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

Archive for the ‘Songs of 1955’ Category


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

The first time I saw this film, it was on Doordarshan, and the only song that I could appreciate (given my age) was “Bibi Mendaki Ri Tu To Paani Mein Ki Raani”. Rest of the film, its emotional and familial nuances were all lost on me. Those were the days, when watching television was a privilege bestowed upon oneself by a friendly neighbor. One would go to watch television at a neighbor’s home, or hang on to the windows, if entry was not permitted. And so, the opportunity that one gets to watch a movie was in itself a treat, and an accomplishment. And one always wanted to make the most of such opportunities. Getting bored was not only not an option, but it was a thought furthest from the mind. I have this placement in front of a TV screen, and I will watch it for as long as I am allowed, whatever may be the content. The serious stuff was mostly OHT (Overhead Transmission), and the mind would remember and register the fun parts like Balraj Sahni having poori and lassi at a halwai shop in the morning before reaching his office, or singing this above mentioned song with his children on the Sunday when he is at home. But as far as watching time is concerned, it was to be religiously spent, to watch the entire film, whether I could make out more of it or not.

In later years, small memories of the films, snatches of screen shots, would replay randomly in the mind – Jayant taking Rashid Khan to task very onerously, or Balraj Sahni with a bundle of mail in his hand, standing in front of the sorting dockets, trying to quickly put the mail items into the correct dockets, Balraj Sahni admiring a new coat hanging in the display window of a tailor’s shop. Mind you, the names of the characters and the words to describe the scene are all being currently generated. In the mind’s eye, it is just the images themselves that are very familiar, without any labels, without any words.

Many years on, just on a memory recall, I started to search for this film. For quite a long time this film was not available. A friend once got a version of it, but that was just about an hour long. So one can imagine what would have remained after such merciless cutting. That version seemed to have gone around, and a rumor followed it – the songs of this film are lost forever. Then, when the Geet Kosh volume three was released, it also carried a footnote to this film which says that except for one song, all songs were deleted from this film, and the film was truncated to half its length, and renamed as ‘The Clerk & The Coat’. This further strengthened the fears of the lost songs and lost film.  However, in all probability, this was just a version created from the original, for consumption in the foreign markets, or for participation in foreign film festivals. Thankfully, none of these prophecies proved to be true eventually. Once the VCD binge started, and more and more films started landing in the market, the original of this film also finally appeared in a near complete state. And then, I got to see it once again.

‘Garam Coat’ is a very poignant film. It deals with the everyday problems in the lives of lower middle income strata of society in a newly independent and developing India. Balraj Sahni is a lowly paid postal clerk, with a monthly salary of one hundred rupees, and a family of five. In the hands of Rajendra Singh Bedi and performance lead Balraj Sahni, both stalwarts of the IPTA movement, the film has descended to the practical levels of realism, and to pragmatic heights of credibility. The home of this clerk is a bare bones home. The kitchen is frugally stocked. The children are not well dressed. The housewife is very simply presented. The protagonist himself wears an old and ragged coat throughout the entire film. The name of the banner is Cine Co-operative Ltd, Bombay. In all probability, this was yet another joint effort of social conscience of IPTA.

The clerk fancies a new coat. On his way to work, he always pauses outside a tailor’s shop, admiring a new coat on display. The owner of the shop, sees him daily, and one day invites him into the shop, enquiring whether he plans to buys some new clothes. Unable to defend himself, and knowing that he is unable to afford the price of a new coat, he sheepishly tells about the qualities and the warmth of the coat that he is wearing, and that, no, he does not plan to buy a new one.

Come pay day, and the clerk returns home, happy with the load of a solitary one hundred rupee note in his pocket. Life is spring, and all is happiness in the household. Next morning, it is going to be a shopping spree for the month, and all expectations are high. The morning begins with the fun song “Bibi Mendaki Ri. . .”, and off goes the clerk to the market, with a list of shopping and hundred rupees in his pocket.

