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

Archive for the ‘Songs of 1947’ Category


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 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 :

4494 Post No. : 16021 Movie Count :

4384

Sometime back, I had come across a list of unreleased songs of Mohammed Rafi on the internet. The number of such songs were close to 100. A scrutiny of the songs revealed that these were not necessarily unreleased songs. Some songs were from unreleased films which were released later on gramophone records in some cases. Then, there were songs which were composed for released films but were not picturised. Some songs were deleted from films mainly to reduce the length of the films. Some of the songs in the list have already been covered in our Blog.

To begin with, I checked from the list to see which of the songs, especially of 1940s and 50s are available on the video sharing platforms which are yet to be covered on the Blog. From the list, I found two of the earliest songs among others rendered by Rafi for an unreleased film, ‘Geet Aur Aansoo’ (1940s) which are yet to be covered in the Blog. I am presenting one of Rafi’s two songs in the film, ‘maut uski jawaani pe lalchaayi’. The song has somewhat unusual lyrics by Surjeet Sethi.

Arun ji has confirmed that not much details about the film in HFGK such as the name of the director, star cast and other crews of the film is available except that it was produced under the banner of S. S. Moviemakers. One website (myswar.com) has shown the film as that of 1947 but as unreleased and has listed 7 songs in the film of which 2 songs were sung by Mohammed Rafi, 4 songs by Kusum Mantri and remaining one song sung by S Mohinder who was the music director. SAREGAMA has also listed S Mohinder as the music director for three mp3 clips of the songs of the film. All the songs were written by Surjeet Sethi.

I find from the filmography of S Mohinder that in most of the films for which he was the music director, Surjeet Sethi wrote lyrics for him. He wrote lyrics for S Mohinder in ‘Sehra’ (1948), ‘Neeli’ (1950), ‘Bahadur’ (1953), ‘Paapi’ (1953) and ‘Sau Ka Note’ (1955). After 1955, Surjeet Sethi seems to have given up writing lyrics for the film. After a gap of many years, Surjeet Singh’s name propped up as a producer-director-lyricist of an obscure film ‘Sandli’ (1980s, UR) for which S. Mohinder was the music director.

‘Geet Aur Aansoo’ (1940s UR) raises a point to ponder as to which was the debut film of music director S. Mohinder – ‘Sehra’ (1948) which has been marked as such or ‘Geet Aur Aansoo’ (1940s) songs of which were supposed to have been recorded in 1947? Surprisingly, I have not come across in any article on S. Mohinder or his interviews in which he had ever mentioned ‘Geet Aur Aansoo’ while discussing his film music.

I personally feel that ‘Geet Aur Aansoo’ may be the debut film both for music director, S. Mohinder and lyricist, Surjeet Sethi. First, the style of singing of Mohammed Rafi reminds me of his song in ‘Jugnu’ (1947). Secondly, I came to know from the Rajya Sabha interview which S Mohinder gave about 4 years back that he and Surjeet Sethi got acquainted with each other only during their train journey from Lahore to Bombay Central in May 1947, a few months before on the partition. During the conversation in the train, Surjeet Singh introduced himself as a shaayar. Their friendship in Mumbai may have led to their collaboration in ‘Geet Aur Aansoo’ (1940s, UR) and some more films.

Audio Clip:

Song-Maut uski jawaani pe lalchaayee (Geet Aur Aansoo)(1947) Singer-Rafi, Lyrics-Surjeet Sethi, MD-S Mohinder

Lyrics

maut uski jawaani pe lalchaayi
liya aagosh mein jyonhi wo muskaayi
maut uski jawaani pe lalchaayi

uski hansi ne khud ko naashaad kiya aa aa aa aa
uski hansi ne khud ko naashaad kiya aa aa aa
uski shokhee ne khud ko barbaad kiya
usko le doobi uski hi angdaayi
maut uski jawaani pe lalchaayi
liya aagosh mein jyonhi wo muskaayi
maut uski jawaani pe lalchaayi

mil gayi raakh mein aaj uski jawaani
mil gayi raakh mein aaj uski jawaani
maut ki dulhan bani wo husn ki raani ee
naseeb-e-maut ab teri kahaan sunaayi(?)
maut uski jawaani pe lalchaayi
liya aagosh mein jyonhi wo muskaayi
maut uski jawaani pe lalchaayi
lalchaayi
lalchaayi


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 :

4455 Post No. : 15926

Yearwise discussion of Lata Mangeshkar songs in HFM: Part I: 1946-1947

Today (28 september 2020) is the 91st birthday of Swar Samragyi Lata Mangeshkar (DoB 28 September 1929). We as part of HFM lovers extend her a very happy birthday and wish her many happy returns of the day.

She has been the most influential singer of HFM (and by extension all Indian film music).

A lot has been written on her career and her songs and her life. Instead of joining that race and repeating the already much repeated facts about her, I would take this occasion to stat my discussion of her HF songs yearwise, right from the beginning. So one can see that it is going to be a long series, which may have started on her birthday and it will contunue on and on, and each post will discuss one year. She has been around for more than six decades. It will take me at least 40 posts, may be more to discuss her songs over the years. I plan to publish one article every year. At this rate, this series could take upto one year. But then what is one year for this blog which is going on for more than 12 years !

This writeup, which is part I takes up the years 1946 and 1947. Why two years ? Because this series will discuss a Lata Mangeshkar song from the year under discussion. Lata Mangeshkar made her debut in 1946 but all songs sung by her in 1946 are already covered in the blog. 1947 is the second year for her HFM career. Here just one song sung by her remains undiscussed. So I had to take up the year 1947 as well so that I could discuss a song of the year with the article.

Coming to 1946, here are the details of the songs sung by Lata Mangeshkar in HFM in 1946:-

Movie Music director Lata song in the blog Lata HFM songs in the year Lata solo songs Male duet Female duet Other songs Lyricists Song detail
Jeewan Yaatra Vasant Desai 1 1 1 0 0 0 Dewar Sharar Chidiya boley choon choon choon
Sona Chaandi D C Dutt 1 1 1 0 0 0 Wali Sahab Pyaare Bapu ke charnon ki le lo prasann
Subhadra Vasant Desai 2 2 2 0 0 0 Pt Sudarshan (1) Pt Indra (1) Piya aayegaa…gori sudh na bisaar piya aayegaa Pt Indra Chandra
Saanwariya oye baansuriya oye bajaaye gayo re Pt Sudarshan
Total Three movies Two music directors 4 4 4 0 0 0 Four lyricists All solos

The next year 1947, which was an important year for the country saw Lata Mangeshkar faring more or less how she had fared the previous year, as can be seen from the table below :-

Movie Music director Lata song in the blog Lata HFM songs in the year Lata solo songs Male duet Female duet Other songs Lyricists Song detail
Aap Ki Sewa Mein Datta Dawjekar 2 3 3 0 0 0 Mahipal Paa laagoon kar joree re
Ek naye rang mein dooje umang mein
Shaadi Se Pehle Pt Ramakant Paingankar-Karnad 1 1 0 1 0 0 Pt Mukhram Sharma Chalo ho gayi taiyyar Duet with Rafi
Shehnaai C Ramchandra 1 1 0 0 0 1 P L Santoshi Jawaani ki rail chali jaaye re with Chitalkar and Geeta Dutt as co singers
Total Three movies Three music directors 4 5 3 1 0 1 Three lyricists Three solos, plus her first male duet and first multiple singers song

If someone had done an year end analysis of Lata Mangeshkar’s career prospects at the end of 1947, he would have written off her chances as a playback singer. Such an analyst would have lots of facts backing his judgement. Lata Mangeshkar had a thin feeble voice, unlike the buland voices of the predominantly Punjabi female singers of those days. Forget laypersons, even a few studio owners, such as Filmistan’s boss rejected Lata’s voice outright, despite the recommendations of music director like Ghulam Haider. If one had to give opportunities to a new voice, then Geeta Roy showed far more promise. Unlike Lata, who was struggling on family and career fronts, Geeta Roy was getting her breaks almost without much struggle. And her voice was loved by all prominent music directors and movie producers.

