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

Archive for the ‘Songs of 1953’ 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 :

4527 Post No. : 16088

“Husn Ka Chor”(1953) was produced by Homi Wadia and directed by JBH Wadia for Basant Pictures, Bombay. The movie had Usha Kiran, Mahipal, Brij Mohan Vyas, Azeem Dalpat, Sardar Mansoor, Agha Shapoor, Bismilla etc in it. The movie had seven songs in it. Four songs have been covered in the past.

Here is the fifth song from “Husn Ka Chor”(1953) to appear in the blog. The song is sung by Rafi and chorus. Bulo C Rani is the music director. The movie had three lyricists but it is not clear who penned the lyrics of this song.

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


Song-Duniya mein hain bande pyaare daulat ke (Husn Ka Chor)(1953) Singer-Rafi, MD-Bulo C Rani
Chorus
Rafi + Chorus

Lyrics

duniya mein hain bande pyaare daulat ke
baanye haath ke dhandhe saare daulat ke
humma heli baba teli sab matwaale daulat ke
jahaan dekho wahaan dekho phande saare daulat ke

daulat sab ke aib chhupaye
daulat ka hai bolbaala
bolbaala
chaar dinon ki chaandni mein
iski raushni sabse aala
sabse aala
saari duniya chalti hai sahaare daulat ke
duniya me hai bande pyaare
daulat ke
baanye haath ke dhandhe saare daulat ke
humma heli baba teli sab matwaale daulat ke
jahaan dekho wahaan dekho phande saare daulat ke

ye daulat imaan khareede
ye daulat insaan khareede
ye daulat imaan khareede
ye daulat insaan khareede
daulatwaala take take mein
muflis ke armaan khareede
bade ghazab ke khel hai
nyaare nyaare daulat ke

daulat ke hain sab deewaane
daulat ke hain sab deewaane
ek shama hai laakh parwaane
ek shama hai laakh parwaane
duniya mein hain itne thheke
duniya mein hain itne thheke
gali gali mein maikhaane
o dekho gali gali maikhaane
ae ae ae ae
ae ae ae ae
rang rageele hain humaare pyaare daulat ke
duniya mein hai bande pyaare daulat ke
baanye haath ke dhandhe saare daulat ke
humma heli baba teli sab matwaale daulat ke
jahaan dekho wahaan dekho phande saare daulat ke


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 :

4497 Post No. : 16029

Yearwise discussion of Lata Mangeshkar songs in HFM: Part VII: Year 1953
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Lata Mangeshkar, who had made her playback debut in 1940s (in Marathi movies) had to struggle for quite a few years to find a foothold in Hindi movies playback singing. By 1947, she had a grand total of 9 songs to show as a playback singer in HFM. Still, by the time the decade of 1940s ended, Lata Mangeshkar had a meteoric rise to the very top.

It is said that climbing to the top is easier, but remaining at the top is more difficult. We see that Lata Mangeshkar, after rising to the top in 1949, and statistically touching her highest peak in 1951 (223 songs) stayed close to her peak in subsequent years, without climbing down too low. The tally of 194 songs for movies of 1953 is only 29 songs lesser than her all time record of 223 songs for movies released in a calender year. So, one sees that Lata Mangeshkar was not a meteor, but a star.

Here are the details of songs sung by Lata Mangeshkar in Hindi movies released in 1953 :-

S N Movie Music director Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Lyricists
1 Aabshaar Bhola Shreshtha 2 2 2 0 0 0 Sarshar Sailaani
2 Aagosh Roshan 6 6 3 2 1 0 Shailendra (2) Indeewar (2) Kaif Irfani (1) Uddhav Kumar (1)
3 Aah Shankar Jaikishan 7 7 5 2 0 0 Hasrat Jaipuri (4) Shailendra (3)
4 Aakaash Anil Biswas 2 2 2 0 0 0 Satyendra Athhaiyya (1) Manmohan Sabir (1)
5 Aansoo Husnlal Bhagatram 4 5 3 2 0 0 Qamar Jalalabadi
6 Aas Shankar Jaikishan 7 7 5 2 0 0 Shailendra (5) Hasrat Jaipuri (2)
7 Alif Laila Shyam Sundar 4 4 2 2 0 0 Sahir Ludhianvi
8 Anand Bhawan Vasant Desai 5 5 4 1 0 0 Noor Lucknowi (4) Raja Mehdi Ali Khan (1)
9 Anarkali C Ramchandra 9 9 8 1 0 0 Rajinder Krishan (5) Shailendra (2) Hasrat Jaipuri (2)
10 Aurat Shankar Jaikishan 9 9 9 0 0 0 Hasrat Jaipuri (6) Shailendra (3)
11 Baabla S D Burman 2 2 2 0 0 0 Sahir Ludhianvi
12 Baaghi S D Burman 5 5 5 0 0 0 Majrooh Sultanpuri
13 Daara Md Shafi 3 5 4 1 0 0 Indeewar(1) Anjum Jaipuri (1) Madhup Sharma (1) Saba Afghani (1) Prem Sarang (1)
14 Dard e Dil R C Boral 1 2 2 0 0 0 Hasrat Jaipuri (1) D N Madhok (1)
15 Dhuaan Vasant Desai (4) Dhaniram (1) 5 5 4 1 0 0 Rajinder Krishan
16 Dhun Madan Mohan 5 5 4 1 0 0 Kaif Irfani (4) Bharat Vyas (1)
17 Do Beegha Zameen Salil Chaudhary 3 3 1 2 0 0 Shailendra
18 Fareb Anil Biswas 5 5 4 1 0 0 Majrooh Sultanpuri
19 Farmaaish Husnlal Bhagatram 4 4 3 0 1 0 Qamar Jalalabadi
20 Firdaus * Roshan 1 1 1 0 0 0 Shailendra
21 Ghar baar Vasant Prabhu 1 3 3 0 0 0 Kaif Irfani (2) Indeewar (1)
22 Gunaah Snehal Bhatkar 2 2 2 0 0 0 Kidar Sharma
23 Hamdard Anil Biswas 4 4 2 2 0 0 Prem Dhawan
24 Hamsafar Ali Akbar Khan 1 1 1 0 0 0 Sahir Ludhianvi
25 Jallianwaala Baag Ki Jyoti Anil Biswas 1 2 1 1 0 0 Uddav Kumar (1) Majrooh Sultanpuri (1)
26 Jeewan Jyoti S D Burman 2 2 2 0 0 0 Sahir Ludhianvi
27 Jhaanjhar C Ramchandra 8 8 6 1 1 0 Rajinder Krishan
28 Jhamela C Ramchandra 4 7 2 5 0 0 Rajinder Krishan
29 Ladki C Ramchandra (4) R Sudarshanam-Dhaniram (2) 5 6 5 0 1 0 Rajinder Krishan
30 Laila Majnu Ghulam Mohammad 1 1 0 1 0 0 Shakeel Badayuni
31 Lehren C Ramchandra 1 4 2 1 1 0 Rajinder Krishan
32 Maalkin Roshan 4 4 3 1 0 0 Rajinder Krishan
33 Madmast V Balsara 2 2 2 0 0 0 Madhukar Rajasthani
34 Mayurpankh Shankar Jaikishan 6 6 6 0 0 0 Hasrat Jaipuri (3) Shailendra (3)
35 Mehmaan Anil Biswas 2 4 3 0 0 1 P N Rangeen (2) Uddhav Kumar (1) Raja Mehdi Ali Khan (1)
36 Naina Manna Dey 1 2 2 0 0 0 Uddhav Kumar (1) P L Santoshi (1)
37 Naya Ghar Shankar Jaikishan 5 5 5 0 0 0 Shailendra (3) Hasrat Jaipuri (2)
38 Patita Shankar Jaikishan 3 3 2 1 0 0 Shailendra (2) Hasrat Jaipuri (1)
39 Raahi Anil Biswas 4 6 2 0 0 4 Prem Dhawan
40 Shagoofa C Ramchandra 4 8 7 1 0 0 Rajinder Krishan
41 Shahanshah S D Burman 3 3 3 0 0 0 Sahir Ludhianvi
42 Shikast Shankar Jaikishan 7 7 5 2 0 0 Shailendra (6) Hasrat Jaipuri (1)
43 Shri Chaitanya Mahaprabhu R C Boral 1 4 3 1 0 0 Bharat Vyas
44 Surang Shivramkrishna 3 3 3 0 0 0 Shewan Rizvi
45 Teen Batti Chaar Raasta Shivramkrishna 5 5 4 0 0 1 Shewan Rizvi
Total 45 movies 22 MDs 169 195 149 35 5 6 27 Lyricists

* Note:- The one solo song of “Firdaus”(1953), viz Phool chun le mere baalam was also there in “Naubahaar”(1952).