His first stop is a toy shop. He browses, he selects something for his children, almost pays for the items pulling out the hundred rupee note; but then thinks better of it, and saying he will return shortly, stuffs the note back into his coat pocket. His next stop is a halwaai shop where he has poori and lassi. He is in high moods, joking with the shopkeeper and other customers. As gets up to leave and pushes his hands in his coat pocket to pay for the breakfast – all the agonies of hell descend upon him. The note is missing. An impressive portrayal of a person who has lost everything in life – Balraj Sahni is insulted and kicked out of the halwaai shop. He runs back to the toy shop, tries to convince the shopkeeper that he might have dropped his money at his shop. Once again, he is insulted and made to leave the premises. Now, he simply has no place to go.

The remaining part of the movie is about his trials and tribulations on trying to survive without his salary through at least one more month till the next pay day. The movie is full of scenarios of what such a person will do – he tries to borrow, he tries to get advance, he tries to take up a part time job as a tutor, he goes without lunch, he contemplates suicide, even tries it. But the agonies simply do not cease. How he shares this calamity with his wife, and how does his wife respond, are all classic scenes to be visited again. The wife goes to the pansaari (grocery shop owner) and tried to get groceries on account, she and children start to make paper bags out of newspapers in an effort to raise some money. There are friends at office like Jayant who try their best to help him within his limited means. And there are unfriendly colleagues like Rashid Khan, who are completely unmoved by the troubles of their co-worker. There are scenes and performances that move me to tears as I watch the helplessness of an honest good man, trying to keep his wits together and to keep his family alive. The saving grace of the film is that the lost money is located at the end. And it is a very interesting way that it turns up.

In this sad and poignant film, this song is probably the saddest and the most pain filled song. Having come to know of the calamity that has befallen her husband, and the manner in which he is trying to fight these problems, there comes a point when the wife’s hopes probably break and she calls for help. The entire scenario and the get up of the film is so deeply entrenched into the simple values of our social system. She has no help at hand, she has no one with whom she can share her pain. For a woman in our culture, her last hope is her maternal family. But she is too afraid to inform them or talk to them. So she tells the bird to take her message to her parents and family, and let them know that she just a cheerless bundle of tears these days.

Then after telling this to the crows, she starts to make amendments to her request. First, she prohibits the crow from telling her mother, she will break down and cry. Then, thinking some more she prohibits the crow from telling her father also, he will cry into the cloth of his pugree (head dress) and not know what to do. She tells the crow to tell everyone, but not these two.

Then in the next stanza she makes some more amendments. She tells the crow not to tell her sister either, for she may give up her own food. Then she says, do not even tell my bhaabhi (sister-in-law, brother’s wife), for the fear that she might spread this in her own maternal family and make fun of it. She tells the crow to tell everyone, but not these two.

The embattled lady then ends the verses with telling the crow, to go an tell this tale of woes to her brother only. He will surely come to her aid, riding the blue steed.

The agony and the poignancy contained in these verses is so emphatic. She wants this message to be told to everyone in her family, and then slowly, one by one she decides not to tell this or that person, and finally, in conclusion she is ready to tell it to her brother only. The words, the composition and the rendition, brings tears to my eyes, as many times as I have heard this play. And it also underscores the vitality of the brother-sister relationship in our culture. When all seems to be lost and the lady is totally helpless, it is her brother that she thinks of, to go and share. (You may have noticed, I have tagged this song as a ‘brother-sister song’).

This low key, less heard of film, is one of my favorites – in and about the art of telling a poignant story through cinema. Although Lata ji has herself selected “Jogiya Se Preet Kiye Dukh Hoye” from this film, as one of her most favorite songs, in my humble opinion, I would rate this song even higher than “Jogiya Se . . .”.

Wonderful memories of an era of very simple living, of traditions and culture, of values – a touch of India that is very dear to me.

