Archive for the ‘Songs of 1957’ Category
Chhup chhup ke re chupke chupke
Posted on: April 14, 2019
This article is written by Mahesh Mamadapur, 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 : | 3922 | Post No. : | 14987 |
Shamshad Begum, a name too familiar to music lovers of the golden era was born on this day 100 years ago (on 14 april 1919). Her voice, much distinct from all others had that metallic as well as melodious touch which brought her fame from all over the country.
April 14 did ring a bell, but I was not very much aware that it was her birth centenary this year. A comment from one of the regulars Partha Chanda ji on the anniversary pages was enough for me to get this post going.
As I have said earlier, the expectations of music lovers from this blog continues to grow. Music lovers are aware that probably nothing new may be written about such great artists, but they know that this is one of the few places on the internet, where legends are often celebrated and discussed. Apart from hearing these golden compositions and voices, reading about other people’s views and appreciations especially of our favourites has become an enthusiastic habit.
Since, I got to get this post really fast, I would only like to restrict my views on a composer collaboration of Shamshad Begum, which I have no hesitation in considering as the best. Shamshad Begum sang many songs for almost all the composers of her era. Her singing to a few of such composers made her songs ever more popular. So popular that to this day some of these songs are re-mixed and enjoyed by a different class of people. However, it’s my personal opinion that the very songs which made her more popular with these composers were responsible for her fading away from the playback scene. It’s because she sort of got trapped with these special group songs and the more serious songs meant for the lead actresses went to Lata. I would love to write more elaborately on this subject and my views on it some other time.
Avid music lovers can easily understand which composers I am referring to in the above para, but in this post I would like to talk about her playback for composer Naushad Ali.
I mean no discredit to other great composers like Anil Biswas, Ghulam Haider and Ghulam Mohammed etc. for whom Shamshad Begum sang some really good songs.
Naushad saab, created gold with every singer who sang for him and Shamshad Begum was no exception. Shahjehan, Dard, Anokhi Ada, Mela, Andaz, Chandni Raat, Dulari, Babul, Deedar, Jadoo, etc. stand tall in some of the best creations of Naushad’s career. And, Shamshad Begum was associated in a big way in the songs of all these films.
AK ji’s blog has very elaborate post on her songs with Naushad. Yours truly, in fact has the first comment on the post.
Talking about a few of these films, Shahjehan, the first film of the combo had very interesting numbers by Shamshad Begum. Dard was always a Suraiya, Munawar Sultana film, but Shamshad Begum carves a special place for herself with two great songs. Ye afsana nahi zaalim mere dil ki haqeeqat hai is my all time personal favourite.
Mela and Anokhi Ada will always remain special to me for the Mukesh connection. Just listen to Shamshad Begum singing …..ooooooo……. in Mohan ki muraliya baaje from Mela. I think the rendering cannot be appreciated with mere words. The effortless and elegant way with which the solo is sung makes me dumbstruck to this day.
I have fond memories of songs from Chandni Raat. During the good old cassette era, my parents and obviously I had not heard songs from this film quite too often. On a visit to Bombay, I had carried back this cassette. On playing at home, the songs from the film and especially the wonderful duets with Rafi saab became instant craze and are heard to this day.
Babul, Deedar etc, will also be remembered for the contrasting voices of Lata-Shamshad in duet songs and elegant composition by Naushad saab.
It would not be out of place or wrong to say that she was sort of side-casted in favour of Lata, but even in the latter films of Naushad whenever she rendered the odd songs or supported in duets, the class and elegance remained.
Writing about her last days in her singing career will yield nothing. The metallic and melodious voice with crystal clear diction will remain ringing in our ears for decades to come.
On her birth centenary, I pay my humble tributes to Shamshad Begum and would like to represent a song from Aadmi (1957)
Song-Chhup chhup ke re chupke chupke yaad aayi (Aadmi)(1957) Singer-Shamshad Begam, Lyrics-Sartaj Rahmani, MD-Ramnath
Chorus
Lyrics
Chhup chhup ke re chupke chupke
chhup chhup ke re chupke chupke
yaad aayi
chhup chhup ke re chupke chupke
yaad aayi
haay dil dhadka
aankh lajaai
aayi re
aayi re
aaaayi
yaad aayi
chhup chhup ke re chupke chupke
chhup chhup ke re chupke chupke
yaad aayi
aankhon mein pyaar liye
aaye sanwariya
aaye sanwariya ji
aaye sanwariya
loot ke chale gaye
man ki nagariya
man ki nagariya
ho man ki nagariya
kaisa ye dhokha khaaya
lut gayi raam duhaai
lut gayi raam duhaai
lut gayi raam duhaai
ho o o o
chhup chhup ke re chupke chupke
chhup ke re chupke chupke
yaad aayi
chhup chhup ke re chupke chupke
yaad aayi
marzi tumhaari piya
aao na aao
aao na aao ji
aao na aao
dil ko sambhaaloon kaise
ye to bataao
ye to bataao ji
ye to bataao
kaise wo aag bujhaaoon
tumne jo aag lagaayi
tumne jo aag lagaayi
tumne jo aag lagaayi
ho o o o
chhup chhup ke re chupke chupke
chhup chhup ke re chupke chupke
yaad aayi
chhup chhup ke re chupke chupke
yaad aayi
kaise kahoon sakhiyon se
dil pe tera raaz hai
dil pe tera raaz hai ji
dil pe tera raaz hai
jhuki jhuki ankhiyon mein
duniya ki laaj hai
duniya ki laaj hai ho
duniya ki laaj hai
bedardi tu na aaya
ho gayi preet paraayi
ho gayi preet paraayi
ho gayi preet paraayi
ho o o o
chhup chhup ke re chupke chupke
chhup chhup ke re chupke chupke
yaad aayi
chhup chhup ke re chupke chupke
yaad aayi
haay dil dhadka
aankh lajaai
aayi re
aayi re
aaayi
yaad aayi
chhup chhup ke re chupke chupke
chhup chhup ke re chupke chupke
yaad aayi
chhup chhup ke re chupke chupke
chhup chhup ke re chupke chupke
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 : | 3915 | Post No. : | 14976 |
Today’s song is from the film Chandi Pooja-57.
The decade of the 1950’s was significant in HFM for many reasons. Firstly, this was the decade which saw the peak of the Golden Era of the HFM and also it witnessed the downward trend in the quality of music by the end of the decade. Secondly, those Music Directors who bloomed highest in the end of 40’s, slowly started their journey downwards. A glaring example is that of C.Ramchandra. At the same time, those Music Directors who had just started their ascent in the end period of the 1940’s, went to their Zenith, stayed there for a while and began their descent by early 1960s. Typical examples are Shankar-Jaikishen, S D Burman, Madan Mohan etc.
The last few remnants of HFM of 1940s like Khemchand Prakash (he died in 1950), Hansraj Behl, Gyan Dutt, K.Datta etc began their downward journey in this decade and new stars like N Dutta, Hemant Kumar etc emerged on the musical horizon.
Thirdly, the decade was a decade of Mythological and Religious films. As many as 124 such films were released under this Genre. Consequently, Music Directors like Avinash Vyas and S N Tripathi etc, who were specialists of this Genre prospered.