We see that Lata Mangeshkar sang 194 songs in 44 movies- excluding “Firdaus” song, which was actually a song of “Naubahaar”(1952).

Lata Mangeshkar added some new musical collaborators during this year. Music directors Dhaniram, R Sudarshanam-Dhaniram, R C Boral, Salil Chaudhary, Pt Shivramkrishna and Vasant-Prabhu composed songs for Lata Mangeshkar for the first time in this year 1953. Madhup Sharma, Madhukar Rajasthani, Manmohan Sabir and Saba Afghani penned songs for Lata Mangeshkar for the first time in this year.

Shankar Jaikishan and C Ramchandra were the major music directors for her this year. Shankar Jaikishan composed 44 songs in her voice in 7 movies. C Ramchandra composed 40 songs in her voice in 6 movies. So these two music directors composed 50% of the songs that Lata Mangeshkar sang in movies of 1953 !

Rajinder Krishan penned 47 songs in 8 movies whereas Shailendra penned 32 songs for her in 10 movies. So these two lyricists penned almost 45 % of all songs sung by Lata Mangeshkar this year. It shows that Lata Mangeshkar was being backed by the top music directors and top lyricists of the time.

Out of 44 movies of 1953 where Lata Mangeshkar lent her vice, all her songs in majority of these movies are already covered. Some Lata Mangeshkar songs are yet to be covered in 13 movies.

By the end of 1953, Lata Mangeshkar had sung 953 songs in HFM. As many as 490 of these songs (53%) were under the batons of five music directors , namely C Ramchandra (158 songs), Husnlal Bhagatram (98 songs), Shankar Jaikishan (98 songs),Anil Biswas (88 songs) and Roshan (48 songs). As for lyricists 383 out of 953 songs (40%) were penned by just five lyricists, namely Rajinder Krishan (136 songs), Shailendra (74 songs), Hasrat Jaipuri (62 songs), Shakeel Badayuni (58) and P L Santoshi (53 songs). By 1953, Lata Mangeshkar had worked with 59 Music directors and 94 lyricists.

“Aansoo”(1953) is alphabetically the first movie of 1953 that still has some leftover Lata songs not yet discussed in the blog. “Aansoo”(1953) was directed by Shanti Kumar for Famous Pictures, Bombay. This “social” movie had Kamini Kaushal, Shekhar, Pran, Nawab, Amirbai Karnataki, Indu Pal, Chaman Puri, Rajkumari, Kabil Amritsari, Parvati Devi, C Nazeer, Indira Bansal, Mumtaz mati, Roopmati, Suhel Chaudhary, Satyarani, Aruna Mehta, Shrimati Homi Master, Ghulam Hussain, Madan Singh, Madan Mohan, Sudesh Kumar, Baby Kumkum, Baby Kavita, Baby Suman, Binu Brar etc in it.

The movie had eight songs in it. Six songs have been covered in the past. There were five Lata Mangeshkar songs in it. Three were solos and two were duets (with Rafi). Four of these songs have been covered in the past.

Here is the fifth and final Lata song from “Aansoo”(1953). This song is a solo song. Qamar Jalalabadi is the lyricist. Music is composed by Husnlal Bhagatram.

Only the audio of the song is available. Seeing that Kamini Kaushal was the leading lady, one can guess that the song was lipsynced by her on screen. Nevertheless, I request our knowledgeable readers to throw light on the picturisation of the song.

After this song, only one song is left from “”Aansoo”(1953). Details of this song “Chha rahi kaali ghata jiyara mora lahraaye hai” is not gven in HFGK, HFGK makes a guess that this song was probably sung by Shamshad Begam. These is a famous song with this mukhda by Begam Akhtar. I wonder if this sing was sung by Begam Akhtar. I request our knowledgeable readers to throw light on this matter.


Song-Judaai ki khabar hoti agar deedaar se pahle (Aansoo)(1953) Singer-Lata, Lyrics-Qamar Jalalabadi, MD-Husnlal Bhagatram

tukde uthha ke dil ke
ham door jaa rahe hain
tumse kiye thhe waade ae
wo yaad aa rahe ae ae hain aen aen

judaai ki khabar hoti agar deedar se pahle
judaai ki khabar hoti agar deedar se pahle
to marne ki duaa karte tumhaare pyaar se pahle
judaai ki

agar ye jaante
tumse juda ik roz hona hai
agar maaloom hota pyaar ka anjaam rona hai
hazaaron baar ham tum sochte ikraar se pahle
hazaaron baar ham tum sochte ikraar se pahle
judaai ki

arre duniya ke maalik
kya aa mila
bekas ko thhukra ke ae
bekas ko o thhukra ke
khushi ki daur ghadiyaan tumse maangi haath phailaa ke
mere aansu to aakar dekhta inkaar se pahle
mere aansu to aakar dekhta inkaar se pahle
judaai ki khabar hoti agar deedar se pahle
judaai ki


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:

4487 Post No. : 16009

Here is the 13th and final song from LailaMajnu (1953). Out of the 14 songs listed at myswar.com and also with the posted songs list in the blog, 12 are posted. As mentioned in the penultimate post here , the extra song added in the list was ultimately used in the another Shammi Kapoor film ‘Chor Bazar (1954)’, with Sardar Malik’s music is posted here .

This is a prayer in a madrasa picturised on Master Jagdeep.

Madrasa or “Madrasah” is the oldest form of organized education institutions. One gathers all sort of general knowledge or information as one flits from interesting topics and not very interesting or boring issues. We keep growing, with the informal knowledge and gaining of wisdom, throughout our lives. And this is the way it should be, or the human intelligence would stagnate and die out. Nowadays, we are in danger of information overload, as there are too many sources, from which we can gather information on any topic or issue. I had a vague notion that “Madrasa” is one of the oldest form of organized system of imparting education, I read or heard somewhere. Then I looked up in Google to find out if my notion is correct. And I searched for “Maktab”, and as it happened, Google did confirm it to me in a very roundabout way, from maktab to kuttab to finally madrasah. I am beginning to dread finding answers on google, as the obvious answer it gives is misleading. One has to dig deeper in the results to come at a truthful conclusion.

I also found a pdf file of a research paper titled “Maktabs and Madrasas in India: A Look at Statistics based on 8th All India School Education Survey” at researchgate.net. The following para giving brief history is reproduced below:

“The first educational institution in the Muslim world was the mosque built at Medina early in the seventh century by the Prophet Muhammad and his Companions. From then on, mosques were used for teaching purposes, especially for the teaching of law and theology, but as society developed, study circles were held not only in the mosques but also in the palaces, in the streets and even in the market-places. The study circles also grew in number and quality during this period, forming the nuclei of what were to become the madrasas, colleges intended for adults who had already received their primary education in private schools or mosques. In the tenth century the madrasas emerged as an independent institution distinct from the mosque, although madrasas – at least in the early days – were set up either for a single jurist or to teach the tenets of a particular legal school. Thus was born a new kind of educational institution, destined in future to become a center of religious and secular learning in the Islamic world and a place where the representatives of the official class were educated in the spirit of Muslim orthodoxy.

The history of Madrasa education in India starts since the arrival of Muslims in India and it began in the 10th century with the establishment of Maktabs and Madrasas in the towns of Sind, Dabel, Mansura, Multan by the Arab traders and settlers (Haque, 2013).”

Considering, that education and knowledge is power, the imparting of power to the people, and starting young in observing, absorbing and gaining this power is a tradition in Islam, is a sobering thought. The very first “Wahee”(Divine revelation) that was revealed to the Prophet Mohammed (PBUH) began with the word “Iqraa”, meaning “read”, as in read, repeat, study and gain knowledge.

And to think that we all have arrived in this era of faster traffic of information, programming and coding and moving to artificial intelligence, through the foundation laid by the Prophet and his companions, of an education system, 1400 years ago. A lot has gone by and happened, and lessons have been learnt in these 1400 years.