Song – Kahiyo Roye Dukhia Re, Ja Re Panchhi Tu Ja Re (Garam Coat) (1955) Singer – Lata MangeshkarLyrics – Majrooh Sultanpuri, MD – Pt Amarnath

Lyrics

kahiyo roye dukhia re
jaa re panchhi tu jaa re. . .
kaaga des hamaare
udd jaa re
kahiyo roye dukhia re
jaa re panchhi tu jaa re. . .
kaaga des hamaare
udd jaa re
kahiyo roye dukhia re

ek na kahiyo maa raani ko
royegi wo meri gudiyon ko dekh ke
ek na kahiyo maa raani ko
royegi wo meri gudiyon ko dekh ke
ek na kahiyo babul ji se
ek na kahiyo babul ji se
royenge pagdi ko munh se lapet ke
aur sab se kahiyo tu pyaare
jaa re panchhi tu jaa re. . .
kaaga des hamaare
udd jaa re
kahiyo roye dukhia re

ek na kahiyo behna meri se
haathon ki roti gira degi ro ke
haathon ki roti gira degi ro ke
ek na kahiyo bhabhi meri se
maike mein jaa ke hansegi wo munh pe
maike mein jaa ke hansegi wo munh pe
aur sab se kahiyo tu pyaare

kahiyo re dukh mera bhaiyya se jaa ke
kahiyo re dukh mera bhaiyya se jaa ke
aayega wo neela ghoda uda ke
utrega mere duaare
jaa re panchhi tu jaa re. . .
kaaga des hamaare
udd jaa re
kahiyo roye dukhia re
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
कहियो रोये दुखिया रे
जा रे पंछी तू जा रे॰॰॰
कागा देस हमारे
उड़ जा रे
कहियो रोये दुखिया रे
जा रे पंछी तू जा रे॰॰॰
कागा देस हमारे
उड़ जा रे
कहियो रोये दुखिया रे

एक ना कहियो माँ रानी से
रोएगी वो मेरी गुड़ियों को देख के
एक ना कहियो माँ रानी से
रोएगी वो मेरी गुड़ियों को देख के
एक ना कहियो बाबुल जी से
एक ना कहियो बाबुल जी से
रोएँगे पगड़ी मुंह से लपेट के
और सब से कहियो तू प्यारे
जा रे पंछी तू जा रे॰॰॰
कागा देस हमारे
उड़ जा रे
कहियो रोये दुखिया रे

एक ना कहियो बहना मेरी से
हाथों की रोटी गिरा देगी रो के
हाथों की रोटी गिरा देगी रो के
एक ना कहियो भाभी मेरी से
मायके में जाके हंसेगी वो मुंह पे
मायके में जाके हंसेगी वो मुंह पे
और सब से कहियो तू प्यारे

कहियो रे दुख मेरा भैया से जाके
कहियो रे दुख मेरा भैया से जाके
आएगा वो नीला घोडा उड़ा के
उतरेगा मेरे द्वारे
जा रे पंछी तू जा रे॰॰॰
कागा देस हमारे
उड़ जा रे
कहियो रोये दुखिया रे

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

“Riyaasat”(1955) was directed by Jaswant Jhaweri for Roopkamal Chitra, Bombay. The movie had Mahipal, Mala Sinha, Sunder, Kamal, Hiralal, Prakash, Babu Raje etc in it.

The movie had seven songs in it. One song from the movie has been covered in the past.

Here is the second song from “Riyaasat”(1955) to appear in the blog. This song is a duet sung by Geeta Dutt and Rafi. Prem Dhawan is the lyricist. Music is composed by Avinash Vyas.