1957, in my opinion, was the Pinnacle of Hindi films in the Golden Era. What films! What Music !! What entertainment !!! Films were at their best in 1957. The list reads Aasha, Abhimaan, Ab Dilli door nahin, Agra Road, Apradhi kaun, Baarish, Bada Bhai, Begunah, Bhabhi, Champakali, Dekh Kabeera roya, Do aankhen bara haath, Ek gaon ki kahani, Ek jhalak, Ek saal, Gateway of India, Hum panchhi ek daal ke,, janam janam ke phere, Kathputli, Miss Bombai, Miss India, Miss Mary, Mother India, Mr. X, Nau do gyarah, Naya Daur, paying Guest, Pyaasa, Shaarda, Yahudi ki Ladki etc etc.
It seemed as if, leading Music Directors had decided to showcase their Best offerings to the HFM lovers in the decade of the 50’s. In this flood, other MDs like Narayan Dutt, Bipin-Babul, Avinash Vyas, Jimmy, Sanmukh Babu upadhyaya, B N Bali, A R Qureshi, Ram gangully, S Mohinder, Ghulam Mohammed, Kanu Ghosh, Ramlal, Vinod, Sardul kwatra, Husnlal Bhagatram were operating but without their presence being felt.
Among all the stalwarts and their films,there was one Music Director, who quietly performed his acts and disappeared . His name was Ajit Merchant. He is one of those who were successful in Gujarati films more than Hindi films. he did give some melodious songs, however, he was not successful. he was the son of Ratansy Jetha, a criminal Lawyer in Bombay. Born on 15-8-1922, he was the only child in the family.Instead of school education, he was more interested in learning Music. he was encouraged by his father and learned from Ustad Amaan ali khan of Bhendi Bazar and Shiv kumar Shukla ( Principal of Music college, Baroda). he also learnt western music from Amy Markerus.
He started as assistant to Ashok Ghosh and Anil Biswas. His first independent work as Music Director was film Refugee-48. Then came film Raaj kumari-55 (a remake of Tamil film Van sundari), Indraleela-56, Chandi Pooja-57, Rambhakta Bibhishan-58, Sapera-61, Challenge-64 and his last film Lady killer-68. He was a Music producer in A.I.R. from 1957 to 1967. He gave music to 32 Gujarati films and only 8 Hindi films. In Gujarati, he is best remembered for Dilip Dholakiya’s song ” Taari aankhno afini” from film Diwa Dandi-50. ( Mera joota hai Japani is inspired by this song). He also gave music to more than 200 Gujarati, Hindi and Marathi stage dramas. He left behind wife Nilamben , 4 daughters and 2 sons, when he died on 18-3-2011 at Bombay.
Film Chandi Pooja-57 was directed by Raman Desai. Raman B Desai was born in Bilimora,Gujarat,on 28-4-1918. At the age of 20 years he joined Wadia Movietone as an assistant Director. He assisted Director Chaturbhuj Doshi for quite some time. he became an independent Director with Pehli Pehchan in 1947. Then came Narad Muni,Raja harishchandra,Hari Darshan,Naag Panchami,Chakradhari,Rajyogi Bharthari,Navaratri,Waman Avataar,Ram navami,Grihalaxmi (he also produced it) and Amar jyoti-1965. he also directed 6 Gujarati films.Due to his expertise in religious films,he was known as ” King of Mythological Films”.
Raman B Desai expired on 22-12-1997. ( he should not be mistaken for another director Ramanlal Desai,who operated in the same period and directed films like Aab-e-Hayaat-55 and Sangeeta-50 etc).
The cast of the film was Nirupa Roy, Manhar Desai, Prem Adeeb, Shanta Apte ( her last film), Sapru and others. In hindi film, Shahu Modak and manhar Desai both were Christians, but became famous by doing Mythological and religious films and enacting Hindu Gods and Saints.
Manhar Desai was a Gujarati Christian-real name Malcolm Alfredo D’souza. He was born on 3-8-1917. He used to stammer when he was a boy. He used to act and sing in dramas and due to his stammering style, he was very popular on stage. After completing High school, he ran away to Bombay to join Films, but could not even enter any studio, Disappointed, he returned to his home and restarted studies. He joined Wilson college in Bombay for graduation. In college he started acting and singing on stage. He had a friend N.C.Pandey, who was also mad after films. He promised Manhar that if he becomes a Director, he will make manhar a Hero. While in college Manhar married his classmate, who was from U.P.
In 1947, Manhar got a call from his friend N.C.Pandey, who was to direct a Hindi film. He made manhar the Hero of this film and thus fulfilled his promise. Toofani Sawar-47 was the first film of Manhar Desai, in Hindi. He was invited to work in film Gunsundari-48 ( Gujarati), opposite Nirupa Roy. The film was Hit and he acted in next film Mangal Phera-49 with Nirupa Roy. This too became a Hit film in Gujarati and then there was no looking back. His next Hindi film was Madhosh-51 opposite Meena kumari. Following their success in Gujarati, Nirupa Roy and Manhar were paired in several Mythological films in Hindi. Films Naag Panchami-53 and Shivratri-54 made him a popular Hero in Hindi mythological films.
Manhar Desai was fond of Reading. During breaks in shooting, he would catch up with his reading. He also was a good painter. Manhar worked in 106 Hindi films. His last film was Nal Damyanti-88. In the last phase of his career, he was disillusioned about the working in films in this era, so he gave up working and retired. ManharDesai died on 25-2-1992.
Today’s song is a very melodious song. Many readers may still remember this song. My thanks to our Sadanand ji Kamath for locating this song and giving me the link, on my request, since I could not find it anywhere. This is the type of camaraderie that exists among the Atulites.
Song-Dig dig dig dig daiyya…chali meri Naiyya (Chandi Pooja)(1957) Singer-Asha Bhonsle, Lyrics-Kavi Pradeep, MD-Ajit Merchant
Chorus
Lyrics
Dig dig dig dig daiyya
aa aa aa aa aa
chali meri naiyya
aa aa aa aa aa
Dig dig dig dig daiyya
chali meri naiyya
bahe purwaiyya re
hey haiyya re haiyya
haiyya re
matwaali gopiyaan pukaaren
jaldi se aa mil kanhaiyya
hey haiyya re haiyya
haiyya re
ooper chalte kaale megha aa
kaale kaale megha re
ooper chalte kaale megha
neeche chalti naav
chalti naav re ae
aa gaye ham to door
rah gaya peechhe gokul gaanv
gokul gaanv re
man ki amraiyya hai sooni ee
aa ja re raas rachaiyya
hey haiyya re haiyya
haiyya re
dig dig dig dig daiyya
aa aa aa aa
chali teri naiyya
aa aa aa aa
dig dig dig dig daiyya
chali meri naiyya
bahe purwaiyya re
hey haiyya re haiyya
haiyya re
chori chori kar ke bahaana aa
kar ke bahaana re
chori chori kar ke bahaana
ham nikle hain ghar se
nikle hain ghar se ae ae
mil ja re mohan
kaanp rahi hain ham duniya ke dar se
duniya ke dar se
lehron pe khelti patwaaren ae ae
karti hain chhappak chhappak chhaiyya
hey haiyya re haiyya
haiyya re
Ye maara wo maara
Posted on: January 13, 2019
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3831 | Post No. : | 14838 |
Today, January 13th 2019 is the 92nd birth anniversary of one of the prominent Hindi film producers-directors who debuted in early 1950s as a director. In the 1960s, he mostly produced and directed romantic and musical films. In the 1970s and thereafter, he produced and directed films with emotional contents. He is Shakti Samanta, a self-made man after struggling for almost a decade to get a firm foothold in Hindi film industry. He had made immense contributions to Hindi film industry.
