Advertisements

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

Archive for the ‘Songs of 1951’ Category


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 :

4096 Post No. : 15242

“Bade Bhaiyya”(1951) was directed by Aspi Irani for Super Pictures, Bombay. This “social” movie had Nirupa Roy, Suresh, Agha, Husnbanu, Naaz, Minu, Guru, Nazir Kashmiri, Neeli, Habib, Ridku, Master Vinay, Yakoob etc in it.

The Movie had eight songs in it. Four of these songs have been covered in the past.

Here is the fifth song from “Bade Bhaiyya”(1951) to appear in the blog. This song is sung by G M Durrani and Shamshad Begam. Manoharlal Khanna is the lyricist. Music is composed by Premnath (music director).

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


Song-Maine jabse tumko dekha hai (Bade Bhaiyya)(1951) Singers-G M Durrani, Shamshad Begam, G M Durrani, Lyrics-Manoharlal Khanna, MD-Premnath
Both

Lyrics

o o o o
maine jabse tumko dekha hai
mere dil mein gudgudi
mere dil mein gudgudi hoti hai
mere dil mein gudgudi
haay gudgudi
hui gudgudi
main taare ginti rahti hoon
jab saari duniya soti hai
mere dil mein gudgudi
mere dil mein gudgugdi hoti hai
mere dil mein gudgudi
haay gudgudi
huyi gudgudi

yeh mere dil ki dhadkan hai
yeh mere dil ki dhadkan hai
ya ik dholak si bajti hai
ya koyi mendhki phudak phudak kar
phudak phudak kar
dil mein mere phudakti hai
ulfat ki bulbul
haay re
ulfat ki bulbul
chahak chahak kar
aur chulbuli chulal chulbuli hoti hai
mere dil mein
ho mere dil mein gudgudi hoti hai

jab saamne mere aate ho
nazron se nazar lad jaati hai
jab saamne mere aate ho
nazron se nazar lad jaati hai
yeh mere dil ki laalaen
kuchh maddham
kuchh maddham si pad jaati hai
yeh mere dil ki laalten
kuchh maddham si pad jaati hai
mere aramanon mein

haay re
mere armnaanon mein nayi kulbuli
kulal kulbuli hoti hai
mere dil mein
ho mere dil mein gudgudi hoti hai

meree dhundhli dhundhli raaton mein
tum aao chaand ban kar aao
meree dhundhli dhundhli raaton mein
tum aao chaand ban kar aao

tum mere dil ke bangle mein
furniture ban ke saj jaao
tum mere dil ke bangle mein
furniture ban ke saj jaao
phir ham tum samjhen haay re
kyun man mein phurphuri
phurar phurphuri hoti hai
mere dil mein jee
ho mere dil mein
gudgudi hoti hai

dheere dheere
haule haule
mere dil mein gudgudi hoti hai
mere dil mein gudgudi
haay gudgudi
huyi gudgudi

Advertisements

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 : 4028 Post No. : 15142

“Murliwaala”(1951) was directed by Vasant Painter for Madhuvani Chitra, Bombay. This movie had Vijaylaxmi, Shashi Kapoor (sr), Durga Khote, Gulaab, Mahipal, Parshuram, Krishna Kumari, Niranjan Sharma, Vasant rao Pahalwan, Ramesh Sinha etc in it.

There were eight songs in this movie. One song has been covered in the past.

Today (29 july 2019) is the 17th remembrance anniversary of Sudhir Phadke (25 July 1919-29 july 2002). as a tribute to him, here is the second song from “Murliwaala”(1951) to appear in the blog. This song is sung by Lata. Bharat Vyas is the lyricist of this song. Sudhir Phadke is the music director.

The mukhda of this song is similar to that of <a href="“>another Lata song from “Bahut Din Huye”(1959).

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


Song-Chanda chamka neel gagan mein (Murliwaala)(1951) singer-Lata, Lyrics-Bharat Vyas, MD-Sudhir Phadke

Lyrics

chanda chamka neel gagan mein
chanda chamka neel gagan mein
neel gagan mein
neel gagan mein
chanda chamka neel gagan mein

dekhoon jab ye jhilmil taare
yaad aate jamuna ke kinaare
dekhoon jab ye jhilmil taare
yaad aate jamuna ke kinaare
kaisi bhulaaun khel jo khele
kaisi bhulaaun khel jo khele
tum sang sang madhuban mein aen
chanda chamka neel gagan mein

jaana chaahoon
aa na sakoon main aen
jaana chaahoon
aa na sakoon main
ho jaaye na bhor re
aaah piya mere aaj kisi ne
pankh diye hai marod re
vyaakul man hai
aakul tan hai
vyaakul man hai
aakul tan hai
neer bahe nainan mein aen
chanda chamka neel gagan mein
chanda chamka neel gagan mein


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 : 4022 Post No. : 15134

Today’s song is from film Nakhre-51. It is sung by Devendra Mohan, Shamshad Begum and chorus. This is a foot tapping song, reminding of a Vinod or O P Nayyar song.The tune of this song resembles a more well known song of later period,but I am unable to identify it. This is a second successive song I am discussing, after song from “Hawai Khatola”-46 which also had a similar tune to some other song.

I have come across umpteen number of songs from Hindi films which have similar tunes-in part or the whole song. I am not talking of Parody songs, because Parody songs obviously use a popular tune to make fun of it,with different but funny lyrics. Here the intention is to make a comedy song.

I am talking of those ‘inspired ‘ songs, which are composed intentionally and can be called a copy song. I remember I had written an article ” Ek dil do jaane- Ek tune do gaane “, in March 2013 on a friend’s Blog called Harveypam’s blog. In that article,I had given 20 songs as examples in which tunes were copied from other Hindi songs. Our Raja ji, Ava Suri ji and our regular commentator Partha Chanda ji were regular readers and had put their comments on my article that time. Other readers had put examples of another 50-60 songs which had similar tunes.

This phenomenon of copying can be found in Hindi films since Talkie films started.Initially,the whole song used to be repeated in another film,by other composers. Later on they settled on copying only the tunes,perhaps !

After 1950 onwards, copying a tune became a frequent practice. SD Burman’s song from film ‘ Naujawan’-51 ( Thandi hawaen,lahara ke aayen) was copied 6 more times in different songs in different films. ( the original song itself was ‘inspired’ by ” C’est La Vie” by Charles Boyer from film “Algiers”-1938 ). A well known case is of Madan Mohan copying the tune of Sajjad Husain’s Sangdil-51 song” Ye hawa ye raat ye chaandni”, for his song from ” Aakhri Daon”-58-” tuze kya sunaun main dilruba”. Famous Music Critic Girija Rajendran had openly proved how all songs of film ” Mera naam Joker”-70 were copies from earlier film songs. For example, the Title song “Kehta hai Joker, saara zamana” was copied from ” apni nazar se unki nazar tak” a song from film Hum Log-51.( See, I can write on Poetry side also !!!)

This is a vast subject and a whole book can be written on it. So far only Hindi songs inspired by other Hindi songs has been discussed. If you see songs from Bangla and other languages, then you may have to write 3 books ! Does it mean that there is no originality in Hindi film songs ? No, there ARE original tunes and songs in Hindi films. To conclude this topic,I quote a few lines from the interview of Music Director Nashad, published in Film Fare of 5th August 1955, where he has spoken about inspired songs……

” Although no one says it to my face, I know that there is a section in the film industry who decry my music as “a re-hash of familiar tunes.”
This amounts to a charge of plagiarism.

I have no defense, no apology, to offer, except to say that, if am a plagiarist, I am one unconsciously.
With only seven main notes, six ragas, thirty-six raginis and seventy-two sub-raginis, every “new” musical composition is bound to sound familiar in places.
Try to hum any popular film composition of today and then cast back your mind. Make a careful search for a parallel and you will easily find one in some celebrated songs of yesterday….”

This sounds like an excuse to me. What is to Nashad is same to other MDs too, then how come others are not blamed for plagiarism? Let us leave it at that only.

Film Nakhre-51 was directed by Surya Kumar. Yes, he is the same famous Dance Master/ Choreographer of many hit films of 50s and 60s. Suryakumar and Krishna kumar were brothers. Both were Choreographers. The story of Dance Director brothers Krishna kumar and Surya kumar is very interesting.

Anthony (Tony) Lazarus was born in 1918 and his younger brother Robert Lazarus was born on 14-12-1924. They lost the parents and were raised in an orphanage, from where , the famous film dancer Azurie picked them and trained till they became good dancers. Tony became Krishnakumar and Robert took the name Suryakumar. Krishna Kumar started acting and doing choreography in films of late 40s and early 50s. In every film of Mehboob and Kardar, he was present. Soon he became famous. However, he also developed some enemies. Krishnakumar was murdered by his enemies on 7-7-1951. The culprits were never captured.

It is believed that it was Krishna Kumar, who taught Master Bhagwan his famous Dance steps (later copied by Amitabh Bachhan also), making his film ‘Albela’ a block buster. In one of the famous songs in Albela, you can see Krishnakumar’s photo kept on a table, as a tribute to him.

Robert aka Suryakumar started his film career as asstt. in a sound department in Saigal’s last film,’Parwana’-1947. During this period,yesteryear actress/Dancer Azurie trained him and krishnakumar in Dancing. In those days the term ‘Choreographer was not used. They were simply called ‘Dance masters’ or ‘Dance Directors’.