Only the audio of this rare song is available. My guess is that this song is picturised on the lead pair of Mahipal and Mala Sinha, but I cannot be sure. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Aisi nazren na daal (Riyaasat)(1955) Singers-Geeta Dutt, Rafi, Lyrics-Prem Dhawan, MD-Avinash Vyas

Lyrics

aisi nazren naa daal
kar le khayaal
keh dengi aankhen saari duniya se haal
rakkho ji dil ko zara apne sambhaal
aa haa
ye gore gore gaal
lahraate baal
thumak thumak matwaali chaal
rakkhe ji kaise koi dil ko sambhaal

o o
teri mastaani aankhon mein dil mera kho gaya
ab kya karen ji
ab kya karen ji
jo bhi hona thha ho gaya

meethhi baaton ke jaal mujhpe na daal
main jaanoon pahchaanoon nazron ki chaal
rakho ji dil ko zara apne sambhaal

o o o
o o o
o o o
o o o
o o o
o o o

o o o
chhodo balam chhodo haath hamaara
jaao ji jhoothha hai pyaar tumhaara
ye tera jalaal
jaise jalti mashaal
patli kamar jaise phoolon ki daal
rakkhe ji kaise koi dil ko sambhaal

o o o
o o o
o o o
o o o
o o o
o o o
o o
o o
jab milte hain bichhde saathi to mil jaaye jag saara

deepak se mil jaaye baati to mit jaaye andhiyaara
mere dil ka sawaal
ab to na taal
nainon mein aaj zara naina to daal
rakkhe ji kaise koi dil ko sambhaal

aisi nazre na daal karle khayaal
keh dengi aankhen sari duniya se haal
rakkho ji dil ko zara apne sambhaal
o o o
o o o
o o o
aa aa aa aa aa
aa aa aaa


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.

“Darbaar” (1955) was a Golden Movie production. It was directed by Nanubhai Bhatt. The movie had Mahipal, Chitra, Sunder, Tiwari, Kammo, Kamal, Niranjan Sharma etc in it, which suggests that it was a B grade movie.

Eight songs from this movie have been discussed in the past. Here is the ninth song from the movie to appear in the blog. This song is sung by Geeta Dutt. Asad Bhopali is the lyricist. Music is composed by Hansraj Bahl.

Only the audio of this song is available. My guess is that this song was picturised on Chitra. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Yoonhi aankhon mein aankhen daale sanam (Darbaar)(1955) Singer-Geeta Dutt, Lyrics-Asad Bhopali, MD-Hansraj Bahl

Lyrics

yoon hi aankhon mein aankhen daale sanam
tu baitha rahe
main dekha karoon
tu baitha rahe ji
main dekha karoon
hamen chhoo na sake
duniya ke sitam
tu baitha rahe
main dekha karoon
tu baitha rahe ji
main dekha karoon

dil kehta hai tujhko sajde karoon
dil kehta hai tujhko sajde karoon
tere saath jiyoon tere saath maroon
jab tak rahe mere dum mein dum
tu baitha rahe
main dekha karoon
tu baitha rahe ji
main dekha karoon

nazren hain jahaan dil bhi hai wahin
nazren hain jahaan dil bhi hai wahin
ye pyaas kabhi bujhne ki nahin
jalwon ki kasam
soorat ki kasam
tu baitha rahe
main dekha karoon
tu baitha rahe ji
main dekha karoon

ae maalik meri neendon ke
ae maalik meri neendon ke
ae chaand meri ummeedon ke
tera pyaar na ho kabhi dil se kam
tu baitha rahe
main dekha karoon
tu baitha rahe ji
main dekha karoon

yoon hi aankhon mein aankhen daale sanam
tu baitha rahe
main dekha karoon
tu baitha rahe ji
main dekha karoon

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

यूं ही आँखों में आँखें डाले सनम
तू बैठा रहे
मैं देखा करूँ
तू बैठा रहे जी
मैं देखा करूँ
हमें छू न सकें
दुनिया के सितम
तू बैठा रहे
मैं देखा करूँ
तू बैठा रहे जी
मैं देखा करूँ

दिल कहता है तुझको सजदे करूँ
दिल कहता है तुझको सजदे करूँ
तेरे साथ जीऊँ
तेरे साथ मरूँ
जब तक रहे मेरे दम में दम
तू बैठा रहे
मैं देखा करूँ
तू बैठा रहे जी
मैं देखा करूँ

