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

Archive for the ‘Songs of 1960’ Category


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular 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 :

4168 Post No. : 15342 Movie Count :

4229

Hindi Songs in Bangla Films – 12
– – – – – – – – – – – – – – – – – –

‘Kshudhit Pashan’ (‘The Hungry Stones’ 1960, Bangla film) was based on a short story of the same name by Gurudev Rabindranath Tagore. It is said that Gurudev wrote this unusual ghost story towards of end of 19th century based on his visit to Ahmedabad where his elder brother, Satyendranath Tagore ICS, was posted as a District Magistrate. At that time, he had stayed in Shahi Mahal Palace built by Shah Jahan in 1620, situated at the banks of river Sabarmati, a part of which was converted in to residential quarters for civil servants by the British Government. Since during the day time, his brother would go for work as a District Magistrate leaving Gurudev alone in large rooms, the palace gave him a feeling of a haunted house. However, in the story, the names of the place and the river were changed.

The film belonged to the ghost/mystery genre which was directed by Tapan Sinha. The main cast included Soumitra Chatterjee, Arundhati Devi (wife of Tapan Sinha), Chhabi Biswas, Radhamohan Bhattacharya, Dilip Roy, Padma Devi etc. The film is available for viewing (albeit in 10 parts) on a video sharing platform with English sub-titles. However, I feel that it is an edited version of the original film to suit the maker of DVD as sometime the story link is broken. The gist of the story of the film is as under:

A tax collector (Soumitra Chatterjee) is posted in a small town where he decides to stay at an old palace constructed during Mughal period. He is warned by his servant, the local post master and others that the palace is haunted and he should avoid staying there. When his servant, Karim Khan was showing him the palace, he hears an unknown voice shouting in Hindi ‘bhaag jaao, bhaag jaao. Ye sab jhoot hai’. Karim Khan says that it was the voice of a mad man who had become the victim of the ghost.

Karim Khan explains as to why this palace has become haunted. About 250 years back, this palace was built by a Nawab for his merry making and leisure. Beautiful girls from Iran, Iraq, Arab and also from all over India were brought here who became the victims of his lust. There used to be musical and dance performances to entertain Nawab. Now the palace has become haunted because of thousands of tortured women’s spirits are moving there. So, whoever stays there in the night became their victim. Even thieves would not venture in the palace after dark. There are as many stories of crime and atrocities as the number of stones used in building the palace. Instead of getting terrified, the tax collector becomes more determine to stay in this haunted palace despite the fact that no servant would stay in the palace during the night.

In the very first night, the tax collector (no name has been given to Soumitra Chatterjee’s role) gets the first-hand experience of the weird sounds of anklets, the musical instruments and a Tarana (sung by Ustad Amir Khan), the kind of dance and music that would have been performed in a court of Nawab. He also gets to see a beautiful noble woman named Mumtaz from the Mughal era (enacted by Arundhati Devi), who turns out to be a ghost from that time. She was one of the victims of Nawab’s lust who had been kidnapped from one of the Arab countries and thus gets separated from her beloved. Eventually she dies without meeting her beloved. The tax collector is attracted by Mumtaz and has conversations with her even though she remains quiet. Now onward, he waits for her every night. She appears but remains quiet without answering his queries. (The reasons could be that either she does not understand the language spoken by the tax collector or she is a ghost). He feels that he was her beloved in his earlier birth. In one of the nights, he witnesses well-choreographed Kathak dance when she appears by his side. But the next moment, she is missing and found watching the dancers in the court and then she vanishes. (This is one of the best kathak dances I have seen in the films. The way the kathak dancer synchronises notes by notes of the Sarod player is mind boggling).

Whether the tax collector is imagining the scenes as per the story told by his servant or he is getting dreams or he is hallucinating is not clear. Probably, Tapan Sinha, the director has left to the imagination of the viewers. But in either case, the tax collector is caught in a time warp where his past and present is divided between nights and days respectively. There is a scene in the film where he tells his post master friend that he feels as if he is living in the Arabian nights.

The tax collector’s confused state of mind makes him ill and he is not able to concentrate on his office work for which he was posted. His servant advises him to shift to to a new place for stay and avoid visiting the palace which he agrees. But the attachment to Mumtaz is so strong that he visits the palace. He is so obsessed with Mumtaz that he takes on rent the Mughal attire to match with that of Mumtaz. His illness becomes severe and he is advised to go back to his home town. The film ends with his servant arranging a horse cart to take him to the railway station.

In the original story by Gurudev Rabindranath Tagore, the English translation of which is available here, there is no end as the narrator of the story to the protagonist, a railway co-passenger waiting for the train to arrive on the platform, suddenly picks up his luggage to join an Englishman in the first class compartment without completing the story.

The cinematic treatment given to the story in the film is interesting. Tapan Sinha has used dream and fantasy to make it interesting for the viewers. He has transformed the original ghost story to a romantic haunted story. There are not many dialogues in the film. Even among the limited dialogues, most of dialogues involving the servant, Karm Khan and with Mumtaz are in Hindi. The highlight of the film is the beautiful background music given by Ustad Ali Akbar Khan (who was also the music director for the film). I think, it is for the first time that for creating a haunting atmosphere, solo Sarod recitals by Ustad Ali Akbar Khan and the solo Sitar recitals by Pandit Nikhil Banerjee have been effectively used.

The film won a National Award for the second-best feature film in 1960 and an award in the Ireland Cork Festival in 1960. After about 30 years from the release of the film, Gulzar made the Hindi version film ‘Lekin’ (`1991) with his adaptation of Gurudev Rabindranath Tagore’s ‘Kshudhita Pashan’.

There are 5 songs in ‘Kshudhita Pashan’ (1960) which have been used as background songs. Three of them in Hindi are rendered by Ustad Amir Khan. All these three classical songs are of different genres and have also been used for the background score which are played on the Sarod/Sitar. ‘dhimta dhimta dhimta’ is rendered as Taraana, ‘piya ke aavan ki’ as Dadra and ‘kaise katey rajani ab sajani’ as Chhota Khayal. Incidentally, Ustad Amir Khan never sang semi-classical genre – Thumri, Dadra, Ghazal etc. in concerts. Nor did he record the song in these genres. The only exceptions were that he sang a ghazal for a Film Division’s documentary film ‘Mirza Ghalib’ and a Dadra in ‘Khudhito Pashan’ (1960).

I am presenting a traditional bandish ‘kaise katey rajani ab sajani’ rendered in Raag Bageshree as Chhota Khayal by Ustad Amir Khan and Pratima Banerjee. On screen, it is a background song when Soumitra Chatterjee (the tax collector) and Arundhati Devi (Mumtaz) meets for the first time in the palace in the night. The rendition gives an aura of the bygone Mughal era court where classical singings, dancing and poetry recitation were common. The bandish is also symbolic for Soumtra Chatterjee for his state of mind as also to Arundhati Devi as the ghost of Mumtaz who had been separated from her beloved. This bandish has been often played in the film as short renditions as well as the background score on musical instruments.