So, Lata Mangeshkar did not have it easy in her career. She has faced lots of hardships. She has overcome them all. Moreover, she stood for her rights, took on powerful influential individuals in the induustry and got her way. Not just that, she survived and outlived them all.

Many people, with the benefit of hindsight may think that Lata Mangeshkar had a smooth career in film industry. Not at all. She has survived lots and lots of hardships that would have destroyed lesser mortals. One forgotten fact is that an attempt was made to poison her. It was a tactic that was earlier used against Master Madan in 1940s. Lata Mangeshkar’s enemies had planted a cook in her residence who was slowly poisoning her meals. It was an incident of early 1960s. The matter was detected in time and the cook ran away.

Her detractors accuse her of sabotaging the careers of some of her contemporaries. I think this accusation has an element of exxagaration. Even in the prime of her career, there were lots and lots of movies where she did not sing. She would typically sing songs in 50 odd movies in a year out of 100 odd movies released in that year. If these contemporaries were as good as they thought, they had enough opportunities to get work in the movies where Lata Mangeshkar did not sing. It takes far more than just raw singing ability to get work and get repeated. It takes lots of social networking which Lata Mangeshkar was good at. A few of her contemporaries known to be regarded as her competitors did not possess even a fraction of the networking abilities that Lata and her equally illustrious younger sister Asha Bhonsle possessed.

My observation about Lata Mangeshkar is that she was like an iceberg, and only the tip of her abilities were used in HFM. And even that has resulted into a body of work that is quite formidable.

One can see from the above two tables that Lata Mangeshkar was a struggler for most of the 1940s and she had very little to show for her struggles by the end of 1947. Lots and lots of things happened thereafter. She has the luck and the ability to turn it around spectacularly in the years to come. We will look at these facts in details in the future posts of this series.

It has been mentioned above that all Lata songs of 1946 have been covered in the blog. The table for 1947 shows that one Lata song from 1947 remains uuncovered. The song under discussion is that remaing song.

“Aap Ki Sewa Mein”(1947) was directed by Vasant Joglekar for Chandrma Pictures Bombay. This obscure movie had Dixit, Kesri, Shantarin, Saroj Borkar, Nimbalkar, Smson, D R Gokhale, Bhal Marathe, Vijaya, Baby Nalini etc in it. The movie had eight songs in it. Four songs have been covered in the past.

Lata Mangeshkar had sung three solos in the movie. Two of these songs have been covered in the blog in the past.

Here is the third and final Lata solo from “Aap Ki Sewa Mein”(1947) to appear in the blog. The song is penned by Mahipal (later a hero of mythological movies). Music is composed by Datta Davjekar.

Listening to the voice in this song, one can notice the influence of Suraiyya in her voice, who was a leading female playback singer of those days.

With this song, all the Lata Mangeshkar HFM songs of 1947 have now got covered in the blog.

In the next instalment of this series, we will discuss Lata Mangeshkar HFM songs sung by her in Hindi movies released in 1948.


Song-Ab kaun sunega mere man ki baat (Aap Ki Sewa Mein)(1947) Singer-Lata, Lyrics-Mahipal, MD-Datta Davjekar

Lyrics

ab kaun sunega
ab kaun sunega aa aa
mere man ki baat
ab kaun sunega aa aa aa
mere man ki baat
jiske chhoote sabhi sahaare ae ae ae
jiske chhoote sabhi sahaare
uska haar(?)
ab kaun sunega aa aa aa
mere man ki baat
ab kaun sunega

jo karte thhe kabhi ishaare ae ae
jo karte the kabhi ishaare
doob gaye we chand sitare
doob gaye, doob gaye
dub gaye oe chaand sitare
raah dikhaane aayi mujhko
raah dikhaane aayi mujhko, toofaanon ki raat
ab kaun sunega aa aa aa mere man ki baat
ab kaun sunega

jyot diye ki ee ee jab bujh jaaye ae ae ae
jyot diye ki ee jab bujh jaaye
aansu kya usko sulgaaye
aansu kya aa
aansu kya
aansu kya usko sulgaaye
bhar bhar aatin ankhiyaan
ankhiyaan
bhar bhar aatin ankhiyaan
man sookha sookha jaaye
ab kaun sunega aa aa
mere man ki baat
ab kaun sunega aa aa
mere man ki baat
ab kaun sunegaa


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 :

4443 Post No. : 15890

“Ghar Ki Bahu”(1947) was directed by Narayan Rao and G K Devre for Kohinoor pictures, Bombay. This “social” movie had Paro Devi, Umakant, Ghulam Mohammad (actor), Pandey, Mehar Sultana, Manohar Ghatwai, Dhuliya, Babu Raje, Geeta Sardesai etc in it.

This forgotten movie had eight songs in it that have become extremely rare songs. One song has been covered in the past.

Here is the second song from “Ghar Ki Bahu”(1947) to appear in the blog. This song, even rarer than the one discussed earlier, is sung by Paro Devi and chorus. Taresh is the lyricist. Music was composed jointly by Shanti Kumar Desai and R C Rai.

Only the audio of this song is available. It is clear that the song was picturised on Paro Devi herself.

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


Song-Ham dharti ke laal (Ghar Ki Bahu)(1947) Singer-Paro Devi, Lyrics-Taresh, MD-Shanti Kumar Desai
Chorus

Lyrics

Ham dharti ke laal
Ham dharti ke laal
Ham dharti ke laal

hamaaro o o o o
hamaaro dharti se hi pyaar
Ham dharti ke laal
Ham dharti ke laal
Ham dharti ke laal

ghaas paat ki hamri jhopadiya
ghaas paat ki hamri jhopadiya
ho hamri jhopadiya
kheti ko byopaar
kheti ko byopaar
gaay bail hain sangi saathi
gaay bail hain sangi saathi
kudrat ko aadhaar
hamaaro albelo sansaar
hamaaro albelo sansaar
kaho jee
kaho jee saanch baat ya jhoothh
hamaaro dharti se hi pyaar
hamaaro dharti se hi pyaar
ham dharti ke laal
Ham dharti ke laal
ham dharti ke laal

ho o o
garmi jaawe
garmi jaawe
barkhaa taawe
sardi ang churaawe
haay maa
sardi ang churaaye
haay maa
sardi ang churaaye
khoon bahaaye
khoon bahaaye
?? na paaye
ham bhookho rah jaayen
hamen na
hamen na pal bhi mile karaar
hamen na pal bhi mile karaar
kaho jee
kaho jee saanch baat ya jhoothh
hamaaro dharti se hi pyaar
hamaaro dharti se hi pyaar
ham dharti ke laal
ham dharti ke laal
ham dharti ke laal

ho o
dhoop sahen chupchaap rahen ham
karke yahi vichaar
arre haan
karke yahi vichaar
ik din howo
in kheton par hamro hi adhikaar
arre haan
arre haan
hamri hi sarkaar
rahe na kou zameendaar
rahe na kou zameendaar
kaho jee
kaho jee
saanch baat ya jhoothh
hamaaro dharti se hi pyaar
hamaaro dharti se hi pyaar
ham dharti ke laal
ham dharti ke laal
ham dharti ke laal


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 :

4432 Post No. : 15865

“Bela” (1947) was directed by Chaturbhuj Doshi for Ranjit Movietone, Bombay. The story, screenplay, dialogues and Lyrics of this movie were by D N Madhok. The movie had P Jairaj, Nigar Sultana, Shrinath Tripathi, Pt.Iqbal, Krisnakumari, Master Mehmood, Rekha, Usha, B.R.Sharma etc. in it.