नज़रें हैं जहां दिल भी है वहीं
नज़रें हैं जहां दिल भी है वहीं
ये प्यास कभी बुझने की नहीं
जलवों की कसम
सूरत की कसम
तू बैठा रहे
मैं देखा करूँ
तू बैठा रहे जी
मैं देखा करूँ

ए मालिक मेरी नींदों के
ए मालिक मेरी नींदों के
ए चाँद मेरी उम्मीदों के
तेरा प्यार ना हो कभी दिल से कम
तू बैठा रहे
मैं देखा करूँ
तू बैठा रहे जी
मैं देखा करूँ

यूं ही आँखों में आँखें डाले सनम
तू बैठा रहे
मैं देखा करूँ
तू बैठा रहे जी
मैं देखा करूँ


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.

“Darbaar” (1955) was a Golden Movie production. It was directed by Nanubhai Vakil. The movie had Mahipal, Chitra, Sunder, Tiwari, Kammo, Kamal, Niranjan Sharma etc in it, which suggests that it was a B grade movie.

Seven songs from this movie have been discussed in the past.

Today (20 may 2017) is the 33rd remembrance day of Hansraj Bahl ( 19 november 1916- 20 may 1984). On this occasion, here is the the eighth song from the movie to appear in the blog. This song is sung by Shamshad Begam. Asad Bhopali is the lyricist. Music is composed by Hansraj Bahl.

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


Song-Meri jaan jaati hai mujhko sambhaalo (Darbaar)(1955) Singer-Shamshad Begam, Lyrics-Asad Bhopali, MD-Hansraj Bahl

Lyrics

aa aa aa
aa aa
aa aa aa aa

meri jaan jaati hai
mujhko sambhaalo
meri jaan jaati hai
mujhko sambhaalo
o o o
wo baanka jo jaata hai
usko bula lo
usko bula lo
meri jaan jaati hai
mujhko sambhaalo
meri jaan jaati hai
mujhko sambhaalo

bahaaren chaman se juda kar rahe ho
bade naa-samajh ho
ye kya kar rahe ho
bade naa-samajh ho
ye kya kar rahe ho
zara socho samajho
zara dekho bhaalo
o o o
wo baanka jo jaata hai
usko bula lo
usko bula lo
meri jaan jaati hai
mujhko sambhaalo

main naghma hoon lekin mera saaz wo hai
agar saaz main hoon
to aawaaz wo hai
agar saaj main hoon
to aawaaz wo hai
chale jaao roothhe huye ko manaa lo
o o o
wo baanka jo jaata hai
usko bula lo
usko bula lo
meri jaan jaati hai
mujhko sambhaalo

khushi do ghadi ki hai gham jeete jee ka
tumhe kya mila dil dukhaa kar kisi ka
tumhe kya mila dil dukhaa kar kisi ka
mohabbat karo zindagi ka maza lo
o o o
wo baanka jo jaata hai
usko bula lo
usko bula lo
meri jaan jaati hai
mujhko sambhaalo
meri jaan jaati hai
mujhko sambhaalo


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.

“Darbaar” (1955) was a Golden Movie production. It was directed by N Vakil (aka Nanubhai B Vakil). The movie had Mahipal, Chitra, Sunder, Tiwari, Kammo, Kamal, Niranjan Sharma etc in it, which suggests that it was a B grade movie.

Six songs from this movie have been discussed in the past. Here is the seventh song from the movie to appear in the blog. This song is sung by Talat Mehmood. Asad Bhopali is the lyricist. Music is composed by Hansraj Bahl.