Shakti Samanta (13/01/1926 – 09/04/2009) was born in Burdwan (now Bardhaman in West Bengal). His father was an engineer who died in an accident while Shakti Samanta was a child. So, he was sent to his uncle’s place in Dehradun where he did the schooling. After completion of his intermediate, he came back to Calcutta (Kolkata) and completed his graduation in 1944.
Shakti Samanta went back to his uncle’s place to help him in his business. During his school days, he had become a fan of films produced by New Theatres and Bombay Talkies for their emotional and romantic contents respectively. So he had a fascination for becoming an singer-actor in Hindi films. Obviously, he spent more time in acting in local drama theatres than in the business work for which he was reprimanded by his uncle. Sometime in early 1947, he decided to leave his uncle’s house for Bombay (Mumbai) to pursue his wish to become a singer-actor. He took a job of a teacher in a Urdu school in Dapoli, about 200 kms from Mumbai to sustain himself while he scouted for acting roles in Mumbai.
Since it was a Muslim-run school, every Friday, Shakti Samanta would visit Mumbai to take a round of studios and return to Dapoli by late evening. There were many Bengalis in the Bombay Talkies which enabled him at least to gain entry into Bombay Talkies studio. Eventually, he got a free-lance job without pay but with free food at the canteen of the Bombay Talkies. Since he was proficient in Hindi and Urdu in addition to Bengali, he got work of translating the scripts written in Bengali into Hindi for director, Phani Majumdar for which he was paid.
One day, he met S D Burman who was composing music for ‘Do Bhai’ (1947), to get a playback singing work. S D Burman told him that though his voice was good, it was not good enough for the playback singing. So he advised Shakti Samanta to look for work in some other departments though he offered to take him for chorus singing. With this, it was the end of his dream of becoming a singer but the acting bug in him remained.
It was Ashok Kumar who told him to forget about becoming an actor and instead concentrate on film direction. In Bombay Talkies, he became the First Assistant to Director, Phani Majumdar. At that time, Guru Dutt was the First Assistant to Director, Gyan Mukherjee. When Phani Majumdar had no assignment, Shakti Samanta used to work as Second Assistant to Gyan Mukherjee. On the other hand, when Gyan Mukherjee had no assignments, Guru Dutt used to work as Second Assistant to Phani Majumdar. So in 1947, Guru Dutt and Shakti Samanta were familiar with each other. While Guru Dutt could get his first directorial assignment for ‘Baazi’ (1951), it was a long wait for Shakti Samanta to make a debut as a director in 1955.
Post-partition, after the initial hiccups due to migration of film artists and technicians, Shakti Samanta got some assignments like assistant to the director Satish Nigam in ‘Sunhere Din’ (1948) and to Phani Majumdar in ‘Tamasha’ (1952) and ‘Dhobi Doctor’ (1954). He wrote script and dialogues for Bombay Talkies ‘Baadbaan’ (1954).
Shakti Samanta’s debut film as a director was ‘Bahu’ (1955) which he got by a sheer luck. The film was produced by Bikram Pahwa which was to be directed by the writer, Vijendra Gaud. However, he had already signed his first directorial venture, ‘Kasturi’ (1954) and Shakti Samanta was his Assistant Director for this film. Vijendra Gurd was under contract not to take up direction in any other film until ‘Kasturi’ 1954) was released. Shakti Samanta got the opportunity to direct his debut film ‘Bahu’ (1955) as director. The film did not do well on the box office.
During the making of the ‘Bahu’ (1955), Shakti Samanta was signed to direct A. A. Nadiadwala’s film ‘Inspector’ (1956) in which his mentor, Ashok Kumar was paired with Geeta Bali. The film became a hit and with this film, Shakti Samanta was tagged as a successful director for the crime thrillers. After directing ‘Hill Station’ 1957 and ‘Sheroo’ (1957), Shakri Samanta floated his own banner, Shakti Films in 1957.
The first film under his banner, Shakti Films was ‘Howrah Bridge’ (1958) in which his mentor, Ashok Kumar was paired with Madhubala. The film was also a crime thriller and became hugely successful in terms of box office. This gave him enough money to produce and direct a film in the genre of social drama, ‘Insaan Jaag Utha’ (1959). The film did the average business despite some excellent song compositions by S D Burman.
Shakti Samanta directed next two successful thrillers, ‘Jalli Notes’ (1960) and ‘Singapore’ 1960) for other producers. His association with Shammi Kapoor and Jaikishan of Shankar-Jaikishan started with the film ‘Singapore’ (1960) and thereafter they became close friends. The trios were known as Shammi, Shakki and Jackie.
With ‘Naughty Boy’ (1962), Shakti Samanta entered into his first romantic comedy genre with Kishore Kumar and Madhubala in the lead roles. When about 10 reels of film were shot, Madhubala fell ill. She was taken to London for treatment. Since there was some uncertainty in her resuming shooting, Shakti Samanta replaced her with Kalpana. All shots of Madhubala were reshot with Kalpana. The film took a long time to complete as Kishore Kumar also got busy with taking care of Madhubala. To make the matter worst, S D Burman, the film’s music director, also fell ill. As a result, except for one song, rest of the songs of the film were recorded by R D Burman and Jaidev.
The delay in the completion of the film put Shakti Samanta in financial difficulties. He approached his good friend, Shammi Kapoor for finance who advised him to produce a new film in which he would act and partly finance the film. So ‘China Town’ (1962) was conceived. The film was released in August 1962 and became a box office hit. With money flowing in from the success of ‘China Town’ (1962), Shakti Samanta completed ‘Naughty Boy’ (1962) and got released in November 1962. The film failed at the box office.
After the debacle of ‘Naughty Boy’ (1962), Shakti Samanta seems to have shifted the focus on producing and directing the genre of romantic and musical films. He had with him now Shammi Kapoor and Jaikishan to support such a genre of films. The film ‘Kashmir Ki Kali’ (1964) was conceptualized with his two friends in mind. He had roped in a new comer, Sharmila Tagore whose parents were the family friend of Shakti Samanta, to act opposite Shammi Kapoor. It was a foregone conclusion that Shankar-Jaikishan would be the music director.