The movie had ten songs in it. Eight of these songs have been covered in the past.

Here is the ninth song from the movie. This song is sung by Zohrabai Ambalewaali. D N Madhok is the lyricist. Music is composed by Bulo C Rani.

Only the audio of the song is available. My guess is that this melancholic song was picturised on the leading lady viz Nigar Sultana. I could be wrong as well, seeing that Zohrabai Ambalewaali’s voice figured in all the ten songs of the movie, so who knows, she may have sung for all the important ladies in the movie, in addition to leading lady. I request our knowledgeable readers tp throw light on the picturisation of the song.


Song-Ho zara meri gali aaa re balam (Bela)(1947) Singer-Zohrabai Ambalewaali, Lyrics-D N Madhok, MD-Bulo C Rani

Lyrics

Ho zara meri gali aa re balam
zara meri gali aaa re baalam
nanhi si jaan hai meri ee
haaye baalma aa
nanhi si jaan hai meri ee
haay baalma aa
tod na de tera gham
ho zara meri gali aa re balam
zara meri gali aa re balam

rain diwas jiya dagmag doley
tera naam pukaare
dheere dheere haule haule
rain diwas jiya dagmag doley
tera naam pukaare
dheere dheere haule haule
jab main pyaar se poochhoon to yehi boley
jab main pyaar se poochhoon to yehi boley
nanhi si jaan hai meri
haaye baalma aa
nanhi si jaan hai meri
haay baalma aa
tod na de tera gham
zara meri gali aa re balam
zara meri gali aa re balam

aadhi aadhi raat
aadhi aadhi raat
mera nindiya se jaagna
aadhi aadhi raat
mera nindiya se jaagna
naam tera le le ke
it ut bhaagna
naam tera le le ke
it ut bhaagna
ab to milo baalma aa
haay baalma aa
ab to milo baalma aa
haay baalma aa
chhoot na jaaye ye dam
zara meri gali aa re balam
zara meri gali aa re balam
nanhi si jaan hai meri ee
haaye baalma aa
nanhi si jaan hai meri ee
haay baalma aa
tod na de tera gham
zara meri gali aa re balam
ho zara meri gali aa re balam


This article is written by nahm, 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 :

4411 Post No. : 15808

Today is 15th August, 2020 and we are celebrating 74rd Independence day. A national festival in COVID times, when all the festivals and celebrations have been kept low key and confined to own dwellings, very small gatherings or on the modern wonders of 21st century whatsapp and video conferences. But these small mercies have also been marred by the casualties. Most painful is the inability to visit the sick and not go the two steps distance towards the final rites of those who have lost this battle.

This past 6 months, we have all come to realize what really matters. Our family, friends and our inherent capacity to be happy and content, is the takeaway for us at the end of this. Surely, there is light at the end of this tunnel.

It has been 73 years since we have gained or wrested our freedom from a foreign power. A power, which still relishes its successes and spoils from the conquering and subduing of this ancient land of the Rishi Munis and sufi saints and great thinkers and poets. There is a saying “United we stand and divided we fall”. But here we are celebrating the event of the division of an ancient civilization. Over these 73 years and even before with the two world wars, we have seen elsewhere how those superpowers and their brethren create, fight and finish their unholy wars. Be it annihilation of Japan or the systematic destruction of Iraq(twice over), and the dismantling of the ‘khilaafat’ in Turkey, we in the end got free lightly, only with the three way division of the sub-continent and the loss of a few million lives in the cross migration or exchange of population, or whatever. Everything comes at a cost, and we, some would say have paid it. There is a very good reason for the tag of ‘sub-continent’ to this region of Hindustan. These are some things to ponder over.

The song I have chosen to present here is “Desh mein sankat aaya hai” from “Aap ki sewa mein” (1947). The song obviously of pre-independance era, as it ends with “Chheen lo , chheen lo ……..” . Meaning ‘Azaadi chheen lo”. Otherwise the lyrics are mainly about food shortages, or maybe it is talking about famine, in Bihar or Bengal.

By and large, our country is free of such fears, at least in matters of food. Initially with the extended lockdown, there were apprehensions everywhere, especially in the elderly. They were not totally unfounded with the transportation and all activity at the standstill, there is always a chance of things going horribly bad. But the bureaucratic vigilance and diligence at every step of the way saved the day for India. Indian bureaucracy, however maligned as “babus” is a fine institution so is the distribution network of resources and essentials, that much has been proved. We take these institutions for granted, until they are threatened, look to be losing significance. Only then we acknowledge what it was and what we lost.

Despite these apprehensions, all was fine at least in Mumbai. But one thing I could not find in my 3 visits to the supermarket, i.e. the humble ‘safed watana’ 🙂 .

Here is a bonus, a poem by Sahir Ludhianvi :

– वीरसा –
ये वतन तेरी मेरी नस्ल की जागीर नहीं
सैकड़ों नस्लों की मेहनत ने सँवारा है इसे
कितने ज़ेहनों का लहू कितनी निगाहों का अ’रक़
कितने चेहरों की हया कितनी ज़बीनों की शफ़क़
ख़ाक की नज़्र हुई तब ये नज़ारे बिखरे
पत्थरों से ये तराशे हुए असनाम ए जवाँ
ये सदाओं के खंम-ओ-पेच ये रंगों की ज़ुबां
चिमनियों से निकलता हुआ ये पुर पेच धुआँ
तेरी तख़्लीक़ नहीं है मेरी तख़्लीक़ नहीं
हम अगर ज़िद भी करें इस पर तो तसदीक़ नहीं
ई’ल्म सूली पर चढ़ा तब कहीं तख़मीना बना
ज़हर सदियों ने पिया तब कहीं नौशीना बना
सैकड़ों पावों कटे तब कहीं इक ज़ीना बना
तेरे क़दमों के तले या मेरे क़दमों के तले
नौ ए इंसान के शब ओ रोज़ की तक़दीर नहीं
ये वतन तेरी मेरी नस्ल की जागीर नहीं
सैकड़ों नस्लों की मेहनत ने सँवारा है इसे

तेरा ग़म कुछ भी सही मेरा अलम कुछ भी सही
एहल ए सर्वत की सियासत का सितम कुछ भी सही
कल की नस्लें भी कोई चीज़ हैं, हम कुछ भी सही
उन का वरसा हों खंडर ये सितम ईजाद न कर
तेरी तख़्लीक़ नहीं तू उसे बर्बाद न कर
जिस से देहक़ान को रोज़ी नहीं मिलने पाती
मैं न दूंगा तुझे वो खेत जलाने का सबक़
फ़स्ल बाक़ी है तो तक़सीम बदल सकती है
फ़स्ल की ख़ाक से क्या मांगेगा जम्हूर का हक़
पुल सलामत है तो तू पार उतर सकता है
चाहे तबलीग़ बग़ावत के लिए ही उतरे
वरना ग़ालिब की ज़बान में मेरे हमदम मेरे दोस्त
दाम हर मौज में है हल्क़ा ए सद काम ए नेहंग
सोच ले फिर कोई तामीर गिराने जाना
तेरी तामीर से है जंग के तख़रीब से जंग
एहल ए मनसब हैं ग़लत कार तो इन के मनसब
तेरी ताईद से ढाले गए , तू मुजरिम है
मेरी ताईद से ढाले गए मैं मुजरिम हूँ
पटरियाँ रेल की, सड़कों की बसें, फ़ोन के तार
तेरी और मेरी ख़ताओं की सज़ा क्यूँ भुगतें
इन पे क्यूँ ज़ुल्म हो जिन की कोई तक़सीर नहीं
ये वतन तेरी मेरी नस्ल की जागीर नहीं
सैकड़ों नस्लों की मेहनत ने सँवारा है इसे