Only the audio of this song is available and so it is difficult to say for sure about the picturisation of the song. My guess is that this song was picturised on the leading man of this movie, viz Mahipal. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Teri ada par nisaar karne (Darbaar)(1955) Singer-Talat Mehmood, Lyrics-Asad Bhopali, MD-Hansraj Bahl

Lyrics

teri ada par r nisaar karne ae ae ae ae
teri ada par nisaar karne
main dil ko laaya, teri gali mein
main dil ko laaya, teri gali mein
teri ada par nisaar karne
main dil ko laaya, teri gali mein
mai dil ko laaya, teri gali mein aen

zamaane bhar ka aa haseen tohfa aa aa aa aa
zamaane bhar ka haseen tohfa
main le ke laya, teri gali mein
mai le ke laya, teri gali mein
teri ada par nisaar karne
main dil ko laya, teri gali mein

main aisi kaafir nazar ke sadke ae ae ae
main aisi kaafir nazar ke sadke
ki jisne mera guroor toda aa aa aa aa
jo sar kahin bhi
na jhuk saka thha
wo sar jhukaaya teri gali mein
wo sar jhukaaya teri gali mein
teri ada par nisaar karne
main dil ko laaya, teri gali mein

bade maze ka hua ye sauda aa aa
bade maze ka hua ye sauda
teri amaanat
tujhi ko de di
ee ee ee
ee ee ee
jo dil mila thha teri gali mein
wo dil lutaaya teri gali mein
wo dil lutaaya teri gali mein
teri ada par nisaar karne
main dil ko laaya
teri gali mein


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.

Gopal Singh Nepali (11 aug 1911-17 april 1963) was born in Bettiah (Bihar). He made his mark in Hindi literature at a young age. His first poem “Bharat Gagan Ke Jagmag Sitaare” was published in 1930 in a children’s magazine edited by Ramvrikshh Benipuri.

Gopal Singh Nepali had made his mark as a poet and he would get invited in kavi sammelans. It is in 1944 that he arrived Bombay to participate in an all Indian kavi sammelan. Sashdhar Mukherji was present in the audience and he was impressed with Gopal Singh Nepali’s poems. Filmistan owner Seth Tularam Jalan signed him up for a four years long contract at Rs 200 per month.

Gopal Singh Nepali made his debut as a lyricist in Hindi movies with “Begam”(1945). He penned all the nine songs of this movie. Naseem Bano
s’s Kaliyon mein kali hoon anaar kali and Ashok Kumar’s Aankhen to huyi band magar dard jagaa re became especially popular and they remain popular to this day. The songs of this movie became quite popular.

Gopal Singh Nepali penned songs in five Filmistan movies. First of them was “Mazdoor”(1945) followed by “Shikari”(1946). “Shikaar”(1946), which was S D Burman’s debut movie as a music director had some superb songs in it, viz, Rangeela rangeela rangeela re and Duniya ne hamen do din rahne na diya mil ke . “Eight Days”(1946) was another movie where Gopal Singh Nepali collaborated with S D Burman.

The net two Filmistan movies of Gopal Singh Nepali were “Safar”(1947) and “Leela”91947), both with C Ramchandra as music director. Maine laakhon ke bol sahe sanwariya tere liye (Leela) and Kabhi yaad kar ke gali paar kar ke (Safar) were among the more popular songs from these movies.

After his contract with Filmistan was over, Gopal Singh Nepali penned patriotic songs in “Ahinsa”(1947).

Gopal Singh Nepali collaborated with Anil Biswas in “Gajre”(1948).Door papeehaa bolaa raat aadhi rah gayi and Kab tak kategi zindagi kinaare kinaare are two especially popular songs from this movie.

Original music director of “Gajre”(1948) was Naushad, whose fevaourite lyricist was Shakeel Badayuni, whereas the producer wanted Gopal Singh Nepali as the lyricist. Naushad agreed to give five songs each to Shakeel Badayuni and Gopal Singh Nepali. But Gopal Singh Nepali put his foot down. Finally he was retained as Naushad was replaced with Anil Biswas. This was one of very few cases where a lyricist had got his way in a Hindi movie.

Gopal Singh Nepali was a man of principles. He refused to work with Kishore Sahu because he had the history of humiliating a few lyricists in the past.