When O P Nayyar came to know about the new film, he requested Shakti Samanta to at least listen to his tunes before deciding on the music director. He also invited Shammi Kapoor for a musical sitting. Both were so much impressed with some 40 odds tunes O P Nayyar churned out, that both Shakti Samanta and Shammi Kapoor decided to take O P Nayyar as music director for ‘Kashmir Ki Kali’ (1964) and selected 12 tunes out of which 9 tunes were used in the film and remaining 3 tunes were used in ‘Saawan KI Ghata’ (1966). The film was a blockbuster on the box office chart.
Shakti Samanta had lined up 3 films with Shammi Kapoor and Jaikishan combination. The first film, ‘Evening In Paris’ (1967) was a high budget film which were partly shot abroad. The film became successful at the box office. The second film ‘Pagla Kahin Ka’ (1970) was directed by Shakti Samanta for Ajit Chakravarty. The film was an average success. The third film, ‘Jaane Anjaane’ (1971) was in the planning stage when Shakti Samanta felt that Shammi Kapoor needed to reduce his weight before he started shooting for the film. He gave Shammi Kapoor six months’ time to reduce his weight. In the interregnum, Shakti Samanta decided to produce and direct a low budget social film ‘Aradhana’ (1969) which was his favourite genre inspired from the films of New Theatre. The saga of making of ‘Aradhana’ (1969) is interesting one.
Sometime in early 1960s, Sachin Bhowmik, the story, screen-play and dialogue writer had read out the story of Aradhana to Shakti Samanta. While he liked the story very much, he did not venture to make a film on the story as he felt that it would be difficult to get the lead actors to the roles envisaged in the story. This was also the views of Hrishikesh Mukherjee when Sachin Bhowmik had read out the story to him also. Since Shakti Samanta had now time to make a low budget film, he recalled the story of Aradhana and decided to make a low budget film.
Sharmila Tagore who was introduced in Hindi films by Shakti Samanta and Rajesh Khanna who was the discovery of United Producers-Filmfare Talent Contest (1965) in which Shakti Samanta was one of the judges, were taken for the lead roles. Sharmila Tagore was apprehensive of doing the mother’s role in her early filmy career. Rajesh Khanna had felt that his role had considerably lesser length than that of Sharmila Tagore whose presence in the film was from first to last frames. Shakti Samanta had to do a hard work to convince both the actors to remove their apprehensions as the roles were challenging from the acting point of view.
Since the story of the film was akin to the Bengali type of stories with emotional contents, Shakti Samanta was keen on S D Burman to take up the music direction of the film. However, here also he had to convince S D Burman to take up the music direction for the film. S D Burman rued that Shakti Samanta had so far engaged him as a music director only for his low budget films.
Just a day before ‘Aradhana’ (1969) was to start shooting, Surinder Kapoor, the producer of ‘Ek Shriman Ek Shrimati’ (1969) starring Shashi Kapoor and Babita invited Shakti Samanta to see rushes of the final climax of his film. He was shocked to see that the climax was the same as that was written for Aradhana. This was possible because both films were written by Sachin Bhowmick. The next day, Shakti Samanta had made up his mind to scrap Aradhana and asked Gulshan Nanda to work on his story, ‘Kati Patang’. But Gulshan Nanda along with another writer, Madhusudan Kalelkar convinced him that instead of scrapping the film, let there be some changes the second half of the story. Both of them reworked the second half of Aradhana in the next few hours and saved the film being scrapped.
When everything was set to start the shooting ‘Aradhana’, film distributors were not happy with casting the lead roles. They were of the view that the audience would not accept Sharmila Tagare in the role of mother who had so far done the glamorous roles. They also felt risky to give a new comer Rajesh Khanna the double role in the film. Again, Shakti Samanta was required to convince them that the lead actors would justify their roles.
‘Aradhana’ (1969) was completed in less than 6 months and was released sometime in October 1969. I had watched this film during the first week of its release as tickets were easily available. However, the box office collections of the film picked up from the second week onward mainly through words of mouth publicity. The film became the top grosser among the Hindi films released in 1969. The box office success of this film and later of ‘Bandhan’ (1969) and ‘Do Raaste’ (1970) made Rajesh Khanna a super star. In a print media interview, Shakti Samanta had acknowledged that from the gramophone record sales of ‘Aradhana’ only, he produced next five films. The records were dubbed and released in 5 languages, and were hits in every language.
With the success of ‘Aradhana’, Shakti Samanta ventured into producing more of social genre of films like ‘Kati Patang’ (1971), ‘Amar Prem’ (1972), ‘Anuraag’ (1972) which were also successful at the box office. However, after mid-1970, except for ‘Great Gambler’ (1979), Shakti Samanta could not get as much success at the box office as he got for his films in early 1970s. Just to balance the box office earnings, Shakti Samanta started producing bilingual films which were made in Hindi as well as in Bengali. He produced and directed the first bilingual film, ‘Amanush’ (1975) followed by ‘Anand Asharam’ (1979), ‘Barsaat Ki Ek Raat’ (1981), ‘Aar Paar’ (1985) etc.
In the 1990s, Shakti Samanta’s films could not match with the changing taste of the film audience. ‘Geetanjali’ (1993) was his last film as a director which failed at he box office. During this period, he had also become busy with his role as Chairman of the Film Censor Board for 7 years (1991-98) and as a Chairman of Satyajit Ray Film and Television Institute, Kolkata for 2 years. Hence, some of the films produced under the banner of Shakti Films were directed by his son, Ashim Samanta.
During his 5 decades of long filmy career, Shakti Samanta directed 37 films and produced 43 films under his banner, Shakti Films. He also co-produced and directed an Indo-Bangla Desh Bengali film in 1984 which became a super hit. He set up Aradhana Sound Service, the digital audio post-production facilities films. He received Filmfare Award for ‘Aradhana’ (1969), ‘Anuraag’ (1972) and ‘Amaanush’ (1975) under ‘Best Films’ category.
Shakti Samanta breathed his last on April 9, 2009 after a brief illness due to stroke.
For the occasion, I have selected a song from one of the films from Shakti Samanta’s struggling years to establish himself in the Hindi film industry. The song is ‘ye maara wo maara koi jeeta koi haara’ from ‘Hill Station’ (1957). The song is sung by Geeta Dutt on the lyrics of S H Bihari which is set to music by Hemant Kumar. From the lyrics and the tone of the song, it appears to be a club song probably picturised on Sheila Vaz.
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Note: The information on Shakti Samanta with some associated anecdotes have been sourced from many interviews he gave both to the print media as well as to the electronic media, mostly during the 1990s. Some information has also been sourced from the interview Ashim Samanta gave for a FM Radio Channel in 2016.