May Allah Almighty give us and our future generations, the taufeeq, the discipline, talent and the spirit to gain, impart and constantly improve the education and knowledge, as these words in the prayer:

yaa rabb hamen ta’aleem ki
taufeeq ‘ataa kar
rakkhen tere farmaan ko
seene se lagaa kar

Wikipedia say this in one of the pages:

Literacy
In medieval times, the Caliphate experienced a growth in literacy, having the highest literacy rate of the Middle Ages, comparable to classical Athens’ literacy in antiquity.[7] The emergence of the Maktab and Madrasah institutions played a fundamental role in the relatively high literacy rates of the medieval Islamic world.[8]

I am yet to look up the antiquity age in classical Athens, to see if it is a concurrent period, later or earlier period, of what is given above as medieval times. 🙂

This is what it means dissemination of information available on the internet.

Let us move on to the song being posted and Jagdeep, who is in the middle of it all. We see a very young Jagdeep, singing this prayer with other students, as the ustad is looking on. Shamshad Begum is the singer of this prayer written by Shakeel Badayuni and composed by Ghulam Mohammed. Jagdeep was born 29th March, 1939, so he was 14 years old in 1953. He expired a few months ago on 20th July, 2020, another casualty possibly of these pandemic times. As per the filmography, he has worked in 391 films as an actor, starting as a child artist in 1950, up to 2017. This could be a record as a 67 year long career. Those who started before him in the industry have long since hung up their boots. Innumerable memorable characters played by him are part of the histology of hindi films and also the some sweet and some funny and some romantic songs filmed on Jagdeep are already posted in the blog. Some songs may be remaining to be posted, the current one being one of them.

Here is a memorable stanza of this famous background song pictured on Jagdeep in the film Bhaabhi(1957) :

khatam hue din us daali ke
jis par teraa baseraa thaa
aaj yahaan aur kal ho wahaan
ye jogi waalaa phera thaa
ye teri jaageer nahin thi
chaar ghadi ka dera tha
sadaa raha hai is duniyaa mein
kiskaa aab-o-daanaa
chal ud jaa re panchhi
ke ab ye des hua begaanaa


Song-Ye jaan ye imaan bas Allah ke liye hai (Laila Majnu)(1953) Singer-Shamshad Begam, Lyrics-Shakeel Badayuni, MD-Ghulam Mohammad
Chorus

Lyrics

Yeh jaan ye imaan
bas Allah keliyehai
yeh jaan ye imaan
bas Allah keliye hai

Allah ke liye hai
mere maula ke liye hai
Allah ke liye hai
mere maula ke liye hai
yeh jaan ye imaan
bas Allah ke liye hai

maalik tu hi
khaaliq tu hi
ma’abood khudaaya
maalik tu hi
khaaliq tu hi
ma’abood khudaaya

mitti ko sharaf de ke hamen
tu ne banaaya
hamen tu ne banaaya
oonchaa hai farishton se bhi
insaan ka paayaa
oonchaa hai farishton se bhi
insaan ka paayaa

insaan ki hasti
teri duniyaa ke liye hai
Allah ke liye hai
mere maula ke liye hai
yeh jaan ye imaan
bas Allah keliyehai
yeh jaan ye imaan
bas Allah ke liye hai

yaa rabb hamen ta’aleem ki
taufeeq ‘ataa kar
yaa rabb hamen ta’aleem ki
taufeeq ‘ataa kar

rakkhen tere farmaan ko
seene se lagaa kar
seene se lagaa kar
bandon ko na tu
daaman-e-rehmat se judaakar
bandon ko na tu
daaman-e-rehmat se judaa kar

jo saans hai bas teri
tamanna ke liye hai
Allah ke liye hai
mere maula ke liye hai
yeh jaan ye imaan
bas Allah ke liye hai
yeh jaan ye imaan
bas Allah ke liye hai


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 :

4478 Post No. : 15986

21/10/2020 – 89th Birth anniversary of Shammi Kapoor
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I have in possession for almost a year now, a book titled “Rafinaama” by Isaak Mujawar. One day I just impulsively looked up the book availability on Amazon, and found that only two copies were available. I just ordered it without thinking anything. When the book arrived, then I realized that it was in Marathi. Even for self-proclaimed “kitaabi keeda” like me, sitting down reading it has proven a challenge. Which, I am yet to seriously take up.

Two days ago, I suddenly occurred to me, I am having these books and I should make use of the articles there for writing the various posts. The first book I encountered, for sheer visibility and the size of it, is “eh un dinon ki baat hai” – Urdu Memoirs of Cinema Legends (selected and translated by Yasir Abbasi). So for two days, I have been going through that book.

Since this Shammi Kapoor post is due to be written, I had finalized the song and lyrics are also ready. But the book does not contain anything about Shammi Kapoor and his career. I found “Rafinaama” next, in the drawer that I have kept for such treasures 🙂 never to be seen and touched by anyone.

And lo and behold, I have selected a Rafi song from the film Laila Majnu(1953) for posting on the 89th birth anniversary of Shammi Kapoor and Rafinaama starts with the chapter titiled “Shammi, Rishicha majnucha aawaaj” meaning “majnu’s voice for Shammi and Rishi”.

I am giving a brief roundup of the chapter here :

“Films on Laila Majnu title have been made in hindi film industry in 1922, 1931(2 Movies), 1945, 1953 and 1976. The “Laila Majnu” of 1922 was silent movie and the rest were talkies. Two more movies on the same characters story was differently titled, first “Daastaan-e-Laila Majnu” in 1973 and “Love and God” in 1986. Rafi Sahab’s songs were there in all these movies since 1945. In the 1945 version Rafi sahab has sung two songs but none were actually on Majnu’s character.”

The above chapter in the book says that Rafi’s voice was Majnu’s voice in 1953 film, which is incorrect. Among the 4 songs which Rafi Sahab sang for this three are already posted in the blog. In “Bhar de jholi Allah naam” Rafi sahab’s has sung in 3-4 different voices for different characters, but when Shammi Kapoor comes in line and sings, it’s Talat Mehmood’s voice for him. In the song “Aankhon mein hai tu”, Shammi Kapoor in watching the qawwali being performed, he is not singing at all. Third posted is “Mil gayaa taqdeer se chashmaa yehaan”is a solo Rafi song played in the background during the titles.

The songs posted are listed below:

Song Date posted Remarks
Ae sanam ye zindagi aayi hai lekar khushi 18 December 2010
Aasmaan waale teri duniyaa se jee ghabraa gayaa 28 May 2011
Chal diyaa kaarwaan lut gaye ham yahaan 7 June 2011
Aankhon mein hai tu 3 July 2011
Yaad teri zindagi ka saaz ban kar reh gayi 23 July 2011
Bahaaron ki duniya pukaare tu aa jaa 9 April 2012 MD-Sardar Malik
Ya ilaahi ho mubaarak tujhko ye tera jahaan 10 april 2012
Dekh lee ae ishq teri 24 May 2012 MD-Sardar Malik
Bhar de jholi Allah naam 14 February 2013
Mere sarkaar tere ishq ki duniya ko salaam 25 March 2013
Mil gaya taqdeer se chashmaa yahaan 6 March 2017

The fourth Rafi song from this film is the song of the current post. It is a very short and rapid solo which is played in the background as Laila and Majnu, Shammi Kapoor and Nutan, both die lying in the desert and the sand covers them gradually. This must be the end of the film. So the film is starting and ending with a Rafi song background song. Composer is Ghulam Mohammad and lyrics are by Shakeel Badayuni.

This is 12th song to be posted from this film. One more song which is listed/included in the list of this films’ songs is actually not from this film, but this song posted here from another Shammi Kapoor film Chor Bazar (1954), with Sardar Malik’s music. So that means this movie has 13 songs and only one song remains to Yippee this movie. Remaining song is also a special one with Shamshad Begum giving playback to Master Jadeep. (I will try and get this post shortly).

There are a few more chapters dealing with Shammi Kapoori majnu type songs style which were sung by Rafi sahab, and subsequent Shammi Kapoor clones who tried to adopt the same style. The author is of the opinion that the Shammi style of songs which became famous as “yahoo” style did not originate with Junglee and Shankar-Jaikishan, rather the origin can be found in the songs of film “Tum sa nahin dekha” by O. P. Nayyar.