One music director with whom Gopal Singh worked in lots of movie was Chitragupta. They worked together in 18 movies, all in 1950s.

Overall, Gopal Singh Nepali penned around 400 plus songs for around 50 odd movies. Most of these movies were mythological / re;igious movies. Like Bharat Vyas, he had got typedcast in this genre of movies.

He of course could pen songs of other genre too. For instance, Kahaan teri manzil kahaan hai thhikaana (Nayi Raahen), Ankhiyon mein samaate ho dil na chura lena (Maaya Baazaar)

Gopal Singh Nepali had tried his hands at producing films as well under his banners of “Himalay Films” and “Nepali Pictures”, but with disastrous results.

We in this blog know his as a lyricist, but he was much more than that. He was a respected poet of “post chhaayaawaad” genre. His poems were included in school tet books. I in fact first became aware of him because one of his poems was there in my class VII Hindi text book.

Gopal Singh Nepali, having participated in a kavi sammelan, was waiting for a train on platform number 2 of Bhagalpur Railway Station on 17 april 1963 when he suffered a heart attack and died there. He was only 52 years old at that time.

This article is special because it marks the 100th song of Gopal Singh Nepali in the blog. I had quite a few nice songs to chose from as his century song. Finally I zeroed on in this song from “Sati Madalsa”(1955). This song is quite an appropriate song and a representative song of Gopal Singh Nepali because it is a mythological song (his specialisation), and it was composed by Chitragupta, his most frequest music director partner. The song is sung by Asha Bhonsle, who, like Gopal Singh Nepali and Chitragupta found herself mostly in B and C grade movies those days , and who ended up lending her voice to most Gopal Singh Nepali songs.

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 few words right in the lyrics. I request our readers with keenera ears to help fill in the blanks/ sugggest corrections in the lyrics as applicable.

With this song, Gopal Singh Nepali becomes the 81st artist and 27th lyricist to achieve 100 songs in the blog. Seeing that he is an artist from the 1940s and quite a few of his songs are difficult to locate, putting together 100 songs of Gopal Singh Nepali is quite a creditable feat, I think.


Song-Jab sur alag ho saaz se (Sati Madalsa)(1955) Singer-Asha Bhonsle, Lyrics-Gopal Singh Nepali, MD-Chitragupta

Lyrics

Jab sur alag ho saaz se
ae ae
ae ae ae
lay ?? sabhi
bichhde ?? to sur mile
ae ae
payaal bhi bolegi kabhi

naache chham chham
aansoo hardam
mujh birhan ke gaal pe
bol birah ke bol
paayaliya dukhiyaari ke haal pe
dukhiyaari ke haal pe

raha bulbulon ka ik joda
sajni se sajan bichhuda
chaman ujda
ro ke kaati raat andheri
bulbul sookhi daal pe
bol birah ke bol
paayaliya dukhiyaari ke haal pe
dukhiyaari ke haal pe

naari badri ek jagat mein
baadariya yahaan barse wahaan barse
naari ka jeewan paawan ki
rimjhim rimjhim taal pe
bol birah ke bol
paayaliya dukhiyaari ke haal pe
dukhiyaari ke haal pe

jhoom chali main piya milan ko
bedardi mujhe jaane na pehchaane
milan hua to piya na maane
sar maaroon deewaal pe
bol birah ke bol
paayaliya dukhiyaari ke haal pe
dukhiyaari ke haal pe


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.

“Mahasati Savitri”(1955) was produced by R N Mandloi and directed by Ramnik Vaidya for Shree Omkareshwar Productions, Bombay. This mythological movie had Nirup Roy, Mahipal S N tripathi, B M Vyas, Umakant, Charubala, Anjali Devi, Shree Bhagwan, Nimbalkar, Amirbai Karnataki, Babu Raje, Indira Bansal, Anand Prabhu etc, with Neeru in guest appearance.

This movie had nine songs in it.

