoon khud apni barbaadi ee ee ee
mere aage
meri duniyaa
lut jaaye ae ae
mere aage
meri duniyaa lut jaaye haaye

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over FIFTEEN years. This blog has over 18300 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

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Total number of songs posts discussed

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Movies with all their songs covered =1411
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