Video Clip (Partial):

Audio Clip:

Song-Kaise kate rajni ab sajni (Kshudhita Pashan)(1960) Singers-Ustad Amir Khan, Pratima Banerjee, MD-Ustaad Ali Akbar Khan
Both

Lyrics(Based on Audio Clip)

aaaaaaaaaaaaaaa
aaaaaaaaaaaa aaaa
aaaaaaaaaaaaaaa
aaaaaaaaaaaaa aa
kaise katey rajani
ab sajani
kaise katey rajani
ab sajani
piya bin mose raho na jaaye
kaise katey rajani
ab sajani

ghadi pal chin mohe jug si beetat hai
ghadi pal chin mohe jug si beetat hai
un bin jiya atu hi akulaaye
kaise katey rajani ab sajani
sajani ee ee ee
saja….ni ee ee ee
kaise katey rajani ab sajani
sajani eeeeeeeeeeeeeeeeeee
saja…aa..ni ee ee ee
kaise katey rajani ab sajani
aaaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaa
aaaaaaaaa sa…..ja…..ni ee ee ee
kaise katey rajani
kaise katey rajani ab sajani
naina more daras ke pyaase
naina more daras ke pyaase
asha jhute det dilaase
asha jhute det dilaase
mann ka panchhi rowat tarpat
mann ka panchhi rowat tarpat
maanat naahi manaa aa aa aa aa ye
kaise katey rajani ab sajani
kaise katey rajani ee ee ee ee


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 : 4148 Post No. : 15314

“Qaatil”(1960) was produced by N N Sippy and D R Chandra and directed by Muhammad Hussain for Prithvi Pictures Bombay. This “crime” movie had Premnath, Chitra, Heeralal, Lalita Pawar, Kamal Mehra, Renu Makad, Shaam Kumar, Madhumati, Meena Parel, Dhondu, Kamal Mohan, Balaram, Najma, Nazeer Kashmiri etc in it.

The movie had seven songs in it. Three songs have been covered in the past.

Here is the fourth song from “Qaatil”(1960) to appear in the blog. This song is sung by Asha Bhonsle. Khumar Barabankwi is the lyricist. Music is composed by Naashaad.

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


Song-Bewafa deke daga jaata hai (Qaatil)(1960) Singer-Asha Bhonsle, Lyrics-Khumar Barabankwi, MD-Naashaad

Lyrics

o bewafa aa
bewafa aa
bewafa

bewafa de ke daga jaata hai
pyaar badnaam hua jaata hai
bewafa de ke daga jaata hai
pyaar badnaam hua jaata hai

o mujhe chhod ke jaane waale
o mujhe chhod ke jaane waale
dil ke dushman hai zamaane waale
phool kaanton mein ghira jaata hai
pyaar badnaam hua jaata hai
bewafa
bewafa
bewafa de ke daga jaata hai
pyaar badnaam hua jaata hai

gham ki ghanghor ghata chhaayi hai ae ae ae
gham ki ghanghor ghata chhaayi hai
chaand taaron ko bhi neend aayi hai
dam andhere mein ghuta jaata hai
pyaar badnaam hua jaata hai

dil hi mein rah gaye armaan dil ke
dil hi mein rah gaye armaan dil ke
jo diya hamne jalaaya mil ke
wo diya aaj bujha jaata hai
pyaar badnaam hua jaata hai
bewafa
bewafa
bewafa de ke daga jaata hai
pyaar badnaam hua jaata hai


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 :

4128 Post No. : 15285 Movie Count :

4208

Hindi Songs in Bangla Films – 5
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What is the common between the Hindi film song, “Jaa Tose Naahin Boloon Kanhaiyya from ‘Parivaar’ (1956) and a devotional song in Sanskrit,  “Vatapi Ganapatim Bhaje”?  The answer is that they are based on Carnatic Raag Hamsadhwani (also written as Hansadhwani).

Raag Hamsadhwani is said to have been invented by Carnatic composer Ramaswami Dikshitar (1735-1817). His son, poet-composer, Muthuswami Dikshitar wrote and composed one of the most popular Sanskrit devotional song mentioned above in Raag Hamsadhwani. The credit for bringing this raag to Hindustani classical music goes to Ustad Aman Ali Khan (1888-1953) of Bhendi Bazar Gharana who had also learnt Carnatic music under a court musician of the Mysore State. He created and composed a bandish, “Laagi Lagan Pati Sakhi Sang” in Raag Hamsadhwani.

Ustad Amir Khan, on a visit to Mumbai, met Ustad Aman Ali Khan and heard this bandish. He was so mesmerised by the bandish in Hamsadhwani that he started singing in his concerts both in Khayal and Taraana style which made it popular among the Hindustani classical vocalists and instrumentalists. Subsequently, many stalwarts among Hindustani classical vocalists such as Ustad Rashid Khan of Rampur-Sahaswan Gharana, Vidushi Kishori Amonkar of Jaipur-Atruali Gharana, Pandit AT Kanan from Kirana Gharana, Pandit Ajoy Chakraborty, his daughter and son-in-law, Kaushiki Chakraborty-Desikan and Parthasarathi Desikan – all from Patiala Gharana, Begum Parveen Sultana of Patiala Gharana etc. have rendered Raag Hamsadhwani in their concerts.

Despite the popularity of Raag Hamsadhwani among the Hindustani classical vocalists and instrumentalists, Hindi film music directors have rarely used this raag in composing the songs. Probably, Salil Chowdhury may be the first Hindi film music director to compose a full-fledged song in this raag for the film ’Parivaar’ (1956) as mentioned above. C Ramchandra did use some shades of Raag Hamsadhwani in the song, “O Chaand Jahaan Wo Jaayen in ‘Sharada’ (1957). I feel that Shankar-Ehsan-Loy has also used some shades of this raag in his fusion song, “Tere Naina Hans Diye in ‘Chaandni Chowk to China’ (2009).

A few days back, Partha Chanda ji, in one of his comments in our Blog, has pointed out that there is a great classical piece in Ritwik Ghatak’s Bangla film ‘Meghe Dhaka Tara’ (Cloud Capped Star), 1960.  I found out that there is not one but two classical Hindi songs in this film sung by Pandit AT Kanan and both are set in Raag Hamsadhwani. I have picked up one of the songs which is the bandish originally created by Ustad Aman Ali Khan.

I was not familiar with the name of Pandit AT Kanan. Since he was one of the ’Gurus’ at ITC Sangeet Research Academy, Kolkata since its inception in 1977, a brief profile of him was available on ITCSRA website. The following information about Pandit AT Kanan is mainly based on this source.

Pandit AT Kanan (18/06/1922 – 02/09/2004) was born in Chennai as Arkut Kannabhiran. As a teenager, singing became his hobby whereas cricket was his passion. At the age of 18, he joined Railways and played cricket for them. In early 1940s, Kanan visited Mumbai for a scheduled cricket match. After the match, he visited All India Radio, Mumbai to check the suitability of his voice for singing over the radio. When the AIR official heard his voice, they immediately offered him a program to be broadcast. This was the beginning of his tryst with Hindustani classical music.

On his transfer to Hyderabad, AT Kanan took the guidance for vocal training from Pandit Lahanu Babu Rao. He was once again transferred to Kolkata where he resumed training under Pandit Girija Shankar Chakraborty. In 1943, he gave his debut performance at All Bengal Music Conference. After about two years of his stay in Kolkata, Pandit Kanan was under orders of transfer. By this time, he had already established himself in Kolkata as a Hindustani classical vocalist of repute. His admirers persuaded him to leave the railway job and stay in Kolkata. Thus, he became a full time Hindustani classical vocalist.

Sometime in the 1950s, Pandit Kanan along with other musicians, established Kolkata Music Circle. Those days, Kolkata was one of the main centres of Hindustani classical music. Some of the Hindustani classical vocalists and instrumentalists used to regularly give their performance in the city. Pandit Kanan got opportunity to inter-act with Ustad Amir Khan, Pandit Ravi Shankar, Ustad Akbar Ali Khan, Vidushi Hirabai Barodekar etc.

Pandit Kanan’s renditions of the Raag ‘Hamsadhwani’, ‘Rageshri’, and ‘Jog’, among others, made him an extremely popular Khayal singer not only in Kolkata but also throughout the country. A top grade AIR artist, Pandit Kanan performed in all the important music conferences in the country, including National Programmes and Radio Sangeet Sammelans. He was also a playback singer in the Bengali films such as ‘Jadu Bhatta’ (1954), ‘Basanta Bahar’ (1957), ‘Megh Malhar’ (1958), ‘Meghe Dhaka Tara’ (1960), etc. He was bestowed with Sangeet Natak Academy Award in 1995.