तेरा शिकवा भी बजा मेरी शिकायत भी दुरुस्त
रंग ए माहोल बदलने की ज़रूरत भी दुरुस्त
कौन कहता है के हालात पे तनक़ीद न कर
हुकूमत के ग़लत दाओं की तर्वीद न कर
तुझ को इज़हार ए ख़यालात का हक़ हासिल है
और ये हक़ कोई तारीख़ की ख़ैरात नहीं
तेरे और मेरे रफ़ीक़ो ने लहू दे दे कर
ज़ुल्म की ख़ाक में इस हक़ का शजर बोया था
सालहा साल में जो बर्ग ओ समर लाया है
अपना हक़ मांग मगर इन के ता’आउन से न माँग
जो तेरे हक़ का तसव्वुर ही फ़ना कर डालें
हाथ उठा अपने मगर इन के जिलौ में न उठा
जो तेरे हाथ तेरे तन से जुदा कर डालें
ख़्वाब ए आज़ादी ए इंसान की ये त’अबीर नहीं
ये वतन तेरी मेरी नस्ल की जागीर नहीं
सैकड़ों नस्लों की मेहनत ने सँवारा है इसे
(साहिर लुधियानवी)
*****************

नस्ल – pedigree, ancestry
अरक़ – essence
जबीन – forehead
शफ़क़ – crimson colour of evening sky as the sun sets
असनाम जवाँ – idols of the young/youth
ख़म-ओ-पेच – curves and curls
तख़्लीक़ – creation
तसदीक़ – verifying, authentication
इल्म – knowledge, education
तख़्मीना – estimate or valuation
नौशीना – antidote for poison
ज़ीना – stairs
नौ-ए-इंसाँ – new generation / civilization
अलम – grief, affliction, pain
अहल-ए-सर्वत – The wealthy, well endowed
चीज़ – something or some matter
विर्सा – inheritance or heritage
ईजाद – invention
दहक़ान – farmers
सबक़ – lesson
तक़्सीम – division, distribution
फ़स्ल – harvest, yield
जम्हूर – republic, populace
तब्लीग़ – preaching
बग़ावत – revolt, rebel
दाम – a trap or costs
मौज – a wave or enjoyment/fun
हल्क़ा-ए-सद-काम-ए-नहंग – a circle of perils, chain of events(unwanted) in daily chores.
ता’मीर – construction
तख़रीब – destruction
अहल-ए-मंसब – The powerful
ग़लत-कार – wrong-doer, in the wrong
मंसब – seat of power, good offices
ताईद – consent, favour or encouragement
ख़ताओं – mistakes, faults
तक़्सीर – crime, sin
शिकवा – complaint
रंग-ए-माहौल – the hues in the atmosphere
हालात – conditions, current situations
तन्क़ीद – criticism
हुक्मरानों – the rulers
दा’वों – claims or tall claims
तरदीद – contradict or refuse
इज़हार-ए-ख़यालात – expression of thoughts and ideas
हासिल – available for you, gotten
तारीख़ – history
ख़ैरात – alms, charity
रफ़ीक़ों – friends, dear ones, well wishers
शजर – a tree
सालहा-साल – years after years
बर्ग-ओ-समर – leaves and fruits
तआ’वुन – help or co-operation
तसव्वुर – conception, imagination
फ़ना – destroy, finish
जिलौ – in the company of
ख़्वाब-ए-आज़ादी – The dream of liberty
त’अबीर – completion, realization

______

The song presented is composed by Datta Devjekar. Lyricist is Mahipal and singers are Mohammed Rafi and G. M. Sajan.


Song-Desh mein sankat aaya hai (Aap Ki Sewa Mein)(1947) Singers-Rafi, G M Sajan, Lyrics-Mahipal, MD-Datta Davjekar
Both

Lyrics

Desh mein sankat aaya hai
Desh mein sankat aaya hai
Aaya hai ae
Desh mein sankat aaya hai
Desh mein sankat aaya hai
Aaya hai ae

Desh mein sankat aaya hai
Desh mein sankat aaya hai
Ab kuchh kar ke dikhlaana hai
Desh mein sankat aaya hai
Ab kuchh kar ke dikhlaana hai
Kam khaane ka
sab logon ko
badaa hunar sikhlaana hai
nayaa hunar sikhlaana hai
Desh mein sankat aaya hai

Aadhi thaali chhod chhod kar
budhdhon ko utth jaane do
Aadhi thaali chhod chhod kar
budhdhon ko utth jaane do
naujawaanon ko minnat kar ke
sookhe chane chabaane do
naujawaanon ko mehnat kar ke
sookhe chane chabaane do

aage naariyon ooo
bahu betiyon o o

punya loot lo oo
ae punya loot lo
nandan (??) kar ke punya loot lo
Ye mauqa mat jaane do

nandan(??) kar ke punya loot lo
Ye mauqa mat jaane do

Yahi sandesaa
gali gali mein
aaj hamen pahunchaana hai
Yahi sandesaa
gali gali mein
aaj hamen pahunchaana hai
Kam khaane ka
sab logon ko
badaa hunar sikhlaana hai
nayaa hunar sikhlaana hai
Desh mein sankat aaya hai

Do roti khaata ho uss ko
Aadhi pe majboor karo
Do roti khaata ho uss ko
Aadhi pe majboor karo
Kam-nase(?) mehmaan aaye
ae ae ae ae

Kam-nase (?) mehmaan aaye
To dhakke maaro door karo
Kam-nase(?) mehmaan aaye
To dhakke maaro door karo
Nayi roshni se logon ko
Naya sabaq samjhaana hai
Nayi roshni se logon ko
Naya sabaq samjhaana hai
Kam khaane ka
sab logon ko
badaa hunar sikhlaana hai
nayaa hunar sikhlaana hai
Desh mein sankat aaya hai

Bade niwaale tum na khaao
Bachchon ko ye seekh do
Bachchon ko ye seekh do
Ghar pe bhookha aaye maangne ae
Ghar pe bhookha aaye maangne
Lekin uss ko bheekh do oo

Ghar pe bhooka aaye maangne
Lekin uss ko bheekh do
Chheen lo
Chheen lo
Chheen lo
Chheen lo
Chheen lo


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 :

4404 Post No. : 15793

“Renuka”(1947) was directed by Ramesh Sahgal for Jayant Desai productions, Bombay. This “social” movie had Mubarak, Hemawati, Afzal, Shreemati Vijaydas, Shashi Kapoor (senior), Baby Vimla, Chanda Bai, Kesar Bai, Sati devi, Dharpure, etc in it.

The movie had twelve songs in it. Four songs have been covered in the past.

Here is the next song from the movie. This song is “o bewafa zamaane toone dagha kiya hai.”

The song is sung by Ram Prasad Sharma. Qamar Jalalabadi is the lyricist. Music is composed by Sardar Malik.