Shammi Kapoor started his film career with 6 films in 1953. He was the son of Prithvi Raj Kapoor and brother of Raj Kapoor, who was well on his way to be a stalwart film maker by then. But Shammi Kapoor must have set out to make his career on his own, there was no official launching by R. K. Films. His filmography lists 146 films from 1953 – 2011. Rockstar 2011 being the last film in which he acted. Up to Andaz 1971, I counted 56 movies of his which include many memorable musical extravaganzas with Rafi sahab’s playback under Shankar-Jaikishan, O.P. Nayyar and R. D. Burman. Early 50’s when he started as a hero, I can see, that the favoured voice for the hero was not Rafi. Rafi was the voice of everyone else in the some films but not the hero. But Naushad Sahab had used Rafi for all songs on Dilip Kumar in ‘Aan” & “Deedar” and for Bharat Bhushan in “Baiju Bawra”. Or it is possible some of them felt insecure, that Rafi’s singing could over shadow them in popularity. Truly, his phenomenal singing was capable was running away with the credits for all the success of film and its music. Naushad was too big before even “Baiju Bawra”, so could maybe whither the onslaught. Other big personalities who were not so big in early 50’s could have felt insecure. We should be glad that, this type of misapprehensions, if existing, were unable to keep Rafi sahab down for long. If a star shines too bright then its neighbors can be forgiven for being apprehensive.

By any account there must be around 180 songs which Rafi sahab sang for Shammi Kapoor, beginning with “Shama Parwaana” with this unforgettable song. This is a definite Rafi-Shammi song with the definite nuances of “Majnu”’and traces of “wehshat zada ishq”, as the curtain behind which Surraiya is listening to the song, is burnt. Such is the effect of Rafi sahab and Shammi Kapoor’s singing. In this film, seen on TV long ago, Rafi sahab has 5 songs including 3 duets with Suraiyya. There is no other male singer here, so all songs sung by Shammi Kapoor were by Rafi sahab.


Song-Milne ki hasrat mein betaabi ke saath (Laila Majnu)(1953) Singer-Mohammed Rafi, Lyrics-Shakeel Badayuni, MD-Ghulam Mohammad

Lyrics

Milne ki hasrat mein
betaabi ke saathh
reh gaye phailaa ke haay
donon haathh
phool do din hans ke
jee behlaa gaye
aur ye gunche ae
bin khile murjhaa gaye
aaye thehre aur guzre
qaafile
phir na aise
chaahne waale mile ae
maut se kyun
ishq sharmindaa rahe
qais o laila
mar ke bhi zindaa rahe
qais o laila
mar ke bhi zindaa rahe


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 :

4460 Post No. : 15940

“Aansoo”(1953) was produced by Qamar Jalalabadi and directed by Shanti Kumar. The movie had Kamini Kaushal, Shekhar, Pran, Nawab, Amirbai Karnataki, Indu Pal, Chamanpuri, Rajkumar, Kabil Amritsari, Parvati Devi, C Nazeer, Indira Bansal, Mumtaz Mati, Suhel Chaudhary, Satyarani, Aruna Mehta, Mrs Homi Master, Ghulam Hussain, Madan Singh, Madan Mogan, Sudesh Kumar, Baby Kumkum, Baby Kavita, Baby Suman, Binu Baraar etc in it.

“Aansoo”(1953) had eight songs in it. Five songs from the movie have been covered in the blog so far.

Here is the sixth song from “Aansoo”(1953) to appear in the blog. This song is sung by Shamshad Begam. Qamar Jalalabadi is the lyricist. Music is composed by Husnlal Bhagatram.

Only the audio of the song is available. The song sounds like a background song cum theme song. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Koi meri sune aurat na bane (Aansoo)(1953) Singer-Shamshad Begam, Lyrics-Qamar Jalalabadi, MD-Husnlal Bhagatram

Lyrics

koi meri sune aurat na bane
ye to mardon ka hai sansaar re
koi meri sune aurat na bane
ye to mardon ka hai sansaar re
bhaai bahan ki suno kahaani
bhaai ki kismat tez
bhaai bahan ki suno kahaani
bhaai ki kismat tez
bhaai ko dekhe hans ke dulhaniya
bahan se maange dahej
haay main mar gayi raam
haay main mar gayi raam
haay main mar gayi
haay main mar gayi
duniya ke baazar mein bikta ik naari ka pyaar re
koi meri sune aurat na bane
ye to mardon ka hai sansaar re
koi meri sune aurat na bane
ye to mardon ka hai sansaar re

beewi ghar mein bhakti aur sewa ki jyot jalaaye
beewi ghar mein bhakti aur sewa ki jyot jalaaye
baabu sair kare duniya ki
gairon se nain ladaaye
haay main mar gayi raam
haay main mar gayi raam
haay main mar gayi
haay main mar gayi
kabhi dil hai yahaan
kabhi dil hai wahaan
haay mardon ka jhoothha pyaar re
koi meri sune aurat na bane
ye to mardon ka hai sansaar re

maa bechaari sab ke aansu apni aankh mein laaye
maa bechaari sab ke aansu apni aankh mein laaye
ye marzi aulaad ki
chaahe ya thhukraaye
haay main mar gayi raam
haay main mar gayi raam
haay main mar gayi
haay main mar gayi
maati main giri hain wo kaliyaan
duniya ka hai jo singaar re
koi meri sune aurat na bane
ye to mardon ka hai sansaar re


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 :

4456 Post No. : 15931

Today’s song is from the film Husn ka chor-53.

The film was made by Basant Pictures owned by Homi Wadia. He was the Producer, but surprisingly the film was directed by his elder brother J.B.H.Wadia (13-1-1901 to 4-1-1986 ). JBH had also written its story, screenplay and dialogues too. Another surprise was that this film was a Costume/action film. The brothers had separated in 1942 on the issue of Wadia Movietone continuing making stunt films or to start making social films. JBH wanted to make social films and Homi Wadia (22-5-1911 to 10-12-2004) advocated for continuance of stunt films. He separated from JBH and started his own Basant Pictures. The third surprise was that for the first (and the last) time JBH wrote part of the lyrics of one song in this film. Today’s song is that song.

The cast of the film was Usha Kiran, Mahipal, Brij Mohan (B.M.Vyas), Azeem Dalpat, Sardar Mansoor, Agha Shapoor, Bismilla etc.etc. The wadias, known for fantasy and stunt films, always made new stories by rehashing old stories from Arabian Nights. This was also one such movie. I had seen this film.

The lead pair was Mahipal and Usha Kiron. one speciality of Wadias was that in their films, the credits list used to be very lengthy ,as they were keen on writing almost every small actor’s names also.

Qamar(Mahipal) was a compulsive thief.Once he steals Princess Husn’s(Usha Kiran) jewels,but he is so dazed by her beauty and innocence that he returns her jewels.When several foreign Princes come to propose to her,he also goes there by disguising as a prince.Husn selects him,but the secret is revealed by Nadira(Lalita kumari),a dancer who loves Qamar.The king could not digest the selection by Husn. Qamar is put in Jail, from where he is rescued by Nadira and friends.One Faqir tells Qamar to become a real prince to win Husn.
Qamar sets out on a magic flying horse to meet Moon Fairy to get the Magic wish bowl.The Moon fairy is rescued by him from the custody of evil genie by killing the genie.

Meanwhile Husn’s father faces mutiny and death if Husn is not married to the Vazir. Qamar arrives on a flying carpet and takes away Husn to the Moon.
The End.

In the last scene this line is Flashed ” Heaven dwells in pure Hearts “.

It was great fun to watch such types of movies.The audience also participated in the ongoings on the screen by appropriately scolding, encouraging or clapping loudly.There was no need to think logically. It was pure entertainment, and a timepass.

Actor Brij Mohan aka B.M.Vyas was one artiste who started as a singer, became a drama actor and then ended up as a villain, character actor. B.M.Vyas was born as Brijmohan Vyas on Vijayadashami (22 October) day of 1920 in Churu, Rajasthan. He is the younger brother of the well-known poet and lyricist, Bharat Vyas. He was married at the age of 17 when his wife, Jamna was just 11. They had 71 years of marital bliss before Jamna passed away in 2008. They had six daughters and a son. After acting in over 200 films in various languages, Vyas quit acting in the early 1990s. Then he moved to his residence in Kalyan. Having seen various shades of life, Vyas lived a contented life with his children and grandchildren.