In 1958, he married Malbika Roy (later known as Malbika Kanan) who was also a Hindustani classical vocalist.

Although, Pandit Kanan developed his own style of Khayal singing, some Hindustani classical vocalists believe that later on, he was influenced by the Khayal singing style of Ustad Amir Khan with whom he used to regularly exchange notes. I guess, this may be the reason that on the ITCSRA website, Pandit Kanan has been shown under Kirana Gharana. Of course, Ustad Amir Khan had also improvised the style of Kirana Gharana which his disciples named as the Indore Gharana style.

‘Meghe Dhaka Tara’ (1960), is the first of the trilogy of Ritwik Ghatak’s films on the aftermath of the partition of Bengal. Anil Chatterjee is a part of a family who has migrated from East Pakistan after the partition and are staying in the outskirt of Kolkata. He is the eldest son who is dreaming of becoming a Hindustani classical vocalist. He does not earn money for the family. Instead he is a wanderer. His sister (Supriya Devi) takes care of the family by earning but her efforts are not appreciated by any one in the family. In this process, she sacrifices her personal life (her fiancé is more interested in her sister than her) and her health for the betterment of the family. At the end, her serious illness becomes the burden on the family. And she still wants to live.

As mentioned earlier, Pandit Kanan’s Khayal rendition in Raag Hamsadhwani was regarded as the one of his most popular renditions those days. So, it was natural that he lips syncs for Anil Chatterjee for the bandish “Laagi Lagan Pati Sakhi Sang” in Raag Hamsadhwani in the film ‘Meghe Dhaka Tara’ (1960).

The bandish has been rendered as a ‘chhota khayal’. Although the music director for the film was Anil Chandra Sengupta, credit should go to Ustad Aman Ali Khan who had originally composed the bandish.

I did not find the record version of the bandish used in the film on the websites. Probably, it may not have been issued in the record version. Hence, I have provided the link of an audio clip of the longer version of the same bandish rendered by Pandit AT Kanan.

Video

Audio (Longer Version)

Song – Laagi Lagan Pati Sakhi-san  (Meghe Dhaka Tara) (1960) Singer – Pt AT Kanan, Lyrics – Ustad Aman Ali Khan, MD – Ustad Aman Ali Khan

Lyrics (Based on Video Clip)

laaa..aagi lagan pati sakhi-san
laaa..aagi lagan pati sakhi-san
parama sukh aa
ati anandana aa
parama sukh aa
ati anandana aa
laa..aagi lagan pati sakhi-san
laagi lagan pati sakhi-san
laagi lagan pati sakhi-san
laa..aagi lagan pa

laa aa aaaaaaaaaaa aa
laaaaaa..gi
laaaaaaaaaa. . .
laaaaaaaaa..gi
laaaaaaaaaaaaa aa
laaaaaaaaaaaaa aa aa…gi
laagi lagan pati sakhi-san
laaa..aagi lagan pati sakhi-san
laaa..aagi lagan pati sakhi-san
 
[Dialogues]
 
ang sugandhan chandan maathe ti..lak dhare
ang sugandhan chandan maathe ti..lak dhare
drigan-nayanan anjana fabnatey
amar ho nit pati kaaje sadan
laaa..aagi lagan pati sakhi-san
laaa..aagi lagan
laaa..aagi lagan
laagi lagan pati sakhi-san
laagi lagan pati sakhi-san
la..gi lagan
la..gi lagan
laagi lagan aaa


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.

Blog Day : 4066 Post No. : 15202

Jaane Jaana Yoon Na Dekho Aaj Nafrat Se Mujhe” – this lovely lilting from the 1963 film ‘Faulaad’, is the creation of the songwriter Anjaan. A poet who has given us some of the most wonderful gems of the Hindi screen. Songs like “Pipraa Ke Patwaa Sarikhe Doley Manwaa” (‘Godaan’, 1963), “Bahaaro Thaam Lo Ab Dil, Mera Mehboob Aata Hai”(‘Namaste ji’, 1965), “Aap Ke Haseen Rukh Pe Aaj Nayaa Noor Hai”(‘Bahaaren Phir Bhi Aayengi’, 1966),  “Aaj Tumse Door Ho Kar, Aise Royaa Mera Pyaar”(‘Ek Raat’, 1967), and “Bina Badraa Ke Bijuriyaa Kaise Chamke”(‘Bandhan’, 1969) – and on to “Rotey Huye Aate Hain Sab, Hansta Hua Jo Jaayegaa. . .”(‘Muqaddar Ka Sikandar’, 1978), “Maano To Main Ganga Maa Hoon, Naa Maano Te Behtaa Paani”(‘Ganga Ki Saugandh’, 1978), “O Khaike Paan Barnaaras Waala” (‘Don’, 1978), “Pag Ghunghroo Baandh Meera Naachi Thi” (‘Namak Halaal’, 1982), “Gori Hain Kalaayi’aan, Tu La De Mujhe Hari Hari Choodiyaan” (‘Aaj Ka Arjun’, 1990). And many more.

Remembering Anjaan on the 22nd anniversary of his passing away, earlier this week (3rd September).

Today, I present another wonderful song penned by him – a song that has been forgotten and has remained obscure for decades. The film is equally obscure – ‘Lady of the Lake’ from 1960. The film is produced and directed by AM Khan, under his own banner of AM Khan Productions, Bombay. It is a fantasy cum stunt film. The list of actors includes Azad, Krishna Kumari, Shaam Kumar, Sherry, Jai, Neelima, Shahgul, Ram, Fani Tinchar, Jilani, Jameela, Baby Leela, OK, Avtar, Maqbool, Robert, and Burhan etc.

The film has nine songs shared between three songwriters. Five songs are written by Anjaan, one by Saba Afghani and the remaining three by Munshi Naayab. Two songs of this film are already represented on our blog.  Today’s song is also from the pen of Anjaan. Music for all the songs is composed by the music director duo of Suresh-Talwar.

The lyrics of this song have been sent in by Nitin Shah.

This song is a duet in the voices of Geeta Dutt and Mahendra Kapoor. Here is duet combination of two well known singers, who came together very rarely during their careers. There may probably be fifteen or maybe less, songs that they have sung together.

A wonderful lilting melody that should have been heard more often. I am sure you would agree.

 


Song – Sun Re O Chhalia, Boley Kya Paayaliya (Lady Of The Lake) (1960) Singers – Geeta Dutt, Mahendra Kapoor, Lyrics – Anjaan, MD – Suresh-Talwar

Lyrics (Provided by Nitin Shah)

sun re o chhaliya
boley kya paayaliya
chhed ke dil ke taar
sajanawa aaj na ja
balamwa aaj na ja
o tere bina ratiya
o re mann basiya
soona laage sansaar
sajanwa aaj na ja
balamwa aaj na ja

kab se baithi raah mein teri
baalam aas lagaaye
ho oo oo balam aas lagaaye
itne din ke baad miley bhi
to tum rahe paraaye
ho oo oo
do dil milne na paaye
behki adaayen
tujh ko bulaayen
dil hai bada beqraar
sajanwa aaj na ja
balamwa aaj na ja

jaadu ajab chalaaye gori
tera roop suhaana
ho oo oo tera roop suhana
pehli jhalak mili jab teri
dil ho gaya deewana
haaye ab isey kahaan hai jaana
ruk ja re ruk ja
palkon mein chhup ja
kar le ji bhar pyaar
sajanawa aaj na ja
balamwa aaj na ja
o sun re o chhaliya
boley kya paayaliya
chhed ke dil ke taar
sajanawa aaj na ja
balamwa aaj na ja

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

सुन रे ओ छलिया
बोले क्या पायलिया
छेड़ के दिल के तार
सजनवा आज न जा
बलमवा आज न जा
ओ तेरे बिना रसिया
ओ रे मन बसिया
सूना लगे संसार
सजनवा आज न जा
बलमवा आज न जा