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


Song-O Bewafa zamaane toone daga kiya hai(Renuka)(1947) Singer-Ramprasad Sharma, Lyrics-Qamar Jalalabadi, MD-Sardar Malik

Lyrics

o bewafa zamaane ae ae
toone daga kiya hai
o bewafa zamaane ae ae
toone daga kiya hai
do dil mile huye the ae ae
unko juda kiya hai
itna mujhe bata de
rasme wafa yahi hai
itna mujhe bata de
rasme wafa yahi hai
o pyaar karne waale ae kyon dard de diya hai
o pyaar karne wale kyon dard de diya hai
o bewaafa zamane
tune daga kiya hai
do dil mile huye the ae ae
unko juda kiya hai

pahle mile thhe kaise
aur ab mile hain kaise
pahle mile thhe kaise
aur ab mile hain kaise
hum soch kya rahe thhe ae ae
kismat ne kya kiya hai
hum soch kya rahe thhe ae ae
kismat ne kya kiya hai
o bewafa zamaane ae ae
toone daga kiya hai


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.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 :

4392 Post No. : 15760 Movie Count :

4344

Today’s song is from the film ‘Lal Batti’ aka ‘Red Light’ from 1947. It was a social film, made by Janata Chitra, Bombay. The film was surprisingly directed by Nari Ghadiyali – who was known for only C grade action and stunt films. This may be one of the rare social films which he directed. The music was composed by a lesser known music director – Indravadan Bhatt from Gujarat. The cast of the film was Prakash, Rajkumari, Phool Rani, Ali, Firoza, Habib, Vasant Kumar etc. First I thought that this Vasant Kumar in the cast must be the composer Vasant Kumar Naidu, but he was not known to have acted in any film. So, maybe he was someone else. The lyricist was SP Tripathi.

1947 was an year of turmoil – not only for the film industry but also for the whole country. This was the year of partition. The news of the impending partition of India on religious basis was appearing in newspapers since the beginning of the year. Muslims connected with the film industry-especially producers and the directors were in a hurry to finish films on hand before the month of July-1947. Those who had decided to migrate to the new nation Pakistan were not starting new films. Many people were still in two minds.

The entire atmosphere was one of suspicion and mistrust. No one knew for sure, who will migrate and who will stay here. Then there was also the problem of the Hindu artistes operating from Lahore. They too prepared to return to India. Thus the film industry was in a hurry to complete films at any cost before the Partition. This resulted in a very high number of films produced in 1947. A record number of 181 Hindi films were made in 1947 alone. This record was only broken later in 1988, when 185 films were made in Hindi. That means the 1947 record stood unbroken for 57 years (1931 to 1988).

Unfortunately, the year 1947 began with shocking sad news of the death of KL Saigal on 18-1-1947. Despite all the disturbed atmosphere in the country and the film industry, it is creditable that a number of good and musical films were made in this year and some landmarks were also established. For example, Lata Mangeshkar made her Debut as a playback singer in film ‘Aap Ki Sewa Mein’. Singer Uma Devi also sang her first famous song in film ‘Dard’ – “Afsaana Likh Rahi Hoon Dil e Beqaraar Ka “. Geeta Dutt sang her first 2 famous songs in film ‘Do Bhai’ – “Mera Sunder Sapna Beet Gaya” and “Yaad Karoge Yaad Karoge, Ik Din Hum Ko Yaad Karoge“.

The revolutionary Muslim Social reform film ‘Elan’ was made by Mehboob Khan. Usha Kiron made her debut in film ‘Lalaat’, with her real name of Usha Marathe. The only Hindi film of the Southern wonder singer MS Subbulaxmi –  ‘Meera’ was released. Noorjehan acted and sang in her last film in India – ‘Mirza Sahibaan’. Madhubala and Raj Kapoor debuted as the lead pair in film ‘Neel Kamal’ and C Ramchandra’s epic musical film ‘Shehnai’ was made with the iconic song “Aana Meri Jaan.. Sunday Ke Sunday“.

As such, since a record number of movies were made in 1947, it was obvious and most likely that the quantity came at the cost of quality.  Most films were not even worth taking a note of. Film ‘Laal Batti’ was also one such film. You will find a new name in the cast – Firoza. Once upon a time, she was very famous and popular. She was one of the earliest Jewish actresses to work in silent and early talkie films. Let us know more about her. This is first time her information is available at one place.

Firoza or Firoza Begum (real name Susan Soloman) was born in a village in Konkan, Maharashtra in 1905, into a Bene Isareli Jew family. By the time she finished her education, she was proficient in Hebrew, Marathi, Hindi and English. In spite of opposition from family, she started working in silent films and soon became popular. Some of her films also became famous and hits. She continued working in silent films till 1934, when silent films stopped being made. Due to family’s opposition, she had to leave her house. She stayed in Bombay.

With the advent of talkie films, she naturally entered talkie films, with ‘Noor E Yaman’ (1935), in a small role. She acted in films like ‘Bhikaaran’ (1935), ‘Aasnuon Ki Duniya’ (1936), ‘Bharat Ke Laal’ (1936), ‘Jeevan Jyoti’ (1937), ‘Dukhiyari’ (1937), ‘Veerbaala’ (1938) etc. Due to her success in films, she fell a prey to false promises and dreamt of working in Hollywood films. She wasted 3 years in this and dejected, started working in films again here with ‘Ek Raat’ (1942), ‘Circus Girl’ (1943), ‘Duniya Diwani’ (1943), ‘Bhaagta Bhoot’ (1943), ‘Andhi Duniya’ (1943), ‘Din Raat’ (1945), ‘Lal Batti’ (1947), ‘Daulat Ke Liye’ (1947), ‘Haatimtai’ (1947), ‘Dilwaale’ (1948) etc.

She became an alcoholic and a chain smoker. She made the mistake of refusing offers from Bombay Talkies and other big banners. Meanwhile she fell in love with actor Chandra Mohan and wished to marry him, but he became a drunkard and died in 1949. Her financial condition became worse. She did small roles in Marathi and Hindi films. ‘Yasmin’ (1954) was her last film.

She lost her parents and lived alone in a single room, where she died unnoticed one day in early 70s. She was one of the top 5 Jew actresses, included in the Documentary ‘Shalom Bollywood’ made by Danny Ben-Moshe in 2003. Thus ended a talented artiste !

(Ack: Information culled from ‘Beete Kal Ke Sitare’ by S Tamrakar, ‘The Untold Story of Jews in Indian Cinema’ – Sunday Guardian, ‘Women in Hindi Cinema’ by Bhavna, Jigna and Supriya, theoneminute.com, HFGK, muVyz and my notes.)

The director of this film was Nari Ghadiyali – an expert in stunt and action films. Nari Kaikhushro Ghadiyali was born as a Parsee in Bombay. He joined the film industry in 1932 and his first directorial film was ‘Jungle King’ (1939). Nari wrote his own stories, screenplays and dialogues. He also edited his own films. He established his own production company called NKG Productions, Bombay.

He was a favourite of another Parsee producer Wadia Brothers and he directed many of Wadia films, including some Fearless Nadia films too. Some of his directed films, out of total 25 films were ‘Namumkin’ (1946), ‘Royal Mail’ (1946), ‘Pistolwali’ (1943), ‘Blackout’ (1942), ‘Red Signal’ (1941), ‘Safed Sawar’ (1941), ‘Lehri Cameraman’ (1944), ‘Lehri Badmash’ (1944), ‘Taxi Driver’ (1944), ‘Hamari Kismat’ (1949), ‘Jio Raja’ (1949), ‘Jungle Goddess’ (1948), ‘Jungle Ka Jaadu’ (1955), ‘Jungle Queen’ (1956).

His last film was ‘Murad’ (1961). This film was produced by Naqi Jehan, his step daughter. Nari married actress Pramila after her husband actor Kumar migrated to Pakistan. Pramila and Nari Ghadiyali lived together for 40 years.