Song-Ye maara wo maara (Hill Station)(1957) Singer-Geeta Dutt, Lyrics-S H Bihari, MD-Hemant Kumar
Lyrics
ye maara
wo maara
ye maara
wo maara
koi jeeta aur koi haara
haar jeet kaa khel ye dekho
kitna hai pyaara
ye maara
teri zindagi mein
aise mauke suhaane naa aayenge
teri zindagi mein
aise mauke suhaane naa aayenge
tere yahi patte
tera bigda muqaddar banaayenge
yahi chamkega teri naseeb ka taara
haar jeet ka khel ye dekho
kitna hai pyaara
o maara
ye maara wo maara
koi jeeta aur koi haara
haar jeet ka khel ye dekho
kitna hai pyaara
ye maara
dekh o matwaale
aaj se apna daaman bachaaye jaa
dekh o matwaale
aaj se apna daaman bachaaye jaa
sun ae bhole bhaale
kabhi kismat se dhokha bhi khaaye jaa
rona hansna to jeevan ka khel hai saara
haar jeet ka khel ye dekho
kitna hai pyaara
ho maara
ye maara wo maara
koi jeeta aur koi haara
haar jeet ka khel ye dekho
kitna hai pyaara
ho maara
ye maara
wo maara
koi jeeta aur koi haara
haar jeet ka khel ye dekho
kitna hai pyaara
ye maara
Duniya ne to mujhko chhod diya
Posted on: August 25, 2018
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3690 | Post No. : | 14597 |
“Shaarda”(1957) was produced and directed by L V Prasad for Prasad Productions. It was a Hindi remake of Tamil original original Tamil film ‘Edhir Paradhathu’ (1955). The movie had Meena Kumari, Raj Kapoor, Raj Mehra, Shyama, Gope, Manorama, Om Prakash, Agha etc.in it.
The movie had nine songs in it. Eight songs from the movie have been covered so far. Here are the details of these eight songs:-
|
Song Title |
Post No. |
Post Date |
| Lahraaye jiyaa balkhaaye jiyaa | 2083 | 24-Oct-09 |
| Chaahe zindagi se kitnaa bhi bhaag le | 2814 | 20-Aug-10 |
| O chaand jahaan wo jaayen | 3351 | 15-Dec-10 |
| Jap jap jap jap jap re | 10006 | 22-Jul-14 |
| Raghupati Raghav Raajaraam | 11202 | 23-Jun-15 |
| Bhaagwaan zara dheere bol | 13322 | 9-Jun-17 |
| Aaju re baaju naaju kaaju re | 13629 | 3-Oct-17 |
| Achcha hai mauqa kisne hai roka | 14592 | 21-Aug-18 |
Here is the ninth and final song from “Shaarda”(1957) to appear in the blog. This song is picturised as a drunkard song on Raj Kapoor. Those who have seen Mukesh sing a drunkard song in “Jaagte Raho” (1959),could well expect Mukesh to sing this song, but this song is sung by Manna Dey ! Rajinder Krishan is the lyricist. Music is composed by C Ranmchandra.
The song situation in this song is rather more sombre than what was the case in “Jaagte Raho” (1959), as far as I can tell. IT is a rather lesser known drunkard song, but it can for that reason, may be regarded as a forgotten gem.
With this song, “Shaarda”(1957) joins the list of movies that have all their songs covered in the blog.
Song-Duniya ne to mujhko chhod diya (Shaarda)(1957) Singer-Manna Dey, Lyrics-Rajinder Krishan, MD-C Ramchandra
Lyrics
duniya ne to mujhko chhod diya
khoob kiya
arey khoob kiya
botal ki taraf munh mod diya
botal ki taraf munh mod diya
khoob kiya arrey ae khoob kiya
wo ghadiyaan khawaab ki ghadiyaan thhin een een
mai jin ghadiyo mein jaaga tha
duniya ki khushi ek saaya thhi
duniya ki khushi ek saaya thhi
main jiski lagan mein bhaaga thha
main jiski lagan mein bhaaga thha
paanvon ko jo mere tod diya
khoob kiya
arrey khoob kiya
botal ki taraf munh mod diya
khoob kiya
arrey ae khoob kiya
jab mujhse zamaana door hua aa aa aa aa
jab mujhse zamaana door hua
botal ne kaha
bataaun kya kaha
nahin bataata
achcha bataata hoon
har dard ke mare ko ek din
to padti hai zaroorat to meri
padti hai zaroorat to meri
toote huye dil ko jod diya
khoob kiya
arrey khoob kiya
duniya ne to mujhko chhod diya
khoob kiya
arrey ae khoob kiya
Achcha hai mauqa kisne hai roka
Posted on: August 21, 2018
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3686 | Post No. : | 14592 |
“Shaarda”(1957) was produced and directed by L V Prasad for Prasad Productions. It was a Hindi remake of Tamil original original Tamil film ‘Edhir Paradhathu’ (1955). The movie had Meena Kumari, Raj Kapoor, Raj Mehra, Shyama, Gope, Manorama, Om Prakash, Agha etc.in it.
The movie had nine songs in it. Seven songs from the movie have been covered so far.
Here is the eighth song from “Shaarda”(1957) to appear in the blog. This song is sung by C Ramchandra and Asha Bhonsle. Rajinder Krishan is the lyricist. Music is composed by C Ramchandra.
Like most C Ramchandra duets, this song is picturised as a romantic comic side plot song. The song is picturised on Agha and a lady whom I am unable to identify. I request our knowledgeable readers to help identify her.
Song-Achcha hai mauqa kisne hai roka (Shaarda)(1957) Singers-C Ramchandra, Asha Bhonsle, Lyrics-Rajinder Krishan, MD-C Ramchandra
Both
Lyrics
achha hai mauqa
kisne hai roka
ho jaaye pyaar zara zara
dekho ji dekho
dena na dhokha
hai aitbaar zara zara
achcha hai mauqa
kisne hai roka
ho jaaye pyaar zara zara
dekho ji dekho
dena na dhokha
hai aitbaar zara zara
dil ka ye bangla
rakha hai khaali
kab se tumhaare liye ae
hum jaante hain
karte ho kya kya
tum bhi hamaare liye ae
dil ka ye bangla
rakha hai khaali
kab se tumhaare liye ae
hum jaante hain
karte ho kya kya
tum bhi hamaare liye
pyaar hai jaaga
jab se hai laaga
nainon ka paad(?) zara zara
dekho ji dekho
dena na dhokha
hai aitbaar zara zara
duniya hai dariya
tum ek lehar ho
main hoon tumhaara kinaara
humne bhi tumko samjha hua hai
jaan se dil se hamaara
jitna tumhe hai
utna humen hai
dil ka bukhaar zara zara
dekho ji dekho
dena na dhokha
hai aitbaar zara zara
pyaar ki baaten
dekho ji ??
kal hi register kar doonga shaadi
duniya jale to jale
??
kal hi register kar doonga shaadi
duniya jale to jale
hai aitbaar zara zara
dekho ji dekho
dena na dhokha
hai aitbaar zara zara
achcha hai mauqa
kisne hai roka
ho jaaye pyaar zara zara
dekho ji dekho
dena na dhokha
hai aitbaar zara zara
Duniya se dil lagaa ke
Posted on: August 1, 2018
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3666 | Post No. : | 14539 |
“Yahudi Ki Ladki”(1957) was produced and directed by S D Narang for New Oriental Pictures, Bombay. This movie had was Madhubala, Pradeep Kumar, Gajanan Jagirdar, Heeralal, Suder, Narang, Smriti Biswas, Amar, Krishnakant, Krishn Kumari, Dhanraj, Amrit Rana, Kamla Mukherji, Helen, Sheila Vaz, Meena, Tuntun, Ranjana Kumari, Premlata, Z Hussain, H A Rahi, Ramlal, H Prakash, M Harun, Dabboo, Babboo, Prithviraj, Baby Rajratan, Salma etc. The film also had a pair of Egyptian dancers in it namely Lyas and Lyan.