कब से बैठी राह में तेरी’
बालम आस लगाए
हो ओ ओ बालम आस लगाए
इतने दिन के बाद मिले भी
तो तुम रहे पराये
हो ओ ओ
दो दिल मिलने ना पाये
बहकी अदाएँ
तुझ को बुलाएँ
दिल है बड़ा बेक़रार
सजनवा आज न जा
बलमवा आज न जा

जादू अजब चलाये गोरी
तेरा रूप सुहाना
हो ओ ओ तेरा रूप सुहाना
पहली झलक मिली जब तेरी
दिल हो गया दीवाना
हाय अबे इसे कहाँ है जाना
रुक जा रे रुक जा
पलकों में छुप जा
कर ले जी भर प्यार
सजनवा आज न जा
बलमवा आज न जा
ओ सुन रे ओ छलिया
बोले क्या पायलिया
छेड़ के दिल के तार
सजनवा आज न जा
बलमवा आज न जा


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

Blog Day : 4003 Post No. : 15106

———————————————–——————————————
Blog 10-Year Challenge (2009-19) – Song No. 37
——————————————————————————————

This day, ten years ago – as such sections are generally titled in newspapers that carry a review of their news content from 50 or 100 or 150 years in the past. Well yes, our antecedents are more modest, and so we hark back 10 years into our collection on the blog. On 4th July, ten years ago, the films that got posted were,

 

Jauhri 1951
Dholak 1951
Chaand Mere Aaja 1960
Bank Manager 1959
Faulaad 1963
Jawaab 1970

 

Of these six films, three had made their debut on that date. The debut making films are ‘Jauhri’ (1951), ‘Chaand Mere Aaja’ (1960) and ‘Jawaab’ (1970).

And then, of these six films, three have been yippeee’d so far – ‘Dholak’, ‘Bank Manager’ and ‘Faulaad’. Of the remaining six, one film is on the threshold of being announced as a yippee film. And this film is ‘Chaand Mere Aaja’. So we are posting the final song of this film, to formally announce this film as being yippeee’d today.

Reminds me, it would be an interesting analysis to know, how many of the Ten Year Challenge posts are resulting in the film being yippeee’d. Meaning that the film’s debut date and the yippee date are exactly 10 years apart.

The film ‘Chaand Mere Aaja’ of 1960 has 7 songs listed in the Geet Kosh. Of these, six are already showcased on our blog. We bring on board, the final song of this film today. It is interesting to note that, as per the Geet Kosh, six of the songs of this film are available on gramophone records. And the 7th, which is today’s song, is available only in the film’s soundtrack. Thankfully, the video clip of this song is available online.

The song is written by IC Kapoor. Music composition is by Chitragupt. And the singing voice is of Mohammed Rafi. On screen, this song is performed by Bharat Bhushan. The song is presented in a party, where apparently, the tone of the song does not quite jell with the mood and ambience of a get together of the rich and well to do people.

In any case, we bring on board the last and final song of this film, adding it to the list of films with all songs covered –  over a period of ten years – exactly. 🙂

 

Song – O Duniyawaalo Kaisa Tumhaara Ye Sansaar Hai (Chaand Mere Aaja) (1960) Singer – Mohammed Rafi, Lyrics – IC Kapoor, MD – Chitragupt

Lyrics

o duniya waalo..oo
oo oo oo oo
o duniya waalo
kaisa tumhaara ye sansaar hai
o duniya waalo
kaisa tumhaara ye sansaar hai
jhoothe ki jeet yahaan
sachche ki haar hai
jhoothe ki jeet yahaan
sachche ki haar hai
o duniya waalo
kaisa tumhaara ye sansaar hai
o duniya waalo..oo

bade bade bazaar saja kar
gali gali mein dhol baja kar
sona dikhla peetal bechen
gin kar paise poore letey
dil ka sauda jaan ka sauda
hota hai imaar ka sauda
khoon pasina bik jaata hai
maut aur jeena bik jaata hai
pooch raha hai tumse bolo
kaisa ye vyohaar hai
o duniya waalo
kaisa tumhaara ye sansaar hai
o duniya waalo..oo

aansoo le lo aanhen le lo
hasrat le lo chaahen le lo
taambe ka ik tukda phenko
toote dil ki duaaen le lo
loot chuke ho duniya saar
is par bhi taqraar hai
o duniya waalo
kaisa tumhaara ye sansaar hai
o duniya waalo..oo

sapnon ki duniya ko chhodo
asliyat se munh na modo
kab tak jhoothi shaan rahegi
do din to ye jaan rahegi
saaz samay ka bol raha hai
raaz ke taale khol raha hai
kaath ki handiya jal ke rahegi
khota ye vyopaar hai
o duniya waalo
kaisa tumhaara ye sansaar hai
o duniya waalo
kaisa tumhaara ye sansaar hai
o duniya waalo..oo

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

ओ दुनिया वालो॰॰ओ
ओ ओ ओ ओ
ओ दुनिया वालो
कैसा तुम्हारा ये संसार है
ओ दुनिया वालो
कैसा तुम्हारा ये संसार है
झूठे की जीत यहाँ
सच्चे की हार है
झूठे की जीत यहाँ
सच्चे की हार है
ओ दुनिया वालो
कैसा तुम्हारा ये संसार है
ओ दुनिया वालो॰॰ओ

बड़े बड़े बाज़ार सजा कर
गली गली में ढ़ोल बजा कर
सोना दिखला पीतल बेचें
गिन कर पैसे पूरे लेते
दिल का सौदा जान का सौदा
होता है ईमान का सौदा
खून पसीना बिक जाता है
मौत और जीना बिक जाता है
पूछ रहा है तुमसे बोलो
कैसा ये व्योहार है
ओ दुनिया वालो
कैसा तुम्हारा ये संसार है
ओ दुनिया वालो॰॰ओ

आँसू ले लो आहें ले लो
हसरत ले लो चाहें ले लो
तांबे का इक टुकड़ा फेंको
टूटे दिल की दुआएं ले लो
लूट चुके हो दुनिया सारी
इस पर भी तक़रार है
ओ दुनिया वालो
कैसा तुम्हारा ये संसार है
ओ दुनिया वालो॰॰ओ

सपनों की दुनिया को छोड़ो
असलियत से मुंह ना मोड़ो
कब तक झूठी शान रहेगी
दो दिन तो ये जान रहेगी
साज़ समय का बोल रहा है
राज़ के ताले खोल रहा है
काठ की हँडिया जल के रहेगी
खोटा ये व्योपार है
ओ दुनिया वालो
कैसा तुम्हारा ये संसार है
ओ दुनिया वालो
कैसा तुम्हारा ये संसार है
ओ दुनिया वालो॰॰ओ


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Blog Day :

4000 Post No. : 15100

Today (1 july 2019) happens to be the first day of the month (pehli taareekh). People today arev no longer as happy and bullish about pehli taareekh as they were till a few decades back, nevertheless it remains an important day for people.

This time, it happens to be monday, the first working day as well. 😉 It is as if one is beginning a new month with a clean slate, with the first working day of the week. 🙂 There are people who dread mondays. I am sure regulars of this blog are not among such people. 🙂

This day happens to be quite an important day for the blog as well. Today is the 4000th day for this blog ! 4000 days of continous vibrant existence, with posts almost every day !

Out of 4000 days, there have been 217 dot days (5.4 % days) when no posts were published, otherwise there have been posts everyday on 3783 days (94.6 %) out of these 4000 days !

The peak daily strike rate of this blog was 4.626 posts a day on 1902th day of the blog on 2 october 2013 when 8800th post was posted. Those were the days when covering six songs in a day was considered normal in the blog. The strike rate began to fall from 2015 onwards and today on the 4000th day of the blog we are on 15100 only !

Did I say post number 15100 ? Yes, I did. Today on the 4000th day of the blog, we reach another century post, namely post number 15100 in the blog.