On 15 January, 1944, actor Prithviraj Kapoor realised his dream when Prithvi Theatre, his own drama company came into being. Mahakavi Kalidas’ classic Shakuntala was chosen to be their first performance. The play’s cast included Uzra Mumtaz (younger sister of Zohra Segal) to play Shakuntala, Prithviraj Kapoor to play Dhushyant, K N Singh was cast as Rishi Kanva, Shakuntala’s foster father, Sati Devi (Bijoya Ray’s sister, Ruma Guha Thakurta’s mother) as Gautami, caretaker of Kanva Ashram who raises Shakuntala, and Hemavati (Daya Kishan Sapru’s wife) to play Shakuntala’s friend Priyamvada, among others. A young, 24 years old, B M Vyas was recruited as a singer by the drama company to sing songs in their play at a monthly salary of 75 Rupees.

Once when rehearsals for their maiden show were in progress and Vyas was done with his singing rehearsals, he was watching rehearsals of the cast. One of his songs for the play was “Bitiya Rani Kahan Kahan Tapasvi Log, Milna Julna Rehgaya Nadi Naav Sanjog”. The cast was rehearsing for a scene which needed Rishi Kanva to recite a mantra in Sanskrit, but actor K N Singh was having trouble reciting it. Prithviraj was trying to help him but was also faltering in saying it perfectly. Vyas , an expert in Hindi and Sanskrit, having immense knowledge of Ved Mantra was witnessing the proceedings for two days. It was possibly the blessing of Goddess Saraswati that inspired him to say the mantra aloud. On hearing him intone the mantra with such Brahminical precision, Prithviraj was very impressed and asked him to help K N Singh in saying the mantra correctly. But soon K N Singh informed Prithviraj ji that he will not be able to speak Devbhasha (Sanskrit) and that he should look for another artiste for the role. Prithviraj asked Prithvi Theatre’s manager Ramesh Saigal to approach Vyas for the role. Vyas , who had already acted in a Rajasthani play Ramu Chanana earlier, readily agreed and stepped into the role and thus started his journey as an actor.

While the rehearsals were still on, Vyas suffered a personal tragedy and had to go back home in Bikaner, Rajasthan. There he fell sick with typhoid. Here rehearsals were in full swing as the play was to premiere on 9 March, 1945 at the Royal Opera House. The final date was about a month away so Prithviraj asked him to come back as soon as possible. Vyas returned with his wife though he was still unwell. On the day he resumed his rehearsals he couldn’t do much due to frequent blackouts. The medication he was on, did not seem to help him much. He remembers the doctor from Kalbadevi who treated him for free; with his medication, Vyas ji’s health improved considerably in just three days.

The final round of rehearsals was done and finally the day of Prithvi Theatre’s first play to be staged, arrived. For the first performance of Shakuntala, many known names of the film industry were present at Royal Opera House. In the scene where Rishi Kanva makes an entry on stage he was required to raise his hands for blessing but Vyas was still weak and his hands started shaking. He tried a lot to control them but to no avail. He then remembered that he had seen many old people whose hands and head would involuntarily shake, so he started to shake his head too. The end result was so effective that during the play’s interval Prithviraj came and hugged him. He asked him how he developed that body language, Vyas told him about his genuine problem. Prithiviraj told him that he did a wonderful job and should continue with the same every time the play was staged.

Vyas had a long association with Prithvi Theatre, from 1944 to 1955. During this period he toured with the group to various cities and got an opportunity to showcase his singing and acting skills in various plays like – Deewar, Pathan, Aahuthi, Gaddar, Kalaakar, etc. The dedication with which this iconic actor prepared for his roles can be observed from the fact that he could mouth dialogs from plays he participated in over six decades ago.

Vyas was interested in music since childhood. He is a self-taught singer. They had a Harmonium at home which Vyas learnt to play on his own. He liked to be around musically inclined people. He would listen carefully and learn. He fondly remembers the blind musician from his home town who would give him a free hand to play the various musical instruments he had. He never really had a Guru he could learn from but he says he learnt the art of teaching singing. He gave music tuitions when he was in Bikaner before moving to Mumbai.

In the early 1940s Bharat Vyas called his younger brother to Mumbai. Soon Vyas ji got the opportunity to act and sing as many as twenty songs for the Rajasthani play Ramu Chanana written by Bharat. Music Director Naushad Sahab’s assistant Ghulam Muhammad who hailed from Rajasthan was very impressed when he heard Vyas’s voice in the play. He took him to meet Naushad Sahab who was working on the soundtrack of the film Pehle Aap (1944). Vyas got an opportunity to sing a group song “Hindustan Ke Hum Hain, Hindustan Hamara; Hindu Muslim Dono Ki Aakhon Ka Tara” with established singers G. M. Durrani and Shyam Kumar along with a new singer Mohammed Rafi. Since this song was supposed to be sung by soldiers on screen, Vyas and Rafi Sahab had to wear heavy boots and do a rhythmic march while singing to give an effect of an army troop. Such effects could not be added to a song with the technology available then; it all had to be done in real time. However the first ever song Vyas sang for a film was “Alakh Niranjan, Jai Jai Jai Manaranjan” from Bhartrihari (1944) which was picturized on Arun Ahuja (Govinda’s father).

After Vyas joined Prithvi Theatre as a singer, he had to do regular riyaz at home. A music teacher who often heard him sing once asked if he would be willing to give music tuitions. Since his monthly salary was 75 Rupees then, Vyas agreed as this would give him additional income. The teacher took him to meet Jaichand Kapoor and soon Vyas started giving music tuitions to his elder son, Brijmohan. However his younger brother seemed more inclined and started learning music from Vyas. This youngster was none other than our legendary playback singer, Mahendra Kapoor who always acknowledged that B M Vyas was his first Guru.

Vyas gave playback in four films – Bhartrihari (1944, MD: Khemchand Prakash), Pehle Aap (1944, MD: Naushad), Maharana Pratap (1946, MD: Ram Ganguli) and Naulakha Haar (MD: R C Boral) before destiny took him on a different path. He remembers meeting Rafi Sahab years later who sweetly said “Pandit ji you changed our line (singing)” to which Vyas admitted that he did not see much of a future for himself in singing and hence switched to acting.

After Prithvi Theatre’s first play Shakuntala was staged, Devika Rani (owner of Bombay Talkies) was keen to know who played Rishi Kanva. When she saw the 24 yrs old Vyas she was surprised, she never expected to see such a young man. She offered him a role in a Bombay Talkies film to be directed by actor Jairaj but the film was never made.

When Ramesh Saigal moved away from Prithvi Theatre, he joined Chetan Anand’s company India Pictures as Production Manager. They were working on their next film Neecha Nagar (1946) when Ramesh Saigal offered Vyas a small role (protagonist’s elder brother) in the film. Prithvi Theatre never laid any restrictions on their actors; they could take outside work while working in their plays. Vyas was eager to face the camera and accepted the role with open arms. He is credited as ‘Vyas ji’s in this film. Soon he played a small role in Raj Kapoor‘s Aag (1948) where he is credited as ‘Brijmohan’. But the role that gave him recognition in the film industry was in Barsaat (1949) where he played actress Nargis’ father. For this film he is credited as ‘B. M. Vyas’. Thus Vyas ji’s film career took off and he never looked back.

He has had a long and very successful career of more than four decades and has been part of many memorable classics. He has always been a character artist who started his career with portraying old characters. His last film most probably was Maa (1991).Vyas was very keen to work with the great filmmaker V Shantaram and approached him for work. Shantaram was planning Do Aankhen Barah Haath (1957) and was busy casting actors to play six prisoners in the film. He did not tell him that he is Bharat’s younger brother who was the lyricist of the film. When Vyas approached him, Shantaram was initially a bit apprehensive due to his height but soon cast him as one of the prisoners, Jalia Nai. They had a month-long schedule in Kolhapur. When the reels were sent to Rajkamal Studios for processing, it was found that due to dirt particles on the lens there were lines all across the frame in all the reels and the whole month’s hard work had gone to waste. They had to reshoot the entire thing. Vyas had a tough time managing schedules due to this re-shoot as he had other films in hand too. My favourite scene of this film is where Jalia comes with an intention to kill the Jailor played by Shantaram himself. That scene showcases Vyas ji’s ability as a performer, his entire body language, facial expressions, use of eyes and voice in this scene is a class act, beyond words.