Actress Azurie had a German father and an Indian mother. She is considered as the pioneer in Film dancing in India. She was so famous in films,that Cuckoo modelled herself on her dancing skills and succeeded. Azurie(1907-1998) trained Suryakumar in dancing.

Suryakumar then assisted madame Simka(a disciple of Uday Shankar),in film “Awaara”-1951,when he first directed Helen who was in the chorus of Dancing girls that time. Suryakumar later directed Helen in 31 films.Their last film together was Bombay 405 Miles-1980. Suryakumar was also very friendly with dancer Edwina. He visited her London home many times, after she settled after marriage in London.

Surya Kumar himself also trained Suryanarayana, Oscar and many others. After 1970, Heroines themselves became dancing girls and the roles of Dance masters reduced considerably. Posh Choreographers came on the scene.

Surya Kumar had a penchant for acting. He would himself appear in most of his dances in films. During our college days, it was our pastime to search for him in Helen dances. Surya kumar acted in 7 films, in small roles – Singar-49, Naya Raasta-53, Shesh Naag-57, Bus Conductor-59, Aankh Michauli-62, Har Har Mahadev-74 and Shravankumar-88. Surya Kumar also directed 4 films – Kamal-49, Nakhre-51, Laadla-54 and Saazish-59.

He then worked as a Production assistant and as an editor too,before retiring. His last days were spent in poverty and he died on 19-8-1987 in Bombay.

Normally, choreographers, cinematographers, editors,arrangers,dress designers,art directors etc (artists behind the curtains) are the most neglected people and no one writes about them,so not is much known also about them. It was very difficult to gather information on Surya kumar.

Let us now listen to today’s song. If any reader can identify similar tune song from other films,kindly inform us in the comments column.

(Information for this post was collated, culled and edited from books- ‘Edwina’ by Surjit Singh ji, Flash back by Isak Mujawar, several Facebook group pages and especially ‘Dances on the footpath’ by Richard S, Minai’s cinema nritya gharana and my notes)


Song- Chal meri chhallo chhamaak chham chham(Nakhre)(1951) Singers- Shamshad Begam, Devendra Mohan, Lyrics-Bharat Vyas, MD-Hansraj Bahl
Chorus

Lyrics

titi taam titi taam titi taam tam tam
chal meri chhalo chhamaak chham chham
titi taam titi taam tam tam tam
chal meri chhalo chhamak chham
titi taam titi taam titi taam tam tam
chal meri chhalo chhamaak chham chham
manzil apni door hai
kahin nikal na jaaye dum

ek taraf hai saari duniya
ek taraf meri chhalo chhalo chhalo
ek taraf hai saari duniya
ek taraf meri chhalo
moch na aa jaaye kamar mein
dheere dheere challo
chhallo
dheere dheere chhallo

kero maama haaye raama kero mama haaye raama
hatto sainya chhado bainya
tum ko hai meri kasam
titi taam titi taam titi taam tam tam
chal meri chhalo chhamak chham chham
titi taam titi taam tam tam tam
chal meri chhalo chhamak chham

tu hai meri kaakdi aur main tero tarbooz
main tero tarbooz
tu hai mhaari jaatni aur main thaaro rangroot
pahan ke aaya dheela suit
paavon mein lambe lambe boot

abe tu aadmi hai ya bhoot
duniya tumko
duniya tumko
teer kahe talwaar kahe bandook kahe
main kehta hoon atom bomb
bomb bomb bomb

titi taam titi taam titi taam tam tam
chal meri chhalo chhamak chham chham
titi tam titi tam tam tam tam
chal meri chhalo chhamak chham

aankhen teri gol button si
humko laage pyaari
haaye hum ko laage pyaari
naak tumhaari tote jaisi
mudi hui matwaari
aye haaye mudi hui matwaari
duniya tumko
duniya tumko
veer kahe
balwaan kahe pahalwaan kahe
main kahti hoon choohe ki doomm
dum dum dum
titi tam titi tam titi tam tam tam
chal meri chhalo chhamak chham chham
titi tam titi tam tam tam tam
chal meri chhalo chhamak chham
titi tam titi tam titi tam tam tam
chal meri chhalo chhamak chham chham
manzil apni door hai
kahin nikal na jaaye dum
dum dum dum dum


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 :

3990 Post No. : 15082

Today’s song is from film ‘Kashmir’ (1951).

More than 3 years ago I had discussed one song from this film. That time I had said this, which is true even today.

In Hindi films, there were quite a few films made on the background of Kashmir. The first such film was ‘Kashmir Ki Kali’ (1940), in which the lead pair was handsome Master Vithal and petite, lovely Kavita Devi. Next was ‘Kashmir Hamara Hai’ (1950) (original name was ‘Bapoo Ne Kaha Tha’) with lead pair of Paresh Bannerjee and Meera Mishra. This was also the first Hindi film of Bombay, in which Jagmohan Sursagar sang a song – Rang De Kesariya’. The third film was ‘Kashmir’ (1951), where the lead pair was beautiful, regal Veena and handsome Al Nasir. This film was actually filmed in Kashmir ghati.

Next film was ‘Kashmir Ki Kali’ (1964), by far the most successful of all Kashmir films so far. The lead pair was debonaire Shammi Kapoor and a debutante Sharmila Tagore. There was also a documentary ‘Kashmir Hamara Hai’ made by Films Division of Indian Government in 1948 which was shown in all theatres in India, in the wake of tribal attacks by Pakistan on Kashmir. Later on some more films on Kashmir were made – (the list is indicative, not exhaustive)

  • Johar in Kashmir (1966)
  • Shayar-E-Kashmir (1972)
  • Love in Kashmir (1976)
  • Mission Kashmir (2000)
  • Kashmir Hamara Hai (2001) ( Unreleased, though Censored on 17-10-2001)
  • Border Kashmir (2002).

‘Kashmir’ (1951) was not a very popular film. The reason was, after the partition and independence, people were looking for a respite from all that patriotic fervor, which they had more than enough for the last few years. They were tired. Now they got what they wanted and some peace of mind was sought, perhaps. Additionally, the Hindi film music was going through its Golden Period and so many films with excellent music were enjoyed by people, may be hence serious films like ‘Kashmir’ issue got side tracked. Though a film buff myself, even I had not seen this film.

The film was produced and directed by Rajendranath Jolly, for Raajdeep Pictures, Bombay. The MD was Hansraj Behl and the lyricists were Sasrshaar Sailaani and Baaba ji, for 9 songs of the film. The song is sung by Mohd. Rafi and Master Sonik.

Master Sonik aka Manohar Lal Sonik was born on 26-11-1926 in Siyalkot, Punjab. By the time he was three years old, he lost his vision completely. Undaunted, he learnt music – first from music school of Lahore and then from Lucknow. For sometime, he was assistant to Pt Amarnath Batish.

After  partition he joined All India Radio, Delhi. Later, he sang 8 songs in 7 Hindi films, namely ‘Chaar Din’ (1949), ‘Stage’ (1951), ‘Kashmir’ (1951), ‘Khaibar’ (1954), ‘Mast Qalandar’ (1955), ‘Inquilab’ (1956) and then after 20 years he sang in film ‘Umar Qaid’ (1975) also. He gave music to film ‘Ishwar Bhakti’ (1951) along with Giridhar and then film ‘Mamta’ (1952), with Hansraj Behl.

Meanwhile, his nephew Omprakash Sonik, who was a singer on Delhi AIR, proposed working as a team of composers. They got their first film ‘Dil Ne Phir Yaad Kiya’ (1966). The songs became very popular. They continued to give music till ‘Anaadi Dada’ (1993). Master Sonik died on 9-7-1993.

The cast of the film was an interesting mix of fading and emerging actors, like Veena, Al Nasir, Badriprashad, Tiwari, Kailash, Uma Dutt, Kamal Kapoor, Nirupa Roy, Arun Ahuja etc. There was also an actress who made her debut with this film. Let us take a look at her short bio again.

For the actress Achala Sachdev (3-5-1920 to 30-4-2012), this was her debut Hindi film (though another film ‘Dilruba’ (1950) featuring her was released prior to this film, but she considers this film as her debut film). Achala Sachdev’s original name was Rajinder. Her name is permanently conjoined with a mother’s role. She did a mother’s role when she was very young and since then – more than a heroine – she has been seen either as a sister or mother in films. In her earliest film ‘Dilruba’ (1950) she was Dev Anand’s sister and later in many films she was a fixed mother of Dev Anand.

She worked in All India Radio, Lahore. She came to Delhi after the Partition and continued her job in All India Radio, till her first film. She acted in 181 Hindi films, 3 Punjabi films and 1 Gujarati film, in addition to 1 incomplete Bangla film. She acted in few television serials and FD documentaries too.

In her early years she had got married to Gyan Sachdeva. She begot one son and one daughter from him. Her son settled in US and daughter in Bombay. When she could not pull on, she divorced her husband. After 12 years of loneliness she fell in love and married an American Clifford Douglas Peters, who was an Engineer and ran an electronics factory in Poona. She stopped accepting new films after 1976 and then shifted to Poona.