Today’s song is a duet, but HFGK or the up loader of this song do not mention the singers’ names. By the way, 1947 is a year, I find in HFGK also, maximum number of films are without adequate information. May be it was because in a hurry to complete the film, the producers skipped making the film booklets, which normally provide all the information about the film. With today’s song, film ‘Lal Batti’  (1947) makes its debut on this blog.

 


Song – Ye Kab Tak Chalegi Chori (Laal Batti) (1947) Singer – Unidentified Female Voice, Unidentified Male Voice, Lyricist – SP Tripathi, MD – Indravadan Bhatt

Lyrics (Provided by Sudhir)

ye.. kab tak chalegi chori
ye.. kab tak chalegi chori
jab tak chale
chalne do gori
jab tak chale
chalne do gori
ye.. kab tak chalegi chori
ye.. kab tak chalegi chori

kaahe ko chhip chhip chori chori
kaahe ko chhip chhip chori chori
aate ho hardam hamri gali
aate ho hardam hamri gali
kewal tumahre darshan ko gori
kewal tumahre darshan ko gori
preet lagi akhiyan barjori
preet lagi akhiyan barjori
ye.. kab tak chalegi chori
ye.. kab tak chalegi chori
jab tak chale
chalne do gori
jab tak chale
chalne do gori
ye.. kab tak chalegi chori
ye.. kab tak chalegi chori

jis din dekhegi duniya saari
us din hogi museebat bhaari
jis din dekhegi duniya saari
us din hogi museebat bhaari
duniya mein koi na aisa hai pyaari
duniya mein koi na aisa hai pyaari
jisko lagi ho na ye bimaari
jisko lagi ho na ye bimaari
isliye tum fikar karo na gori
isliye tum fikar karo na gori
ye.. kab tak chalegi chori
ye.. kab tak chalegi chori
jab tak chale
chalne do gori
jab tak chale
chalne do gori
ye.. kab tak chalegi chori
ye.. kab tak chalegi chori

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

ये॰ ॰ कब तक चलेगी चोरी
ये॰ ॰ कब तक चलेगी चोरी
जब तक चले
चलने दो गोरी
जब तक चले
चलने दो गोरी
ये॰ ॰ कब तक चलेगी चोरी
ये॰ ॰ कब तक चलेगी चोरी

काहे को छिप छिप चोरी चोरी
काहे को छिप छिप चोरी चोरी
आते हो हरदम हमरी गली
आते हो हरदम हमरी गली
केवल तुम्हारे दर्शन को गोरी
केवल तुम्हारे दर्शन को गोरी
प्रीत लगी अखियाँ बरजोरी
प्रीत लगी अखियाँ बरजोरी
ये॰ ॰ कब तक चलेगी चोरी
ये॰ ॰ कब तक चलेगी चोरी
जब तक चले
चलने दो गोरी
जब तक चले
चलने दो गोरी
ये॰ ॰ कब तक चलेगी चोरी
ये॰ ॰ कब तक चलेगी चोरी

जिस दिन दुनिया देखेगी सारी
उस दिन होगी मुसीबत भारी
जिस दिन दुनिया देखेगी सारी
उस दिन होगी मुसीबत भारी
दुनिया में कोई ना ऐसा है प्यारी
दुनिया में कोई ना ऐसा है प्यारी
जिसको लगी हो ना ये बीमारी
जिसको लगी हो ना ये बीमारी
इसलिए तुम फिकर करो ना गोरी
इसलिए तुम फिकर करो ना गोरी
ये॰ ॰ कब तक चलेगी चोरी
ये॰ ॰ कब तक चलेगी चोरी
जब तक चले
चलने दो गोरी
जब तक चले
चलने दो गोरी
ये॰ ॰ कब तक चलेगी चोरी
ये॰ ॰ कब तक चलेगी चोरी


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 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 :

4391 Post No. : 15757

I have carried an impression in my mind for a long time that in the 1940s, Anil Biswas rarely used full-throated playback singers like Shamshad Begum, Zeenat Begum, Zohrabai Ambalewaali, Munawwar Sultana etc. This is based on my listening many songs composed by Anil Biswas during the last about one decade. To check my ‘hypothesis’, I glanced through all the songs composed by Anil Biswas which have been tagged under his name in our Blog. In addition, I went through a couple of websites on Hindi film songs and my excel-sheets of songs for the period 1931-50, partially taken from HFGK. The main conclusions of my ad-hoc research are as under:

  1. Zeenat Begum and Munawwar Sultana did not sing for Anil Biswas though both of them had shifted to Mumbai sometime in 1944.
  2. Although Shamshad Begum had shifted to Mumbai along with the musical team of Ghulam Haider in 1942, Anil Biswas gave her chance to sing under his music direction for the first time in the film ‘Bhook’ (1947).
  3. Anil Biswas took Zohrabai Ambalewaali for the first time in the film ‘Gramophone Singer’ (1938) followed by ‘Hum Tum Aur Woh’ (1938). After a gap of nearly 9 years, she got a chance to sing for him in ‘Naiyya’ (1947) which happened to be her last film with Anil Biswas as a playback singer.
  4. Ameerbai Karnataki and Anil Biswas started their musical career almost simultaneously in Mumbai during 1935-36 and she sang for him in a couple of films as an actor-singer. But as a playback singer, she got a chance to sing under the music direction of Anil Biswas for the first time in ‘Kismet’ (1943). With the popularity of her songs in this film, Ameerbai Karnataki became one of the topmost playback singers of Hindi films.

Based on the discography of Anil Biswas as a music director, I have attempted to get the reasons as to why he did not utilize or sparingly utilized the singers listed above under his music direction. In my view, there are three main reasons for this.

  1. In most of the films for which Anil Biswas was the music director during 1936-1942, there were actor-singers like Sardar Akhtar, Husn Bano, Sitara Devi, Bibbo, Wahidan Bai, Jyoti, Maya Banerjee, Nalini Jaywant etc who sang for themselves. Whenever, Anil Biswas was in need of additional playback singer, he mostly relied on Rajkumari Dubey.
  1. During 1942-48, Anil Biswas mainly relied on his sister, Parul Ghosh, Hamida Bano, Meena Kapoor and Geeta Roy (later Dutt) as playback singers in addition to actor-singer Suraiya. From 1948 onwards, Lata Mangeshkar became his main playback singer.
  1. It is quite likely that Anil Biswas did not find full-throated singers suitable for singing his musical compositions which were mostly soft melodies.

I am presenting today, a fun song, “Ye Haseenon Ke Mele Albele” sung by Geeta Roy (later Dutt) and Shamshad Begum – a mix of husky and high-throated voices. The song is from the film ‘Bhookh’ (1947). The song is written by Dr Safdar Aah Sitapuri which is set to music by Anil Biswas. This is the first film in which Shamshad Begum sang under the music direction of Anil Biswas. Also, this is the first duet song of Geeta Dutt and Shamshad Begum.

‘Bhookh’ (1947) is the maiden film produced and directed by Dr Safdar Aah Sitapuri. The star cast includes Sheikh Mukhtar and Husna in the lead roles supported by Kanhaiyalal, Agha, Laddan, Narmada Shankar, Abu Baker, Ghulam Hussain, Miss Kiran etc. It is a debut film for Husna and Miss Kiran. From the advertisement of the film, it appears that the film is about tackling the hunger – a theme which had come into the focus of Hindi film industry in the backdrop of Bengal famine during World War II. Films like ‘Neecha Nagar’ (1946) and ’Dharti Ke Laal’ (1946) had already covered this theme.