About the classic scene from Sampoorna Ramayan (1961) Vyas said when he was offered the role of Ravan he was thrilled, being Shastri in Sanskrit he had read so much about this mythological character. Hence he was really keen to play the part but Ravan is expected to have a powerful physique while Vyas ji had a lean frame. To overcome this hurdle he got cotton padded clothing made for the role to look fuller. The rising temperature due to lights in addition to studio heat, he would sweat profusely in those cotton padded cloths but he did not let it hinder his performance. That innovative scene where Ravan is interacting with his nine heads was a collective brainchild of Babubhai Mistry and Homi Wadia. Vyas had to enact from a fixed position in front of a stationary camera for fifteen days but the end result was very effective.

On being asked about the most memorable and satisfying moment from his entire career Vyas narrated this incident. Prithvi Theatre’s play Gaddar was being staged in which he was playing the role of Maulana. Once filmmaker Kidar Sharma came to see the play, and was very impressed with his dialog delivery in Urdu. He asked Vyas to meet him. Sharma was working on his next film Shokhian (1951) and was looking for an actor to play the role of Baba Ghani. He gave Vyas a long dialog written in Urdu which Baba Ghani had to say to inspire the soldiers who are running away from the battle field to come back. Vyas said that he can’t read Urdu. Sharma was surprised and asked then how he played the role of Maulana in Gaddar. He said he rehearsed his lines written in Devnagri script and played the part. He asked Sharma to get the dialog written in Devnagri, and promised to prepare and say them the next day.

Next day he said the lines with such perfection that Sharma gave him a small Silver Coin as a token of appreciation. After that Sharma would often ask him to say the lines whenever important people came to meet him. Once actor Dilip Kumar came and he was asked to say the lines in front of him as well. Dilip Sahab was very impressed and remembered that he had heard this voice before. Vyas told him that he may have seen Raj Kapoor’s Barsaat (1949) where he played actress Nargis’ father. Dilip Sahab then recommended Vyas ji’s name to play actress Naseem’s father in the film Baaghi (1953), produced by his brother Ayyub Khan. Fortunately copies of Shokhian (1951) are available and this scene is here for all of us to see. It was heartening to see Vyas recite the same dialogues with such enthusiasm even today, after almost sixty years.

B M Vyas acted in 175 films. His first film was Neecha Nagar-46 and last film was Oh,Darling ! yeh hai India-95.

Vyas ji left for a better world on 11 March, 2013. (Adapted from articles from Maitri Manthan and Blog beete hue din, with thanks.)

Today’s song is a comedy song, sung by Mohd. Rafi, Asha Bhonsle and chorus.


Song-Ho gaya tere Majnu ko Ishq ka bukhaar (Husn Ka Chor)(1953) Singers- Rafi, Asha Bhonsle, Unknown male voice, Lyrics-Raja Mehdi Ali Khan, MD-Bulo C Rani
Chorus
All

Lyrics

ho gaya ho gaya ho gaya ho gaya
ho gaya
ho gaya
tere majnu ko ishq ka
bukhaar bukhaar bukhaar
hmm hmm
haay haay re haaye re
hoye hoye re hoye re
haay haay re haaye re
hoye hoye re hoye re
ho gaya tere majnu ko ishk ka
bukhaar
bukhaar bukhaar
haay haay re haye re
hoye hoye re hoye re

zara apni nabz mujhe dikha aa
o mere beemaar
haay haay re haaye re

hoye hoye re hoye re
arre o mareez
khaaya thha kya

teer-e-nazar
teer-e-nazar
arre o mareez
piya thha kya

khoon-e-jigar
khoon-e-jigar
arre o mareez
dekha thha kya

arre patli kamar
haaye patli kamar
uyi tauba
tujhe bhoot ban ke
chimat gaya hai kisi ka pyaar
haay haay re haaye re

hoye hoye re hoye re

main koi hakeem bulaati hoon
tere dil ka dard mitaati hoon
main koi hakeem bulaati hoon
tere dil ka dard mitaati hoon

ae haseenaaa
ae hasena
waqt na bekaar ho
main mareez-e-ishq hoon
meri dawa parde mein ho
main mareez-e-ishq hoon
meri dawa parde mein ho
is tarah se kis tarah
karoon tera aitbar
haay haay re haaye re

hoye hoye re hoye re
haay haay re haaye re
hoye hoye re hoye re
hoye

mera majnu shor machaaye re
mera majnu shor machaaye re
mera sanam to bichhda jaaye re
ae ae ae ae
bichhda jaaye re
koi aaye re aaye re aaye
bachaaye re
paani ee
paani o paani
paani
ho ho paaaani
nahin kuchh jaan baaki
ab mohabbat karne waale mein

mohabbat karne waale mein
mohabbat karne waale mein

khuda bakhse bahut si
khoobiyaan ki marne waale mein

aji haan marne waale mein
aji haan marne waale mein ae ae

hoye hoye
hoye hoy re hoye hoy
ho ho hoy
utar gaya mere majnu ka ishk ka
bukhaar bukhaar bukhaar

haay haay re haaye re
hoye hoye re hoye re
haay haay re haaye re
hoye hoye re hoye re

haay haay re haaye re
hoye hoye re hoye re
hay hay re haye re
hoye hoye re hoye re
hoy hoy


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 article is the 15900th song post for the blog

Blog Day :

4447 Post No. : 15900

So we reach another blog century with this post. This century materializes in 39 days, which appears like a fast century vis a vis the previous eleven centuries that took an average of 61 days each. These eleven centuries were took nearly two years (from August 2018 till July 2020). If we look at the rate of centuries ten years ago, then we had achieved a blog century on 20 september 2010 as well. That was the 30th century for the blog and that had been achieved in 17 days flat !. Eleven centuries (viz 20th century to 30th century were achieved at an average rate of 33 days per century.

The quickest rate of centuries were achieved during 2011 and 2012. Calendar year of 2012 saw 21 blog centuries, a record not surpassed since ! These 21 centuries were achieved at an average rate of one century every 18th day !

When I try to think about the by now barely believable rate of posts and centuries in the past, I can pinpoint a few reasons. And I also learn a few lessons from them.

Ten years ago, I was ten years younger. at that stage in my life, I was perhaps at the most productive and creative stage of my life. My enery level and motivation level were on a different plane. I also realise that my eyesight was still good and I did not need glasses to read fine prints. It was sometime in 2011 that I began to realise that my eyesight was going downhill. That is when I needed glasses for the first time. With that being the case, it was no longer possible for me to pore over the computer screen with the same comfort as before. This may be one reason why I hav slowed down. I need to take breaks from computer for the sake of my eyes, which was not the case prior to 2011.

Secondly, at that stage, I found it easy to wake up early in the morning and staying up late as well. My wife complained that I was neglecting my health by not getting enough sleep. Her constant nagging has finally had its effect on me. For the last two years, I no longer wake up at 5 AM in the morning and finish off six or seven posts for the day in three hours.

25 september 2011 was a crazy day when as many as 13 writeups were posted. First post appeared at 8:10 PM and the last post at 23:59 PM ! It means that I devoted the entire day at the computer doing nothing but posting articles all th time ! The same feat was repeated on 6 september 2012. The first post of the day appeared at 7:32 AM. The thirteenth and final post of the day appeared at 23:47 PM and that marked the 66th blog century for the blog !

Those were crazy days for the blog! The concepts of movies making their debuts, moving getting YIPPEED in the blog etc were not known. I did not have access to HFGK, so I was blissfully unaware if all the songs of a movie were covered in the blog. Unburdened by all these considerations, and helped by the fact that most well known songs of well known movies were still up for grabs, we had no problem finding sngs to discuss. All those songs, not yet dscovered were like low hanging fruits that were easy to pluck. We have dealt with all those low handing fruits and now we are dealing with songs that were relatively less popular and lesser known. I was gifted HFGK on july 2014 by our two Maharathi contributors Mr Arunkumar Deshmukh and Sudhir Jee, on the occasion of the blog completing 10000th post. By that time, we were also on to concepts like individual artists centuries, blog contributors centuries etc. We had also evolved the concept of YIPPEE thanks to the ever enthusiastic Pradeep Raghunathan. All these factors meant that we had to do more research that before to locate specific songs that met specific requirements.

These days we are not able to score our centuries at Sehwag like rate (16-17 days) but even scoring centuries at test match rate is not bad. What matters is that the musical juggesrnaut keeps moving and does not remain stand still. We have managed to remain free of a DOT day in the blog for this entire calendar year 2020. There were three DOT days in 2019, 7 in 2018 and ZERO in 2017. So we have ben like a non stop musical bandwagon for the last four years with hardly any stoppages. And let us hope that it continues that way.