After her second husband died, she shifted from her bungalow in Bhosari, near Poona to a spacious flat in Hadapsar area of Poona. She had completed all films on hand, but due to insistence of family friend Yash Chopra, she acted in some of his films – notably ‘Dilwale Dulhaniya Le Jaayenge’ (1995). Though her last film was ‘Dahak’ (1998), her last released film was ‘Suno Sasur Ji’ (2003).

During her heydays, she was very friendly with Sunil Dutt and Nargis, Mona Dev Anand (Kalpana Kartik), Meena Kumari, Saira Bano and her mother Naseem Bano. She was very punctual during her shootings. Once while working in a Rajesh Khanna film, she had to wait for him for 4 hours, with all make up done. When this continued to happen for next 10 days, she left the film and went back to Poona. Rajesh Khanna wrote an apology letter to her and then only she came back to complete the film.

After her husband passed away in 2002, she was all alone. Her last film released in 2003. After that no one from film industry ever contacted her till her last days. She was very generous. She had donated 25 lakhs to an NGO, Janseva Foundation to start ‘Achala Sachdev Institute of Education’. She also gave 15 Lakhs to Dr. HV Desai Eye Hospital for a ward construction. In her last days, she even donated her flat also to the NGO Janseva Foundation.

She was seriously unwell for last 6 months of her life, and was looked after by the NGO. Admitted to Poona General Hospital ICU, she got paralysis, lost her vision and then lost her life on 30-4-2012. A highly successful film star with lots of money, but she was neglected by her own son and daughter. Above all, during her last lonely 10 years in Poona, not one soul from the film world met her. What was pathetic was, when she was admitted in ICU, her attending doctor, Dr. Mehta sent messages to Yash Chopra and others in film industry, but none came or even enquired and she died a lonely death.

(Based on Cine Blitz, Madhuri,Times of India, Indian Express, Wikipedia and info kindly given by Shri Harish Raghuwanshi ji ).

Another interesting person in this film was actor Al Nasir. Many people make a confusion in him and actor Nasir Khan. Some sites even wrongly mix up their filmography. Even earlier, I have clarified this difference. Not many readers will be aware of him. Al Nasir was one of the most handsome actors of his times. ABDUL REHMAN AL NASIR GAZNAVI (popularly known as Al Nasir ) was born on 27-11-1922 in Kabul. His father was a big shot – Chancellor of Law. He was related to the Begum of Junagadh and also to the Nawab of Bhopal.

His schooling was done in Dehradun up to Sr. Cambridge and degree was obtained from Kabul college. He was a tall and handsome young man, who was keen on joining Air Force. He went to Bombay in 1941 for this purpose. While in National Studios to meet a friend, Mehboob spotted him and offered him a job. He was taken on the rolls of studio.

For next 6 months there was only pay, but no work. In 1942 National Studios closed down, but Mohan Sinha offered him hero’s role in film ‘Preetam’ (1942). His father did not like this. However Al Nasir worked in 17 films till 1957.

Being handsome and polished he impressed women . He was a womaniser. During the shooting of film ‘Prithvi Vallabh’ (1943), he married Khursheed Jehan commonly known as Meena (later Meena Shorey). Whenever she was away, he would run after other women. He had an affair with Nigar Sultana. After the divorce with Meena, he married actress  Manorama, when he had gone to Lahore.

He divorced Manorama in 1946 and married actress Veena. They had 2 children. Daughter Huma became a professor and son was Altamash. Al Nasir  was fond of hunting and reading English books.

He acted in ‘Preetam’, ‘Prithvi Vallabh’, ‘Pathron Ke Shehar’, ‘Shehar Se Door’, ‘Dhamkee’, ‘Shalimaar’, ‘Khamosh Nigaahen’, ‘Aarsi’, ‘Ek Roz’, ‘Daastaan’, ‘Bewee’, ‘Kashmir’, ‘Mr and Mrs 55’, ‘Hatimtai Ki Beti’, ‘Sakhi Haatim’, ‘Indrasabha’ and ‘Mera Salaam’.

Al Nasir died at the age of only 35 years, on 17-10-1957.

As mentioned earlier, the film had 9 songs. Today’s song will be the 4th song to be discussed from this film. Coincidence is that both songs, earlier discussed by me – “Uth Ae Watan Ke Naujawan” and today’s song, happen to be patriotic songs, sung by Indian fighters in the film. Surprisingly, both these patriotic songs were not released in Pakistan. My guess is that, the then Government possibly did not want to hurt Pakistan’s feelings, so these songs were released only in India.

One more thing. The first song of this film , discussed earlier by me, was in 2 parts (gramophone record no. N-36728). One more part (part 3) was recorded in the voices of Rafi, Geeta and chorus. This Patriotic song too was not  issued on a commercial record (possibly for the same reason). This information is given in the HFGK itself.

Let us now enjoy the second patriotic song from this film, released only in India and not in Pakistan.

Song – Raah e Wafaa Mein Nikle Hain Seenon Ko Taan Ke (Kashmir) (1951) Singer – Mohammed Rafi, Master Sonik, Lyrics – Saarshaar Sailaani, MD – Hansraj Behl
Chorus

Lyrics

raah e wafaa mein nikle hain
seenon ko taan ke
raah e wafaa mein nikle hain
seenon ko taan ke
farzand hum hain maadr e hindostan ke
farzand hum hain maadr e hindostan ke
farzand hum hain maadr e hindostan ke

hum hausle ke sher hain
dil ke daler hain
dil ke daler hain
parbat hamaare saamne matti ke dher hain
matti ked her hain
sikke bichha ke chhodenge bharat ki shaan ke
bharat ki shaan ke
farzand hum hain
farzand hum hain
farzand hum hain maadr e hindostan ke
farzand hum hain maadr e hindostan ke

ubhre to aasmaan ko neecha dikhaayenge
neecha dikhaayenge
uthe hain apne saath qayaamat uthaayenge
qayaamat uthaayenge
sachche hain apni baat ke
pakke zubaan ke
pakke zubaan ke
farzand hum hain
farzand hum hain
farzand hum hain maadr e hindostan ke
farzand hum hain maadr e hindostan ke

mazhab hai aur cheez
qayaamat hai aur shai
qayaamat hai aur shai
mazhab judaa judaa hain magar qaum ek hai
magar qaum ek hai
taare hain shaikh o barhaman ik aasmaan ke
ik aasmaan ke
farzand hum hain
farzand hum hain
farzand hum hain maadr e hindostan ke
farzand hum hain maadr e hindostan ke

raah e wafaa mein nikle hain
seenon ko taan ke
raah e wafaa mein nikle hain
seenon ko taan ke
farzand hum hain maadr e hindostan ke
farzand hum hain maadr e hindostan ke
farzand hum hain maadr e hindostan ke
farzand hum hain maadr e hindostan ke
farzand hum hain maadr e hindostan ke

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

राह ए वफा में निकले हैं
सीनों को तान के
राह ए वफा में निकले हैं
सीनों को तान के
फ़रज़ंद हम हैं मादरे हिंदोस्तान के
फ़रज़ंद हम हैं मादरे हिंदोस्तान के
फ़रज़ंद हम हैं मादरे हिंदोस्तान के

हम हौसले के शेर हैं
दिल के दलेर हैं
दिल के दलेर हैं
परबत हमारे सामने मट्टी के ढेर हैं
मट्टी के ढेर हैं
सिक्के बिछा के छोड़ेंगे भारत की शान के
भारत की शान के
फ़रज़ंद हम हैं
फ़रज़ंद हम हैं
फ़रज़ंद हम हैं मादरे हिंदोस्तान के
फ़रज़ंद हम हैं मादरे हिंदोस्तान के

उभरे तो आसमान को नीचा दिखाएंगे
नीचा दिखाएंगे
उठे हैं अपने साथ क़यामत उठाएंगे
क़यामत उठाएंगे
सच्चे हैं अपनी बात के
पक्के ज़ुबान के
पक्के ज़ुबान के
फ़रज़ंद हम हैं
फ़रज़ंद हम हैं
फ़रज़ंद हम हैं मादरे हिंदोस्तान के
फ़रज़ंद हम हैं मादरे हिंदोस्तान के
फ़रज़ंद हम हैं मादरे हिंदोस्तान के

मज़हब है और चीज़
क़यामत है और शै
क़यामत है और शै
मज़हब जुदा जुदा हैं मगर क़ौम एक है
मगर क़ौम एक है
तारे हैं शैख ओ बरहमन इक आसमान के
इक आसमान के
फ़रज़ंद हम हैं
फ़रज़ंद हम हैं
फ़रज़ंद हम हैं मादरे हिंदोस्तान के
फ़रज़ंद हम हैं मादरे हिंदोस्तान के
फ़रज़ंद हम हैं मादरे हिंदोस्तान के

राह ए वफा में निकले हैं
सीनों को तान के
राह ए वफा में निकले हैं
सीनों को तान के
फ़रज़ंद हम हैं मादरे हिंदोस्तान के
फ़रज़ंद हम हैं मादरे हिंदोस्तान के
फ़रज़ंद हम हैं मादरे हिंदोस्तान के
फ़रज़ंद हम हैं मादरे हिंदोस्तान के
फ़रज़ंद हम हैं मादरे हिंदोस्तान के


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 : 3904 Post No. : 14957

“Ek Thha Ladka”(1951) was produced and directed by Roop Saanwre for Chitramahal, Bombay. This “social” movie had Geeta Bali, Bharat Bhushan, Geeta Nizaami, Neelophar, Kamal, Umesh Sharma, Tiwari, Jankidas, S K Prem, Urvashi, Kamal Zameendaar, Gopal Muni, Rajesh, Kumud, Bhagwan Jee, Uma Dutt, Chandrashekhar, Ek Ladka etc in it.