The movie had eight songs in it. Two songs have been covered in the past. Here is the third song from “Yahudi Ki Ladki”(1957) to appear in the blog. The song is sung by Geeta Dutt. S H Bihari is the lyricist. Music is composed by Hemant Kumar.
Only the audio of the song is available. It appears to be a dance song. I request our knowledgeable readers to throw light on the picturisation of the song.
I have not bee able to get a few words (sound like gibberish words to me). I request our readers with keener ears to tell us what words they could be.
Song-Duniya se dil lagaa ke (Yahudi Ki Ladki)(1957) Singer-Geeta Dutt, Lyrics-S H Bihari, MD-Hemant Kumar
Lyrics
dammaara
dammaara
???
???
dammaara
dammaara
???
???
duniya se dil lagaa ke
humse aankhen milaa ke
pal bhar tu muskuraa ke jhoom le
ae ae ae ae
duniya se dil lagaa ke
humse aankhen milaa ke
pal bhar tu muskuraa ke jhoom le
ae ae ae ae
mehfil mein aaj koi aaya aa aa
aankhon mein jhoomti bahaar hai laaya
mehfil mein aaj koi aaya aa aa
aankhon mein jhoomti bahaar hai laaya
samjho usi ka hai zamaana
aa aa
duniya se jisne hai pyaar badhaaya
hamko apna banaa ke
duniya ka gham bhulaa ke
pal bhar tu muskuraa ke jhoom le
ae ae ae ae
duniya se dil lagake
humse aankhe milake
pal bhar tu muskuraa ke jhoom le
ae ae ae ae
dammaara
dammaara
???
???
dammaara
dammaara
???
???
mushqil hai toone ye na jaana aa aa
tere liye hai mere dil ka khazaana
mushqil hai toone ye na jaana aa aa
tere liye hai mere dil ka khazaana
naghmaa hai teri zindagi ka aa aa
honthon pe aaj mere pyaar ka taraana
dil ki duniya basaa ke
soye armaan jagaa ke
pal bhar tu muskurake jhoom le
ae ae ae
duniya se dil lagaa ke
humse aankhe milake
pal bhar tu muskuraa ke jhoom le
dammaara
dammaara
???
???
dammaara
dammaara
???
???
Aaj is nagri kal us nagri
Posted on: July 20, 2018
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3654 | Post No. : | 14510 |
ASAD 10th Anniversary Celebrations – 16
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Discussion of Railway related matters-1
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There are songs that bring back memories. Then there are songs that trigger emotions. The song under discussion is one such song. This song causes so many different kinds of emotions that one hopes that these emotions would occur in slow motion so that one could understand them. Unfortunately such ultra slow motion technology has not yet been invented and so one needs to deal with them in the usual old fashioned way- viz. by taking a breather, collecting oneself and then trying to understand and analyse the things that run through one’s mind when one listens to this song.
So many different kinds of emotional stuff have been packaged in the three stanzas of this song that one is amazed at the ability of the lyricist to express such complex feelings in so few words.
This song was created in 1957, more that sixty years ago. The country was devoid of any development after systematic loot of her resources by the foreign rulers. People were moving to various places all over India in search of new abodes (for people uprooted as a result of partition) as well as employment (lots of new establishments were coming up, many in remote locations). Train was the only option to reach to far off places.
Going away from one’s native place often meant leaving one’s near and dear one’s behind. In other words, hopes and aspirations of a better future were tempered by the feelings of separation and missing the beloved. Those who are left behind by the train traveller would have no way of knowing the whereabout of the train traveller and vice versa.
hey kaisa ghazab ye dhaaye more raama
sajni se saajan chhudaaye liye jaaye
hoy dhuyen ki gaadi udaaye liye jaaye
bairan gaadi udti jaaye
man ko chain na aaye
saajan ke man ko chain na aaye
hai apne piyaa se door sajaniyaa
chham chham neer bahaaye
sajaniya chham chham neer bahaaye
arre ho o o o
nainan ka kajra
haathan ka gazraa
sab kuchh ye bairan churaaye liye jaaye
ho
sab kuchh ye bairan churaaye liye jaaye
A train contained hundreds of passengers. Each one of them was going somewhere and each one of them had some urgent business to attend to. Just imagine, hundreds of people, all strangers travelling together for different destinations in the same train. Staying together for a few hours and sometimes longer, people from different backgrounds would get introduced to each other and they would strike friendship. They would soon start discussing issues of common interest with each other.
Trains, by carrying people to far off places from their original places of residence, would not just relocate them geographically, it would also help in the development of the nation by bringing in skilled personnel to less developed places. These people, migrants to new places far off from their original places would need to undergo enormous changes in their earlier habits and attitudes in order to get used to their new environments. It would involve, among other things, learning an entirely new language, which, after initial struggle, would be achieved by people with aplomb. That is how erstwhile small towns in India have grown to become larger and more prosperous cities, by attracting skilled people from various other places.
Interaction with people coming from different backgrounds and geographical locations enabled cross pollination of ideas, viz food habits, dressing habits, attitudes etc. When I went to Madras in 1989, I was pleasantly surprised to find Lassi(an out and out Punjabi drink) being sold in Madras Railway station by a native shop owner and doing a roaring business among the local customers in that hot weather.
People travelled in trains not just for their careers. People travelled on it to meet their relatives located in far off areas. Children boarding a train with their parents to meet their grandparents would be a great occasion for the children as well as the grandparents. Also think of those who received telegrams (telegrams were dreaded, as they often meant some bad news like someone passing away) and as a result had to urgently rush back to their native places, without any time for prepatations including booking their tickets, which was a tough proposition in pre internet days.
Like most people in India, I too have been exposed to Indian Railways from childhood. I in fact was a born Railwayman because my father was a Railway employee. 🙂 So I saw Railway right from the time I was a child.
I stayed in Railway colony of Ranchi, not far from Ranchi Railway station. I studied in two schools and later one college in Ranchi. All of them were located on the other side of the Railway line. So it was mandatory to cross the railway line while commuting between home and school/ college. Even otherwise I would often go to the Railway station and observe how trains operated. Ranchi had broadguage lines going towards Howrah as well as Patna, and there were only two express trains daily- one for Howrah and one for Patna. Present day Ranchi inhabitants may be amused by this account but that is how it was during 1960s and 1970s.
Ranchi also had a narrow guage line upto Lohardaga. Passenger trains would ply between Ranchi-Lohardaga, but the main traffic in this narrow guage line was goods traffic. Bauxite (ore of Aluminium) would be brought by narrow guage goods train. This narrow gauge train would be taken to an elevated line. Under that line, there would be Broad guage line and empty broadguage wagons would be kept just under the narrow guage wagons. valves of NG wagons (called hopper wagons) would open and their Bauxite ore content would fall down from their bottom discharge opening into the open broad guage wagons. It all looked very elegant. I as a child would stop there and watch how the bauxite ore got transferred from NG wagons into BG wagons within minutes. After that, the BG goods wagons would be taken to the Hindalco Aluminium factories for further processing.