Another thing where we had managed to staay true to form is in the selection of our Century songs. We manage to come up with special songs for such special occasions. Seeing that we have had 158 Blog centuries so far, we have discussed 158 special songs on these occasions. 158 is not a small number by any stretch of imagination. One would need more than 8 hours to listen to these special songs !

The 15900th song of the blog is a special song as well. It is special because

(i) it is a rare and obscure song
(ii) the singer is also obscure, though she comes from a well known musical family
(iii) The song is one that has been reused in at least two movies, both obscure.

The song is from “Bhed”(1950). This movie was produced by Amba Cinetone(Jal K Baliwala Productions Bombay). That is all that HFGK contains for this movie. HFGK tells us that this movie had at least nine songs in it, may be more. Mukul Roy (brother of Geeta Roy, later Geeta Dutt) was the music director.

Three songs from this movie have been discussed so far. All these three songs were sung by Geeta Dutt.

Here is another song from “Bhed”(1950). Is it sung by Geeta Dutt ? No, it is sung by Lakshmi Roy, sister of Geeta Dutt. Geeta Dutt is a legendary singer in HFM, but her sister Lakshmi Roy has sung very few songs in HFM. Most of her songs are duets with other singers. This song is an axception. It is a solo song.

This song is penned by Madhukar Rajasthani.

I made another interesting discovery. Five songs from “Bhed” (1953) were later reused in “Do Bahaadur”(1953). Unlike “Bhed”(1950), details of starcast of “Do Bahaadur”(1953) is known. “Do Bahaadur”(1953) was produced by Nari Cawasji and drected by Baburao Pahalwan for Baghdad Pictures under supervision of Shantaram Athwale. The movie had John Cawas, Shanta Patel, Rohini, Dalpat, Goldstein, Rajni, Chitalkar, Dilawar, Baby Balo, Aziz Premi, Madhu Apte, Ali, Baburao Pahalwan etc in it.

This movie too had music by Mukul Roy. The movie had six songs in it. Five of these songs were same as those of “Bhed”(1950). the sixth song was taken from “Ustaad Pedro”(1951).

Such cut and paste job for music did not help the cause of “Do Bahaadur”(1953). For that matter even “Bhed”(1950) is a rare and forgotten movie.

Coming to Lakshmi Roy, she married producer director Pramod Chakraborty. Unlike her unfortunate sister Geeta, she enjoyed a long and happy married life.

As the 15900th song of the blog, here is this rare and special song from “Bhed”(1950).

A blog century on 20 september 2010 and a blog century on 20 september 2020 as well. So we have mnaged to achieve a different kind of “Blog Ten Year Challenge” today with this post. 🙂

As we can see, we are now just one more century away from the magic 16000 mark. Here is hoping that we will not just reach that landmark but also reach many distant landmarks in future. I take this opportunity to thank one and all for their continued support and encouragement.


Song-Ritu Pyar karan ki aayi (Bhed) (1950)/(Do Bahaadur)(1953) Singer-Laxmi Roy, Lyrics-Madhukar Rajasthani, MD-Mukul Roy

Lyrics

Ritu Pyaar karan ki aayi
jawaani
saawan ban ke chhaayee
saawan ban ke chhaayee
Ritu Pyaar karan ki aayi
jawaani
saawan ban ke chhaayee
saawan ban ke chhaayee
mastiyaan le le kar angdaayi
mastiyaan le le kar angdaayi
kahi haan aayi haan aayi
saawan ban ke chhaayee
Ritu Pyaar karan ki aayi
jawaani
saawan ban ke chhaayee
saawan ban ke chhaayee

chhaayee huyi khushrang(?) ghataayen
chhaayee huyi khushrang(?) ghataayen
naach rahi hain mast hawaayen
naach rahi hain mast hawaayen
koyal ne kook
koyal ne kook lagaayee
papeeha preetam ka saudaayee
kahen haan aayi haan aayi
Ritu Pyaar karan ki aayi
jawaani
saawan ban ke chhaayee
saawan ban ke chhaayee

shama se kehta hai parwaana
shama se kehta hai parwaana
bulb(?) se hai gul suhaana
bulb(?) se hai gul suhaana
bhanwron se hai kaliyaan kehtin
chanda se kahen chakori
kya
kahen haan aayi haan aayi
kahen haan aayi haan aayi
Rut pyaar karan ki aayi
jawaani
saawan ban ke chhaayee
saawan ban ke chhaayee
rut pyaar karan ki aayi
jawaani
saawan ban ke chhaayee
saawan ban ke chhaayee


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 :

4352 Post No. : 15667

A voice that sounds quite mature, dripping with heavy bass – a baritone that appeared to emerge from somewhere deep inside. Playing this sound on the songs like “Zindagi Pyaar Ki Do Chaar Ghadi Hoti Hai”, or “Lele Dard Paraaya Kar De Door Gham Ka Saaya”, or “Jaane Wo Kaise Log The Jinke Pyaar Ko Pyaar Mila”, “Ganga Aaye Kahaan Se. . .”, and many more of this ilk, sounds so natural and, well, so suitable. The deep bass gets to the perfect tone of poignancy that is needed for these songs.

And yet Sachin Da would choose this voice to present the best of the romance-of-the-young-heart songs, when way back in 1952, he recorded “Ye Raat Ye Chandni Phir Kahaan” for a young guitar strumming conman on screen. He would return to this voice again and again, for the same effect. Fast forward to 1955 and he brings on the same voice for a soft romantic song of the night – “Chup Hai Dharti Chup Hain Chaand Sitaare”. Then in 1958, he would once again return to the same voice for the thumping lyrical “Hai Apna Dil To Awaara”, that astoundingly carried the day as the playback. And then in 1962 would be “Na Tum Hamen Jaano. . .“. All four songs – lip synced by Dev Anand onscreen. Only Sachin Da could have visualized the effect of this voice on these romantic creations. And of course, the voice itself, to be able to bring in that young heart effect into the life breath of these songs.

The effect is so endearingly replicated in other songs like “Keh Rahi Hai Zindagi, Jee Sakey To Jee”, and “Beqaraar Kar Ke Hamen Yun Na Jaaiye”, and “Ye Nayan Darey Darey”, or even in “Ek Baar Zara Phir Keh Do Mujhe Sharma Ke Tum Deewaana”, and many more.

Celebrating the birth centennial (on 16 June, 2020) of this magical voice – Hemant Kumar.

This song is from the lesser known film – ‘Raami Dhoban’ from 1953. The film is produced by Ramesh Vyas for the banner Navkala Niketan, Bombay. The film is directed by Hiren Bose, who is also the music director. The star cast of this film is Kamini Kaushal, Abhi Bhattacharya, Tiwari, Ashita, Ramesh Vyas, Shalini, Bannerjee, Mishra, Sankatha Prasad, Rai Mohan, Gautam, Sachin Ghosh, Nandini, Sona Chatterji, Uma Devi, Sulochana Chatterjee, and Prem Adeeb.

The film is a veritable musical, with as many as 14 songs, all written by Ram Murty. Five over these songs are already featured on our blog.

This song is such a beautiful rendition of a sad song of love – “Panchhi Ud Gaya Preet Laga Ke”. I pulled out and heard this beautiful solo song for the first time today. The words tell of a beloved that stole the heart, and has now left, leaving behind loneliness and a broken heart. The words are lovely, and so is the rendition. A vintage Hemant Da song.