Here is the first song from “Mahasati Savitri”(1955) to appear in the blog. This song is sung by Rafi and Asha Bhonsle. Gopal Singh Nepali is the lyricist. Music is composed by Chitragupta.

Only the audio of this song is available. My guess is that the song is picturised on the lead pair of Mahipal and Nirup Roy. I request our knowledgeable readers to throw light on the picturisation of this song.

With this song, “Mahasati Savitri”(1955) makes its debut in the blog.


Song-Chori chori chaandni mein chakori chali aaye (Mahasati Savitri)(1955) Singers-Rafi, Asha Bhonsle, Lyrics-Gopal Singh Nepali, MD-Chitragupta
Both

Lyrics

chori chori chaandni mein chakori chali aaye
chori chori chaandni mein
gora gora rang waala
chaand hi bula laaye
chori chori chaandni mein

chori chori chaandni mein
chakori chali aaye
chori chori chaandni mein

kehte hain pyaar jisko
man ki lagan hai ji
meethi jalan hai
kehte hain pyaar jisko, man ki lagan hai ji
meethi jalan hai

anjaane raahiyon ka hota milan hai ae
aisa chalan hai
o o o o o o
taaro bhari raat man ke taaron ko mila jaaye
chori chori chaandni mein

chori chori chaandni mein chakori chali aaye
chori chori chaandni mein

o o o
o o o
o o o
o o o
o o o
o o o
o o o
o o o

behti hain prem gangaa
tum bhi kinaara ji main bhi kinaara
behti hai prem gangaa
tum bhi kinaara ji
main bhi kinaara
lehren lagaati naata
tumse hamaara
o o
hamse tumhaara

o o o
pyaar hain to kisi ko bhi
koi na chhuda paaye
chori chori chaandni mein
chori chori chaandni mein chakori chali aaye
chori chori chaandni mein


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

Atul ji’s 10K Song Milestone Celebrations – 2
——————————————————————–

mann panchhi albela
taaron ki nagri mein jaaye

If we replace the word ‘taaron’ with the word ‘gaanon’, it would be apt for this blog. Don’t we all freely wander in this cyber world of songs, lyrics and the stories behind them, as we browse the pages on Atul-Song-A-Day.

Coming to the song itself, this is one of the three Lata gems from ‘Mad Bhare Nain’ (1955). The other two are the romantic numbers “Aa Palkon Mein Aa” and the bhajan “Mo Se Saanchi Kaho Banwaari”.
Read more on this topic…


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.

“Sau Ka Note”(1955) was produced by Ram Singh and directed by Yashwant Pethkar for R S Films, Bombay. This “social” movie had Geeta Bali, Karan dewan, Begam Para, ram Singh, Krishnakumari, Manorama, Sundar, Leela Mishra, Sulochna, Narbada Shankar, Lotan, Bango etc. Then there were gust appaerances by Zabeen, Chaand Usmani, Tiwari, Bard Prasad, Smriti Biswas, Ranjit Kumari, Vivek, Dhumal, Rajan, Naaz Chandabai, Mohana, Chitra and Johny Walker.
Read more on this topic…


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.

“Veer Raajputaani”(1956) was directed by JBH Wadia for Basant Pictures, Bombay. The movie had Manhar Desai, Shakila, Meenakshi, Bipin Gupta, B M Vyas, Anwar Hussain, S N Tripathi, Dalpat, Babu raje, Sharda, Azeem Shamsherbaaz, Shreebhagwan, Sardar Mansoor, Helen, Kalla, Pahalwan, Shapur, Abdullah, Bismillah, M K Hasan, Mitthu Miyaan, D Rajkumar, Korega, Hema, Chanda, Pushpa, Menka etc in it.
Read more on this topic…


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What is this blog all about

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

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

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

Total number of songs posts discussed

13256

Number of movies covered in the blog

Movies with all their songs covered =1000 Total Number of movies covered =3703

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Blog Start date: 19 july 2008 Active for 3000 days.
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