The movie had ten songs in it that were penned by three lyricists and composed by two music directors. Three songs have been covered in the past.

Here is the fourth song from “Ek Thha Ladka”(1951) to appear in the blog. This song is sung by Meena Kapoor. The song is penned by Ehsaan Islaahi. Music is composed by Murari Sharma.

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


Song-Gham e zindgaani uthhaaoon kahaan tak (Ek Thha Ladka)(1951) Singer-Meena Kapoor, Lyrics-Ehsan Islaahi, MD-Murari Sharma

Lyrics

gham-e- zindgani uthaaun kahaan tak
main sadmein sahoon muskuraaun kahaan tak
gham-e- zindgaani uthaaun kahaan tak
main sadme sahoon muskuraaun kahaan tak

chali aandhiyaan gham ki
uttha hai toofaan
uttha hai toofaan
chali aandhiyaan gham ki
uttha hai toofaan
uttha hai toofaan
main toofaan mein kashti
chalaaun kahaan tak
chalaaun kahaan tak
gham-e- zindgaani uthaaun kahaan tak
main sadme sahoon muskuraaun kahaan tak
gham-e- zindgaani uthaaun kahaan tak
main sadme sahoon muskuraaun kahaan tak

bichhaaye hain chun chun ke
raahon mein kaante
raahon mein kaante
bichhaaye hain chun chun ke
raahon mein kaante
raahon mein kaante
main kaanton se daaman
bachaaun kahaan tak,
bachaaun kahaan tak
gham-e- zindgaani uthaaun kahaan tak
main sadme sahoon muskuraaun kahaan tak
gham-e- zindgaani uthaaun kahaan tak
main sadme sahoon muskuraaun kahaan tak

khayaalon mein aa aake jaata hai koi
jaata hai koi
khayaalon mein aa aake jaata hai koi
jaata hai koi
main aasha ke deepak jalaaun kahaan tak
jalaaun kahaan tak
gham-e- zindgaani uthaaun kahaan tak
main sadme sahoon muskuraaun kahaan tak
gham-e- zindgaani uthaaun kahaan tak
main sadme sahoon muskuraaun kahaan tak


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 : 3901 Post No. : 14952

This song is from Master Bhagwan’s film ‘Damaad’ (1951).

This is the film which inspired Bhagwan to write a comedy social musical film story for his evergreen film Albela. In the decade of 1940’s, Bhagwan had specialised in low budget C grade action and stunt films. Usually his films would be completed in Rs. 60 to 70 thousand rupees only. He used to churn out films after films with the same set of actors with almost the same story in all his films. The audience of Master Bhagwan’s films came to the theatre to see his antics and comedy, coupled with action scenes of fighting and incredible stunts.

Usually Bhagwan never played the hero’s role in his own films. The hero in his films would necessarily be Baburao Pehelwan and Bhagwan used to be his side kick. Both had their love interests – usually the heroine for Baburao and her friend or maid for Bhagwan. Like Baburao and Bhagwan, even the lady actors were fixed. He had a set of such actresses like Shanta Patel, Chanchal, Leela Gupte, Vitha Lokare, Usha Shukla etc. They used to be in his films by turns. Actor Azim Bhai (who later became the famous Fight Master in Hindi films) was usually the good natured but timid employer of these two. Their job was to protect the Seth ji from goons, fight with them and finally win the girls in the end. Film after film the same story was used with slight changes here and there. The audience was least bothered about the story or the histrionics etc. They came for the dialogues, the fights and stunts.

Very few people know that both Raj Kapoor and Dilip Kumar were his great fans. When Bhagwan fell on bad times and shifted to a 2-room tenement in a chawl in Dadar, Dilip Kumar, while going for his daily shootings, used to stop at the chawl, honk till Bhagwan appeared in the gallery and waved to him, and then he proceeded to his work.

It was Raj Kapoor, who used to see his shootings in Jagriti studio, very near to RK studio. He once suggested to him to try making a social film. Incidentally, his good friend C Ramchandra (Anna for Bhagwan) also pressed him to dare making a social film. CR even promised him to give music to his social film in his popular name C Ramchandra (he gave music to Bhagwan’s films in the name of ‘Annasaheb ‘ till then). Bhagwan started thinking seriously on this issue. At that very time he got an offer to work in a social comedy film, to be produced by Beema Films of MT Mudnani and directed by Brij Rani. Since this was a social film Bhagwan wanted to give it a try. He wanted to assess the feasibility of making his own social film.

The film was ‘Damaad’ (1951). The story was simple. A simpleton is made a ‘ghar jamai’ (resident son-in-law) and has a miserable life. Incidentally, he becomes a successful singer. The film was absolutely an ordinary one. Being a director himself, Bhagwan understood the potential of the story to become a hit film. In addition the offer of C Ramchandra’s music was also inviting him. The film ‘Damaad’ came and went without making any ripples. Neither the producer made any more films, nor the director got any other film. The cast and the 3 MDs employed were also C grade anyway.

Taking inspiration from film ‘Damaad’, Bhagwan started writing the story of ‘Albela’ . For this film, he needed a cast other than his usual C grade film cast. Other actors were booked but no reputed heroine was ready to work in his film. Those days, Bhagwan’s name was only associated with C grade action stunt films. Then one day he approached Geeta Bali. She agreed – a bit reluctantly – to listen to his story. After listening to the story, Geeta Bali realized the potential of a hit film and said yes.

The shooting of ‘Albela’ started but Bhagwan kept it a secret. After few weeks of shooting, he invited Anna (CR) to come to see the shooting, without telling him anything. Anna went to Jagriti studios to see the shooting. After some shots were taken, he asked, ‘Bhagwan, this is your film, but where are the fights?”. Bhagwan smiled and said,”Anna, there are no fights. This is a social film I am making which you wanted me to do. Now it is your turn to stand by what you had promised to give your best music”. Sure enough C Ramachandra gave immortal music to film ‘Albela’ and the rest is history as they say.

Bhagwan’s planning for ‘Albela’ was so perfect that he got the Censor Certificate on 13-12-1951 and the film was released on next day i.e. on 14-12-1951 at Imperial Talkies in Bombay. Within 3-4 days, the film became houseful in every show. It was so successful that it overshot the combined collection of first week opening of BR Chopra’s ‘Afsaana’, Raj Kapoor’s ‘Awaara’, Dev Anand’s ‘Baazi’, AVM’s ‘Bahaar’ and Nitin Bose’s ‘Deedaar’, all released in 1951 only!

The tremendous success of ‘Albela’ made the financiers, producers and directors to line up Bhagwan’s doorstep with project proposals. The success of ‘Albela’ had also gone to the head of Bhagwan dada. He did not realize or acknowledge the contribution of Geeta Bali and C Ramchandra’s music to its success. He thought that it was due to him and he went on signing film after films in that period. As his new films started failing, the incomplete films were abandoned and ‘Albela’ became his swan song. The downward slide of his career and popularity started right after this film, although some more films like ‘Bhagam Bhag’ (1956) etc were hits-again due to music and Kishore Kumar.

Anyway the producer NT Madnaney never ever tried to produce any more films after ‘Daamad’, which was not at all successful at the box office.
The screenplay and direction was by Brij Rani. There were 3 composers, Shamoo who had given music to ‘ Yeh hai zindagi-48’ and ‘Begunah’ (1949) with Haribhai. Indravadan Bhatt had given music to 10 films in the late 40s. Ram Panjwani had been an actor in Berozgaar-36 and Chhotisi duniya-39, a singer in Damad-51 and Maa ka pyar-49, an MD for Magroor-50 and Damad-51 and also a Lyricist for one song in film Teen Batti chaar Rasta-53

The story was more or less same as ‘Albela’ – a good for nothing fellow sings well and makes a fortune – that is the one line story of this film.

Chamak (Bhagwan) is too simple a person, who is a teacher in a school, where even his students make fun of him. He gets married to a rich man’s daughter-Geeta (Krishna Kumari). Chamak loses his job and his father-in-law takes him to his house in a bigger town. Chamak is impressed with all the wealthy living and eats like a hog and sleeps like a dog every day. Honored initially as the son-in-law of the house, slowly he is despised, insulted and treated shabbily by in laws for doing nothing.

One day when Chamak is singing alone, the manager of the local theatre hears him, gets impressed and offers him job of a singer. Chamak accepts it and in no time becomes a famous singer and tours all over India. Seeing that he is famous, his in laws start pampering him. Now Chamak has become clever. He teaches a lesson to his in laws and finally they realize their folly and all is well that ends well.

The cast of the film was Bhagwan, Krishna Kumari, Yashodhara Katju, Protima Devi, Cuckoo, Habib, Kathana, Ishu Jahagirdar etc. etc. The story and screenplay was by director Brijrani.