Many of our writeup contents, like our strike rate of posts have dried up as well, nevertheless we still summon enough creative juices for special occasions. Blog century post is one such special occasion.

This writeup is a labour of love (a favourite phrase for this blog) and it covers a topic that I wanted to cover on 5 june 2015, which was world environment day. Though I had considerable data on this topic, I was not able to convert all that data into useful and interesting information in the limited time that I could summon by that date. So I decided that this topic would be covered while discussing post number 15100. I discussed the matter with Sudhir Jee and requested him to find a suitable song. Finally we zeroed in on a song that is quite appropriate and suitable for the occasion as well as the topic being discussed in the song.

The topic of this writeup is environment. This writeup covers a man who has singlehandedly performed a Herculean task ( भगीरथ प्रयास) in the area of environment.

Who is this man and what he has done ?

Jitu Kalita, a Jorhat-based journalist who writes a popular column on nature in Prantik, an Assamese magazine, was stalking vultures when he found himself on the far side of Aruna sapori (sapori is the Assamese word for island), entering a forest, when a visibly perturbed tribal man practically attacked him and chased him off the land.

Later, Jitu Kalita managed to pacify the man and he convinced him that he was a journalist and not a poacher as apprehended by the tribal man. It was then that the tribal man, named Jadav Payeng, gradually opened up to Jitu Kalita and Jitu Kalita had the biggest news scoop of his career.

He is a man called Jadav “Molai” Payeng, a native of Assam. A man in his late 50s, he is an ordinary man who lives in a village near Jorhat (Assam). A tribal man of Mising tribe of Assam, he makes his living by milking his cattles and selling their milk.

When he was young, he lived with his parents and family is an island on River Brahamputra, near a small town called Kokilamukh located on south bank of the river.

In 1965, there was a big flood and that devastated the island (called Kartic sapori or Aruna sapori). Jadav Payeng’s family decided to move to another island to the north, namely Majuli island (which incidentally is the biggest river island in the world).

Before relocating, acute poverty compelled his parents to leave five-year-old Jadav in the care of Anil Borthakur, a court-master at the District Judge Court in Jorhat, who looked after his schooling.

In 1979, after he had appeared for his matriculation examination in a Jorhat School, Jadav Payeng visited his native place during summer season. What he saw there devastated him. He saw hundreds of dead snakes or the dry and hot sands. These snakes, which were washed ashore that island during rainy season, had died in summer because there was no vegetation growing in the sands that could protect and nurture these snakes. Jadav Payeng was heart broken. If snakes could die like this, then in future humans can likewise die if there is no vegetation to protect and nurture them- he thought. And he resolved to do something about that.

He approached forest department (where he had worked as a labourer in their project of afforestation), but they refused to help him and stated that it was not possible to do what he wanted.

Jadav Payeng asked the elders who lived in that area about some suitable vegetations that could be grown there. They advised him to grow world’s tallest grass. Initially confused, he later came to know that they described bamboo as world’s tallest grass. They also provided him some seeds.

Jadav Payeng began to plant seeds regularly from that day in 1979. Initially it was bamboo, and later, when Bamboo trees formed a decent enough self sustaining vegetation, he began to plant other variety of seeds as well.

Jada Payeng kept on and on for more than three decades unsung, unknown, unheralded. He obviously had genuine passion for the task that he could go on and on singlehandedly for this long without any support.

It was only thanks to the chance discovery by nature photographer Jitu Kalita that people came to know about this forest which was grown singlehandedly by one man.

This forest became so large and so thick that wild animals like Elephants (from Dibrugarh), Rhinos (from Kaziranga) and tigers (from Karbi anglong) found their way into his forest.

This jungle was named Mulai kathoni (Mulai jungle) by the local people, where Mulai was his nickname.

Jadav Payeng had built his tribal style home (known as Changghar – house on stilts in the Mising style) in the jungle where he lived with his family (wife and three kids). When the herd of elephants first arrived in the jingle in 2008, they overran his home.

He stood and watched from a distance and realised the magnitude of what he had done. While the others watched on, baffled, he was overcome with joy. And he had every reason to be – he has succeeded in bringing life (that too wildlife) back to the island.

But his celebrations were short-lived. A few days later, angry villagers, having assessed the damage to their crops, blamed Mulai Kathoni for attracting the elephants. One mob manifested their anger by cutting down trees while another set fire to a patch at the far end. He reckons he lost one tenth of the forest in that first wave of mindless violence.

Fortunately, things calmed down since. The forest department too realised that wild elephants had gone to this “new” jungle that they knew nothing about till then. The ex-gratia payment for damaged crops offered by the Forest Department, the media attention and accolades bestowed on Payeng helped in suppressing the rage of the villagers.

What was empty sandbar had transformed into a full fledged jungle spread over 1360 acres (550 hectares). The forest now had around 5000 trees of over 100 different species, all singlehandedly planted by him. The vegetation included shimloo, shishoo, bhelo, gamari, segun, jamun, aam, kathol, shirish, dimolu, kohee, koroi, arjuna, amla, kadam, krishnasure, aizar, two types of neem, bagori etc (all local names). Most he planted himself; others grew from the seeds dispersed by winds, birds and the Brahmaputra. The forest now had fullfledged fauna consisting of Elephants, tigers, rhinos , deers, monkeys, rabbits, vultures and other birds etc !

Central Park in Manhattan in New York, a famous man made jungle is spread over 843 acres (341 hectares). It was created thanks to the efforts of many men and machinery.

If Central Park is larger than countries of Monaco(202 hectares) and Vatican city (44 hectares), then this forest (now called mulai kathonibari or Mulai forest) is larger than Gibralter (area 680 hectares) of Great Britain and comparable to area cocos island of Australia (1373 hectares).

Jadav Payeng’s fame spread slowly. Initially it was confined to local media. From 2012 till 2015, he became known mainly among academic circles and he was honoured by JNU (2012) where he was hailed as Forest Man of India. In 2013, he was honoured by Indian Institute of Forest Management.

Earlier, only people have access to corridors of power used to get government awards. Now a days, public are being encouraged to nominate people for such awards. That is how many unknown and unsung people are being recognised these days. That is how someone recommended his name for Padmshree Award and he received Padmshree Award at the hands of President Pranob Mukherji in 2015.

The Padmshree recognition caught the eyes of media and gave him world wide recognition. Many TV channels of various languages have visited him and have featured him in their TV programs. Even International media have covered him. He began to be called nationwide and even abroad to attend seminars and conferences.

Though a school drop out, he has vast knowledge about nature and he talks like an environmentalists that he actually is. He has knowledge which many theoretical environmentalists may not be aware of. For instance, he knows that Rhinos, Elephants and ungulates prefer to eat three different kinds of grasses. He is not familar with the English or scientific names of these grasses though.

He gets invited all over India and also abroad. wherever he goes, he is on the lookout for seeds of plants, which he keeps in his pocket. He manages to bring all these seeds with him to his native place in Assam and then plants them in the forest.

All this fame and recognition has not changed him. he is the same humble person that he was earlier. He did all this not for awards, but because he strongly believed in the cause. That is how he could go about this tast unrecognised and unsung for three decades.

Though not formally educated, he is an environmentalist at heart. He insists that Environment schience should be made compulsory in primary schools. Every kid, when he starts schooling should be given two saplings. He should be responsible for their care. By the time he leaves school some one decade later, his two plants would be full fledged trees. As for senior people not in school, they should plant one plant and nurture it. That way everyone of us would ensure our continued survival in earth.

“Man is responsible for the well-being of all animals and birds in this world,” Payeng explains. “If man does not take care of all animals, who will?”

Jadav Payeng lived in his hut in his jungle till 2011. Then he moved to “mainland”, namely a village called Eklong Mising Gaon near Kokilamukh in Jorhat in 2011, mainly to take care of the schooling needs of his three children.

