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

Archive for the ‘Songs of 1960s (1961 to 1970)’ Category


This article is written by Avinash Scrapwala, 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 :

4720 Post No. : 16430

Welcome all to this post. We are discussing movies who made their debuts on the blog in its initial days and then they remain with ‘only one song posted’ on the blog for a long time or specifically more than ten years of gap.  Under this condition the today’s movie is ‘Sharaafat’ (1970)’.

This movie made its debut on the blog with its only known song (I think so) ‘Sharaafat Chhod Di Maine’ on 02.11.2008. So, today after a gap of 4614 days (including 20.06.2021) or twelve years, seven months, and nine days we are going to listen the second song from this movie.

‘Sharaafat’ was directed by Asit Sen for ‘Seven Arts Pictures, Bombay’. It had Ashok Kumar, Dharmendra, Hema Malini, Soniya Sahni, Jagdeep, Abhi Bhattacharya, Kanhaiyalal, Sapru, Shabnam, Zebunnisa, Roopesh Kumar, Indrani Mukherji, Sundar, Niranjan Sharma, Poornima, Paro Devi, Jankidas, Brahm Bharadwaj, Chandrima Bhaduri, Kundan, Kesho Rana, Mohan Choti, Birbal, Tun Tun, Raj Kishore, Ajay Kashmiri, Prakash Mishra, Machhar, Dilip Dutt, Ratan Gaurang, Wajid Khan, Ravikant, Shefali, Bilkis, Jagdish Bhalla and many others.

This movie had six songs which are all female solo songs, five sung by Lata Mangeshkar and one solo by Asha Bhonsle. Lyrics for all songs of this movie are written by Anand Bakshi and music is composed by Laxmikant-Pyarelal. Following is the list of songs of this movie.

S.No. Song Title Singer
01 Mera rastaa rok rahe hain ye parbat anjaane … Lata Mangeshkar
02 Duniya ne sun li hai chhupke apni prem kahaani … Lata Mangeshkar
03 Pehle naa dekha jaise kisi ne, aise mujhe aaj dekha Lata Mangeshkar
04 Jeewandaata jagat pitaa tum Lata Mangeshkar
05 Sharaafat chhod di maine Lata Mangeshkar
06 Main manaaun bhalaa kis tarah aapko Asha Bhonsle

I do not remember to have watched this movie but I was always aware of its most popular song ‘Sharaafat Chhod Di Maine’. And for today’s post when I was looking for the other songs from this movie, I thought I will listen all and then decide. I listen to the today’s song and found it somewhat familiar, so I am presenting this song today.

The song is sung by Lata Mangeshkar and the gorgeous looking Hema Malini has lip synced it on screen. We can also see Dharmendra in his characteristic charming style of those years.

I hope you will also like this today’s song as I liked … it is something special 😊

Song – Mera Rasta Rok Rahe Hain Ye Parbat Anjaane (Sharafat) (1970) Singer – Lata Mangeshkar, Lyrics – Anand Bakshi, MD – Lakshmikant Pyaarelal

Lyrics

mera rasta rok rahe hain
ye parbat anjaane ae
main is paar khadi ye sochoon
kya us paar hai jaane

mera rasta rok rahe hain
ye parbat anjaane ae
main is paar khadi ye sochoon
kya us paar hai jaane

aa aa aa aa aa
aa aa aa aa

parde mein jaise koi baat hai
jaane ujaala hai ke raat hai ae
parde mein jaise koi baat hai
jaane ujaala hai ke raat hai
chanchal man kehta hai chal chal
darr na chhode aanchal
o phoolon ki galiyaan hai yaa
kaanton ke veeraane ae
main is paar khadi ye sochoon
kya us paar hai jaane ae

paaon mein gham ki zanjeer hai
man mein khushi ki tasveer hai
paaon mein gham ki zanjeer hai
man mein khushi ki tasveer hai
aashaa mujhko aage kheenche
aur niraasha pichhe ae ae
kis ki maanoon
aur kiski na maanoon
dil deewaane ae
main is paar khadi ye sochoon
kya us paar hai jaane ae
main is paar khadi ye sochoon
kya us paar hai jaane ae

——————————————————————————–
Hindi script lyrics (Provided by Avinash Scrapwala)
——————————————————————————–

मेरा रस्ता रोक रहे हैं
ये परबत अनजाने ए
मैं इस पार खड़ी ये सोचूँ
क्या उस पार है जाने

मेरा रस्ता रोक रहे हैं
ये परबत अनजाने ए
मैं इस पार खड़ी ये सोचूँ
क्या उस पार है जाने

आ आ आ आ आ
आ आ आ आ

परदे में जैसे कोई बात है
जाने उजाला है के रात है ए
परदे में जैसे कोई बात है
जाने उजाला है के रात है
चंचल मन कहता है चल चल
डर ना छोड़े आँचल
ओ फूलों कि गलियाँ है या
काँटों के वीराने ए
मैं इस पार खड़ी ये सोचूँ
क्या उस पार है जाने

पाँवो में ग़म कि ज़ंजीर है
मन में ख़ुशी कि तस्वीर है
पाँवो में ग़म कि ज़ंजीर है
मन में ख़ुशी कि तस्वीर है
आशा मुझको आगे खींचे
और निराशा पीछे ए ए
किसकी मानूं
और किसकी ना मानूं
दिल दीवाने ए
मैं इस पार खड़ी ये सोचूँ
क्या उस पार है जाने
मैं इस पार खड़ी ये सोचूँ
क्या उस पार है जाने


This article is written by Avinash Scrapwala, 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 :

4715 Post No. : 16422

Welcome all to this post. Today we are going to listen to a ‘party’ song from the movie ‘Yaadgaar-1970’.

‘Yaadgaar-1970’ was directed by S. Ram Sharma for ‘Kunal Chitra, Bombay’. It had Nutan, Manoj Kumar, Pran, Prem Chopra, Kamini Kaushal, Junior Mehmood, Madan Puri, Tiwari, Mohan Choti, Lalita Chatterjee, Asit Sen, Lakshmi Chhaya, Shammi, Man Mohan, Polsan, Jayshree, Kuljeet, Renu, Raj Kishore, Harbans Pape, Kirti Behl, Manohar, Naidu, Birbal, Hansraj, Shrinath, Mohan Shery, Dubey, Sabina, Manohar Gosvai, Kesho Rana, Brahm Bharadwaj, Sobti, Alija, Genius, Darshan M., Ravikant, Chandra, Mohan Chhotu, Narbada Shankar, Ramlal and others.

This movie had six songs written by Indeevar and Verma Malik (three songs each).
(One song ‘ik taaraa boley’ is in two parts and it is considered as two songs).

Here is the list of songs of this movie as given in HFGK Vol- IV (1961-1970),

S.No. Song Title Singer/s Posted On
01 Ik taaraa boley tun tun, kya kahe ye tumse sun sun (Part-I) Mahendra Kapoor 13.04.2009
02 Aaye jahaan bhagwaan se pahle… wo khet mein milegaa Mahendra Kapoor 13.04.2019
03 Jis ghar mein daaku chor chhupe… Ik taaraa boley tun tun (Part-II) Mahendra Kapoor 13.04.2009
04 Bahaaron ka hai melaa … phool koi mere liye bhi to ho Asha Bhonsle Being posted today
05 Boli saawan ki raat badi paawan hai raat… Hamne dekhi hai honewaali bhabhi Mahendra Kapoor, Nutan, Manhar, Jr Mehmood, Birbal 16.05.2021
06 Jis path pe chalaa us path pe mujhe aanchal to bichhaane de… mujhe saath to aane de Lata Mangeshkar 28.11.2011

Music for this film was composed by Kalyanji-Anandji.

Today’s song is sung by Asha Bhonsle and it is lip-synced on screen by young Jayshree T. In the movie this song happens at a ‘party’ (held in the name of ‘family gathering’) arranged by Prem Chopra with not so good intentions for Nutan. He tries to misbehave with Nutan.

However, it turns out that his own sister (in the movie) (I am unable to identify this actress) also has to go through the same trauma as Nutan, when actor Raj Kishore misbehaves with her. Of course, this incident takes place after the song and dance performance of Jayshree T is over and almost all members present in the party are already drunk.

So far, five songs (including one multiple version song) from this movie have been posted on the blog.

Today’s song is the sixth and final song of this movie ‘Yaadgaar-1970’ to be posted here on the blog. With this song, ‘Yippeeee’ moment for this movie arrives today.

Let us now listen to today’s song.

Lyrics are by Indeevar, and music is composed by Kalyanji-Anandji.

Video

Audio

Song-Bahaaron ka hai mela hai mera dil akela (Yaadgaar)(1970) Singer-Asha Bhonsle, Lyrics-Indeewar, MD-Kalyanji Anandji

Lyrics

laa laa laa aa aa
laa laa laa laa laa aa
laa laa
ho o o

bahaaron ka hai melaa
hai mera dil akela
bahaaron ka hai melaa
hai mera dil akela
phool koyi ee
mere liye bhi to ho
phool koyi ee
mere liye bhi to ho
ho o
sitaaron ka hai melaa
hai mera dil akela
sitaaron ka hai melaa
hai mera dil akela
chaand koyi ee
mere liye bhi to ho
chaand koyi ee
mere liye bhi to ho
ho o

kaajal hi kaajal hai
aanchal hi aanchal hai
khushboo ke baadal hain
jaagi dilon mein umang
??? hai aapas mein
kaliyon ne bhanwaron ko
bhanwaron ne kaliyon ko
kaisa haseen ??
saaz koyi ee mere liye bhi to ho
ho o
bahaaron ka hai melaa
hai mera dil akela
bahaaron ka hai melaa
hai mera dil akela
phool koyi ee
mere liye bhi to ho
phool koyi ee
mere liye bhi to ho
ho o

la la laa
la la laa
laa laa laa laa aa

la la la la la la lalaalalaa
naghme hi naghme hain
masti hi masti hai
hamse kya ??? masti hai
aaye jo dil ke kareeb
chhalka hai maikhaanaa
nazron ka paimaana
har dil hai
deewaanaa
kaisa rahaa mera dil
jaam koyi ee mere liye bhi to ho
ho
ho o
bahaaron ka hai melaa
hai mera dil akela
bahaaron ka hai melaa
hai mera dil akela
phool koyi ee
mere liye bhi to ho
phool koyi ee
mere liye bhi to ho
ho o


This article is written by Peevesie’s mom, 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 :

4706 Post No. : 16411

Hullo Atuldom

“Mehrban” (1967) as spelt in the titles of the movie was an AVM (Madras) production written and directed by A. Bhimsingh. It’s cast was headed by Ashok Kumar, Nutan, Sunil Dutt and had Ramesh Deo, Shyama, Ashim kumar, Jayanthi, Shashikala, Bharathi, Mehmood, Soodesh Kumar and Sulochana Latkar. The dialogues and lyrics were written by Rajinder Kishan and Ravi was the music director. The movie had seven songs of which the blog has the following two.

Song Date of posting
Ae mere dost ae mere hamdam 21 January 2013
Mera gadha gadhon ka leader 9 December 2016

As we can see this movie last made its appearance in 2016 with a wonderful post by Rajaji who was pushed to write by Avinashji. Infact, for the both songs posted, Avinashji was the lyrics contributor.

The 2013 post had a brief synopsis of the movie. It equated the movie to the 1990 David Dhawan directed Rajesh Khanna- Govinda starrer “Swarg”. I happened to see “Mehrbaan” recently and realised that the similarity is limited. Yes, Rajesh Khanna played the rich-man in “Swarg” similar to Ashok Kumar’s character in “Mehrban”. Govinda played the orphan who is devoted to the family similar to Sunil Dutt’s character in “Mehrban”.

The variations in the 1967 movie is that the wealthy couple Shanti Swarup (Ashok Kumar) and Parvati (Sulochana) have three sons and two daughters in addition to being the adoptive parents of Kanhaiya (Sunil Dutt). (In “Swarg” the wealthy couple are childess) They also bring in Laxmi (Nutan) whose parents were known to them and who die leaving Laxmi to fend for herself. So, as we can see it is a full house. That gives the story all kinds of good, bad and ugly characters which helps the writer to gives us a three-hour long movie with lots of ‘rona-dhona’ ‘kasam khana and khilana’ etc. i.e. a highly emotional movie. The end is predictable in that all the family members come together and live happily, once again.

Just remembered another variation between “Swarg” and “Mehrban”. In “Swarg” Krishna (Govinda) becomes rich by acting in movies, buys back the property of his ‘sahabji’ (Rajesh Khanna) and teaches the errant brothers a lesson or two before bringing them back to apologise for all the wrongs that they have done. Kanhaiya of ‘Mehrban’ doesn’t wait to earn riches before coming back to set matters right in the adoptive family. Kanhaiya (Sunil Dutt) has Laxmi (whom he marries before being sent away from the home by Sulochana) for support whereas Krishna does it with the help of his friend ‘Airport’ (Satish Kaushik).
Also, in ‘Swarg’ Sahabji’s wife dies of shock and in ‘Mehrban’ Shanti Swarup dies leaving his wife to the mercy of his ungrateful children.

‘Swarg’ was said to be a remake of ‘Mehrban’ which itself was a remake from the 1960 Tamil hit ‘Padikkadha Medhai’ (Uneducated Genius) which in turn was a remake of the 1953 Bengali movie ‘Jog Biyog’ which was based on the novel of the same name by Ashapurna Devi. So, that means this story will hold good in any time and age.

We are revisiting this movie today with a duet sung by Lata Mangeshkar and Mohd Rafi but (surprise) it is not a romantic song. In fact, the movie doesn’t have any romantic song, in the true sense of the term. There is a Lata Mangeshkar solo which has Nutan pacifying a sad Sunil Dutt. This song relates the story of Shanti Swarup to his grandchildren.

This is one of five movies where Nutan and Sunil Dutt played the lead. As I was looking up the anniversaries tab of the blog I found that the birth-dates of the two were one day apart. I wondered what scenario it would have been, back then, when the shooting of the movies were on. Nutan would have turned 85 on 4th June and Sunil (birth-name Balraj) Dutt would have been 92. Just a passing thought, their sons are actors too and have acted together in a few movies.

Editor’s note-Lyrics of this song, which turns out to be a multiple version song, were sent by Avinash Scrapwala long ago.

Duet version


Rafi solo version

Song-Ek raaja ki sun lo kahaani (Meharbaan)(1967) Singer-Lata, Rafi, Lyrics-Rajinder Krishan, MD-Ravi
Both

Lyrics(Provided by Avinash Scrapwala)

—————————–
Duet version
——————————

ek raja ki sun lo kaha..aa..ni
ek raja ki sun lo kaha..aa..ni
kahin haathi na ghode na sena koi
na kahin thhi koi rajdha..aa..ni
ek raja ki sun lo kaha..aa..ni
ek raja ki sun lo kaha..aa..ni

teen bete thhe aankhon ke taare
bade pyaare pyaare
dilon ke sahaa..aa..re
woh thhe raja ke anmol moti
nigaahon ki jyoti
thhe maa ke dula..aa..re
palkon ki chhanv mein guzra tha bachpan
masti mein doobi jawa..aa..ni
ek raja ki sun lo kaha..aa..ni
ek raja ki sun lo kaha..aa..ni

ek aisa magar din bhi aaya
jisne raja ko nirdhan banaya
ho gaye khaali saare khazaane ae
haaye kaisa ye andher chhaaya

woh jo bete thhe aankhon ke taare
raja rani ke dil sahaare
kaam aise mein woh bhi naa aaye
chhupte phirte the aankhen churaaye

aaram ke saathi kya kya the
jab waqt padha toh koi nahi
dhan daulat ke sab rishtey hai
dhan rooth gaya toh koi nahin
kaun girte ko deta sahaara
woh raja bechaara
thaka aur ha..aa..ra
sochta thha kahaan hai woh moti
woh aankhon ki jyoti
bane jo saha..aa..ra
raja to chup chaap peeta tha aansoo
chup chup ke roti thi ra..aa..ni
ek raja ki sun lo kaha..aa..ni
ek raja ki sun lo kaha..aa..ni

ho gaya apna khoon paraaya
ho gaya apna khoon paraaya
kaam magar ek chaakar aaya
ek bhola insaan wahaan thha
bachpan se mehmaan wahaan thha
usne jiske tukde khaaye
sada usi ke paanv dabaaye
un bedardon ki mehfil mein
ek wahi hamdard bacha thha
lekin maalik ko kya deta
bechaare ke paas hi kya thha
bechaare ke paas hi kya thha

apne malik ke kadmon mein ro ro ke
khush hota charan uske dho dho ke
apna tan man nichhavar woh karta raha
ek ishaare pe malik ke marta raha
hai kahaani magar baat kal hi ki hai
na samjhna ise tum pura..aa..ni
ek raja ki sun lo kaha..aa..ni
ek raja ki sun lo kaha..aa..ni

—————————
Rafi solo version
————————–
Ek raja ki sunlo kahaani
Ek raja ki sunlo kahaani

Pehle rehte the saagar kinaare
Ab samaaye dilon mein hamaare
Yaad unki rahegi jahaan mein
Jab talak hai ye chaand aur taare
Jo naa mitaaye mitegi kisi se
Chhodi hai aisi nishaani

Ek raja ki sunlo kahaani
Ek raja ki sunlo kahaani


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 :

4699 Post No. : 16393 Movie Count :

4456

Missing Films of 1960s – 117
– – – – – – – – – – – – – – –

A surprise discovery if ever there was one. And I have missed it all these years, having see this film long back.

‘Saara Akaash’ from 1969 – it has always been represented and listed as a songless film. This impression is so much ingrained into the system and it never came to mind to consider otherwise. So it was a great surprise to come across this clip from the film on YouTube. And suddenly the memories of this film had to be modified.

‘Sara Aakash’ (‘The Whole Sky’) is a film based on the novel of the same name, written by Rajendra Yadav. This was Yadav’s debut novel. The film marks the debut of Basu Chatterjee as director, and was also the first film of cinematographer KK Mahajan.  The film has background score by Salil Chaudhry.

The film is regarded as one of those which pioneered the New Wave cinema in India, along with ‘Uski Roti’ and ‘Bhuvan Shome’ which were also released the same year.

The star cast of the film includes Rakesh Pandey, Madhu Chakravarty, Nandita Thakur, AK Hangal, Dina Pathak, Mani Kaul, Shaily Shailendra, Jalaal Agha, Tarla Mehta, Aarti Boley and Om Prakash Gautam amongst others. Renowned film maker Mani Kaul appeared in this film, in what is considered as his only substantial screen appearance.

Set in the contemporary mid 1960s milieu of a traditional middle class joint family in Agra, the film deals with internal conflicts of a newlywed couple, both of whom find themselves unprepared for domestic life. Agra-based collegian, Samar Thakur (Rakesh Pandey), lives in a joint family consisting of his father (AK Hangal), mother (Dina Pathak), brother Amar (Mani Kaul) and his wife (Tarla Mehta); as well as a married sister, Munni, estranged from her husband. Samar is is prevailed upon by the family to marry Prabha (Madhu Chakravarty), a matriculate, much to his chagrin as this interferes with his future plans. The marriage does take place, and he soon finds that they are incompatible. The matters come to a head and Prabha leaves her matrimonial home to return to her parent’s home. She returns after four months. Family tensions continue, but then also we see a bonding emerge between the two, moving towards a healthy understanding.

KK Mahjan received the 1969 National Award for B&W cinematography, and Basu Chatterji received the Filmfare award for best screenplay.

The discovery of this background song in the film changes the status of this film, and it now becomes the 117th episode in the series on Missing Films of 1960s.

The song itself is a piece of traditional music of North India, and is played at wedding time. The words of this song indicate that the ladies on the girl’s side are singing this song, addressing the groom and tell him things about the members of his family, in a good spirited banter.

There is another version of this traditional song – it has been used in the film ‘Dushmani’ (1995). In this version, the song is presented as a praise for the bride, as she gets ready for the wedding ceremony and is being adorned with fine dress and jewellery. The song is available on YouTube as “Banno Teri Ankhiyaan Surmedaani“. On screen this song is performed by Neena Gupta.

A couple of interesting trivia.
The film ‘Saara Akaash’ was shot in the residential house of Rajendra Yadav. On a visit, when Basu Chatterji saw the house, his response was that this is the perfect setting for the film.
Dina Pathak appears in both films – in ‘Saara Akaash’ as the mother of the protagonist. In ‘Dushmani’ she appears at the grandmother of the bride Manisha Koirala.

With this post we have brought on board the 117th film in this series.


Song – Banne Re Teri Akhiyaan Surmedaani (Saara Akaash) (1969) Singer – [Unattributed], Lyrics – Traditional, MD – Salil Chaudhary

Lyrics

banne re teri ankhiyaan surmedaani

banne re tere baba laakh hajaari
banne re tere baba laakh hajaari
banne tere taau ka ohda bhaari
banne re teri <??> laal gulaabi
banne re teri taai nakhrewaali
banne re teri ankhiyaan surmedaani
banne re teri ankhiyaan surmedaani

banne re tere chaacha laakh hajaari
banne re tere chaacha laakh hajaari
banne re tere phoopha ka ohda bhaari
banne re teri <??> laal gulaabi
banne re teri bua nakhrewaali

banne re tere baba ka ohda bhaari
banne re teri mausi laakh hajaari

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

बन्ने रे तेरी अँखियाँ सुरमेदानी

बन्ने रे तेरे बाबा लाख हजारी
बन्ने रे तेरे बाबा लाख हजारी
बन्ने रे तेरे ताऊ का ओहदा भारी
बन्ने रे तेरी <??> लाल गुलाबी
बन्ने रे तेरी ताई नखरेवाली
बन्ने रे तेरी अँखियाँ सुरमेदानी
बन्ने रे तेरी अँखियाँ सुरमेदानी

बन्ने रे तेरे चाचा लाख हजारी
बन्ने रे तेरे चाचा लाख हजारी
बन्ने रे तेरे फूफा का ओहदा भारी
बन्ने रे तेरी <??> लाल गुलाबी
बन्ने रे तेरी बुआ नखरेवाली

बन्ने रे तेरे बाबा का ओहदा भारी
बन्ने रे तेरी मौसी लाखों तारे
॰॰॰
॰॰॰


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.

This is the 1400th post by Sudhir.

Blog Day :

4693 Post No. : 16378

 

The Many Colors of Love #31 – Love Divine
– – – – – – – – – – – – – – – – – – – – – – –

And so wrote the scribe

खाक को बुत, और बुत को देवता करता है
इन्तहा ये है के बंदे को खुदा करता है इश्क़

Khaak Ko But, Aur But Ko Devta Karta Hai
Inteha Ye Hai Ke Bande Ko Khuda Karta Hai Ishq

Such a profound statement with a hugely significant implication – words are written by Sahir. Whether you read them in the flow of the entire set of lyrics, or just these two phrases, the import of these words cannot be diminished. And a more grand effect is achieved in rendition. Roshan Sb has put this to a melody that one cannot pulls oneself away from the flow, as line after line is being rendered by Rafi Sb. And finally, the effect of the rendition itself, as the continuous flow of singing gains momentum, the crescendo is rising, and Rafi Sb takes these two line progressively higher from octave to octave – to the most important message in this entire qawwali – “बंदे को खुदा करता है इश्क़ ” – “That Love Elevates Man to the Degrees of God”. This phrase is the ultimate climax – in all aspects – the rising crescendo of the music, the heightening pitch of the singer’s voice, the increasingly fervent clapping of the accompaniment singers, and the magnificent declaration about Love and God – all converging on the heights wherefrom one cannot go any further. For the message delivered is the ultimate statement to be made in this creation, in this existence – that Love Elevates.

All faiths, all beliefs, all creeds – have one thing in common. They all acknowledge something superior, a higher power that be – because none can otherwise explain the existence of these universes and the presence of the self on this planet. It is Voltaire who has said – “If God did not exist, it would be necessary to invent Him”. Yes, there is so much that we do not understand and so much that cannot be explained by the intellect, that finally even the non-believers cannot extract themselves out of the argument to explain existence.

Where is the story of creation? Every creed has its own, and in every such story there is a higher power that be, which is acknowledged as the authority responsible. The Humans being a visibly cognizant entity (चेतन) in this creation which is so manifestly non-cognizant (जड़) – this question indeed arises in the curious awareness of the self – why am I here? And the answer given by every system of belief is a variation of – “Man Must Return to His Maker”.
I remember another famous qawwali –

रस्ते अलग अलग हैं ठिकाना तो एक है
मंज़िल हरेक शख्स को पाना तो एक है

Raste Alag Alag Hain Thikaana To Ek Hai
Manzil Har Ek Shakhs Ko Paana To Ek Hai

“That paths may be many, yet the destination is the same.”
“And to the Divine must we return”

Theological systems have a life and existence of their own. Most people will follow one or the other that already exists. Once in a while, in a millennium, will come a person or a thought that will bring forth a new theology. Over the ages and across the history of mankind, one after another, newer and different belief systems have appeared, and each has its own existence, its own history, its thoughts, teachers and following.

And then, there is love. No, not as simply as it is just said. An emotional enigma, an anonymous obscurity, supposedly an inscrutable element that forms a significant constituent of what this larger conundrum of ‘creation’ is. An element yes, the basic, most primeval foundational piece. Tagore, in all his wisdom, was moved to write thus – “Love is an enduring mystery because it has nothing else to explain it“.

We can write and express it in a multitude ways, and indeed that has been done across the history. And yet, it remains universally undefined, and there always is yet another expression that attempts to. Through the history of mankind, this attempt has been made many millions of times. And as many millions of times poets, philosophers, lovers, thinkers, believers, and yes, the disbelievers too, have talked about it. And yet, in every age, in every culture, in every generation, every individual mind still continues to ask this question. The same minds continue to discover new definitions and new flavors. Adam and Eve wondered about it, as they looked upon the tree of the forbidden fruit. Brahma, the creator of the universe, was so enamored by his own creation of the feminine form, that he forsook his lotus seat as the creator God, and ran after Her. Lord Shiva was so captivated with the Mohini incarnation of Lord Vishnu, that he too left his abode in Kailash, and in pursuit of that vision. The renowned Sufi poet, Rumi thus wrote “Love is the astrolabe of God’s mysteries”.

Some say God is Love. Some others say Love is the link from Man to God. Yet others say Man who has realized Love, has realized God. Philosophers have written that Love is the basis of this Creation. Others have surmised that Love is the sustenance of this Creation. Another thought is that Love is the path to God. Such a multitude of concepts, ideologies and aesthetics thinkers have thought about and postulated. Some others say Love is an axiom. In the process of philosophical or logical differentiation, an axiom is a self evident truth that stands by itself. It cannot be further simplified or partitioned, or be established from more basic and elemental concepts. An axiom always just is. I recall the cover page of one of the most popular worldwide English editions of the Bible. The cover page simply says “The Greatest Is Love”. No other words, not even the word ‘Bible’ is printed on the cover page. It simply says “The Greatest Is Love“, and that’s it.

This is surely an axiom. A summary outcome of years and aeons of distillation of the human thought that has examined the emotions and expressions to bare bones, and then from the remnants of all that is stirred in the crucibles of the collective human psyche comes this extraction so short, so sweet and so sublime. And from this emerge some very stunning implications, the most significant of them being that Love is greater than God. And suddenly one has to pause, pull the brakes on this whirling carousel of thoughts and expressions and stare in wonder and amazement at this startling conclusion – “The Greatest Is Love, Even Greater Than God Himself”.

There is this play of Love that permeates every thought, every event, every concept, and everything that populates this universe at the physical as well as the non physical and the metaphysical levels of existence. The cycles of existence of the universe – the cause, the sustenance and the eventual assimilation – each one of these is an act of love. The cause of creation occurs when the alone Supreme Soul has a desire to share. That sharing is an expression of Love. The sustenance of the universe is the desire to maintain and keep well the creation – once again it is an act of Love. And the eventual assimilation – no, not the destruction, but more a dissolution of this game of universe, and the assimilation of all the souls back into the primal super soul. Once again, an act of love – an embrace that outweighs any level of proximity – the ultimate sharing of love. The ultimate conversation of love is the tête-à-tête of the souls – as they say, Soulmates. In our bhakti discourses, it is the ‘आत्म निवेदनम्’ (‘atma nivedanam’), the ultimate propinquity of love, the highest stage of meeting of the souls.

Love and God – the ultimate triumphs of realization in this mystery of existence, the magnum opus of individual endeavor and accomplishments. After propounding all the values of human existence, and teaching about all the good and bad in life, every faith, every religion finally talks about Love, about Love and God, about Love Divine, about the Divinity of Love.

This Divine Love is expressed and manifest in countless episodes that are scattered across the length and breadth of the scriptures of our Sanatan Dharm. In the Varaha Avatar – manifestation of Vishnu in the form of a tusked Boar, Vishnu battles with Hiranyaksh and vanquishes him. Then he dives into the waters of the Cosmic Ocean, into which Hiranyaksh had hidden Bhoodevi (Goddess Earth). He picks Her up on his tusks, and brings her out of the waters of the netherworld. In this episode there are brief shlokas wherein Vishnu in the form of Varaha tells Bhoodevi – “My Dear, it has been such a long time that you have cuddled as such in my arms, and I have carried you”.

During the episode of Sagar Manthan, Goddess Lakshmi appears as one of the outcomes of the churning of the Cosmic Ocean. There is an argument as to who would she belong to. Short of a battle, good sense prevails and all agree that Lakshmi should herself select her consort. And Lakshmi puts the flower garland on Vishnu.

In this same episode, Vishnu also appears as Mohini, the incarnation as a beautiful woman. And Shiva who is also present, is so enamored by Her beauty that He immediately has a charming attraction for Her and pursues Her. This affiliation recurs many more times as different episodes are narrated in different books.

When Vishnu appears in the avatar of Narsimhadev, and vanquishes Hiranyakashipu, His demeanor is so frightful, and He is so angry even as the inanimate body of Hiranyakashipu is lying in his lap, that none of the Gods and Sages present have the courage to approach Him. Not even Sage Narad who has the liberty to approach Vishnu whenever and wherever. Not even Goddess Lakshmi, His wife. Then Brahma and Narad request the child Prahlad to approach Narsimhadev. With his childlike innocence, Prahlad presents himself to the infuriated and ferocious half lion manifestation. And lo, in a moment, the anger of Narsimhadev evaporates and is immediately replaced by effusive love for his Bhakt.

Episodes and encounters of love are numerously present in the narration of Vishnu’s avatars as Ram and Krishna. The beauty of Ram is so divine that numerous Sages and village belles express their desire to serve Him as His wife. He declines, for in this avatar as Ram, He has a vow to be the husband of just one, and that is Seeta. But then He gives a boon to all such seekers that in his future incarnation as Krishna, He would accept their desires and betroth them. Therein lies the reason behind the Sixteen Thousand One Hundred and Eight wives of Krishna, as well as the occurrence of the phenomenal and Divine Raas Leela.

In the pageantry of the Sanatan Dharm theology, two entities are identified as beyond creation. They are Shiva and Vishnu. These are the only two for whom no stories of origin can be found, no details of parentage have ever been documented. In every episode, in every tale, the description of their physical appearance is always the same. There is no ageing across time. There is no dissolution at the time of Pralaya or Maha Pralaya. On the occasion of Maha Pralaya even Brahma completes his existence of 100 years (Brahma years, vastly different from the concept of earth years) and dissolves back, awaiting the next cycle of creation.

Vishnu and Shiva exist beyond the time and space, beyond the nothing and anything of this created universe. Their abodes are beyond time and they remain even when everything else disappears at the end of creation. It is nearly impossible for the human mind to even imagine what would be beyond the infinity of time and space as we comprehend it. In a manner of speaking, They represent the two basic forces, the two fundamental concepts that are the source of everything of any kind of nature that is, was, or will be, but They Themselves are apart from this creation. It is interesting to note that this concept of two basic forces pervades many other civilizations and many other theologies. The philosophies of further east have this representation as Yin and Yang, the two fundamental forces that are the basis of all creation. The Buddhist philosophy has the concept of Purush and Prakriti, and that everything else exists or is created through the interactions of these two. Even the scientists pursuing research on the theories of Modern Physics are making efforts towards what they call as the Grand Unified Theory of Physics, in which they propose that there exist only two basic forces in this physical universe and everything else in this visible measurable universe can be computed and extracted from the interplay of the equations of these two basic forces.

The scriptures of Sanatan Dharm abound with narrations of many flavors which describe the interplay between these two fundamental identities, and everything else that comes from them. There are narrations where Parvati, the Consort of Lord Shiva is represented as an incarnation of Vishnu. Then we have other narration where Radha ji is represented as an incarnation of Shiva.

The Ardhnaarishvar manifestation of Shiva, in which the left side of His being transforms into the female form, and He is blessed with being male and female form together in one presence. As per the narrations, Shiva got so smitten with the beauty of Mohini swaroop of Vishnu, that he continuously meditated on that beautiful form. As a result He earned the boon from Vishnu that Mohini would co-exist in the same physical body with Him. That is how the Ardhnaarishvar manifestation of Shiva came about.

Narrations abound in our scriptures of the purity of relationships of Love between Radha and Krishna, between Seeta and Ram, between Parvati and Shiva. However, in the most basic terms, it is all the interplay of the two basic forces of Vishnu and Shiva. And now I will touch upon one more aspect of Divine Love – the Love of Gopis of Vrindavan for the Child Krishna.

I have mentioned little earlier in this article, about the rationale behind the episode of Raas Lila during the appearance of Krishna on this earth, about the boon many learned Sages and women folk of villages received from Ram, when they approached Him with their desires to serve Him as His wives. Close to the end of Dwaapar Yug, when Krishna appeared on this land, these blessed souls all incarnated in Brij as Gopis, the milkmaids. The propensity of their earlier attraction to Ram, transformed in this life into an attachment of devotion to Child Krishna.

There are numerous narrations from many scriptures about the pastimes of Krishna in Gokul, Nandgaon and Vrindavan. Many of these episodes, including the Divine Raas Leela, are played out as interactions between Gopis and Child Krishna. The tales are endless. About Gopis craving for a view of Krishna, His pranks to trouble them as they go about their daily chores, about stealing butter and curd from their homes, about breaking the earthen pots (matkis) containing milk and butter, about the Gopis making Krishna dance just for getting some buttermilk and curd from them, even getting His face embellished with bits of cow dung to get more butter from them, and many many more.

There is a very interesting thread that weaves through all these episodes and pastimes, all the way up to the Raas Leela. And that thread is the flute that Krishna always carries with him, no matter what. This flute, made from a small stick of bamboo, is inseparable from Krishna. It is his eternal partner during the manifestation of all his pastimes while in Brij.

Krishna’s flute playing is remarkably Divine. At will, He can call for all the cows, or all the peacocks, or all the monkeys, or all his playmates and friends. And yes, when He plays the flute for that purpose, it is also to call all the Gopis. The ones so beckoned, are mesmerized by the music of the flute and as if a piece of iron is pulled by a magnet, so will the called ones respond to the call of the flute and in a trance just come to Him.

Gopis are attracted by His flute playing. Their attachment and their affectionate loyalty to Child Krishna is such that they would immediately give up whatever it is that they are doing, answer this call of devotion and converge wherever Krishna is. But when the music is over and the spell dissipates, they are also upset and annoyed that He has such power over them, that He will call them over whenever. There are small episodes of narration of such quarrels between Gopis and Krishna, and also complaints by Gopis to Yashoda.

Taking this narration further, we are also told that the Gopis are also cross with the flute itself. Just a small piece of bamboo and it has such a mesmerizing power over them. They even complain to the flute itself. Sometimes they slyly steal the flute and hide it. Then the little Kanhaiya is distraught, and he pleads with the Gopis to return it. There are some very beautiful bhajans and descriptions that depict this back and forth exchange between Kanha and the Gopis. And then, another step, the Gopis will go to Nand Baba’s home and lodge complaints with Yashoda. This exchange to is covered in many bhajans and episodes that are cute and heartening.

So what or Who is this flute? Some readers may know. Yes, as per narration given in some scriptures, this flute is none other than an incarnation of Shiva Himself. All I can say is that these matters are of the Divine, and are beyond our logic and comprehension. They need to be read and heard in wonder, and then to savor the multitude of sentimental flavors that are enmeshed in all this Grand Design. The more that we think and say about it, the more there remains to be thought and said about it.

The bhajan being introduced today is bringing up yet another flavor of the scores of sentiments that make up this wondrous pageantry. Gopis are even envious of the flute. And they begrudge it, that it always remains close to Kanha, and He so lovingly takes care of it, and He carries it everywhere with Him, even when He is asleep, it is with Him, and then He touches it by His lips, and creates the magic that disturbs their peace and comfort. After all the jealous complaints, they eventually end up praising the fortune of the flute. And they ask of it in wonder – Oh so what all penance and self-flagellation has it gone through, to be rewarded such a position of eminence, with the One that they all adore and covet.  And the words are

ए री बांस की बांसुरिया, तूने कौन कौन तप किन्हो री

Ae Ri Baans Ki Baansuria, Tu Ne Kaun Kaun Tap Kino Ri

Translations

bansi
bansi naam hai, kaahu dhareo sareer
taan taan ki dor su, khinchat hai mann mein

ari kshama kar muraliyaa, padi hain tere paayen
aur sukhi sun hot hain, maha dukhi hum hain

O Eminent Flute
Your name is ‘bansi
O why did you have to exist
With the power of the tones that emanate from you
The insides of our heart are pulled and wrenched

O please, please forgive us,
We fall at your feet in reverence
Others who may listen, may get pleasure from this music
But us. . . ?
Your sound makes us so unhappy and disturbed

 

tu hai brij ki muraliyaa
hum hain brij ki naar
teen lok mein gaayi’e
bansi aur brij naar

O Eminent Flute of Brij
You are the One who is so dear to Him
And we are the simple milkmaids of Brij
May these stories be sung in the three worlds
The tales of the flute and the milkmaids

There is a small personal incident associated with this bhajan that I would like to share. A senior patriarch (not in this world now) in the extended family was a very spiritual and learned person and I have had the good fortune of sitting and listening from him one on one, many times. Once I took this bhajan with me to play it for him. He had never heard this one before. As the play reached the second stanza and the words came “bansi aur brij naar “, he uttered the words “Jai Ho” three times, and I looked at him and his eyes were streaming. A little later I asked him about it, and he replied – “Bansi Aur Brij Naar – there is nothing higher than this in Krishna Bhakti”.

This is a non film bhajan that was recorded way back in 1961. That is all the information that I have been able to gather. No names are listed for the songwriter and the composer of this bhajan. The 78 rpm record is Columbia label GE 39008.

I have heard this song from the days of radio listening while still at school. But now this bhajan seems to have been forgotten by the radio waves. I tried searching for this on line and was really amazed to locate pages where netizens are waiting for this song to be located and uploaded.

A very rare song now, uploaded today. Listen to this baritone sound of CH Atma’s voice from sixty years ago.

[Author’s Note: This series – ‘The Many Colors of Love’ got initiated 20th May, 2013, eight years and 4 days ago. It continued on through 2013, 14 and 15, and 29 episodes were published, the 29th coming online on 9th March, 2015. And then there was complete silence on this topic. Six years – that is too long a gap by any standards. There was a rare blip in 2019 when the 30th episode of this series got published on 20th March, 2019. However, that post, although very much within the theme of this series, came about more towards getting the songs of film ‘Bobby’ completed and getting that film Yippeee’d. And then again, another long silence.

Readers and friends have probably come to the conclusion that the series was more or less complete. But the truth is far from that. In the sequence in which I had laid out the ‘Colors of Love’, after having done the 29th episode, the next topic I come to on the list is ‘Love Divine’. Telling you all the truth, it is this topic that tied up my grey cells in a bind and dried up the juices of creativity. Whenever I used to think to start writing this episode, my mind would just sputter and stop working, not knowing where to make a start. The article that you are reading today is probably the 4th revamped and revised version that I have attempted over the years. And another truth from the heart, I am still not fully satisfied with what I have written. There are many branch avenues that I wanted to explore and write about, but all are not coming together at once. And of course, the length of the article itself has become somewhat daunting.

The series still has three or four more songs to go, more like closing remarks on the ‘Colors of Love’. But yes, this post is the one that has taken the most energy. In a way I am glad that I am finally ahead of this milestone. But as I said before, getting this version of this episode completed still leaves me with a discontentment – that there is more to it. Well, maybe some other posts and other songs that may help fill the gaps within my mind, in the days to come.

So yes, we move forward, and hopefully conclude soon the list of flavors that I had originally planned.]

 

Song – Ae Ri Baans Ki Baansuriya (NFS – CH Atma) (1961) Singer – CH Atma, Lyrics – [Unattributed], MD – [Unattributed]

Lyrics

ae ri baans ki bansuriyaa

ae ri baans ki bansuriyaa
tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri
ae ri baans ki bansuriyaa
tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri

bansi
bansi naam hai
kaahu dhareo sareer
taan taan ki dor su
khinchat hai mann mein
ari kshama kar muraliyaa
padi hain tere paayen
aur sukhi sun hot hain
maha dukhi hum hain
tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri

ae ri baans ki bansuriyaa

tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri

tu hai brij ki muraliyaa
hum hain brij ki naar
teen lok mein gaayi’e
bansi aur brij naar
tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri

ae ri baans ki bansuriyaa

tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri

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

ए री बांस की बांसुरिया

ए री बांस की बांसुरिया
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री
अए री बांस की बांसुरिया
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री

बंसी
बंसी नाम है
काहू धरेयो सरीर
तान तान की डोर सूं
खींचत है मन में
अरी क्षमा कर मुरलिया
पड़ी हैं तेरे पाएँ
और सुखी सुन होत हैं
महा दुखी हम हा॰॰एं
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री

ए री बांस की बांसुरिया
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री

तू है ब्रिज की मुरलिया
हम हैं ब्रिज की नार
तीन लोक में गाइए
बंसी और ब्रिज नार
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री

ए री बांस की बांसुरिया
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री


This article is written by Avinash Scrapwala, 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 :

4685 Post No. : 16368

# Superstar Child Artist – Junior Mehmood # 9
——————————————————–

Welcome all to the nineth article in this series. In the previous eight posts we have seen songs sung by different singers for Junior Mehmood during late sixtees and early seventees when he was a ‘superstar child sensation’.

The eight songs that we listened earlier were sung by Mohd Rafi(four songs), Lata Mangeshkar(one), Hemlata(one), Shanti Mathur(one) and Asha Bhonsle(one).

Tis series began by exploring songs sung by Rafi Saab for Junior Mehmood when he was ‘child artist and still growing’. Simultaneously we also looked at songs sung by female singers for Junior Mehmood as a ‘child artist’.

It would be interesting to know if there is any song hich as sung by Junior Mehmood for himself. (I am not sure, knowledgeable readers can enlighten us).
Today’s song is one such song, not a full song though, but having few lines sung by Junior Mehmood. In this song he is performing with Manoj Kumar, Nutan, Mohan Choti, Birbal and others.

This song is from the ‘1970’ movie ‘Yaadgaar’.

‘Yaadgaar-1970’ was directed by S. Ram Sharma for ‘Kunal Chitra, Bombay’. It had Nutan, Manoj Kumar, Pran, Prem Chopra, Kamini Kaushal, Junior Mehmood, Madan Puri, Tiwari, Mohan Choti, Lalita Chatterjee, Asit Sen, Lakshmi Chhaya, Shammi, Man Mohan, Polsan, Jayshree, Kuljeet, Renu, Raj Kishore, Harbans Pape, Kirti Behl, Manohar, Naidu, Birbal, Hansraj, Shrinath, Mohan Shery, Dubey, Sabina, Manohar Gosvai, Kesho Rana, Brahm Bharadwaj, Sobti, Alija, Genius, Darshan M., Ravikant, Chandra, Mohan Chhotu, Narbada Shankar, Ramlal and others.

This movie had six songs written by Indeevar and Verma Malik (three songs each).
(One song ‘ik taaraa boley’ is in two parts and it is considered as two songs).

Here is the list of songs of this movie as given in HFGK Vol- IV (1961-1970),

SNo Song Title Singer/s Posted On
01 Ik taaraa boley tun tun, kya kahe ye tumse sun sun (Part-I) Mahendra Kapoor 13.04.2009
02 Aaye jahaan bhagwaan se pahle… wo khet mein milegaa Mahendra Kapoor 13.04.2019
03 Jis ghar mein daaku chor chhupe… Ik taaraa boley tun tun (Part-II) Mahendra Kapoor 13.04.2009
04 Bahaaron ka hai melaa … phool koi mere liye bhi to ho Asha Bhonsle
05 Boli saawan ki raat badi paawan hai raat… Hamne dekhi hai honewaali bhabhi Mahendra Kapoor, Nutan, Manhar, Jr Mehmood, Birbal, Being discussed today
06 Jis path pe chalaa us path pe mujhe aanchal to bichhaane de… mujhe saath to aane de Lata Mangeshkar 28.11.2011

Music for this film was composed by Kalyanji-Anandji.

As we can see fromthe above table, four songs (including one multiple version song) from this movie have been posted on the blog.

Today’s song is the fifth song of this movie ‘Yaadgaar-1970’ to be posted here on the blog. This will take the movie within striking distance from ‘Yippeeee-land’.

Let us now listen to today’s song.

The situation of the song is self-explanatory. On screen is performed by Manoj Kumar, Nutan, Mohan Choti, Birbal, Junior Mehmood and Kuljeet (I guess the actor lip syncing for Manhar’s voice).

Mahendra Kapoor, Manhar Udhas, Nutan, Junior Mehmood and Birbal have given their voices in this song.
Lyrics are by Verma Malik and music is composed by Kalyanji-Anandji.

Over to the song now …

Video

Audio

Song-Hamne dekhi hai honewaali bhaabhi (Yaadgaar)(1970) Singers-Manhar Udhas, Nutan, Mahendra Kapoor, Lyrics-Verma Malik, MD-Kalyanji Anandji
Unknown male voice 1
Unknown male voice 2
Unknown male voice 3
Unknown male voice 4
Birbal
Chorus

Lyrics

ho boli saawan ki raat
badi paawan hai baat
boli saawan ki raat
badi paawan hai baat

ho rang khushiyon ne pahne gulaabi
ho hamne dekhi hai
honewaali bhaabhi
ho hamne dekhi hai
honewaali bhaabhi
boli saawan ki raat
badi paawan hai baat
rang khushiyon ne pahne gulaabi
ho hamne dekhi hai
honewaali bhaabhi
ho hamne dekhi hai
honewaali bhabhi

sukh hai bhaabhi
chain hai bhaabhi
maa hai bhaabhi
behan hai bhaabhi
dil hai bhaabhi
nain hai bhabhi
dil hai bhabhi
nain hai bhaabhi

teri bhaabhi
meri bhaabhi
meri bhaabhi
teri bhaabhi

apni bhabhi
hai aisi bhabhi

lakshman ki thhi jaisi bhabhi
ho hamne dekhi hai
honewaali bhaabhi
ho hamne dekhi hai
honewaali bhaabhi

bhaiyya ki baaraat chalegi
bhaiyya ki baaraat chalegi
saari jantaa saath chalegi

taaron ki chunri mein lipatkar
chaand chalega
raat chalegi
chaand chalega
raat chalegi

phir samandhi ki galiyon mein jaakar
naachenge bhangdaa punjabi
hoye
hadippa
hadippa
hadippa
hadippa

ho hamne dekhi hai
honewaali bhabhi
ho hamne dekhi hai
honewaali bhabhi

chhamak uthhe hai
barkha ke ghunghroo
machal uthhi hai
raat ki paayal
ho paayal
ho paayal
ho paayal

raat ki paayal

dil ki dhadkan
aisi badhhi hai
bina hawaa ke
udtaa aanchal

ho aanchal
ho aanchal
ho aanchal
udtaa aanchal

devar bhabhi sang sang
naachen
ho gayi saawan ki raat
sharaabi

ho hamne dekhi hai
honewaali bhabhi
ho hamne dekhi hai
honewaali bhabhi

ho mohanlal ji
haan sohanlal ji
bolo laalji
arey yaar kanhaiyya
baithha chup hai bhaiyya
mera bhaiyya
haan haan haan tera bhaiyya
haan haan haan mera bhaiyya

bhaiyya bhaiyya
bolo bhaiyya

hanh
boloon kya main
arey bol kanhaiyya
aaj ki raat
haan haan kal ki baat

hmm
aaj ki raat
kal ki baat
bhabhi ne kuchh tum mein dekha
tumne bhabhi mein kya dekha

maine dekha
tune dekha
o maine dekha
tune dekha
isne dekha
usne dekha
kya nahin hai ismein dekha
kya bataaun kya kya dekha
maine tumhaari bhabhi hai dhoondhi
tum dhoondh ke laao
meri bhaabhi

dhathh main bhabhi dhoondh ke laaun
chhi mujhe sharm aati hai

aa haa haa haa

boli saawan ki raat
ho badi paawan hai baat
ho rang khushiyon ne pahne gulaabi
ho maine dekhi hai
honewaali bha…
o teri …

haa haa haa
haa haa haa

o teri dekhi hai honewaali bhaabhi
ho hamne dekhi hai
honewaali bhabhi
ho hamne dekhi hai
honewaali bhabhi
bhabhi
bhabhi
bhabhi
hoye ae ae ae
haa


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:

4681 Post No. : 16362

———————————————–————————————
Blog 10-Year Challenge (2011-2021) – Song No. 22
———————————————————————————–
———————————–
This Week, That Year – 5
———————————–
09May – 15May, 2011

It has been a long gap. The previous post in this series had come on 23rd Sep, 2020. And the post number was 15911. About seven and a half month’s worth of waterflow has passed under all the bridges. That was 231 days ago. And 450 posts ago. The blog has clocked four more century milestones, and is close to a fifth now.

An understatement it is – that life has changed in these past months. A lot of ideas and motivation for writing has been numbed. Even with the time and inclination both pointing in the right directions, the flow of writing is simply not coming together. Every week for the past 5 or 6 weeks, I scrutinize the 10 year challenge lists. Ideas form in the mind, but somehow do not get on to paper. For this week’s analysis and this post, I have been checking on the week status from a decade ago, for past couple of days. And then today, just decided to start off with this inability to articulate. Let’s see where it will lead to.

Maybe start with numbers. The week that was – 9th to 15th May of 2011. We saw two dot days that week – 11th and 13th May. Something was in the air during those days. Between April and May of that year, we see 10 dot days, that do not seem customary. We had 28 songs posted in that week, and given two dot days, the average productivity would be approximately 5.6 posts per day.

The 28 songs belonged to 27 different films, and only one film made a repeat appearance that week – the film ‘Pugree’ of 1948.

Considering the decades – the thirties and seventies had just one song present. In between we had 8 songs for the 1940s, 11 songs for the 1950s and 7 songs for the 1960s.

The week saw 5 debut films come on board. And the film ‘Parasmani’ of 1963 completed its run and made the Yippeee status. Of the 27 films that got featured that week, a whopping 19 films have since been Yippeee’d over the past decade. And 8 films are still awaiting more songs to complete their run on our blog. All the films have between 2 to 5 songs pending, which means none of them is one song away from being Yippeee’d.

Coming to milestones, the week saw the century milestone for music director Anil Biswas. On 10th May, with the song “Paise Ka Mantar Paise Ka Jantar“, from the 1956 film ‘Paisa Hi Paisa’, Anil Biswas clocked his first 100 songs posted on our blog.

The day by day break up and details of posts on daily basis is given in the table below.

Blog Ten Year Challenge (2010-2020) Series
Sl.No. Movie Name Year HFGK NoS ASAD NoS Possible UT Deb/Yip Milestone Film Status Pending
9-May-11
1 Pardesi 1957 8 5 Pending 3
2 Jalti Nishaani 1957 8 6 Pending 2
3 Chaar Dil Chaar Raahen 1959 7 7 Yippeee’d
10-May-11
1 Kismat 1943 9 9 Yippeee’d
2 Milan 1946 8 5 Pending 3
3 Pugree 1948 9 9 Yippeee’d
4 Meena Baazaar 1950 12 12 Yippeee’d
5 Paarasmani 1963 6 6 Y Yippeee’d
6 Paisa Hi Paisa 1956 10 6 AC – 100
(Anil Biswas)
Pending 4
11-May-11
[No Posts]
12-May-11
1 Pugree 1948 9 9 Yippeee’d
2 Chaalis Din 1959 8 5 Pending 3
3 Faraar 1965 6 6 Yippeee’d
4 Namaste Jee 1965 8 4 D Pending 4
5 Uski Kahaani 1966 2 2 D Yippeee’d
6 Hindustan Ki Kasam 1973 4 4 D Yippeee’d
13-May-11
[No Posts]
14-May-11
1 Buzdil 1951 6 6 Yippeee’d
2 Lala Rukh 1958 7 7 Yippeee’d
3 Apna Haath Jagannaath 1960 8 8 Yippeee’d
4 Zindagi 1956 8 3 D Pending 5
5 Faisla 1965 7 4 D Pending 3
15-May-11
1 Chandidas 1934 9 9 Yippeee’d
2 Dil e Naadaan 1953 9 9 Yippeee’d
3 Mirza Saahiban 1947 10 10 Yippeee’d
4 Kaneez 1949 12 12 Yippeee’d
5 Zameendaar 1942 10 10 Yippeee’d
6 Kaaghaz Ke Phool 1959 7 7 Yippeee’d
7 Shama 1961 11 12 Yippeee’d
8 Bahaaren Phir Bhi Aayengi 1966 6 6 Yippeee’d

Ten years ago, this day six songs were posted from six films. Of the six films, the following four have since been Yippeee’d – ‘Pugree’ (1948), ‘Faraar’ (1965), ‘Uski Kahaani’ (1966) and ‘Hindustan Ki Kasam’ (1973). The two pending films are ‘Chaalis Din’ (1959) and ‘Namaste Ji’ (1965). For today’s post, I have picked this fun wooing song in the voice of Rafi Sb from the film ‘Namaste Ji’.

This film has an interesting background, from a collector’s perspective. For almost two decades, this film has been on the fringe of becoming available in public domain. There are collectors who have been declaring the availability of this film with tantalizing promises of making it available ‘shortly’. But that shortly has never really materialized. To the extent that there are folks who have uploaded doctored videos, i.e. songs of this film overlaid on a video sequence of another film with the same lead actors. Ah yes, we do see many an example of such shady presentations. And to tell you – the world is so full of believers, that the comment sections of such uploads contains profuse thanks for being able to see the video clip of the song. There are rare comments that point out this insidious jugglery, but such statements of accusatory truth are lost in the bevy of praises.

One of my very close and dear friends, has shown me photographs of the library shelves of another collector in Bombay, where the Betamax tape of this film, ‘Namaste Ji’ is very much visible. But no, we have had no success in being able to view or acquire this film. And so we are also not 100% certain that the titles that are sitting in the library of this other collector, whether these just blanks, to impress others. Do not know. This, and actually many other titles, have been doing rounds of collector circles and communications – that they are imminent to be released to public domain shortly.

Another very interesting variation to this scenario is the case where the original film has been dubbed into another language. Case in point is the film ‘Qaidi’ from 1957, very well known for its musical score by OP Nayyar. Now this film, as many others, was later dubbed into Tamil and other south Indian languages. The current scenario with this film is that the Hindi original of this film is not available (yet) in public domain. However the Tamil version is very much available in public domain. Some technically astute and enterprising collector has picked the video sequence from the Tamil version and has overlaid the audio of the song in Hindi. He has posted a couple of such ‘manufactured’ videos with the claim that they are the original and that he has the full film in original Hindi. After much explorations and discussions, it has been determined that the claim is spurious.

A very enticing and also tormenting situation is when actually we have real and true clips of songs and short video sequences posted online, but the entire film is simply not surfacing anywhere. Years have passed in waiting but simply no word of real existence has surfaced. Maybe I shall take this up in another post – it is getting very lengthy.

So back to ‘Namaste Ji’. The film has been produced under the banner of DM Films, Bombay (now Mumbai) and is directed by Daljeet Krishan. Is Daljeet the ‘D’ in the banner name? Not sure. The star cast as per the Geet Kosh is Ameeta, Mehmood, IS Johar, Nalini Chonkar, Ulhas, Manorama, Mridula, Rajan Haksar, Kundan, Baij Sharma, Brahmdutt, Helen, Sumita, Arti, Manjula, Vinod, Ramesh, Ajeet, Meena, Baijnath, and Nazeer.

The film has 8 songs listed. The music boasts of such all time favorites as “Mere Do Naina Matwaale Kis Ke Liye“, “Bahaaron Thaam Lo Ab Dil Mera Mehboob Aata Hai“, and “Hamen Kya Jo Har Su Ujaale Huyen Hain”. Interesting to note that so far 4 songs of this film have made their appearance on the blog. Three of them appeared in 2011, the fourth came on board in 2014. And then, a long radio silence. Yes, the fifth song makes its appearance today, after a gap of seven years.

The music composition is by GS Kohli and the song writing is shared between Anjaan and Anand Bakshi. However sadly, the song being presented today has no lyricist identified for it. Could this be a traditional or a folk song that has been reused? Yes, quite possible, from the sound of it. The language of the song sounds like Awadhi or Bhojpuri, and so it could be folk song that has been brought into this film. I request other knowledgeable friends and readers to please comment on this observation.

From the rendering of this song, it may be not wrong to surmise that this song is picturized on Mehmood. It sounds similar in rural tones, to some other songs that Mehmood had performed on screen, e.g. the song “Pipra Ke Patwa Sareekhe Doley Manwa” from the 1963 film ‘Godaan’.

So, wrapping up today’s write up, with a forlorn hope that this film shall make its appearance in the public domain, sooner than later.

Let us see.

Song – Kahaan Jayi Ho Najariya Churaaye Hum Se  (Namaste Ji) (1965) Singer – Mohammed Rafi, Lyrics – [Unattributed], MD – GS Kohli

Lyrics (Provided by Prakashchandra)

kahaan jayi ho  o o o
kahaan jayi ho
najariya churaaye
hum mmmm mm mm mm
hum mmm mm mm se..e

o kahaan jayi ho oo oo
 
kahan jayi ho o o
o kahan jayi ho najariya churaaye hamse
kahan jayi ho o o

gori gussey mein ho
gori gussey mein haayye
gori gussey mein
daaman chhudaaye hamse ae
oye
oye oye oye
kahan jayi ho o
kahan jayi ho
najariya churaaye hamse
kahan jayi ho

naagan si goriyaa chalai chaal aisey ae ae
lotey karejwaa pe haaye saanp jaise
lotey karejwaa pe haaye saanp jaisse
qaabu karee hum jeeyara pe kaise
kauno jatan to batai ho batai ho batai ho re
kahaan jayi ho
o kahan jayi ho
najariya churaaye hamse
kahan jayi ho o
oo ooo ooo
aaaa aaa aaa aaa
ooo ooo oooo ooo ooo
haaye haaye
haaye haaye
haaye

tohre basai deen o duniya bhulai bey ae
tohri duwaaree pe dhooni ramayi bey
tohri duwaaree pe dhooni ramayi bey ae
jab ban ke jogi
o jab ban ke jogi
alakh hum jagayi bey
phir kaisey bas mein
na ayi ho
na ayi ho
na ayi ho rey
kahaan jayi ho o
o kahaan jayi ho
najariya churaaye hamse
kahaan jayi ho o o

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

कहाँ जई हो ओ ओ ओ
कहाँ जई हो
नजरिया चुराये
हम्म म्ममम म्म म्म म्म
हम्म म्ममम म्म म्म से॰॰ए

ओ कहाँ जई हो ओ ओ

कहाँ जई हो ओ ओ
ओ कहाँ जई हो नजरिया चुराये हमसे
कहाँ जई हो ओ ओ

गोरी गुस्से में हो
गोरी गुस्से में हा॰॰य
गोरी गुस्से में
दामन छुड़ाए हमसे॰॰ए
ओय
ओय ओय ओय
कहाँ जई हो ओ
कहाँ जई हो
नजरिया चुराये हमसे
कहाँ जई हो

नागन सी गोरिया चलै अइसे॰॰ए॰॰ए
लोटे करेजवा पे हाय साँप जइसे
लोटे करेजवा पे हाय साँप जईस्से
क़ाबू करी हम जियरा पे कइसे
कौनौ जतन तो बतई हो
बतई हो
बतई हो रे
कहाँ जई हो
ओ कहाँ जई हो
नजरिया चुराये हमसे
कहाँ जई हो ओ
ओ ओss ओss
आsss आss आss आss
ओs ओss ओsss ओss
हाय हाय
हाय हाय
हाय

तोहरे बसइ दीन ओ दुनिया भुलई बे॰॰ए
तोहरी दुवारी पे धूनी रमइ बे
तोहरी दुवारी पे धूनी रमइ बे॰॰ए
जब बन के जोगी
ओ जब बन के जोगी
अलख हम जगइ बे
फिर कइसे बस में
न अइ हो
न अइ हो
न अइ हो रे
कहाँ जई हो॰॰ओ
ओ कहाँ जई हो
नजरिया चुराये हमसे
कहाँ जई हो ओ ओ ओ


This article is written by Peevesie’s mom, 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 :

4678 Post No. : 16356

Hullo Atuldom

The last time I had written a post for Mother’s Day was in 2016 – Mere chehre mein chhupa hai meri maa ka chehra . In that post I had mentioned how the idea of mother’s day came about. This day has been celebrated in the USA since 1914 as per a proclamation by Woodrow Wilson declaring the second Sunday of May as Mother’s Day.

As far as Indians are concerned everyday is Mother’s Day. Only thing is in the last few decades, with the increase in number of youngsters staying away from their families for studies or work or whatever reason, Mother’s Day is another day that we have started aping the west. We find youngsters definitely calling their mothers to wish, and some even send her some gifts.

There are numerous messages that will flood the social media on Mother’s Day. But a Mother will normally wait only for her children’s messages i.e. if it is not possible for the children to be physically present with her. Then there will be some somber message that will say “learn to appreciate your mother, for some are not as blessed as you”. And still others will say “what does she ask for, only a smile or a message that you are fine”. In all these years of being active on social media, I have not come across any message whose wordings have remained in my memory. But what I have stated above is the general gist of messages that will be in our INBOX on this Sunday, it being the second Sunday of May 2021.

And we must salute the mothers of the modern era. The amount of juggling that they need to do so that the schedule of the family is not upset. And most mothers also are earning members of the family. Till atleast a generation before us, these women who were working to earn, so as to supplement the family income, were seen preparing all meals for the family before they themselves left for their work. And on returning home head straight to the kitchen to make dinner and also engage the children with their studies and attend to whatever other responsibilities that she was meant to do. Being a mother had become a though job, and any lady who was not an expert at that kind of juggling was looked down upon.

In my student days, I used to commute by the Mumbai local trains and I have seen ladies shelling PEAS, cleaning coriander etc in the train. There were (don’t know if this is still happening in the trains) enterprising hawkers who used to sell vegetables and fruits, procured from the markets on the local trains of Mumbai. And to be honest, it must have been helpful to the lady travelers as it may have saved them shopping time.

I also know of mothers who have given up on well paying jobs so that they can devote all their attention to the family and children. These ladies doubled up as private tutors so that they didn’t waste their free time and could still contribute monetarily to the family.

And let me not miss talking about a generation of mothers, who are currently in their 80s and beyond. These ladies may not have been as fortunate, as say even the current 50/60 – year old mothers, in terms of getting beyond class 10 in education. But these ladies too, have reared a generation of individuals and instilled values of humanity, taught their children the importance of education and being good citizens – gender no bar. My mother would not have felt proud of her children’s achievements if my grandmother had not encouraged her to study and complete her graduation in spite of being married and a mother to 4 growing up children.

If my mother had been there she would have wished my grandmother just as me and my siblings would have fussed over our mother and my children pamper me on mother’s day. This is the day I also thank the mother in my mother-in-law for being my go-to person whenever I am in trouble, upset or celebrating. I simply love to be around her and learn how she has lived 74 years of her life as a mother.

Mothers have a special place in Indian stories and as an extension of these stories in Indian cinema too. We have movies titled “Maa” (three in our blog itself), “Maa Beta”, “Maai Baap”, “Maa aur Mamta”, “Maa Baap” (two movies with this title in our blog) etc.

In addition we have the classic “Mother India” where the lady had a powerful place in the life of her family members. Saw this movie, recently, with a conscious mind. I was amazed at the strength of the character that Nargis played. This lady could plough her field along side her husband and sons. She wielded a lathi when her son went out-of-line and her teachings; as also on the mean-money minded- lala (moneylender) when he misbehaved with her. This mother-character was a lady made of steel and didn’t tolerate when her son went on to abduct a bride of the village and didn’t hesitate to shoot him in spite of him being her son.
I have seen and read interviews of actresses of the next generation and they all used to say that they want at least one role in there life like the one Nargis played in “Mother India” and realized only now the full meaning of the wish of all these later year actresses.

But that is another story, let us get to today’s song. It is from the 1970 release “Mastaana”. This movie was directed by A. Subba Rao, produced by Premji, had seven songs penned by Anand Bakshi and composed by Laxmi-Pyare. It had a cast headed by Mehmood- Padmini- Bharati- Vinod Khanna and had Shyama, Rehman, Mukri, Leela Mishra, Manorama, Jayshree T., Ramesh Deo, wonder- child (that is how it was in the movie’s titles) Bobby etc. It was an emotional movie showing the bond between a poor-honest man Satya (Mehmood) and Naintara (Baby Bobby) a child of rich parents who misses having her parents when she needs them the most. The movie is a must-see for all Mehmood fans as he was too good in the emotional scenes. This is one of the movies (the other being ‘Lakhon Mein Ek’) where he makes his audience shed a tear or two in addition to making us laugh.

This song is sung by the child Naintara as a stage song at her school’s Parents Day. The parents don’t have time to attend the programme and depute the child’s nanny (Manorama). The child, on her part, takes Satya along for the program and Satya on his part sits in the aisle. The playback for this song is by Lata Mangeshkar.
Salutation and Best wishes to all mothers. Awaiting Father’s Day (in about a month).

Editor’s note-With this song, Anand Bakshi silently completes 1100 songs in the blog as a lyricist. Only the third lyricist (after Rajinder Krishan and Majrooh Sultanpuri) to touch this mark in the blog.


Song-Maine maa ko dekha hai (Mastaana)(1970) Singer-Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

maine maa ko dekha hai,
dekha hai maa ko dekha hai
maa ka pyaar nahin dekha
maine maa ko dekha hai,
maa ka pyaar nahin dekha
maine phool toh dekhe hain,
dekhe hain phool toh dekhe hain
phoolon ka haar nahin dekha
maine maa ko dekha hai,
maa ka pyaar nahin dekha
maine maa ko dekha hai

waise toh ghar mein maa ki tasveer hai ae ae
waise toh ghar mein maa ki tasveer hai
lekin meri kab aisi taqdeer hai
kabhi jo ghabraaoon,
gale se lag jaaoon
agar naa neend aaye
toh lori woh gaaye
mera mann jiska pyaasa hai
pyaasa hai jiska pyaasa hai
woh laad dulaar nahin dekha
maine maa ko dekha hai,
maa ka pyaar nahin dekha
maine maa ko dekha hai

waise meri maa ka dil toh sakht nahin ee ee
waise meri maa ka dil toh sakht nahin
par uske paas zara bhi waqt nahin
hai uska naam bada
hai usko kaam bada
woh devi mamta ki,
hai leader janta ki
maa ke photo ke bina,
bina ji photo ke bina
koi akhbaar nahin dekha
maine maa ko dekha hai,
maa ka pyaar nahin dekha
maine maa ko dekha hai

pyaari pyaari hai woh bholi aisi hai ae ae
pyaari pyaari hai woh bholi aisi hai
kal aaya se poochha baby kaisi hai
meri maa sachchi hai,
badi hi achchi hai
yeh uska dosh nahin
use kuchh hosh nahin
maa ne duniya dekhi hai,
dekhi hai duniya dekhi hai
ghar sansaar nahin dekha
maine maa ko dekha hai,
maa ka pyaar nahin dekha
maine phool toh dekhe hain
dekhe hain phool toh dekhe hain
phoolon ka haar nahin dekha,
maine maa ko dekha hai


This article is written by Avinash Scrapwala, 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 :

4678 Post No. : 16355

# Superstar Child Artist – Junior Mehmood # 8
——————————————————–

Welcome all to this eighth post in this series where we are discussing songs performed by Junior Mehmood as a ‘superstar child artist’.

So far, the following seven songs in this series have been discussed on the blog earlier.

1) lagey koi lottery koi jackpot lagey

2) Na koi paisa na ilm banaao bambai mein film

3) Mera naam hai Mehmood

4) Birha ki rain sooni sooni sejariya

5) Aisa banoonga actor main yaaron

6) Ham hi jaanen ek torey manwa ki peer

7) Janamdin tujhko mubaraak ho

Today’s song is from the 1970 movie ‘Bachpan’.

As mentioned in the earlier posts under this series, ‘Naunihaal-1967’ was the first released movie of child artist Junior Mehmood.

He went on to act in many movies as a child artist then. He was the most loved child artist in those years of end-sixties to mid-seventies.

As a child artist Junior Mehmood achieved a ‘Superstar’ like status. He got to perform on many songs or rather many songs were picturised on him during those days.

We are going to enjoy one such song of Junior Mehmood as a child artist from the movie ‘Bachpan-1970’. The today’s wonderful entertaining song is performed by Junior Mehmood and other child artist including Sachin and Naeem (?) and many others.

This song is a different from his’ other songs as a child artist, because here he is not doing any mimicry of other actors or his guru, but in today’s song he is performing as a ‘girl’ or in a ‘female’ get-up.

In today’s song we see all the child artists (mentioned above) are singing and dancing in a police station where Sanjeev Kumar is in a lock-up. From the lyrics of this song we can guess that all these children have a plan to divert the attention of the on-duty police staff in their singing-dancing activities so that Sanjeev Kumar is able to escape from their custody.

The lyrics, music and singing of this song is very lively and entertaining to watch as Junior Mehmood, Sachin performs by lip syncing in Lata Mangeshkar’s voice and lead other children in the performance.

In an interview with Zarina Wahab (available here) Junior Mehmood had mentioned this song as his most favourite song among all the songs picturised on him.

‘Bachpan’ was directed by K.P. Atma for ‘Atma Arts Universal, Bombay’. K.P. Atma co-produced this movie with K.H. Rao. It had Sanjeev Kumar, Master Sachin, Junior Mehmood, Shahid, Anwar Hussain, Mukri, Sunder, Joginder, Baldev Mehta, Keshto Mukherji, Aruna Irani, Sulochana Chatterjee, Tabassum, Pratima Devi, Baby Gayatri, Baby Guddi, Master Alankar, Naeem and Tanuja.

Story of this movie was written by K.P. Atma. Screenplay and dialogues were written by Raj Baldev Raj. Editing of this movie was done by Shivaji Awdhut.

This movie was passed by Censor Board on 24.09.1970.

This movie had total six songs which were written by Anand Bakshi and composed to music by Laxmikant-Pyarelal.

Kishore Kumar, Lata Mangeshkar, Mohd Rafi, and P. Susheela were the playback singers for the songs in this movie.

Three songs from the movie ‘Bachpan-1970’ have been posted earlier on the blog. Today’s song is the fourth song from this movie to be posted on the blog.

Song Posted on
Aaya re khilaune waala 30.08.2010
Mother Mary maa ham tere dulaare hain 25.12.2016
Prem ka rog lagaa loon kaise jee ko main saanwariya 30.08.2020

I had not watched this movie ‘Bachpan-1970’. I would request knowledgeable readers to throw more light on the movie and its songs.

Let us now enjoy today’s rocking entertaining song in the voice of Lata Mangeshkar.

Video

Audio

Song-Parda uthhne waala hai (Bachpan)(1970) Singer-Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

Pardaa uthhne waala hai
Tamaasha hone waala hai
Koyi hansne waala hai
Koyi rone waala hai
Pardaa uthhne waala hai
Tamaasha hone waala hai
Koyi hansne waala hai
Koyi rone waala hai

Ho mantar chalne waala hai
Jaadu hone waala hai
Koyi hansne waala hai
Koyi rone waala hai
Pardaa uthhne waala hai
Tamaasha hone waala hai
Koyi hansne waala hai
Koyi rone waala hai

Kaale baadal jaise udte hain
Barsaat mein
Kaale baadal jaise udte hain
Barsaat mein

Tu bhi ud jaa panchhi pinjraa
Le ke saath mein
Tu bhi ud jaa panchhi pinjraa
Le ke saath mein

Qismat jaagne waali hai
Qismat jaagne waali hai
Qismat jaagne waali hai
Shikaari sone waala hai
Koyi hansne waala hai
Koyi rone waala hai
Pardaa uthhne waala hai
Tamaasha hone waala hai
Koyi hansne waala hai
Koyi rone waala hai

Ham laaye hain sandesaa tere naam ye ae
Ham laaye hain sandeshaa tere naam ye
Tere sar pe to hai jhoothha ilzaam ye
Tere sar pe to hai jhoothha ilzaam ye
Tere daaman ke dhabbe
Tere daaman ke dhabbe
Tere daaman ke dhabbe
Naseeba dhoney waala hai
Koyi hansne waala hai
Koyi rone waala hai ae
Pardaa uthhne waala hai
Tamaasha hone waala hai
Koyi hansne waala hai
Koyi rone waala hai

Sun o bhole bhaale raahi
Tujhko kya pataa aa
Sun o bhole bhaale raahi
Tujhko kya pataa

Jisne tujhko hai bhulaaya
Tera raasta aa
Jisne tujhko hai bhulaaya
Tera raasta

Apni bhool bhulaiyya mein
Apni bhool bhulaiyya mein
Apni bhool bhulaiyya mein
Wo khud hi khonewaala hai
Koyi hansne waala hai
Koyi rone waala hai ae
Pardaa uthhne waala hai
Tamaasha hone waala hai
Koyi hansne waala hai
Koyi rone waala hai

Ho mantar chalne waala hai
O Jaadu honewaala hai
Koyi hansne waala hai
Koyi rone waala hai

——————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
——————————————
पर्दा उठने वाला है
तमाशा होने वाला है
कोई हंसने वाला है
कोई रोने वाला है
पर्दा उठने वाला है
तमाशा होने वाला है
कोई हंसने वाला है
कोई रोने वाला है

हो मंतर चलने वाला है
जादू होने वाला है
कोई हंसने वाला है
कोई रोने वाला है
पर्दा उठने वाला है
तमाशा होने वाला है
कोई हंसने वाला है
कोई रोने वाला है

काले बादल जैसे उड़ते है
बरसात में
काले बादल जैसे उड़ते है
बरसात में

तू भी उड़ जा पंछी पिंजरा
ले के साथ में
तू भी उड़ जा पंछी पिंजरा
ले के साथ में

किस्मत जागने वाली है
किस्मत जागने वाली है
किस्मत जागने वाली है
शिकारी सोने वाला है
कोई हंसने वाला है
कोई रोने वाला है
पर्दा उठने वाला है
तमाशा होने वाला है
कोई हंसने वाला है
कोई रोने वाला है

हम लाये हैं संदेशा तेरे नाम ये ए
हम लाये हैं संदेशा तेरे नाम ये ए
तेरे सर पे तो है झूठा इलज़ाम ए
तेरे सर पे तो है झूठा इलज़ाम ए
तेरे दामन के धब्बे
तेरे दामन के धब्बे
तेरे दामन के धब्बे
नसीबा धोने वाले है
कोई हंसने वाला है
कोई रोने वाला है
पर्दा उठने वाला है
तमाशा होने वाला है
कोई हंसने वाला है
कोई रोने वाला है

सुन ओ भोले भाले राही
तुझको क्या पता आ
सुन ओ भोले भाले राही
तुझको क्या पता

जिसने तुझको है भुलाया
तेरा रास्ता
जिसने तुझको है भुलाया
तेरा रास्ता

अपनी भूल भुलैय्या में
अपनी भूल भुलैय्या में
अपनी भूल भुलैय्या में
वो खुद ही खोने वाला है
कोई हंसने वाला है
कोई रोने वाला है
पर्दा उठने वाला है
तमाशा होने वाला है
कोई हंसने वाला है
कोई रोने वाला है

हो मंतर चलने वाला है
ओ जादू होने वाला है
कोई हंसने वाला है
कोई रोने वाला है


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 :

4676 Post No. : 16353

“Chandrashekhar Azad”(1963) was directed by Jagdish Gautam for Kwatra Films, Bombay. This patriotic movie had Jairaj, Nirupa Roy, Indira Billi, Leela Mishra, Majnoo, Indira Bansal, Tuntun, Altaf, Kuldeep Chaand, Dharampal, Ravikant, Bhagwan Sinha, Jagdeesh Kamal, Harun, Jagdish Gautam, Kabuli, Rafia Sultna, Manohar Geer, Prem Lata, Gopal Sahgal, Zillani, Sarala, Niranjan Sharma, Sheikh, Babu, Rajinder etc in it.

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

Today (7 May 2021) is the 20th remembrance anniversary of Prem Dhawan (13 June 1923-7 May 2001). On this occasion, here is a song from “Chandrashekhar Azad”(1963). This song is sung by Rafi and chorus. Prem Dhawan is the lyricist. Music is composed by Sardul Kwatra.

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

Lyrics of this song were sent to me by Avinash Scrapwala.


Song-Kaahe paap kamaaye re bande kuchh bhi kaam na aayegaa (Chandrashekhar Azad)(1963) Singer-Rafi, Lyrics-Prem Dhawan, MD-Sardul Kwatra
chorus

Lyrics(Provided by Avinash Scrapwala)

Kaahe paap kamaaye re bande
Kuchh bhi kaam na aayegaa
Tod ke tan ka pinjraa ek din
Man panchhi ud jaayegaa
Kaahe paap kamaaye re bande
Kuchh bhi kaam na aayegaa
Tod ke tan ka pinjraa ek din
Man panchhi ud jaayegaa
Ud jaayegaa
Ud jaayegaa
Ye panchhi ud jaayegaa
Ye panchhi ud jaayegaa
Kaahe paap kamaaye re bande
Ae ae
Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo

Takht taaj ye raaj paat
Kuchh bhi to jaata saath nahin
Kuchh bhi to jaata saath nahin
Rok sake udtey panchhi ko
Ye to kisi ke haath nahin
Bhai ye bhi to kisi ke haath nahin
Laakh lagaa le pehre phir bhi
Laakh lagaa le pehre phir bhi
Zor nahin chal paayega
Tod ke tan ka pinjraa ek din
Man panchhi ud jaayegaa
Kaahe paap kamaaye re bande
Ae ae ae
Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo

Kya kya soche sochne waala
Par kya kuchh ho jaata hai
Are par kya kuchh ho jaata hai
Jaane waala haath na aata
Aisa kahin kho jaata hai
Are aisa kahin kho jaata hai
Ek baar jo taara tootaa aa
Ek baar jo taara tootaa
Phir wo nazar na aayegaa
Tod ke tan ka pinjraa ek din
Man panchhi ud jaayegaa
Kaahe paap kamaaye re bande
Ae ae ae ae
Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo

Na teri na meri duniya
Na gore na kaale ki
Bhai na gore na kaale ki
Yahaan chali
Aur sadaa chalegi
Marzi upar waale ki
Ab marzi upar waale ki
Bura bhala jaisa bhi karega
Bura bhala jaisa bhi karega
Waisa hi phal paayega
Tod ke tan ka pinjraa ek din
Man panchhi ud jaayegaa
Ud jaayegaa
Ud jaayegaa
Ye panchhi ud jaayegaa
Ye panchhi ud jaayegaa
Kaahe paap kamaaye re bande
Ae ae ae ae
Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo

Ye panchhi ud jaayegaa
Aa aa
O bolo Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Panchhi ud jaayegaa
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo

Ye panchhi ud jaayegaa


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TWELVE years. This blog has over 16400 song posts by now.

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

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(© 2008 - 2021) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

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Movies with all their songs covered =1270
Total Number of movies covered =4463

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