Anil Biswas and Dr Safdar Aah Sitapuri had worked together for 15 years in 15 films with a break during 1943-44 when Anil Biswas shifted to the Bombay Talkies. As a lyricist, Safdar Aah Sitapuri worked with Anil Biswas for the first time in ‘Comrades’ (1939) followed by ‘Alladdin’ (1940) and ‘Aurat’ (1940). They worked together for the last time in ‘Maan’ (1954) which he also directed. Thereafter, he returned to teaching Urdu literature in his university and published books like ‘Amir Khusro Bhaisiyat Hindi Shaayar’, ‘Rubiyaat-e-Zamzama’(1963), ‘Meer Aur Meeryaat’ (1972), ‘Tulsidas Aur Ramcharitmanas’ (1977).

Enjoy this light-hearted fun song.

Song – Ye Haseenon Ke Mele Albele (Bhookh) (1947) Singer – Geeta Roy, Shamshad Begum, Lyrics – Dr Safdar Aah Sitapuri , MD – Anil Biswas
Geeta Dutt + Shamshad Begum

Lyrics

ye haseenon ke mele albele
ye haseenon ke mele albele
ye haseenon ke mele albele
ye haseenon ke mele albele
kaho kaisi kahi
ek dil haaye haaye
ek dil aur laakhon jhamele
ek dil aur laakhon jhamele..ae
ek dil aur laakhon jhamele
kaho kaisi kahi
ye haseenon ke mele albele
ye haseenon ke mele albele
ye haseenon ke mele albele
ye haseenon ke mele albele
 
rasiya jobna pe aankhon se maare
rasiya jobna pe aankh se maare
ye pukaara ki ho ja mere pyaare
ye pukaara
ye pukaara ki ho ja mere pyaare
main angootha dikha ke boli ye le
main angootha dikha ke boli ye le
kaho kaisi kahi
ye haseenon ke mele albele
ye haseenon ke mele albele
ye haseenon ke mele albele
ye haseenon ke mele albele
 
achchi soorat pe marna na aaya aa
achchi soorat pe marna na aaya
tumko to pyaar karna na aaya
tumko to pyaar karna na aaya
saiyaan ban jaao aake mere chele
saiyaan ban jaao aake mere chele
kaho kaisi kahi
ye haseenon ke mele albele
ye haseenon ke mele albele
ye haseenon ke mele albele
ye haseenon ke mele albele
kaho kaisi rahi

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

ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
कहो कैसी कही
एक दिल हाय हाय
एक दिल और लाखों झमेले
एक दिल और लाखों झमेले
एक दिल और लाखों झमेले
कहो कैसी कही
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले

रसिया जोबना पे आँखों से मारे
रसिया जोबना पे आँख से मारे
ये पुकारे के हो जा मेरे प्यारे
ये पुकारे
ये पुकारे के हो जा मेरे प्यारे
मैं अंगूठा दिखा के बोली ये ले
मैं अंगूठा दिखा के बोली ये ले
कहो कैसी कही
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले

अच्छी सूरत पे मरना ना आया
अच्छी सूरत पे मरना ना आया
तुमको तो प्यार करना ना आया
तुमको तो प्यार करना ना आया
सैंया बन जाओ आ के मेरे चेले
सैंया बन जाओ आ के मेरे चेले
कहो कैसी कही
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
कहो कैसी रही


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

Blog Day :

4351 Post No. : 15665 Movie Count :

4315

Hullo Atuldom

Today 16th June is the 68th birthday of Gourang Chakraborty. He was born as the eldest son to Basantakumar Chakraborty and Santimoyee Chakraborty in East Bengal (modern day Bangladesh). He is an entrepreneur, social worker, television presenter, actor, producer, former Rajya Sabha member who has sung one song in his career that began in 1976 with the art film which was directed by Mrinal Sen’s National Award winning “Mrigayaa”.

Post “Mrigayaa” he was seen in a guest appearance in Raj Tilak directed Sanjeev Kumar -Shashi Kapoor- Vidya Sinha- Bindiya Goswami starrer “Mukti” (I saw it in his filmography, have seen the movie a few times but don’t remember seeing him there, I must have blinked at that instant).

1978 saw him in 2 Bengali and 3 Hindi films one of which was a small blink and miss role “Phool Khile Hain Gulshan Gulshan”. Of the three Hindi movies “Hamara Sansaar” and “Mera Rakshak” were remakes of South Indian movies.

1979 had him as Gunmaster G9 in Ravikant Nagaich directed “Surakshaa”; a special appearance in “Tere Pyar Mein”; a guest appearance in Rajesh Khanna starrer “Amardeep” as Rajesh Khanna’s sister’s boyfriend; a regular Basu Chatterjee hero in “Prem Vivah” alongside Utpal Dutt, Asha Parekh and Bindiya Goswami. Plus there was “Bhayanak” and Rajshri productions “Tarana”.

“Surakshaa” and “Tarana” gave him some good songs to dance to, and also these two movies are still remembered for their songs.
These days we see him on TV in the role of maha-judge on dance reality shows. And also he plays roles suited to his age in most movies like Mani Ratnam’s “Guru”; Rohit Shetty’s “Golmaal 3”; Anil Sharma’s “Veer”; Vinay Sapru- Radhika Rao directed “Lucky: No time for love” etc. The roles he has been getting are varied where he is able show off his comic side and still dance and do fisticuffs.

For today’s occasion I have a whole list of songs to choose from. Songs from movies that I have seen and loved. I have settled for a song that I heard for the first time in 1987. I even had the cassette of this movie in my collection and seen the movie at the time of its release.

This song has been on my personal waiting list for a few years now. It is from the 1987 B. Subhash produced and directed “Dance Dance”. Smita Patil, Mithun (Gourang) Chakraborty, Mandakini, Shakti Kapoor formed the primary cast with Amrish Puri and Om Shivpuri playing supporting cast. It was the story of the brother sister team of Smita and Mithun who are separated from their parents as children, grow up to be singers who are part of a troupe which performs at events and restaurants. There is the usual twist of the sister falling in love and marrying a guy who later turns bad, ditches her and also is the cause of her death. The movie comes to a close with the brother avenging his parents as well as the sister’s death.

Bappi Lahiri was the music director for this movie which was part of a series of dance based films that B Subhash made post the successful “Disco Dancer”. Anjaan was the lyrics in-charge for all these movies. Today for this birthday song we shall have a party where Shakti Kapoor and Mithun sing to an audience of oldies. It is rather sweet to see the spirit of the folks in the audience when they take to the floor with Mithun and Shakti. And we have Smita Patil among the audience egging everybody to enjoy themselves. Let us also enjoy ourselves wishing this disco dancer- break dancer – Mithunda a very Happy Birthday.