Song – Panchhi Ud Gaya Preet Laga Ke  (Raami Dhoban) (1953) Singer – Hemant Kumar, Lyrics – Ram Murti, MD – Hiren Bose

Lyrics

panchhi udd gaya..aa..aa

panchhi udd gaya preet laga ke
panchhi udd gaya..aa..aa
sapnon ki
sapnon ki sukh sajia ke bairi piir basa ke
sapnon ki..ee..ee
sapnon ki sukh sajia ke bairi piir basa ke
panchhi udd gaya..aa..aa

mann ke pinjra chori chori
bandh ke raakhi prem ki dori
mann ke pinjra chori chori
bandh ke raakhi prem ki dori
chhod gaya..aa
chhod gaya haaye mohe dard bhara geet suna ke
chhod gaya..aa
chhod gaya haaye mohe dard bhara geet suna ke
panchhi udd gaya..aa..aa

shaam rang kuchh kaam na aaya
radhe radhe..ey..ey
bol chuka
par bedardi raha na apna
apna ho kar hua paraaya
tod gaya wo prem ki dori
chhod gaya wo nagri mori
tod gaya wo prem ki dori
chhod gaya wo nagri mori
haaye chhalia
haaye chhalia mujhse munh mod gaya tthes laga ke
haaye chhalia
haaye chhalia mujhse munh mod gaya tthes laga ke
panchhi udd gaya..aa..aa
panchhi udd gaya preet laga ke
panchhi udd gaya..aa..aa

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

पंछी उड़ गया॰॰आ॰॰आ

पंछी उड़ गया प्रीत लगा के
पंछी उड़ गया॰॰आ॰॰आ
सपनों की
सपनों की सुख सजिया के बैरी पीर बसा के
सपनों की॰॰ई॰॰ई
सपनों की सुख सजिया के बैरी पीर बसा के
पंछी उड़ गया॰॰आ॰॰आ

मन के पिंजरा चोरी चोरी
बांध के राखी प्रेम की डोरी
मन के पिंजरा चोरी चोरी
बांध के राखी प्रेम की डोरी
छोड़ गया॰॰आ
छोड़ गया हाय मोहे दर्द भरा गीत सुना के
छोड़ गया॰॰आ
छोड़ गया हाय मोहे दर्द भरा गीत सुना के
पंछी उड़ गया॰॰आ॰॰आ

शाम रंग कुछ काम ना आया
राधे राधे॰॰ए॰॰ए
बोल चुका
पर बेदर्दी रहा ना अपना
अपना होकर हुआ पराया
तोड़ गया वो प्रेम की डोरी
छोड़ गया वो नागरी मोरी
तोड़ गया वो प्रेम की डोरी
छोड़ गया वो नागरी मोरी
हाय छलिया
हाय छलिया मुझसे मुंह मोड़ गया ठेस लगा के
हाय छलिया
हाय छलिया मुझसे मुंह मोड़ गया ठेस लगा के
पंछी उड़ गया॰॰आ॰॰आ
पंछी उड़ गया प्रीत लगा के
पंछी उड़ गया॰॰आ॰॰आ


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: 4274 Post No.: 15507

“Farmaaish”(1953) was produced by J Omprakash and directed by B K Sagar for Majestic Films, Bombay. This “social” fim had Bharat Bhushan, Vijaylaxmi, Pran, Kuldeep, Maruti, Chandrashekhar, Ameer Bano, R K Sama, Kammo, Khairaati, Gope etc in it.

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

Here are the details of these songs:-

S N Song Song number in blog Date of posting
1 Aapne chheen liyaa dil 2295 11-Feb-2010
2 Muhabbat ki ham chot khaaye huye hain 3973 9-Jun-2011
3 Dil mein hamaare aag lagaa kar chale gaye 3993 12-Jun-2011
4 Teri gali mein aayenge roz nahin kabhi kabhi 4163 9-Jul-2011
5 Tera mera ho gaya prem 8822 10-Oct-2013
6 Tum dil ko tod doge 10183 31-Aug-2014
7 Khushiyon ke zamaane aaye 10191 1-Sep-2014
8 Kabhi hanste hain do dil 11158 30-May-2015
9 Meri ankhiyaan ho gayin chaar o dilbar chaar baje 15491 22-Mar-2020

The eighth song from the movie was covered in 2015. After that there was a big time gap of nearly 5 years because the remaining two songs were not available. When I checked up a few days ago, I could locate the remaining two songs. The ninth song was covered on 22 march 2020.

I saved the rarest song from the movie for the last. Here is this light hearted song from “Farmaaish”(1953). This song is sung by Sulochana Kadam and chorus. Khawar Zamaan is the lyricist. Music is composed by Husnlal Bhagatram.

In this song, the lady asks her beau to bring her a table fan as the days have become hotter and she is finding the heat unbearable.

I think this must be the only song in HFM that discusses Fan. I request our knowledgeable readers to tell us if they are familiar with some other songs dealing with Fans.

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

With this song, all the ten songs from the movie have been covered and the movie joins the list of movies that have been YIPPEED in the blog.


Song-Mohe aata nahin hai chain (Farmaish)(1953) Singer-Sulochana Kadam, Lyrics-Khawar Zamaan, MD-Husnlal Bhagatram
Chorus

Lyrics

Mohe aata nahin hai chain
mohe aata nahin hai chain chain chain
mohe laa de table fan
laa de laa de table fan
ke mausam garmi ka
ho garmi ka
ke mausam garmi ka
ho garmi ka

abhi se itni garmi laage
abhi se itni garmi laage
na jaane kya hoga aage
aage
aage ho aage

main kaise kaatoon
kaise kaatoon din rain rain rain
mohe la de table fan
laa de
laa de table fan
ke mausam garmi ka
ho garmi ka
ke mausam garmi ka
ho garmi ka

mohe aata nahin hai chain
mohe aata nahin hai chain chain chain
mohe la de table fan
laa de laa de table fan
ke mausam garmi ka
ho garmi ka
ke mausam garmi ka
ho garmi ka

daal daal chhoo-mantar aisa daal
daal daal chhoo-mantar aisa daal
Bombay ban jaaye Nainital
Nainital Nainital
Bombay ban jaaye Nainital
Nainital Nainital
phir mil jaayenge
mil jaayenge nain nain nain
mohe laa de table fan
laa de laa de table fan
ke mausam garmi ka
ho garmi ka
ke mausam garmi ka
ho garmi ka

mohe aata nahin hai chain
mohe aata nahin hai chain chain chain
mohe laa de table fan
laa de laa de table fan
ke mausam garmi ka
ho garmi ka
ke mausam garmi ka
ho garmi ka


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?: 4265 Post No.: 15491

“Farmaaish”(1953) was produced by J Omprakash and directed by B K Sagar for Majestic Films, Bombay. This “social” fim had Bharat Bhushan, Vijylaxmi, Pran, Kuldeep, Maruti, Chandrashekhar, Ameer Bano, R K Sama, Kammo, Khairaati, Gope etc in it.

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

Here is the tenth song from “Farmaaish”(1953) to appear in the blog. The song is sung by Shamshad Begam. Khawar Zamaan is the lyricist. Music is composed by Husnlal Bhagatram.

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


Song-Meri ankhiyaan ho gayin chaar o dilbar chaar baje(Farmaaish)(1953) Singer-Shamshad Begam, Lyrics-Khawar Zamaan, MD-Husnlal Bhagatram

Lyrics

Meri ankhiyaan ho gayin chaar
o dilbar chaar baje
o dilbar chaar baje
dil ho gaya
o dil ho gaya motor car
o dilbar chaar baje
o dilbar chaar baje

mujhe mila karo tum paune do
mujhe mila karo tum paune do
jo hota hai so hone do
jo hota hai so hone do
phir pyaar ka
o phir pyaar ka ho vyopaar
o dilbar chaar baje
o dilbar chaar baje
dil ho gaya
o dil ho gaya motor car
o dilbar chaar baje
o dilbar chaar baje

o o o o o o
mera peela pad gaya rang piya
haay rang piya
ho o o o o o
mera peela pad gaya rang piya
mere dil ko lag gaya jang piya
jee mere dil ko lag gaya jang piya
mujhe loota
ho mujhe loota beech baazaar
o dilbar chaar baje
o dilbar chaar baje
dil ho gaya
o dil ho gaya motor car
o dilbar chaar baje
o dilbar chaar baje

mujhe mila karo tum paune do
jo hota hai so hone do
jo hota hai so hone do
phir pyaar ka
o phir pyaar ka ho vyopaar
o dilbar chaar baje
o dilbar chaar baje
dil ho gaya
o dil ho gaya motor car
o dilbar chaar baje
o dilbar chaar baje

main jab se tera daas hua
main jab se tera daas hua
mere dil ka satyaanaas hua
jee mere dil ka satyaanaas hua
lagi pyaar ki
o lagi pyaar ki dil pe maar
o dilbar chaar baje
o dilbar chaar baje
meri ankhiyaan ho gayin chaar
o dilbar chaar baje
o dilbar chaar baje


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 more than 16100 song posts by now.

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

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(© 2008 - 2021) 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

16186

Number of movies covered in the blog

Movies with all their songs covered =1247
Total Number of movies covered =4403

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