Brij Rani was born in 1921 at Shikarpur, Sindh province, in a well to do business family. She studied up to Matriculation and also qualified as a Middle School Teacher. However, she opted to join films as an actress. Her first film was Jeewan Jyoti-37, doing an un credited small role to get the feel, followed by Calcutta after Midnight-37, Aurat-40, Wayda-40, Ulti Ganga-42, Daughters of the Jungle-43, Bhagta Bhoot-43, Circus Girl-43 and Lal Haveli-44.

She was getting roles only in stunt films and C grade films. Being from a business community, she started her own company- Bharat productions and herself made stunt films.

Meanwhile she continued acting in films like Lal Haveli-44 and acted and directed film Circus King-46 and film Sajni-47. Then there was a gap. probably she looked after her family. In 1951, she directed film Daamaad-51.

As far as Yashodhara Katju is concerned, there is a bizarre story behind her entry into films. Earlier there was a Kashmiri girl working in Hindi films,in the late 30s. Her name was Shyama Zutshi. Actor Chandramohan too was a Kashmiri Bramhin and held the view that Kashmiri Bramhin girls should not work in films as it is below their dignity. He strongly opposed Shyama’s work in the films and put lot of pressure on her to quit films. Fed up of his pestering and also afraid of his anger, Shyama left films. Her last film was Khooni Jadugar-1939.

However, soon after this, yet another girl who too was a Kashmiri Bramhin came into films from 1941. Chandramohan tried all his pressure tactics and tried to force her out of the films, but this girl was different. She was tough and did not fear him or yield to his intimidations. She continued to work in films unabated. Chandramohan died in 1949, but this girl worked in films from 1941 to 1974. She worked in 86 films and earned quite a name.

Her name was Yashodhara Katju ( 15-4-1928 to 1974 ). She was the niece of Pt. Nehru, but never ever used her highly placed relations to get work. Her father K L Katju was U.P.’s well known politician and also a senior bureaucrat. They were from Lahore, where Yashodhara had studied upto Senior Cambridge and also dancing. She was a leading comedienne in the early 50s and had formed a pair with Gope for some films. She married a Navy officer and spent her retired life as a housewife, away from filmdom.

Today’s song is actually in 2 parts, but it is combined in one video. The singers are Sulochana kadam(for Yashodhara katju), Ram Panjwani (for Bhagwan), Ishu Jahagirdar (for Dhobi), and Shrimati Vishnilal ( for elderly lady). VISHNI LAL was born in Hyderabad( Sindh) in 1926. She came to Bombay in 1943 to sing in films. Ram Daryani recommended her to Khemchand Prakash and he gave a break to her in film Chiragh-43. She sang in very few films like Qurbani-43,Anjuman-48 Mitti ke khilaune-48,Maghroor-50,Daamaad-51,Chhoti Duniya-53 etc.

Her family shifted to Bombay in 1947, after Partition. She was married to a businessman Mansukhani. She then settled in Dubai, with her family.

Let us now enjoy the song video.


Song – Dhobiya Re Dhobiya Re Tera Chhora (Daamaad) (1951) Singers – Sulochana Kadam, Ram Panjwani, Shrimati Vishnilal, Ishu Jahagirdar, Lyrics – Bahaar Ajmeri, MD – Indravadan Bhatt
Sulochana Kadam + Ram Panjwani
Chorus

Lyrics

oo oo oo
dhobia

dhohia re dhobia re tera chhora
ho tera chhora
beech bajaria chhed kare mosey
beech bajaria chhede
dhohia re dhobia re tera chhora
ho tera chhora

main na chhedoon
main na chhedoon is ko dada
jhooth kahe ye tosey
ram kasam. . .
ram kasam iljaam dhare hai
bair karey ye mosey
ram kasam iljaam dhare hai
bair karey ye mosey

hmmm mmmmm

tu chhori re chhori re chhori chhori re
bada sareef hai mera chhora
bada sareef hai mera chhora
oo oo chhori
chhori jhooth kyon boley
o chhori jhooth kyon boley
sundar dekh ke morey lallan ko
kyon tera manwa doley
ho chhori
kyon tera manwa doley

oo oo
oo oo oo oo oo
o dhobia
sunder hai tera chhora to
main bhi naar albeli
sunder hai tera chhora to
main bhi naar albeli
roop dekh sharmaaye jaaye re
dhobia
roop dekh sharmaaye jaaye re
bagia mein haaye chameli
bagia mein haaye chameli
bada theed hai
bada theed hai. . .
o tera chhora
bada theed hai
bada theed hai. . .
o tera chhora
beech bajariya ghere
beech bajariya ghere
dhobia re dhobia re tera chhora
ho tera chhora

kyon ri dhobaniya
lagaai bujhaai to kar ke chali
par main to ko samjhunga
lagaai bujhaai to kar ke chali
par main to ko samjhunga
bhari bajariya mein o chhori
bhari bajariya mein o chhori
teri khabar main loonga
ab teri khabar main loonga
oo oo oo dhobia
chal hatt
parey hatt

oo oo dhobia
samjhaaye lei e ka
nahin to main rapat likhaaye deungi
samjhaaye lei e ka
nahin to main rapat likhaaye deungi
oo oo thaanedar se
thaanedar se keh kar main to
lambardaar se keh kar main to
band karaye deungi
milat mein
milat mein
qaid karaaye deungi
main ghabraaye gai
tere chhore se
phirey hai peeche morey
phirey hai peeche morey
dhobia re dhobia re tera chhora
oo tera chhora

shiv ram
shiv ram
shiv ram
shiv ram
shiv ram

mukhiya ke chhore se chhori
mukhiya ke chhore se chhori
kaahe karey tu ladaai
maafi maang le 
o chhori
maafi maang le 
maine lallan se kar di teri sagaai

oo oo oo oo
teri meri bhool hui o baalam
kar le mosey mel
haan haan
kar le mosey mel
tu mera chaand hai
main teri chandni

oo oo oo oo
chhaila re chhaila re chhaila chhaila re
khelen chaand ka khel
aao khelen chaand ka khel
khel
aa ri dhobaniya
ho gaya tera mera mel
ho gaya tera mera mel
ho gaya tera mera mel
ho gaya tera mera mel. . .

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

ओ ओ ओ
धोबिया

बीच बज़रिआ छेड़ करे मोसे
बीच बज़रिआ छेड़े
धोबिया रे धोबिया रे तेरा छोरा
हो तेरा छोरा

मैं ना छेड़ूँ
मैं ना छेड़ूँ इसको दादा
झूठ कहे ये तोसे
राम कसम॰ ॰ ॰
राम कसम इल्जाम धरे है
बैर करे ये मोसे
राम कसम इल्जाम धरे है
बैर करे ये मोसे

हम्मम म्ममम

तू छोरी रे छोरी रे छोरी छोरी रे
बड़ा सरीफ है मेरा छोरा
बड़ा सरीफ है मेरा छोरा
ओ ओ छोरी
छोरी झूठ क्यों बोले
सुंदर देख के मोरे ललन को
क्यों तेरा मनवा डोले
हो छोरी
क्यों तेरा मनवा डोले

ओ ओ
ओ ओ ओ ओ ओ
ओ धोबिया
सुंदर है तेरा छोरा तो
मैं भी नार अलबेली
सुंदर है तेरा छोरा तो
मैं भी नार अलबेली
रूप देख शरमाये जाये रे
धोबिया
रूप देख शरमाये जाये रे
बगिया में हाए चमेली
बगिया में हाए चमेली
बड़ा ठीठ है
बड़ा ठीठ है॰ ॰ ॰
ओ तेरा छोरा
बड़ा ठीठ है
बड़ा ठीठ है॰ ॰ ॰
ओ तेरा छोरा
बीच बज़रिआ घेरे
बीच बज़रिआ घेरे
धोबिया रे धोबिया रे तेरा छोरा
हो तेरा छोरा

क्यों री धोबनिया
लगाई बुझाई तो कर के चली
पर मैं तो को समझूँगा
लगाई बुझाई तो कर के चली
पर मैं तो को समझूँगा
भरी बज़रिआ में ओ छोरी
भरी बज़रिआ में ओ छोरी
तेरी खबर मैं लूँगा
अब तेरी खबर मैं लूँगा
ओ ओ ओ धोबिया
चल हट
परे हट

ओ ओ धोबिया
समझाये लेई ए का
नहीं तो मैं रपट लिखाये देऊंगी
समझाये लेई ए का
नहीं तो मैं रपट लिखाये देऊंगी
ओ ओ थानेदार से
थानेदार से कह कर मैं तो
लंबरदार से कह कर मैं तो
बंद कराये देऊंगी
मिलत में
मिलत में
क़ैद कराये देऊंगी
मैं घबराए गई तेरे छोरे से
फिरे है पीछे मोरे
फिरे है पीछे मोरे
धोबिया रे धोबिया रे तेरा छोरा
हो तेरा छोरा

शिव राम
शिव राम
शिव राम
शिव राम
शिव राम

मुखिया के छोरे से छोरी
मुखिया के छोरे से छोरी
काहे करे तू लड़ाई
माफी मांग ले ओर छोरी
माफी मांग ले
मैंने ललन से कर दी तेरी सगाई

ओ ओ ओ ओ
तेरी मेरी भूल हुई ओ बालम
कर ले मोसे मेल
हाँ हाँ
कर ले मोसे मेल
तू मेरा चाँद है
मैं तेरी चाँदनी

ओ ओ ओ ओ
छैला रे छैला रे छैला छैला रे
खेलें चाँद का खेल
आओ खेलें चाँद का खेल
खेल
आ री धोबनिया
हो गया तेरा मेरा मेल
हो गया तेरा मेरा मेल
हो गया तेरा मेरा मेल
हो गया तेरा मेरा मेल॰ ॰ ॰


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 : 3812 Post No. : 14810

Today, the December 25, 2018 is the Remembrance Day of music Director, Eric Roberts akka Vinod (22/05/1922 – 25/12/1959) who left for the heavenly abode on this day of 1959 at a prime age of 37. Vinod has been one of my favourite music directors who mostly followed the ‘Punjabi Ang’ of music, introduced in Hindi films by Pandit Amarnath. He composed top class melodies in Hindi and Punjabi films. His musical career started with ‘Khamosh Nighaaen’ (1946) and composed music for 28 Hindi films till his death in 1959.