Song-Everybody dance with pa pa pa (Dance Dance)(1987) Singer-Vijay Benedict, Lyrics-Anjaan, MD-Bappi Lahiri
Chorus
Vijay Benedict + Chorus

Lyrics

tu tu tu tu tu tu turu ru ru
tu tu tu tu tu tu turu ru ru
tu tu tu tu tu tu turu ru ru
tu tu tu tu tu tu turu ru ru

coo coo coo coo wow

everybody dance with pa pa pa
everybody dance with ma ma
everybody dance with ma ma ma
everybody dance with pa pa
gaa ke dhoom machaa ke
saari raat jagaa ke
yaaron shor machaa ke
kuku kuku kuku kuku kuku
one two three four
hum saare masti ke chor
one two three four
hum saare masti ke chor

everybody dance with pa pa pa
everybody dance with ma ma
everybody dance with pa pa pa
everybody dance with ma ma

aaye hum hain aaye
aaye bin bulaaye
aaye hum hain aaye
aaye bin bulaaye
mastiyaan lutaa ke
sab ka dil churaa ke
sabke hosh udaa ke
jaayenge nachaa ke
arre haan
kuku kuku kuku kuku
one two three four
hum saare masti ke chor
one two three four
hum saare masti ke chor

everybody dance with pa pa pa
everybody dance with mama
everybody dance with pa pa pa
everybody dance with mama

aao papa
saath mein naachen
come on mama
naacho na
please
lala lala laa laa
lala lala laa laa
lala lala laa laa
lala lala laa laa
lala lala laa laa
lala lala laa laa

wow
super
great!
aah

you can’t do breakdance?
ok tequila

tequila
hahahahahaaha

arre mauka hai khushi ka
rang jame masti ka
mauka hai khushi ka
arre rang jame masti ka
aao mil ke naachen
naachen jhoomen gaayen
milke dhoom machaayen
masti mein kho jaayen
arre haan
kuku kuku kuku kuku kuku
one two three four
hum saare masti ke chor
one two three four
hum saare masti ke chor

everybody dance with pa pa pa
everybody dance with mama
everybody dance with pa pa pa
everybody dance with mama

gaa ke dhoom machaa ke
saari raat jagaa ke
yaaron shor machaa ke
kuku kuku kuku kuku kuku
one two three four
hum saare masti ke chor
one two three four
hum saare masti ke chor
one two three four

come on everybody ya
everybody dance with pa pa pa
everybody dance with mama
everybody dance with pa pa pa
everybody dance with mama
everybody dance with pa pa pa
everybody dance with mama
everybody dance with pa pa pa
everybody dance with mama
everybody dance with pa pa pa
everybody dance with mama


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 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.

This is his 600th writeup in the blog.

Blog Day:

4327 Post No. : 15618

—————————————————————–
Blog 10-Year Challenge (2010-2020) – Song No. 31
—————————————————————-

Agha Jaani Kashmiri (16/10/1908 – 27/03/1998) was perhaps the first story/screen-play/dialogue writer who was the ‘king maker’ in the Hindi film industry. Some of the producers/directors like Mehboob Khan, Shashidhar Mukherjee, Sunil Dutt used to consult him while taking up their new film projects. It is said that though he would be officially engaged for writing screen-play and dialogues, in realities, he would be their adviser in almost all the aspects of the film-making. Some of the actors themselves used to get trained from him about the correct pronunciations of their dialogues in Hindustani. Ashok Kumar, Devika Rani, Nargis, Joy Mukherjee, Sadhna, Saira Bano were some of the actors who sought his advice on their Urdu diction.

During his nearly 4 decades of filmy career in Hindi film industry, Aghajaani Kashmiri directed only one film, ‘Tohfaa’ (1947). The star cast included Nawab Kashmiri, Veera, Rehman, Anuradha, Shah Nawaz Shakuntala, Agha Miraz, Kanta, T N Charlie etc. There were 6 lyricists for 10 songs which were set to music by M A Rauf Osmania, the ghazal singer at the court of Nizam of Hyderabad and on Nizam Radio. Rafique Ghaznavi provided the background music. The theme of the film was Hindu-Muslim unity.

Nawab Kashmiri. a favourite actor of New Theater’s Boss, B N Sarkar, was a cousin of Agha Jaani Kashmiri and was the same actor who removed all his teeth for the realism of his role in ‘Yahudi Ki Ladki’(1933).[Ref: ‘Stars From Another Sky’ (2010)]. In ‘Tohfaa’ (1947), he probably did the role of an Ustad whose daughter (Veera) is in one-sided love with Ustad’s disciple (Rehman). The disciple takes it to be a sisterly love of her devotion. The daughter is devasted when the disciple falls in love with a city-bread damsel (probably, Anuradha) whom he introduces to his ‘sister’ to fulfil his long overdue promise to present her with a gift (tohfaa). It is a tragic story of misinterpretation of love between the Ustad’s daughter and his disciple and also of the misinterpretation of the gift (tohfaa) the daughter was expecting. [I have interpreted the story of the film based on the review of the film in May 1948 issue of ‘Filmindia’].

The review in ‘Filmindia’ had blamed the inapt handling of the direction by Agha Jaani Kashmiri. The film flopped miserably at the box office. My guess for one of the reasons for the failure of the film is its timing of the release. This film was due for release at a time when the partition of the country was to take place. Hindu-Muslim riots on the eve of the partition forced the film to be released post-partition. The film was released in April 1948 by which time the prospective audience had already seen the impact of the partition. Probably, they were not in a mood to watch the serious film with the rhetoric of Hindu-Muslim unity theme. But most of the songs in the film became popular.

Exactly 10 years ago, i.e. on May 23, 2010, our Blog had covered 3 songs of which one song, kahaan tak jafaa husn waalon ke sahte, was from ‘Tohfaa’ (1947).

So far, 7 out of 10 songs from ‘Tohfaa’ (1947) have been covered in the Blog as under:

No. Songs Posted on
1. kahaan tak jaffa husn waalon ke sahte 23/05/2010
2. jeene ki soorat ho gayee 28/07/2012
3. kisne chheda man ka taar 14/10/2012
4. ik aisa geet sunaavo 23/06/2013
5. hamne tumne kiyaa thha jo aabaad 03/07/2013
6. mohabbat kar mohabbat kar 07/07/2013
7. bhole sajan tujhe kaise bataaun 01/02/2015
8. wo dil gaya wo dil ke sahaare chale gaye Being covered in this writeup
9. gunche sharminda na ho Yet to be covered
10. kabhi tarsi huyi aankhon ki hasrat Yet to be covered

It would be observed that out of 10 songs, 3 songs are yet to be covered. There has been no addition to the song already covered in the Blog for the last 5 years. I checked on the video sharing platforms on the internet and found that out of these 3 songs only one song, wo dil gaya wo dil ke sahaare chale gaye is available as of date which I am presenting here. The song is rendered by Geeta Dutt. The song is written by Rafique Ghaznavi which is set to music by M A Rauf Osmania.

Audio Clip:

Song-Wo dil gaya wo dil ke sahaare chale gaye (Tohfa)(1947) Singer-Geeta Dutt, Lyrics-Rafiq Ghaznavi, MD-M A Rauf Osmania

Lyrics

wo dil gaya wo dil ke
wo dil gaya wo dil ke
sahaare chale gaye
sahaare chale gaye
sahaare chale gaye
wo dil gaya wo dil ke
sahaare chale gaye
jinse thha hamko pyaar
jinse thha hamko pyaar
jinse thha hamko pyaar
wo pyaare chale gaye
jinse thha hamko pyaar

tum the har ek cheez thhi ee ee ee
mere naseeb mein aen aen
tum kya gaye naseeb
tum kya gaye naseeb
hamaare chale gaye
jinse thha hamko pyaar
wo pyaare chale gaye

raushan thha jinke dam se mera
aa aa aa aa
dil mera khayaal
wo chaand bhi gaya
wo sitaare chale gaye
sitaare chale gaye
sitaare chale gaye
jinse thha hamko pyaar
wo pyaare chale gaye

jab band aankh karte hain
aen aen aen aen
ye dekhte hain hum m m m m
jaise ki hum bhi saath
jaise ki hum bhi saath
tumhaare chale gaye
jaise ki hum bhi saath
tumhaare chale gaye
jaise ki hum bhi saath
tummhaare chale gaye
chale gaye


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TWELVE years. This blog has over 16000 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

16060

Number of movies covered in the blog

Movies with all their songs covered =1232
Total Number of movies covered =4388

Total visits so far

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