Those were the days of steam locomotives. Ranchi Railway station had a steam loco shed. Steam locomotive pistons used to have piston rings outside them. These piston rings were replaced in the steam shed during their repair and old piston rings were discarded. These discarded piston rings, when welded at the gap made excellent hoop that kids so loved to drive.
Kids whose fathers were in loco department (viz locomotive drivers) would get their fathers to get such hoops for them. I was not so privileged as my father was in Engineering department, so I only had hoops made of rods bent into a circle. I would request my privileged friends to let me drive their piston ring hoop. After driving my hoop, driving that piston ring hoop seemed like one was driving a Ferrari or Rolls Royce. 🙂
Later, when I myself joined Railways, I found myself undergoing training, among other things, in steam locomotives at Jamalpur. What enormous sized parts a steam locomotive contained ! People who maintained steam locomotives and people who drove them needed to be extremely strong and rough and tough. It was not for people who were weak in body and mind.
One needed to pass in practicals as well as Interview. Interviews were conducted by the head of the Workshop (now called Chief Workshop Manager, then called Additional Chief Mechanical Engineer). A book “steam loco guide” by H C Ratta was a much sought after book for passing the interview. It appears that only one edition of this book was published in 1958 despite its enormous popularity. Only a few copies of the book were available and those who had them would guard their copies with their lives and would allow them to be shared to others only on hourly basis. 🙂
Very few people would be able to give satisfactory replies in the interview. Thankfully, the additional Chief Mechanical Engineer, who himself might have been in the shoes of the interviewees some two to three decades ago would take a sympathetic view towards them. 🙂
When I joined Railway service after managing to scrape through various examinations and interviews etc, I was hoping that I would not have to deal with steam locomotives much. I was initially posted in a MG Diesel locomotive shed so I felt safe. But my next posting was in a MG steam loco shed in a place called Purna in Maharashtra and that too as the incharge. 🙂 I somehow managed, all the while hoping that the steam locomotives would soon get phased out and thankfully that is what happened.
Sometime later, I was posted in Hubli, and guess what ! That place too had a MG steam loco shed ! Thankfully, the entire division, which was MG when I joined, became BG within four months of my joining there and so that steam loco shed got phased out too.
A few years later, I was transferred to N F Railways and posted at Lumding. A few months later,a new General Manager joined who was a steam locomotive romantic (even though ignorant about technical matters of steam locomotives), ordered that one of the several condemned MG steam locomotives lying at Badarpur (near Bangladesh Border) must be revived. As incharge of mechanical engineering activities, this task was entrusted on me. Despite lacking infrastructure for steam locomotives, one steam locomotive was revived and it was used to haul a few coaches in MG section between Lower Haflong and Maibong in may 2001, with BBC TV crew on board. BBC shot the steam train running and later telecast it on their world service TV. Taking inspiration from this, other zones too then revived a few steam locomotives lying in their territories and ran them, mainly for the benefit of camera opportunity.
Thankfully, that was my last tryst with Steam locomotives. Subsequently I had to deal only with Diesel locomotives. Diesel locomotives are maintained in Diesel loco sheds. The incharge of Diesel loco shed is called Senior Divisional Mechanical Engineer (Diesel), or Sr DME (D) in short. I have the unique distinction of being Sr DME (D) in diesel sheds of all the three guages, viz Broad guage, Meter Guage and Narrow Guage. My guess is that I am the only such officer in the entire 165 year old history of Indian Railways. 🙂 The fact that I have been transferred a lot all over India helped me achieve this feat. 🙂
I have worked in all wings of mechanical department that a zonal Railway can have. I have worked in Steam and Diesel (as mentioned above), power (which meant being incharge of Diesel locomotive drivers), Zonal HQ and also Railway Workshop.
I had joined Jabalpur one week before it became the headquarters of newly formed West Central Railway on 1 april 2003. So I was one of the founders of WCRly. It was while I was at Jabalpur that this blog was started on 19 july 2008.
As for train travels, I have obviously travelled a lot on Indian Railways. There are a few travels that stand out in memory. One was a train travel from Nagpur to Secunderabad in june 1998. I, my wife and our three months old daughter were travelling. We had got just one berth in AC2 and that too upper berth. My wife and daughter occupied the upper berth. It was extremely cold at the upper berth and the daughter, who was travelling by train for the first time was naturally quite uncomfortable and she cried a lot. My wife got mad at me for my inability to arrange for a lower berth. I looked around and found that a lower berth would get vacant after several hours, and the person (a collegue of mine) who was allotted that berth on vacation agreed to exchange that lower berth with our upper berth when he got that berth. Meanwhile my wife had managed to calm the daughter and had managed to make her fall asleep. Today, 20 years later, whenever I think of that train journey, I still shudder how our three months daughter , on her first train journey had had a harrowing time. And I still feel extremely grateful to my colleage, called Piyush Mathur (now posted in Jabalpur) who agreed to offer his side lower berth in exchange of inside upper berth.
Then there was another train travel between Jamalpur to Jabalpur that I undertook in january 2010. I had got a lower berth through EQ (emergency quota). As soon as I occupied by berth, all the passengers with upper berths began eyeing my lower berth and tried to exchange their upper berth with my lower berth. A mother and her grown up daughter had got the upper berth, the berth above me. The man on the opposite lower berth had his alibi ready. He had every physical ailments known to mankind so no one dare ask him to exchange his lower berth.
The two ladies tried all the tricks in the book and outside the book and I finally relented and exchanged my lower berth with their upper berth. As soon as I occupied the upper berth, the two ladies as well as the gentleman on the opposite lower berth made me a persona non grata and began to treat me as an unwanted intruder. “keep your purse in my custody, I will take care of them”, the gentleman would tell the ladies, indicating that the fellow on the upper berth was not to be trusted. Needless to say that I was not allowed to sit in the lower berth which was actually mine. I kept fuming throughout the journey. By the time the train arrived in WCR and the TTE of WCR joined the train, I told him my story and he fully empathised with me. “In future, never exchange your liower berth with anyone, whether it is a lady or a child or a saint”- he advised. “Yes, I will never do that again.” -I vowed. From that time onwards, I never exchange my lower berth with any passenger. and in case they look like people who do not deserve to be helped then I become uncharacteristically aggressive as well and tell them that I have suffered in the past for my generosity which was regarded as my foolishness and I will not allow myself to be taken for a ride again. The only exception to this rule is of course when I find a lady with a young child needing a lower berth, which was the case with me 20 years ago.
When I look back to my association with Railways, I have lots and lots of tales to tell. Some of our regulars are quite interested in matters related to Railways and I, during my interactions with them had said that I would discuss some railway related matters from an insider’s point of view in the blog. This article could be treated as the first article in that series. 🙂
More than the first article in my series of Railway related discussion, this article is about ten years of this blog. I have mentioned it many a times that the journey of this blog can be likened to a train journey and so a train related song is quite a suitable song for an occasion like this.