Vinod came into prominence in his filmy musical career with his excellent song compositions in ‘Ek Thhi Ladki’ (1949). One of songs from this film laara lappa laara lappa laai rakhdaa became very popular. Both Mohammed Rafi and Lata Mangeshkar sang for Vinod for the first time in this film. Despite this success, he had to share music direction in a few subsequent films with other music directors. Most of such films failed at the box office despite his good music. With this kind of his filmy career, he joined the list of talented music directors who could not sustain their successes to reach in the top bracket of the music directors.

In 1949, music director Shankar-Jaikishan made a successful debut in ‘Barsaat’ (1949). S D Burman had his first major success as a music director in ‘Shabnam’ (1949). Both these music directors consolidated their positions in the Hindi film industry after their first success. One of the main reasons for their long successful careers, in my view, was that both of them were selective in choosing the films, that too from the top banners. As against these, Vinod, after the success of ‘Ek Thhi Ladki’ (1949), continued to be mostly associated with ‘B’ grade film banners. Though a few of such films were moderately successful, it was not enough to attract attention from the top banners. In Hindi film industry, if one gets branded as a music director of ‘B’ grade films, it is very difficult to get entry into the top banners.

A few select songs among others composed by Viond are listed below as my favourite:

Song Singer(s) Movie (year)
badla nazar aata hai Satish Batra-Premlata ‘Taara’ (1949)
ye shokh sitaare Lata-Rafi ‘Ek Thhi Ladki’ (1949)
taare wohi hain chaand wohi hai Lata ‘Anmol Ratan’ (1950)
kaaga re jaa re jaa re Lata ‘Wafa’ (1950)
nighaahon ko jab aa gayaa musukuraana Sulochana Kadam ‘For Ladies Only’ (1951)
mere barbaadiyon per muskuraane aa gaya koi Lata ‘Sabzbaagh’ (1951)
chupke se na jaa o man ke raaja Asha Bhonsle ‘Aag Ka Dariya’ (1953)
mere dil jhoom zara S Balbir ‘Mumtaz Mahal’ (1957)

Among the male playback singers, who sang for Vinod, Mohammed Rafi topped the list with 33 songs. Among the female playback singers singing for him, Asha Bhonsle took the honour of singing the maximum songs (82).

As a tribute to music director, Vinod, I have selected one of my favourite songs ‘ashqon ka gar hai maut kinaara jawaab do’ rendered by Asha Bhonsle for the film ‘For Ladies Only’ (1951). The film seems to have got delayed as I remember to have seen an advertisement of this film in an old film magazine of 1949 as ‘Titlee’. Probably, at the time of the censor certification, the name of the film was changed to ‘For Ladies Only’. The film was directed by Vedi. The star cast included Kuldeep Kaur, Kamal Mehra, Satish, Sadhana Bose, Rupa Verman etc.

There were 8 songs in the film with 6 lyricists and 8 playback singers. The song under discussion was written in a ghazal format by ‘Sharma’ which I presume to be Buta Ram Sharma. Narendra Sharma never wrote ghazals for the films and Kidar Sharma rarely wrote lyrics for other banners.


Song-Ashqon ka gar hai maut kinaara jawaab do (For Ladies Only)(1951) Singer-Asha Bhonsle, Lyrics-Butaram Sharma, MD-Vinod

Lyrics

ashqon ka gar hai maut kinaara jawaab do
ashqon ka gar hai maut kinaara jawaab do
ulfat ko phir hai kiska sahaara jawaab do
ashqon ka gar hai maut kinaara jawaab do

bulbul chaman ko chhod bayabaan jaa rahe
bayabaan mein jaa rahen
kaise karoge tum ye gawaara jawaab do
ashqon ka gar hai maut kinaara jawaab do

jinse thhi zindagi wo hi jab gair ho chale
jab gair ho chale
phir aur kaun hoga hamaara jawaab do
ashqon ka gar hai maut kinaara jawaab do

dil ro raha hai apni tasalli ke vaaste
tasalli ke vaaste
jaaye kahaan ye dard ka maara jawaab do
ashqon ka gar hai maut kinaara jawaab do


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

Blog Day : 3759 Post No. : 14729

“Do Sitaare” (1951) was directed by D D Kashyap for Famous Pictures. The movie had Dev Anand, Suraiya, Kuldip Kaur, Baij Sharma, Prem Nath, Shakuntala etc in it.

The movie had eight songs in it. Seven songs from this movie have been discussed in the past. Here are the details of the songs that have been covered in the past :-

Song Title

Post No.

Post Date

Mujhe tumse muhabbat hai 5338 24-Jan-12
O saajan dekh is duniya se kya kya le ke jaate hain 8779 28-Sep-13
De de de de Kanhaiyya mori dhaani chunariya 9104 6-Dec-13
Ho o mere dil ki dhadkan mein 9589 19-Mar-14
So ja re so ja bete ghareeb ke 9596 20-Mar-14
Meri aasmaani ghodi udaaye liye jaaye 14349 22-May-18
Ek do dilon ka kaafilaa 14707 20-Oct-18

Here is the eighth and final song from “Do Sitaare”(1951) to appear in the blog. This song is sung by Lata. Rajinder Krishan is the lyricist. Music is composed by Anil Biswas.

With this song, “Do Sitaare”(1951) joins the list of movies that have all their songs covered in the blog.

When this year began, we were YIPPYing one movie every day and we maintained this new year resolution till end of march 2018. We had YIPPEED 92 movies in the first 92 days of this year before the enthusiasm seemingly wore off. We somehow kept on this exercise with gaps till april 2018. 111 movies were YIPPEED in the year till end of april 2018.

Ever since, the rate dropped off drastically. Today’s movie is only the tenth YIPPEED movie after April 2018 and the first YIPPEED movie for November 2018. It is the 1048th YIPPEED movie in the blog overall.

Nevertheless, it feels nice to be YIPPYing a movie again. And what a nice song to listen to for closing the account of “Do Sitaare”(1951). The song sounds like a quintessential “puraani film ka geet” that we so loved to listen to on radio till 1970s.

I came to know (from our whatsapp group messages) that today happens to be the birthday of our beloved Sudhir Jee. It is only yesterday that he had posted a message in the group which read-

Listening to 5 to 10 songs a day can improve memory, strengthen immune system, and reduce depression risk by 80 %.

We fully agree, and we in this blog are doing our bit to keep people healthy. 🙂 And our beloved Sudhir Jee, with his musical excavations, background researches and interesting writeups is keeping us in great and robust health.

I take this opportunity to wish him a very happy birthday and wish him many happy returns of the day. Have a great musical day when you get to listen to 5 to 10 songs, and may be even more. 🙂


Song-Idhar kho gaya ya udhar kho gaya (Do Sitaare)(1951) Singer-Lata, Lyrics-Rajinder Krishan, MD-Anil Biswas

Lyrics

idhar kho gaya ya udhar kho gaya
ye dil mera jaane kidhar kho gaya
idhar kho gaya udhar kho gaya
ye dil mera jaane kidhar kho gaya
idhar kho gaya ya udhar kho gaya

nazar se nazar ka hua saamna
nazar se nazar ka hua saamna
to dil ye pukaara mujhe thhaamna
to dil ye pukaara mujhe thhaamna
sambhaala to maine magar kho gaya
sambhaala to maine magar kho gaya
idhar kho gaya ya udhar kho gaya
ye dil mera jaane kidhar kho gaya
idhar kho gaya ya udhar kho gaya

meri unse yoonhi mulaaqaat thhi
meri unse yoonhi mulaaqaat thhi
kaho ji ye koi buri baat thhi
kaho ji ye koi buri baat thhi
ye dil ki khata hai agar kho gaya
ye dil ki khata hai agar kho gaya
idhar kho gaya ya udhar kho gaya
ye dil mera jaane kidhar kho gaya
idhar kho gaya udhar kho gaya
ye dil mera jaane kidhar kho gaya
idhar kho gaya


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

Blog Day : 3746 Post No. : 14707

“Do Sitaare” (1951) was directed by D D Kashyap for Famous Pictures. The movie had Dev Anand, Suraiya, Kuldip Kaur, Baij Sharma, Prem Nath, Shakuntala etc in it.

The movie had eight songs in it. Six songs from this movie have been discussed in the past.

Here is the seventh song from the movie. This song is sung by Manna Dey. Rajinder Krishan is the lyricist. Music is composed by Anil Biswas.