He still goes to his jungle regularly from his “mainland” home, which involves walk on foot for a few kilimeters, followed by a treacherous boat ride over a stream of River Brahmputra, then walk of a few kilometeres, then another boat ride in another treacherous stream of river Brahmputra, and finally a trek of several kilometers before he reaches his jungle. Then the same trek back home.

To appreciate the logistics, I have provided the google earth image of his forest. One can also see the vastness of the river. As mentioned above, this small island is larger than some small nations of the world. The jungle grown by Jadav Payeng itself is larger than the smallest nations of the world.

Island in River Brahmpurta with Mulai forest
———————————————

Bird’s eye view, with River Brahmputra seen- See how wide is the river. The area to the north of mulai forest is Majuli island.
——————————————————————————————————————————–

It gives me great pleasure to introduce Jadav Payeng, the great self made environmentalist of India. What he singlehandedly achieved despite absolute lack of resources, encouragement and guidance is simply astonishng and out of the world. I am happy that his efforts were finally recognised, even if it took more than three decades.

I hope that we will not just pay lip service to his contributions, but that we will actually try and do out sincere bit for nature and environment.

The song that accompanies this writeup talks about the effects of hot weather as well. So pretty lady- Helen, who else, beseeches her beau to take her to Shimla, seeing how hot it is in the city. Let us grow more threes, so the temperatures in our cities remain under control. Else, even hill cities where people like to go to during summer will become as hot as plain during summer season. We are already witnessing this.

This song is from “Mud Mud Ke Na Dekh” (1962). The song is sung by Asha Bhonsle. Prem Dhawan is the lyricist. Music is composed by Hansraj Bahl.

On the occasion to 15100th song on 4000th day of the blog, I thank one and all for their continued support and well wishes. We have access to much better support from our fellow music lovers, much better support than what Jadav Payeng enjoyed, so I hope that we will be able to keep our musical bandwagon rolling on and on for as many years as possible.


Song-Ye hai june ka maheena aaye bada hi paseena (Mud Mud Ke Na Dekh)(1960) Singer-Asha Bhonsle, Lyrics-Prem Dhawan, MD-Hansraj Bahl

Lyrics

ye hai june ka maheena
aaye bada re paseena

ho ho ho ho
mar gayi garmi se
le chal shimle baabu
mar gayi garmi se
le chal shimle baabu
are le chal shimle baabu
main mar gayi garmi se
le chal shimle baabu
main mar gayi garmi se
are le chal shimle baabu

kaale pad gaye gaal gulaabi
naina pad gaye peele
kaale pad gaye gaal gulaabi
naina pad gaye peele
kabhi na poochha toone re baabu
ho ho ho
kabhi na poochha tooune re baabu
thanda sharbat peele
main mar gayi garmi se
le chal shimle baabu
main mar gayi garmi se
le chal shimle baabu

nainital mein bachpan beeta
srinagar mein jawani
nainital mein bachpan beeta
srinagar mein jawani
toone meri kadar na jaani haaye ae ae re
tune meri kadar na jaani
ja re rajasthani
main mar gayi garmi se
le chal shimle baabu
main mar gayi garmi se
le chal shimle baabu

dekh ke kaale kaale baadal
main to nikli ghar se
dekh ke kaale kaale baadal
main to nikli ghar se
jaane kiski lagi najariya
haaye ae ae re
jane kiski lagi najariya
chale gaye
main mar gayi garmi se
le chal shimle baabu
main mar gayi garmi se
le chal shimle baabu


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 : 3983 Post No. : 15071

“Chaand Mere Aaja”(1960) was produced and directed by Ram Daryani for Murli Movietone, Bombay. This social movie had Bharat Bhushan, Nanda, Lalita Pawar, Nalini Chonkar, Veena, Sapru, Rammurty, Amar, O P Devaskar, Anjali devi, Ishu Jageerdaar, Madhav Kale, Jeewan, Maruti etc in it.

The movie had seven songs in it. Four songs have been covered in the past. The last time that a song from this movie was covered in the blog was in 2011. India was cricket word cup champion those days. I was based at Nagpur those days. That is how far back it was . 🙂

Here is the fifth song from “Chaand Mere Aaja”(1960) to appear in the blog. This song is sung by Rafi. Prem Dhawan is the lyricist. Music is composed by Chitragupta.

The song is picturised as a teasing song on Maruti and Nanda.

Lyrics of this song were sent to me by Prakashchandra.

Audio link:

Video

Song-Haaye re zara dekho o gori mudke (Chaand Mere Aaja)(1960) Singer-Rafi, Lyrics-Prem Dhawan, MD-Chitragupta

Lyrics(Provided by Prakashchandra)

haaye rey zara dekho
o gori mudke
hum bhi toh khade hain raste mein
haaye rey zara dekho
o gori mudke
hum bhi toh khade hain raste mein
haaye rey zara dekho
o gori mudke hey ae

thhodaa saa hi paas hamko bulaao na
karo toh khayaal
aisey thukraao naa aa
thodaa saa hi paas hamko bulaao na
karo toh khayaal
aisey thukraao na
nazron ke maarey hain
hum toh bechaare hain
kab se padey hain raste mein
haaye rey zara dekho
o gori mudke
hum bhi toh khade hain raste mein
haaye rey zara dekho
o gori mudke ae

kitne hain naaz
kitni adaayen hain
dil toh hai ek
laakhon hi balaayen hain aen
kitne hain naaz
kitni adaayen hain
dil toh hai ek
laakhon hi balaayen hain
maaraa phiroon tab se
tere sang jab se
nainaa ladey hain raste mein
haaye rey zara dekho
o gori mudke
hum bhi toh khade hain raste mein
haaye rey zara dekho
o gori mudke hey ae hey

tere liye laakh gaaliyaan bhi khaayee hain
sar pe hazaar aafatein uthaayeein hain aen
tere liye laakh gaaliyaan bhi khaayeen hain
sar pe hazaar aafatein uthaayeein hain
sab ne sataayaa hai
toone bhi rulaayaa hain
phir bhi ade hain raste mein
haaye rey zara dekho
o gori mudke
hum bhi toh khade hain raste mein
haaye rey zara dekho
o gori mudke
hum bhi toh khade hain raste mein
haaye rey zara dekho
o gori mudke


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

Blog Day : 3972 Post No. : 15058

———————————————–——————————————
Blog 10-Year Challenge (2009-19) – Song No. 34
——————————————————————————————

Ten years back, 3rd June, 2009, five songs and five films. The films are,

Shart 1954
Return of Mr Superman 1960
Ganga Jamuna 1961
Khoj 1971
Ek Baar Muskura Do 1972

The film ‘Shart’ from 1954 made its debut on the blog with the iconic “Naa Ye Chaand Hogaa Na Taare Rahenge”. In terms of completion, the films ‘Shart’ and ‘Ganga Jamuna’ have been yippeee’d already. The remaining songs of the rest of the three films are waiting in the wings.

Coming of 1960s also saw the waning of the career of music director Anil Biswas. Active in the industry since 1935, Anil Biswas has made a very significant and a lasting contribution to the music of Hindi cinema. A trendsetter in many ways, Anil Da has also been responsible to introduce and groom some of the finest singing voices in the industry.

After two and half decades, in the beginning of 1960s, his body of work was reduced to just a trickle. In 1961, he directs the music for ‘Lucky Number’; in 1962, it is ‘Sautela Bhai’; and after many delays, ‘Chhoti Chhoti Baaten’ finally got released in 1965.  And it turns out to be his last film in the industry. He had actually moved to Delhi already, during this time frame (March of 1963) and was working at the All India Radio as the director of the National Orchestra and Chief Producer of the program ‘Sugam Sangeet’.

Today, we revisit one of his lesser known films – ‘Return of Mr Superman’ from 1960. The song is a mujra performance, presented on screen by Heera Sawant. I hope I am correctly identifying the main dancer in this clip. I request other knowledgeable readers and friends to please confirm or correct me. There are other actors in the audience that can be identified. We can clearly make out David and Rajan Haksar. There is another gentleman with ruffled hair and a large round eyes. I request the readers and friends to please help put a name to this face. Also, there is a trio of supporting singers on screen, who lip sync the chorus lines. Again, the request is to help identify these ladies.
[Ed Note: Prakash ji has identified the “. . .gentleman with ruffled hair and a large round eyes.” as Jagdish Kanwal. Thanks Prakash ji.]

The film is produced and directed by Manmohan Sabir, for his home banner – Manmohan Pictures, Bombay. The film has seven songs listed in the Geet Kosh, written by four songwriters – Anand Bakshi, Kaif Irfani, Manmohan Sabir, and PL Santoshi. This song is written by Manmohan Sabir. The music, of course, is by Anil Biswas.

The cast of the film is listed as Jairaj, Sheela Ramani, Helen, David, Naazi, Majnu, Shammi, Ram Mohan, Rajan Haksar, Jagdish Kanwal, Heera Sawant, Nazeer Kashmiri, Mohinder, Saleem Raza, Robert, Gulab, Ramesh, Arvind, Harun, Master Naveen, Krishna, and Funny Walker.

There is one interesting discussion that we have had earlier on this blog, relating to one song purportedly from this film. The song is “Stella O Stella O Stella”. The curiosity about this song is that it has also appeared earlier in the film ‘Chaar Dil Chaar Raahen’ from 1959. This earlier film also has music directed by Anil Biswas. On our blog, it so happens that this song, as it appears in ‘Return of Mr Superman’ is already posted; and the same song as it appears in ‘Chaar Dil Chaar Raahen’ has not yet been posted.

I would like to bring to the notice of interested readers, the fact that this song does NOT appear in the list of songs given in Geet Kosh for the film ‘Return of Mr Superman’. The original song, as appearing in ‘Chaar Dil Chaar Raahen’, written by Sahir Sb, is the correct attribution of this song. The appearance in the later film ‘Return of Mr Superman’ is simply a repeat use, probably inserted at a short notice to fill a certain scenario. The song certainly does not belong to this later film.

Coming back to the song for today – as one listens carefully, one realizes that this is actually a ghazal that has been presented as a mujra. An interesting variation. I am sure we will find more such instances, if we start looking carefully. Earlier, we have identified a couple of ghazals that has been presented as qawwaalis (and I am sure there are more of such instances also). So now we have another variation – I am sure we will find more cases of a ghazal presented as a mujra. As one listens to the wordings, it is really a very endearing expression –

dil to tujh ko de diya, ab jaan bhi de denge hum
jaan lene se na ab, ae jaan e mann ghabraaiye

So, remembering Anil Biswas – his rememberance day was 31st May, just three days ago. Getting on to another 10 year connect. And getting to listen to this wonderful mujra. . .

Editor note-With this song, Meena Kapoor completes 100th song as a singer in the blog.

Song – Dil Milaate Jaaiye Nazren Milaate Jaaiye (Return of Mr Superman) (1960) Singer – Meena Kapoor, Lyrics – Manmohan Sabir, MD – Anil Biswas
Chorus

Lyrics

dil milaate jaaiye..ae..ae
nazren milaate jaaiye
dil milaate jaaiye
nazren milaate jaaiye
ik nazar ae meharbaan
ab aur na tarsaaiye
ik nazar ae meharbaan
ab aur na tarsaaiye

haaye na tarsaaiye
ab aur na tarsaaiye
dil milaate jaaiye
nazren milaate jaaiye
dil milaate jaaiye
nazren milaate jaaiye

aap ka parda rahe aur
hum ko ho deedaar e yaar
aaaa aaaa aaaa aaaa
bach ke duniya ki nazar se
ae ji khwaab mein aa jaaiye
bach ke duniya ki nazar se
khwaab mein aa jaaiye
khwaab mein aa jaaiye
khwaab mein aa jaaiye
dil milaate jaaiye
nazren milaate jaaiye
dil milaate jaaiye
nazren milaate jaaiye

gair ki mehfil mein hum se
parda-daari kis liye
haaan aaaa aaaa aaaa
hum tumhaare hain
tumhaare
tumhaa..are
ae ji hum se na sharmaaiye
hum tumhaare hain
tumhaare
hum se na sharmaaiye
hum se na sharmaaiye ji 
hum se na sharmaaiye
dil milaate jaaiye
nazren milaate jaaiye
dil milaate jaaiye
nazren milaate jaaiye

dil to tujh ko de diya
ho oo oo oo oo
dil to tujh ko de diya
ab jaan bhi de denge hum
haaan aaa aaa aaa aaaa
jaan lene se na ab
ae jaan e mann ghabraaiye
jaan lene se na ab
ae jaan e mann ghabraaiye
jaan e mann ghabraaiye
ji jaan e mann ghabraaiye
dil milaate jaaiye
nazren milaate jaaiye
ik nazar ae meharbaan
ab aur na tarsaaiye
dil milaate jaaiye
nazren milaate jaaiye

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

दिल मिलाते जाइए॰॰ए॰॰ए
नज़रें मिलाते जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
इक नज़र ए मेहरबान
अब और ना तरसाइए
इक नज़र ए मेहरबान
अब और ना तरसाइए

हाए ना तरसाइए
अब और ना तरसाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए

आप का पर्दा रहे और
हमको हो दीदार ए यार
आ आ आ आ
बच के दुनिया की नज़र से
ए जी ख्वाब में आ जाइए
बच के दुनिया की नज़र से
ख्वाब में आ जाइए
ख्वाब में आ जाइए
ख्वाब में आ जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए

गैर की महफिल में हमसे
पर्दादारी किस लिए
हाँ आ आ आ आ
हम तुम्हारे हैं
तुम्हारे
तुम्हा॰॰आरे
ए जी हम से ना शर्माइए
हम तुम्हारे हैं
तुम्हारे
हम से ना शर्माइए
हम से ना शर्माइए
जी हम से ना शर्माइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए

दिल तो तुझको दे दिया
हो ओ ओ ओ ओ
दिल तो तुझको दे दिया
अब जान भी दे देंगे हम
जान लेने से ना अब
ए जान ए मन घबराइए
जान लेने से ना अब
ए जान ए मन घबराइए
जान ए मन घबराइए
जी जान ए मन घबराइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
इक नज़र ए मेहरबान
अब और ना तरसाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए


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

Blog Day : 3905 Post No. : 14961

———————————————–
Blog 10-Year Challenge (2009-19) – Song No. 23
————————————————

On 28th March of 2009, six songs had made their appearance on the blog. The songs and the films represented are listed below.

 

Man Darpan Hai Dushman 1939
Mitti Se Khelte Ho Patita 1953
Sach Kahta Hoon Bahut Haseen Ho Jaali Note 1960
Chanda Re Mori Patiyaan Le Jaa Banjaarin 1960
Baalamwa Bolo Na Bolo Na Picnic 1966
Yoon Na Sharmaa Phailaade Apni Gori Gori Baanhen Parwaana 1971

 

Of these six films, ‘Dushman’ (1939), ‘Patita’ (1953), ‘Jaali Note’ (1960), ‘Picnic’ (1966) and ‘Parwaana’ (1971) have been yippeee’d by now. The 1960 film ‘Banjaarin’ remains. This film has eight songs in all. Three songs have been showcased here. Today, we bring on the fourth song, on the 10th anniversary of this film’s debut here.

‘Banjaarin’ is produced by Ratan, under the banner of Ratan Pictures, Bombay. The film is a costume drama, directed by Jaswant Jhaveri.  The list of actors reads like Kanchan Kamini, Manhar Desai, Lalita Kumari, Sundar, Indira Bansal, Dalpat, Pal Sharma, Neelu, Shri Bhagwan, Bela, TN Sinha, Saroj, Murari, Paro, Prayag, Rehana, Paulson, Geeta, Chetan Kumar, Malika, Sheela R, CH Singh, Shekhar Purohit, Shriram, and S Chaddha.

The eight songs of this film are all penned by Pt Madhur. The music is by Pardesi – a lesser known artist whose name appears as music director for maybe 4 or 5 films only. The singing voice in this song is Geeta Dutt.

The video clip of this song is available. The clip is somewhat dim, and hence much details or even identification of artists on screen is not very feasible. The song is overlapped with a lot of other action in the film. The song itself seems to be a club dance song, or maybe a villain’s den song. There are a number of artists, but I am able to recognize only Sunder. I am not able to identify the main dancer in this song. Is that Sheela Ramani? I am not sure. I would request our more knowledgeable readers to please help with identification of artists.

The song is constructed well. I am hearing it for the first time today. It sure has an interesting rhythm and beat to it, and it has been rendered by Geeta Dutt with the customary zest. Listen and enjoy.

[PS: I have not been able to decipher two words in the first stanza. I request other folks to please help insert the correct words.]

Song – Qismat Ke Khel Tu Khel Khilaadi  (Banjaarin) (1960) Singer – Geeta Dutt, Lyrics – Pandit Madhur, MD – Pardesi

Lyrics

qismat ke khel tu khel khilaadi
qismat ke khel tu khel khilaadi
daanv badha josh mein
rehna magar hosh mein
duniya kahe na anaadi
oo oo oo
qismat ke khel tu khel khilaadi
qismat ke khel tu khel khilaadi

zindagi ki karwaten kaanton pe liye ja
aaya hai duniya mein to kuchh naam kiye ja
zindagi ki karwaten kaanton pe liye ja
aaya hai duniya mein to kuchh naam kiye ja
daanv badha josh mein
rehna magar hosh mein
daanv badha josh mein
rehna magar hosh mein
duniya kahe na anaadi
oo oo oo
qismat ke khel tu khel khilaadi

jeet kabhi haar baney
haar kabhi jeet
daanv laga zindagi ka khel ki ye reet
daanv badha josh mein
rehna magar hosh mein
daanv badha josh mein
rehna magar hosh mein
duniya kahe na anaadi
oo oo oo
qismat ke khel tu khel khilaadi

tu kisi se kam nahin majboor nahin hai
aur din bhi kaamyaabi ke ab door nahin hain
tu kisi se kam nahin majboor nahin hai
aur din bhi kaamyaabi ke ab door nahin hain
daanv badha josh mein
rehna magar hosh mein
daanv badha josh mein
rehna magar hosh mein
duniya kahe na anaadi
oo oo oo
qismat ke khel tu khel khilaadi
qismat ke khel tu khel khilaadi

daanv badha josh mein
rehna magar hosh mein
daanv badha josh mein
rehna magar hosh mein
duniya kahe na anaadi
oo oo oo
qismat ke khel tu khel khilaadi
qismat ke khel tu khel khilaadi

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

किस्मत के खेल तू खेल खिलाड़ी
किस्मत के खेल तू खेल खिलाड़ी
दांव बढ़ा जोश में
रहना मगर होश में
दुनिया कहे ना अनाड़ी
ओ ओ ओ
किस्मत के खेल तू खेल खिलाड़ी
किस्मत के खेल तू खेल खिलाड़ी

जिंदगी की करवटें काँटों पे लिए जा
आया है दुनिया में तो कुछ नाम किए जा
जिंदगी की करवटें काँटों पे लिए जा
आया है दुनिया में तो कुछ नाम किए जा
दांव बढ़ा जोश में
रहना मगर होश में
दांव बढ़ा जोश में
रहना मगर होश में
दुनिया कहे ना अनाड़ी
ओ ओ ओ
किस्मत के खेल तू खेल खिलाड़ी

जीत कभी हार बने
हार कभी जीत
दांव लगा ज़िंदगी का खेल की ये रीत
दांव बढ़ा जोश में
रहना मगर होश में
दांव बढ़ा जोश में
रहना मगर होश में
दुनिया कहे ना अनाड़ी
ओ ओ ओ
किस्मत के खेल तू खेल खिलाड़ी

तू किसी से कम नहीं मजबूर नहीं है
और दिन भी कामयाबी के अब दूर नहीं हैं
तू किसी से कम नहीं मजबूर नहीं है
और दिन भी कामयाबी के अब दूर नहीं हैं
दांव बढ़ा जोश में
रहना मगर होश में
दांव बढ़ा जोश में
रहना मगर होश में
दुनिया कहे ना अनाड़ी
ओ ओ ओ
किस्मत के खेल तू खेल खिलाड़ी
किस्मत के खेल तू खेल खिलाड़ी

दांव बढ़ा जोश में
रहना मगर होश में
दांव बढ़ा जोश में
रहना मगर होश में
दुनिया कहे ना अनाड़ी
ओ ओ ओ
किस्मत के खेल तू खेल खिलाड़ी
किस्मत के खेल तू खेल खिलाड़ी


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 : 3905 Post No. : 14960

“Apna Ghar”(1960) was produced R Yusuf and directed by Ram Pahwa for Kaizer Films Bombay. This “social” movie had Premnath, Shyama, Nanda, Moti sagar, Mishra, Leela Mishra, Umesh Sharma, Krishn Dhawan, Kammo, S K Prem, Mirajkar, Lalit Kapoor, Deepak, Poonam Kapoor, Radheshyam, Baby Ratan, Baijnath, Sharan, Chandabai, Sharmaji, Tulsi, Rani Sachdev, Baby Reeta etc in it.

The movie had six songs in it. Three of these songs have been covered in the past.

Here is the third song from “Apna Ghar”(1960) to appear in the blog. This song is sung by Asha Bhonsle. Prem Dhawan is the lyricist. Music is composed by Ravi.

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


Song-Soch samajh le o parwaane (Apna Ghar)(1960) Singer-Asha Bhonsle, Lyrics-Prem Dhawan, MD-Ravi

Lyrics

soch samajh le o parwaane
jal jaana aasaan nahin
soch samajh le o parwaane
jal jaana aasaan nahin
teri nazar pehchaan gayi main
itni to naadaan nahin
soch samajh le o parwaane
jal jaana aaasaan nahin

phir na kahna in zulfon ke phande mein hum aa gaye
bade bade dil waale in nazron ka dhokha kha gaye
phir na kahna in zulfon ke phande mein hum aa gaye
bade bade dil waale in nazron ka dhokha kha gaye
kaun sa aisa dil waala hai
kaun sa aisa dil waala hai
jo mujh par kurbaan nahin
ehe soch samajh le o parwaane
jal jaana aasaan nahin
soch samajh le o parwaane
jal jaana aasaan nahin
teri nazar pehchaan gayi
main itni to naadaan nahin
soch samajh le o parwaane
jal jaana aasaan nahin

is mehfil mein jo bhi aaya
wo deewaana ho gaya
duniya to kya
apne se bhi wo begaana ho gaya
is mehfil mein jo bhi aaya
wo deewaana ho gaya
duniya to kya
apne se bhi wo begaana ho gaya
ye bhi adaayen na jaane tu
ye bhi adaayen na jaane tu
itna to anjaan nahin
soch samajh le o parwaane
jal jaana aasaan nahin
soch samajh le o parwaane
jal jaana aasaan nahin
teri nazar pehchaan gayi
main itni to naadaan nahin
soch samajh le o parwaane
jal jaana aasaan nahin

aa aa aa
aa aa aa aa
aa aa aa
aa aa aa aa


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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 over ELEVEN years. This blog has more than 15300 song posts by now.

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

Total number of songs posts discussed

15394

Number of movies covered in the blog

Movies with all their songs covered =1180
Total Number of movies covered =4243

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