I had discovered this song may years ago and I was floored by this song. I had decided to use this song on some very special occasion. Lots of special occasions have arrived in the blog but somehow I felt the need to still hang on to this song. I think that this song is just the perfect song for the occasion.
So here is this song from “Naya Zamaana”(1957). This movie was directed by Lekhraj Bhakri for Link Films, Bombay. The movie had Pradeep Kumar, Mala Sinha, Veena, Kammo, Leela Mishra, Badri Prasad, Gope, Shukla, Poonam Kapoor, Shakuntala, Brahmdatt, Daizy Irani, Baby Naaz, Al Nasir etc in it. Pradeep Kumar and Al Nasir were guest artists in this movie.
The movie had ten songs in it. One song was covered in the blog in the past.
This song, the second from the movie, is sung by Rafi and chorus. Prem Dhawan is the lyricist. Music is composed by Kanu Ghosh.
Video of the first song covered from the movie was available. But only the audio of this rail song seems to be available. I request our knowledgeable readers to throw light on the picturisation of this song.
The blog has completed ten years of its existence. It appears as if this blog was started just a few months ago. I can barely believe that ten years have passed. But indeed that is the case. My daughter was just ten years old and in school at that time. Now she is an young adult and she is studying in a medical college. The youngest contributor of this blog eight years ago is now in show business. 🙂 We have people from various walks in like- Banking, Rocket science, film industry, government sector, private sector etc etc as our regular contributors and visitors. Just like people from all walks of lives used Railways to travel and enrich the nation, people of various walks have used the online media available to us to enrich the blog. When one looks at the variety that has been served in the form of guest articles in the run up to this event, one can only be amazed at the power of online collaboration. This blog is an example of what can be achieved when about a score of like minded individuals decide to collaborate on a topic of their choice. We never collaborated with the aim that we had to last for a certain period of time say ten years. We collaborated because we enjoyed what we were doing. When one enjoys doing something and works with a missionary zeal, one can keep doing it for long periods without feeling fatigued or disillusioned. The musical bandwagon had hardly lost any steam. In fact, I feel that we can pick up speed again. We still have lots and lots more of great music still left to be covered. So let us take a fresh guard again and let us star afresh once more. Here is hoping that this bandwagon will keep rolling on and on for the foreseeable future.
I take this opportunity to thank one and all. Without the support of encouragement, this labour of love could not have seen this day. The fact that we have seen this day shows how much goodwill the blog has received from music lovers. I request more on the same. Let us fasten our seat belts and move on. We still have a long way to go.
Song-Aaj iss nagri kal us nagri dhuyen ki gaadi udaaye liye jaaye (Nayaa Zamaanaa) (1957) Singer-Rafi, Lyrics-Prem Dhawan, MD-Kanu Ghosh
All chorus
Male chorus
Lyrics
Aaj is nagri kal us nagri
dhuyen ki gaadi udaaye liye jaaye
aaj is nagri kal us nagri
dhuyen ki gaadi udaaye liye jaaye
hey kaisa ghazab ye dhaaye more raama
sajni se saajan chhudaaye liye jaaye
hoy dhuyen ki gaadi udaaye liye jaaye
(ho raama ho raama
ho raama ho raama)
aaj is nagri kal us nagri
dhuyen ki gaadi udaaye liye jaaye
aaj is nagri kal us nagri
dhuyen ki gaadi udaaye liye jaaye
bairan gaadi udti jaaye
man ko chain na aaye
sajan ke man ko chain na aaye
hai apne piyaa se door sajaniyaa
chham chham neer bahaaye
sajaniya chham chham neer bahaaye
arre ho o o o
nainan ka kajra
haathan ka gazraa
sab kuchh ye bairan churaaye liye jaaye
ho
sab kuchh ye bairan churaaye liye jaaye
(ho raama ho raama
ho raama ho raama)
aaj is nagri kal us nagri
dhuyen ki gaadi udaaye liye jaaye
aaj is nagri kal us nagri
dhuyen ki gaadi udaaye liye jaaye
phir kab milihen
raam hi jaane
aaj ke bichhde saathi
ho raama
aaj ke bichhde saathi
he
kab lag yaad
piyaa ki nit din rahegi man tadpaati
ho raama
rahegi man tadpaati
arre ho o o o o
kitne hi aansoon kitni hi aahen
dhuyen mein zaalim chhupaaye liye jaaye
ho
dhuyen mein zaalim chhupaaye liye jaaye
(ho raama ho raama
ho raama ho raama)
aaj is nagri kal us nagri
dhuyen ki gaadi udaaye liye jaaye
aaj is nagri kal us nagri
dhuyen ki gaadi udaaye liye jaaye
he kaisa ghazab
ye dhaaye more raama
sajni se saajan chhudaaye liye jaaye
ho dhuyen ki gaadi udaaye liye jaaye
(ho raama ho raama
ho raama ho raama)
aaj is nagri kal us nagri
dhuyen ki gaadi udaaye liye jaaye
aaj is nagri kal us nagri
dhuyen ki gaadi udaaye liye jaaye
aaj is nagri kal us nagri
dhuyen ki gaadi udaaye liye jaaye
aaj is nagri kal us nagri
dhuyen ki gaadi udaaye liye jaaye
aaj is nagri kal us nagri
dhuyen ki gaadi udaaye liye jaaye
Chaand pe baadal chhaa gayaa
Posted on: June 19, 2018
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| Blog Day : | 3623 | Post No. : | 14439 |
“Jalti Nishaani” (1957) was directed by Harish for Emsheth production, Bombay. The movie had Kamal Kapoor, Geeta Bali, Kuldeep Kaur, Sundar, Ulhaas, Chaman Puri etc in it.
Four songs from this movie have been discussed in the past.
Here is the fifth song from this movie. This song is sung by Lata and chorus. Qamar Jalalabadi is the lyricist. Music is composed by Anil Biswas.
I am unable to make out the lyrics of the chorus which is either gibberish or words in some other language. I request our knowledgeable readers to tell us what these worlds could be.
Song-Chaand pe baadal chha gaya (Jalti Nishaani)(1957) Singer-Lata, lyrics-Qamar Jalalabadi, MD-Anil Biswas
Chorus
Lyrics
?????
chaand pe baadal chha gaya
?????
chaand pe baadal chha gaya
?????
halka halka ujlaa ujlaa
chaand pe baadal chha gaya
?????
husn kisi ka thhandi aag
?????
aaine(?) mein jala charaag
?????
husn kisi ka thhandi aag
aaine(?) mein jala charaag
haay re nazren bahki bahki
bahki bahki
bahki bahki
hay re najre bahki bahki
maykhaana sharma gaya
chha gaya re chha gaya
chaand pe baadal chha gaya
?????
haay jawaani haay shabaab
?????
mil na saka nazron ko jawaab
?????
haay jawaani haay shabaab
mil na saka nazron ko jawaab
o o o
o o o
o o o
o o o
o o o
o o o
shamm e-mohabbat chhupke chhupke
chhupke chhupke
chhupke chhupke
shame-mohabbat chhupke chhupke
koi jalaakar chala gaya
chala gaya
chala gaya aa
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