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

I have not been able to get a word (or two) right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable in the lyrics.


Song-Ek do dilon ka kaafila (Do Sitaare)(1951) Singer–Manna Dey, Lyrics-Rajinder Krishan, MD-Anil Biswas

Lyrics

sada ek saath jaise do sitaare
rah nahin sakte ae
yoonhi mil kar kabhi do dil bechaare
rah nahin sakte

ek do dilon ka kaafila
ek do dilon ka kaafila
le ke sahaara pyaar ka
jeevan ke mele mein chala aa aa
jeevan ke mele mein chala
jeevan ke mele mein chala
ek do dilon ka kaafila
ek do dilon ka kaafila

ek doosre se thhi lagan
aapas mein donon thhe magan
baahon mein baahen daal ke
wo kaafila badhta gaya
ek do dilon ka kaafila
ek do dilon ka kaafila

manzil nazar aane lagi ee ee
manzil nazar aane lagi
ummeed muskaane lagi
par dekhte hi dekhte
zaalim andhera chha gaya
ek do dilon ka kaafila
ek do dilon ka kaafila

donon bichhad kar rah gaye
bahne thhe aansu bah gaye
ulfat ke is anjaam par
aankhon mein saavan chha gaya
ek do dilon ka kaafila
ek do dilon ka kaafila

ulfat ka haasil hai yahi
ee ee ee ee
ulfat ka haasil hai yahi
chaahat ki manzil hai yahi
ham tumse pahle ??
ye kafila loota gaya
ek do dilon ka kaafila
ek do dilon ka kaafila


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

Blog Day : 3695 Post No. : 14611

In the 1930s and in early 1940s, most of the music directors compose mainly raag-based and folk-based tunes to the lyrics.  The musicians would play the entire melody on their respective instruments in line with the tune. Since, in the absence of playback singing, songs would be recorded live, music directors were constrained to use minimum musical instruments, that too mostly within the options of Indian instruments consisting of harmonium, percussion, tabla/dholak, sitar, saarangi, flute etc.

Once the playback singing system stabilised in around late 1930s, music directors got flexibility in using more musicians and also started using western musical instruments such as piano, guitar, violin, mandolin, trumpet, clarinet etc. This gave them flexibility in composing preludes, interludes and orchestration. Anil Biswas who came to Bombay (Mumbai) sometime in 1935 with 12 of his Anglo-Indian musicians, changed the concept of orchestration of the songs. He was the first to use counter melody in orchestration. Probably, he was also the first music director of Hindi films who composed a song, Hum Aur Tum Aur Ye Khushi  based on waltz music (generally used for ball-room dance), for the film ‘Alibaba’ (1940). Anil Biswas could do it because he had in his orchestra, musicians well-versed in playing western music instruments.

There were perceptible changes in the style of song compositions in Hindi films of 1950s and 60s (also thereafter) as compared with those of 1940s. Songs of 1950s and 60s were not only melodic but their musical preludes, interludes and overall orchestrations appealed to the listeners. How did the Hindi film music witness musical metamorphosis in 1950s and 60s? The answer is that during this period, some of the Christian musicians and music arrangers from Goa played a pivotal role in taking the Hindi film music from the vintage era ( 1931-1947) to the golden era (1948-1980).

To understand as to how the Christian musicians from Goa got connected with Hindi film industry, one needs to go back to the history of Goa. After the annexation of Goa by Portuguese in the 16th century, they established churches, chapels and convents in their captured territories. As part of church services, there was a need to establish choirs – a group of singers accompanied by musicians. The locals who were converted in to Christianity were trained to sing and play western instruments such as organ and violin. The services of these trained singers and musicians were also utilised for the occasions such as weddings, community feasts and funerals. Over a period of time, with the regular exchange of people from other Portuguese territories such as Angola and Mozambique, these musicians learnt some more western instruments such as piano, trumpet, saxophone, guitar, clarinet etc.

The Portuguese did not do much to the education system. Nor did they provide employment opportunity to the locals. As against this, Goans found employment opportunity in British India especially at Mumbai, the nearest city for Goans. For those who had learnt music, Mumbai provided them opportunity to become musicians in the night clubs which were patronised by the higher strata of the societies.

During the World War II (1939-45), there were shortages of musicians in the night clubs as many foreign musicians especially from Germany and its allied countries either left India or they were arrested. The Goan musicians with their affinity to jazz music filled the vacancies. Also, the British and its allied troops which were stationed in major cities like Bombay, required night clubs as a source of entertainment.

During the late 30s and early 40s, many Goan musicians migrated mainly to Mumbai. Some of the well-known Goan musicians like Antony Gonsalves, Chic Chocolate, Sebastian D’Souza (came to Mumbai via Lahore), Frank Fernand, Chris Perry, Sonny Castelino, Lucilla Pacheco migrated to Mumbai. I guess that none of these musicians would have remotely thought of joining the Hindi film industry at the time of their migration. Generally, for musicians trained in western classical music, their intention will be to join a music band, earn a name and have their own music band.

Except Antony Gonsalves, all others mentioned above, had joined the dance bands as musicians. Those days, there was a craze for jazz music  and all these dance bands would mostly play jazz music in Taj Mahal Hotel, Green Hotel (run by Taj Mahal), Astoria Hotel, Ambassador Hotel, Ritz Hotel, Bristol Grill, Mocambo etc. During my way to college in Churchgate in early 1960s, I used to see displays outside some of these hotels and restaurants showing the names of the dance bands with prominent musicians schedule for the performance in the night. Perhaps, I may have read the names like Chic Chocolate, Frank Fernand and Chris Perry but without knowing at that time that they were associated with Hindi film music.

How some of these Goan musicians did get connected with Hindi film industry in the latter half of the 1940s is not clear. Probably, some of the music directors like Anil Biswas, C Ramchandra, Khemchand Prakash, Naushad either individually or collectively may have visited the night clubs to witness the performance of the dance bands. They would have been impressed by the harmonic presentation by musicians with foot tapping music. They saw the opportunity to use in Hindi film songs  by way of prelude and interlude orchestra which would appeal to the listeners.

But how to achieve the synergy of harmonic orchestra to the tune in melodic form in Hindi film songs? The uses of a large number of western musical instruments for orchestra which need to be played in harmony require a music composer (in Hindi film parlance, a music arranger) who can write music for each musician and for each instrument in the orchestra who may play the instruments in different notes. Goans with their training in Western classical music from their days in church choirs to dance bands were well versed to do the job of writing the music.

During the late 1940s, Goan musicians and music arrangers worked in Bombay film industry during the day time to supplement their income while the main source of their income continued to be from the dance bands. Sometime in early 1950s, the then Bombay State introduced prohibition and raised entertainment tax which affected the business of night clubs. Some of the Goan musicians had to become full time musicians and music arrangers in Bombay film industry while working with dance bands became a part time job.

Among the many Goan musicians, Antony Gonsalves, Frank Fernand, Sebastian D’Souza and Chic Chocolate have been the major music arrangers for the Hindi film music during 1950 to 1975. I guess, these four music arrangers may have been associated with about 90 per cent of the Hindi film songs during 1950-75.

All these four music arrangers have contributed so much to the Hindi film music that each one merits a full article. This will have to wait for some other time. In the meanwhile, I present below a brief sketch of the musical career of each one of them.

Antony Gonsalves (12/06/1927 – 18/01/2012) mostly worked as a free-lance music arranger due to the fact that he also played violin for almost all the top music directors. He started as a musician playing mainly violin with Naushad in 1943. He got his first assignment as music arranger with Shyam Sundar in Dholak (1951). His orchestration in Mausam Aaya Hai Rangeen is worth listening. He had also done orchestration for Hum Aapki Aankhon Mein  in ‘Pyaasa’ (1957) during which he also played violin. During his active filmy career between 1950-1965, he is said to have been associated in more than 1000 songs.

Antony Gonsalves taught violin to Pyarelal (of Laxmikant-Pyarelal) and RD Burman for 4 years. He had also become a keen follower of Hindustani classical music. In fact, in 1958, he had 110 musicians in his raag-based symphony orchestra playing his composition in various Indian raags blended with western music, a thing which is very common in the present generation. Unfortunately, his experiment did not click with the audience.  But his work was noticed at the international level.

Antony Gonsalves cut short his filmy career in 1965 and went to USA on an invitation from Syracuse University, New York. He remained in the USA for 10 years after which he returned to India and settled in his village Mojorda in Goa in seclusion during the rest of his life keeping away from the Hindi film industry.

An interesting trivia here – in the iconic song tuned by Laxmikant Pyaarelal – “My Name Is Anthony Gonsalves“, L-P have said that they used this name of their ‘teacher’, as a mark of honour for him.

Frank Fernand (03/05/1919 – 01/04/2007) worked as a music arranger mainly with Hemant Kumar, Ravi, Kalyanji Anandji though he also worked with other music directors. He migrated to Mumbai  in 1936 to join one of the dance bands. He got his first break as a music arranger in ‘Barsaat’ (1949) and also played trumpet and violin in some songs. During his career as musician/music arrangers, he is said to be associated with about 70 Hindi films. Frank Fernand’s work can be judged from Dil Deke Dekho Dil Deke Dekho, Baar Baar Dekho Hazaar Baar Dekho and Aage Bhi Jaane Na Tu  among his other works.

Sometime in the 60s, Frank Fernando ventured in to producing Konkani films and thereafter a couple of Hindi films in the 1970s. While his Konkani films earned him money, his first Hindi film ‘Priya’ (1970) was a box office failure while the second film ‘Aahat’ (1974) could be released only in 2010 after his death. In 1985, Frank Fernand was afflicted with Parkinson’s disease which kept him in the confine of his house in Bandra.

Sebastian D’Souza (29/01/1906 – 09/03/1996) was a dance band leader in early 1940s in a hotel in Lahore. During his Lahore days, he is said to have worked for Shyam Sundar and Ghulam Haider. After partition, he came to Mumbai. His first film as music arranger was with OP Nayyar in ‘Aasman’ (1952). His association with Shanker-Jaikishan started with ‘Daagh’ (1952) which continued uninterrupted till 1975.  With his attachment with OP Nayyar, Shankar-Jaikishan and occasionally with Salil Chaudhary, his outside assignments as music arrangers were few.

One can notice the ingenuity of Sebastian D’Souza’s in music arrangements in that despite working with OP Nayyar and Shankar-Jaikishan for a long time, his orchestrations retained the individual  stamps of these music directors in their respective songs. That Sebastian D’Souza could work with a temperamental music director like OP Nayyar for a long time speaks volume about his talent and of his mild nature.

It is said that Sebastian D’Souza’s counter-melody in orchestration was so good that  Jaikishan used some of his counter-melodies as  tunes for the songs. I am sure that in ‘Madhumati’ (1958), Salil Choudhary must have been impressed by Sebastian’s counter-melody in Aaja Re Pardesi and used it as a mukhda tune for Ghadi Ghadi Mora Dil Dhadke. Sebastian’s great work can be felt in almost all songs of S-J and OPN. However, the one song which I am very fond of because of orchestration is Poochho Na Hamen Hum Un Ke Liye from ‘Mitti Mein Sona’ (1960). The piano in this song was played by a Goan musician, Sunny Castellino who was a music arranger for ‘Aawaara’ (1951).

During his filmy career, Sebsatian D’Souza arranged music for about 125 films with around 1000 songs. He retired from film industry in 1975.

Merlyn D’Souza, daughter-in-law of Sebastian D’Souza has been continuing his musical tradition. She works as a music producer, music arranger and sometime as music director – both in films and theatres. In the music industry, she is often referred to as ‘Female AR Rahman’ due to her work in fusion music.

Chic Chocolate (real name : Antonio Xavier Vaz, 1916-1967) came to Mumbai in in the late 30s to become a lead jazz trumpeter in a dance band. His idol was Louis Armstrong, the American jazz trumpeter. Interestingly, he even looked like Louis Armstrong. Soon he became one of the best trumpeters in Mumbai’s jazz music scene. By the end of the World War-II, Chic Chocolate had already formed his dance band named ‘Chic & His Music Makers and had become one of the leading dance bands in Mumbai.

It is not clear as to when he started working for Hindi films. His earliest connection to Hindi film industry as a music arranger points to the film ‘Samaadhi’ (1950) in which he collaborated with C Ramchandra, The song  Gore Gore O Baanke Chhore which has jazzy music, brought him to the attention of Hindi film industry. His music arrangements in all the songs of  ‘Albela’ (1951) was a high point of his career as music arranger. I think, in this film, Chic Chocolate poured all his experience in Jazz music in such an extent that the songs which became a new category of songs with Indo-Jazz music.

In  Deewaana, Ye Parwaana, one can see Chic Chocolate playing trumpet with the musicians from his dance band ‘Chic & His Music Makers’. Because of runaway success of ‘Albela’ (1951), his dance band became more famous. He also adopted for his dance band the uniform that was used for his band in this song.

He mostly worked with C Ramchandra in the 1950s though he had also worked with other music directors. Take for instance, his music arrangements in the song, Ae Dil Mujhe Bata De in ‘Bhai-Bhai’ (1956) and Rut Jawaan Jawaan  in ‘Aakhri Khat’ (1966) in which he is seen playing trumpet.

With ‘Naadaan’ (1951), Chic Chocolate donned the hat of music director for the first time. This was followed by ‘Rangeeli’ (1952) and ‘Kar Bhala’ (1956).

Chic Chocolate passed away in May 1967 shortly after the release of ‘Aakhri Khat’ (1966). His son Erwell Vaz is a drummer.

Hindi film music is the work of so many creative artists, musicians and music arrangers. I guess, in the 50s and 60s, music arrangers must have spent more man-hours for arranging music than the music directors for whom they worked. Unfortunately, in film and music industry, it is mainly the singers and music directors who get the credit. However, in the recent period, names of at least lead musicians and music arrangers are mentioned in the credit titles of many of the films as well as the covers of CDs.

Today, I present the 7th song (out of 8 songs, including two multiple version songs)  from the film ‘Naadaan’ (1951) for which Chic Chocolate got his first opportunity to set the tune to the songs in addition to the music arrangements. The song is ‘Saari Duniya Ko Peechhe Chhod Kar’ sung by Lata Mangeshkar. The song was written by PL Santoshi.

The tune of the song has a distinct style of C Ramchandra who was credited as Music Supervisor. Surprisingly, none of the 8 songs in the film has jazz flavours. This is not to undermine the overall contributions of Chic Chocolate in the songs of the film. It is worth mentioning in this context that Chic Chocolate had composed many jazz songs for his dance band in the 40s. There are at least six 78 rpm gramophone records which bear the name of Chic Chocolate as the music composer.

The song under discussion appears to be a dream sequence going by the sets used in the picturisation of the song.

Acknowledgements:

  1. Naresh Fernandes – Taj Mahal Foxtrot – The Story of Bombay’s Jazz Age (2012)
  2. Gumnaam Hai Koi – The Untold Story of Music Arrangers and Musicians : Part-I & II – Rajya Sabha TV (2015)

 

(Video)

(Audio)

Song – Saari Duniya Ko Peechhe Chhod Kar (Nadaan) (1951) Singer – Lata Mangeshkar, Lyrics – PL Santoshi, MD – Chic Choclate

Lyrics

saari duniya ko peechhe chhod  kar
saari duniya ko peechhe chhod  kar
hum sitaaron ki duniya mein aa gaye..ae
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod  kar
hum sitaaron ki duniya mein aa gaye
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod  kar
 
chalo khelenge saajna aankh micholi
o o o
o o
o o
chalo khelenge saajna aankh micholi
bhar len sitaaron se hum apni jholi
bhar len sitaaron se hum apni jholi
chaand chhup chhup ke karta ishaare
kitne dilkash hain ye sab nazaare
hain ye sab nazaare
hum ek nai duniya mein aa gaye
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod kar
hum sitaaron ki duniya mein aa gaye..ae
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod kar
 
saare aalam pe chhaayi hai chaandni
kyon na gaayen hum ulfat ki raagini
aaa  aaa 
aa aa
aa aa aa aa
aa aa
aa aa aa
la la la la la
la la la la la
la la
saare aalam pe chhaayi hai chaandni
kyon na gaayen hum ulfat ki raagini
aaj harsoo hai
aaj harsoo hai mousam khushi kaa
luft aayega ab zindagi kaa
ab zindagi kaa
hum nazaaron ki duniya mein aa gaye
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod kar
hum sitaaron ki duniya mein aa gaye..ae
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod kar
hum sitaaron ki duniya mein aa gaye..ae
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod kar 

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

सारी दुनिया को पीछे छोड़ कर
सारी दुनिया को पीछे छोड़ कर
हम सितारों की दुनिया में आ गये॰॰ए
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर
हम सितारों की दुनिया में आ गये
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर

चलो खेलेंगे साजना आँख मिचौली
ओ ओ ओ
ओ ओ
ओ ओ
चलो खेलेंगे साजना आँख मिचौली
भर लें सितारों से हम अपनी झोली
भर लें सितारों से हम अपनी झोली
चाँद छुप छुप के करता इशारे
कितने दिलकश हैं ये सब नज़ारे
हैं ये सब नज़ारे
हम एक नई दुनिया में आ गये
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर
हम सितारों की दुनिया में आ गये॰॰ए
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर

सारे आलम पे छाई है चाँदनी
क्यों न गायें हम उलफत की रागिनी
आss आss
आ आ
आ आ आ आ
आ आ
आ आ आ
ल ल ल ल ला
ल ल ल ल ला
ला ला
सारे आलम पे छाई है चाँदनी
क्यों न गायें हम उलफत की रागिनी
आज हरसू है
आज हरसू है मौसम खुशी का
लुत्फ आएगा अब ज़िंदगी का
अब ज़िंदगी का
हम नज़ारों की दुनिया में आ गये
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर
हम सितारों की दुनिया में आ गये॰॰ए
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर
हम सितारों की दुनिया में आ गये॰॰ए
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर


Advertisements

Important Announcement

(© 2008 - 2019) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15200 song posts by now.

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

Total number of songs posts discussed

15261

Number of movies covered in the blog

Movies with all their songs covered =1179
Total Number of movies covered =4192

Total visits so far

  • 12,409,401 hits

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

Join 1,769 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Archives

Stumble

visitors whereabouts

blogcatalog

Music Blogs - BlogCatalog Blog Directory

blogadda

Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

Advertisements
%d bloggers like this: