Advertisements

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 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 : 3800 Post No. : 14791

“Spy in Goa”(1966) was directed by Dharam Kumar. This “stunt” movie had Sheikh Mukhtar, Randhwa, Malika, Meenakshi, Amarnath, Maruti, Helen, Hercules etc in it.

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

Here is the second song from “Spy in Goa”(1966) to appear in the blog. The song is sung by Usha Khanna and chorus. Yogesh is the lyricist. Music is composed by Robin Bannerji.

The song is picturised as a club dance song. I am unable to identify the lady who lip syncs in Usha Khanna’s voice. I request our knowledgeable readers to help identify her.


Song-Aao na jaane jaan..ye samaa khushnuma(Spy in Goa)(1966) Singer-Usha Khanna, Lyrics-Yogesh, MD-Robin Bannerji
Chorus

Lyrics

aa aa aa
aa aa aa

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

ye sama
ru ru ru
khushnuma
ru ru ru
aao na
ru ru ru ru
jaane jaan
ru ru ru ru
chhed de hum jawaan
daastaan
aao na
ye sama
khushnuma
aao na jaane jaan
chhed den
hum jawaan
daastaan

aaj chhaaya hai ye kya
in fizaaon mein ae dilruba
haaye jaalim nasha madbhara
saaj-e-dil pe ae sanam
dhun koi haay ab pyaar ki
chhed de tu bhi zara
ye sama
ru ru ru
khushnuma
ru ru ru
aao na
ru ru ru ru
jaane ja
ru ru ru ru
chhed de hum jawaaan
daastaan
aao na
ye sama
khushnuma
aao na ae jaane ja
ched de ham jawaan
daastaan

beet jaaye na yoonhi
baaton baaton mein dekho kahin
aaj humdum ye ghadiyaan haseen
kaun jaane kal ho kya
yahaan pal ka nahin hai pata
kar na kal pe tu yakeen
ye sama
ru ru ru
ho khushnuma
ru ru ru
aao na
ru ru ru ru
jaane jaan
ru ru ru ru
ched de
hum jawaan
ru
daastaan
aao na
ye sama
khushnuma
aao na
ae jaane ja
ched de ham jawaan
daastaan

Advertisements

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 :

3799 Post No. : 14790 Movie Count :

4045

Missing Films of 1960s – 88
– – – – – – – – – – – – – – –

This journey of searching out the missing films is such an interesting exploration of the unheard and less heard gems – or as they say on Radio Ceylon (SLBC now) ‘कम सुने और अनसुने गीत’.

Today’s song is one such rarely heard gem, but oh what exquisitely crafted gem this one is. The film is ‘Haveli’ from 1970. The name sounds as if this would be a film of the horror genre, of course mixed with police and robber crime drama. The one poster of this film that I am able to locate on the net (actually an image with the song on YT), shows the leading lady with a revolver in her hand. The rest of the poster combines the film title logo, and another image of the lead pair. This image does not exhibit any overt horror type flavor – just that the title gives such an impression.

The film is from the banner of Movies Den, Bombay. It is produced by Jawahar Anand and is directed by Sudarshan Babbar. The lead pair is Shailesh Kumar and Nivedita, and the remaining cast is listed as Azra, Heeralal, Manmohan Krishan, Ravikant, Brahm Bhardwaj, Lata Arora, Yunus Parvez, Ridku, Anand Prakash, Jawahar Kapoor, BK, Rahi, Dharmesh, Rajendra Kapoor, Jaishri T, Meenakshi, and Shefali.

The film has 5 songs, as per the Geet Kosh listings. Four of these songs, including the one being introduced today, are written by Naqsh Lyallpuri, and one is written by Naseem Sahranpuri. Music for this film and composed by Sapan Jagmohan. The singing voice is Asha Bhosle.

Although I have not seen the video of this song, but still, from the flavor of the words and the style of rendition, this seems to be a sensuous song, possibly even a seduction song. The measured deliberateness with which Asha ji has rendered this song, brings in just that right emphasis making this such an attractively sensuous song.

The cast of actors includes names like Jaishree T, Azra, Meenakshi, Shefali – so I would not even start to guess on whom this song might have been picturized. I request our more knowledgeable friends and readers to please add more information about this song and this film, if available.

But regardless, enjoy this wonderfully sensuous song.

Song – Gesuon Ki Haseen Chhanv Mein Humnasheen  (Haveli) (1970) Singer – Asha Bhosle, Lyrics – Naqsh Lyallpuri, MD – Sapan Jagmohan

Lyrics

gesuon. . .
ki haseen
chhaanv mein
humnasheen
tu hi bata
tere liye
kya nahin
kya nahin

gesuon ki haseen
chhaanv mein humnasheen
tu hi bata tere liye
kya nahin
kya nahin

ishaaron mein kehti hain angdaaian raat ki
abhi aur behakengi tanhaaian raat ki
ishaaron mein kehti hain angdaaian raat ki
abhi aur behakengi tanhaaian raat ki
kya nahin
kya nahin
gesuon ki haseen
chhaanv mein humnasheen
tu hi bata tere liye
kya nahin
kya nahin

meri jawaani bahaaron ka agaaz hai
kitna haseen mere naghmon ka andaaz hai
meri jawaani bahaaron ka agaaz hai
kitna haseen mere naghmon ka andaaz hai
kya nahin
kya nahin
gesuon ki haseen
chhaanv mein humnasheen
tu hi bata tere liye
kya nahin
kya nahin

kya nahin. . .

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

गेसूओं॰ ॰ ॰
की हसीं
छाँव में
हमनशीं
तू ही बता
तेरे लिए
क्या नहीं
क्या नहीं

गेसूओं की हसीं
छाँव में हमनशीं
तू ही बता तेरे लिए
क्या नहीं
क्या नहीं

इशारों में कहती है अंगड़ाइयाँ रात की
अभी और बहकेंगी तनहाइयाँ रात की
इशारों में कहती है अंगड़ाइयाँ रात की
अभी और बहकेंगी तनहाइयाँ रात की
क्या नहीं
क्या नहीं
गेसूओं की हसीं
छाँव में हमनशीं
तू ही बता तेरे लिए
क्या नहीं
क्या नहीं

मेरी जवानी बहारों का आग़ाज़ है
कितना हसीं मेरे नग़मों का अंदाज़ है
मेरी जवानी बहारों का आग़ाज़ है
कितना हसीं मेरे नग़मों का अंदाज़ है
क्या नहीं
क्या नहीं
गेसूओं की हसीं
छाँव में हमनशीं
तू ही बता तेरे लिए
क्या नहीं
क्या नहीं

क्या नहीं॰ ॰ ॰


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 :

3796 Post No. : 14786 Movie Count :

4042

Missing Films of 1960s – 87
– – – – – – – – – – – – – – –

Goodness, I am surprised this film is still to appear here. It is titled ‘Patni’ from 1970. The name may be unfamiliar, but when I checked out the list of songs – you know, I had that déjà vu feeling – accha, so these songs are from this film. Geet Kosh lists 5 songs for this film, and I dare say, at least four songs are very, very familiar – resounding memories from the radio listening days. Listening to them again was not the surprise; the name of the film really was.

The film comes from the banner of Film Folk of Bombay, and is directed by VR Naidu. The star cast as listed in the Geet Kosh is Indrani Mukherjee, Dev Kumar, Jagdev, Kumari Padma, Kundan, Harindranath Chattopadhyay, Rafia Sultana, AA Khan, Bazid Khan, Dhanlakshmi, Shefali, Onkar, KK Reddy (Satyajeet), Ramesh Dev, Shashi, Gaffur, Imtiaz, Ashok, and M Shetty. The five songs are all written by Indeewar, and the music is by Vishnu Khanna.

Now this name, i.e. the music director – I am hearing for the first time. As I check the Geet Kosh, his name appears only for two films – this one and ‘Pasand Apni Apni’ from 1972. The melodies of this film are really attractive, and that is why these songs have remained active in the memory for all this time. And yet, this name – the music director, is completely unfamiliar. A quick search on the net has not yielded any information. I request other knowledgeable readers to please add more information about Vishnu Khanna, and also about this film.

The song is a lovely rendition – a wonderful flowing expression of love, of the promises of being together forever and ever. Lovely words, lovely melody and superb rendition. A truly memorable love song.

 

Song – Poorab Chaloge Chaloongi, Paschim Chaloge Chaloongi  (Patni) (1970) Singer – Suman Kalyanpur, Lyrics – Indeewar, MD – Vishnu Khanna

Lyrics

purab chaloge chaloongi
paschim chaloge chaloongi
sang main tumhaare rahoongi
jahaan jaaoge
purab chaloge chaloongi
paschim chaloge chaloongi

tu jo hai gagan to main ghata hoon
tu jo hai chaman to main hawa hoon
tu jo hai gagan to main ghata hoon
tu jo hai chaman to main hawa hoon
tu hi to mera armaan hai
pyaar ka tu hi vardaan hai
sang main tumhaare rahoongi
sang main tumhaare rahoongi
jahaan jaaoge
purab chaloge chaloongi
paschim chaloge chaloongi

tera dil to meri jaan hai
tu mere liye bhagwaan hai
tera dil to meri jaan hai
tu mere liye bhagwaan hai
tu kahe saara jag chhod doon
duniya ke bandhan ko to doon
tu kahe saara jag chhod doon
duniya ke bandhan ko to doon
sang main tumhaare rahoongi
sang main tumhaare rahoongi
jahaan jaaoge
purab chaloge chaloongi
paschim chaloge chaloongi
purab chaloge chaloongi
paschim chaloge chaloongi
purab chaloge chaloongi. . .

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

पूरब चलोगे चलूँगी
पश्चिम चलोगे चलूँगी
संग मैं तुम्हारे रहूँगी
जहां जाओगे
पूरब चलोगे चलूँगी
पश्चिम चलोगे चलूँगी

तू जो है गगन तो मैं घटा हूँ
तू जो है चमन तो मैं हवा हूँ
तू जो है गगन तो मैं घटा हूँ
तू जो है चमन तो मैं हवा हूँ
तू ही तो मेरा अरमान है
प्यार का तू ही वरदान है
संग मैं तुम्हारे रहूँगी
संग मैं तुम्हारे रहूँगी
जहां जाओगे
पूरब चलोगे चलूँगी
पश्चिम चलोगे चलूँगी

तेरा दिल तो मेरी जान है
तू मेरे लिए भगवान है
तेरा दिल तो मेरी जान है
तू मेरे लिए भगवान है
तू कहे सारा जग छोड़ दूँ
दुनिया के बंधन को तोड़ दूँ
तू कहे सारा जग छोड़ दूँ
दुनिया के बंधन को तोड़ दूँ
संग मैं तुम्हारे रहूँगी
संग मैं तुम्हारे रहूँगी
जहां जाओगे
पूरब चलोगे चलूँगी
पश्चिम चलोगे चलूँगी
पूरब चलोगे चलूँगी
पश्चिम चलोगे चलूँगी
पूरब चलोगे चलूँगी॰ ॰ ॰


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 :

3794 Post No. : 14781 Movie Count :

4041

Missing Films of 1960s – 86
– – – – – – – – – – – – – – –

Today’s debut film from the decade of 1960s is ‘Sasta Khoon Mehnga Pyaar’ from 1970. Honestly, never heard of this film before I took on this home work exercise to dig out missing films of 1960s. This is an obscure and almost unknown film, although 1970, comparatively speaking, is more recent vintage. This film is so obscure that even the print version of the Geet Kosh does not carry any details about this film, except for the song list and the artists associated with the songs. However, later this film seems to have become available in public domain, and was released on disc by T-Series. A short video clip of the initial credits is currently available on YouTube. I have been able to get the list of actor names from this clip. However this clip also does not carry the complete credits – it ends before reaching the names of the producer and director.

The film is from the banner of Sharda Films, Bombay. The cast of actors is a long list, as per the film’s credits – Dev Kumar, Sonia Sahni, Shailesh Kumar, Sulochana, Sajjan, Padma, Madhumati, BM Vyas, Pichhoo Kapoor, Sheikh, Bhagwan, Maruti, Ulhas, Ramesh Kant, Jankidas, Tuntun, Lalita Kumar, Maqbool, Jilani, Moolchand, Amrit Rana, Amir, Jairy, Nabab Kardari, Nabab Dadri, Waman, Sugandhi, Gulab Singh, Roop Kumar, Ganpati, Anil Kumar, and Mahesh Purohit. The last four names in this list are identified as child artistes.

Geet Kost lists four songs for this film. All the four songs are from the pen of Asad Bhopali, and the music director is Usha Khanna. The singing voice is that of Asha Bhosle. From the music and the style of rendition, it appears that this song was filmed as a mujra dance. In fact, at two places in the song, a male voice is also heard asking a question “kya?”. The song tells of a tryst between the lovers, that happened the previous night, and the lady forgot her dupatta, at the meeting place, when she returned from meeting her lover.

I am hearing this song for the first time today, and I have heard it multiple times as I prepared to upload it. Usha Khanna’s music is attractive, and this is a good song to bring up from the depths of obscurity. Listen and enjoy.

Song – Pee Se Milna Ghazab Hua Raat Dhale  (Sasta Khoon Mehnga Pyaar) (1970) Singer – Asha Bhosle, Lyrics – Asad Bhopali, MD – Usha Khanna
Unidentified Male Voice

Lyrics

aaaa aaaaaaaa aaaaaa
aaaa aaaaaa haaa

pee se milna ghazab hua raat dhale
haan pee se milna ghazab hua raat dhale
hui jab main juda un se mil ke galey
haaye raam main to apna dupatta wahin bhool aayi
daiyya daiyaa main to apna dupatta wahin bhool aayi

jab nigaahen milin
jab nigaahen
jab nigaahen milin
honth tharra ke chup ho gaye the
ek toofaan thaa..aa..aa
jis mein hum dono hi kho gaye the
ek toofaan thaa
ek toofaan thaa
ek toofaan thaa
jis mein hum dono hi kho gaye the
arre ghar pahunchi hosh udey
ghar pahunchi hosh udey
jab ye khyaal aaya
kya
haaye raam main to apna dupatta wahin bhool aayi
daiyya daiyaa main to apna dupatta wahin bhool aayi

un ki baton ka ras
un ki baton ka
un ki baton ka ras
dil ki nas nas ko garma gaya tha
ek achhoota nasha..aa..aa
mere jazbaat par chhaa..aa..aa gaya tha
ek achhoota nasha
ek achhoota nasha
ek achhoota nasha
mere jazbaat par chhaa..aa..aa gaya tha
arre ghar pahunchi hosh udey
ghar pahunchi hosh udey
jab ye khyaal aaya
kya
haaye raam main to apna dupatta wahin bhool aayi
daiyya daiyaa main to apna dupatta wahin bhool aayi

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

आsss आssssssss आsssss
आsss आssssss हाsss

पी से मिलना गज़ब हुआ रात ढले
हाँ पी से मिलना गज़ब हुआ रात ढले
हुई जब मैं जुड़ा उनसे मिलके गले
हाए रामा मैं तो अपना दुपट्टा वहीं भूल आई
दइय्या दइय्या मैं तो दुपट्टा वहीं भूल आई

जब निगाहें मिलीं
जब निगाहें
जब निगाहें मिलीं
होंठ थर्रा के चुप हो गए थे
एक तूफान था॰॰आ॰॰आ
जिस में हम दोनों ही खो गए थे
एक तूफान था
एक तूफान था
एक तूफान था
जिस में हम दोनों ही खो गए थे
अरे घर पहुंची होश उड़े
घर पहुंची होश उड़े
जब ये ख्याल आया
क्या
हाए रामा मैं तो अपना दुपट्टा वहीं भूल आई
दइय्या दइय्या मैं तो दुपट्टा वहीं भूल आई

उन की बातों का रस
उन की बातों का
उन की बातों का रस
दिल की नस नस को गरमा गया था
एक अछूता नशा॰॰आ॰॰आ
मेरे जज़्बात पर छा गया॰॰आ॰॰आ था
एक अछूता नशा
एक अछूता नशा
एक अछूता नशा
मेरे जज़्बात पर छा गया था
अरे घर पहुंची होश उड़े
घर पहुंची होश उड़े
जब ये ख्याल आया
क्या
हाए रामा मैं तो अपना दुपट्टा वहीं भूल आई
दइय्या दइय्या मैं तो दुपट्टा वहीं भूल आई


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 :

3792 Post No. : 14778 Movie Count :

4040

Missing Films of 1960s – 85
– – – – – – – – – – – – – – –

The next in this series is a religious film from 1970. Yes, the times were when this genre of films had a serious following, and the producers in the industry would be creating films in this category. Today’s film, ‘Shri Krishna Leela’ is from the house of Wadia’s, under their banner of Basant Pictures. As we review the data about film production under this banner, we find that this has been one of the very active production houses over the decades. [Note: I am examining the data in the Geet Kosh from 1931 to 1980 only.]

Over the years, Wadia film production company went about its business under the names as – Wadia Brothers, Wadia Brothers Productions, Wadia Films and Wadia Movietone. Collectively, these banners have been active since 1933 till the year 1971, having produced 50+ films in various genres – social, stunt, religious, mythical, costume dramas, historical etc. In 1943, the company launched another banner, named Basant Pictures. As we scan their list of films, once again we find slight variations in the banner names as – Basant Pictures, Basant Pictures (Wadia Brothers) and Basant Wadia Brothers Production. Collectively, this banner has a listing of about 60 films between 1943 and 1980. The films in this list also cover just the same set of film genres.

A brief about the House of Wadia. The ancestors of this Parsi family originally settled in Surat after migrating from Persia. The original business of Wadia family was shipbuilding. The logo of Wadia Movietone prominently carries an image of a ship – it is a representation of their origins – the legacy business that started off their fortunes. The Wadia Group’s shipbuilding business was set up in 1736 by Lowjee Nuserwanjee Wadia. Later during that century, the group shifted its base from Surat to Bombay. They built trading ships, and later in 1800s they build maritime vessels for the Royal Navy (Great Britain).

Wadia Movietone was founded in 1933 by the brothers – JBH Wadia and Homi Wadia. JBH Wadia (born 1901) was a very well educated young man, who came into the film industry in the closing years of silent cinema. He produced about a dozen silent films, with moderate success. His productions were mostly adaptations of successful Hollywood productions of that era.

The other co-founders were Manchersha Billimoria, and Burjore and Nadirshaw Tata. Their first film – ‘Laal e Yaman’ (1933) was a major commercial success. In 1935, the company produced ‘Hunterwali’ with Nadia in the title role, along with Boman Shroff and John Cawas in prominent roles. This film became a surprise hit, bringing in a huge commercial windfall for the company. In the process, it set a trend which was duplicated by Wadias themselves and also copied by many other production houses. In 1936 came ‘Miss Frontier Mail’, followed by ‘Lutaru Lalna’ in 1938, ‘Punjab Mail’ in 1939, ‘Diamond Queen’ in 1940, and ‘Bambaiwali’ in 1941. However, by this time, the repeated use of the stunt formula lost its luster, and the company started facing losses. In 1936, the Tata brothers had already moved out from the partnership. In 1942, the Wadia Movietone studio was put up for sale. V Shantaram, who was moving out of Prabhat at the same time, purchased this studio and set up his famous production house – Rajkamal Kalamandir, at this premises.

In 1942 itself, the younger brother, Homi Wadia, set up Basant Pictures as a new production house. He started producing films under this banner using studio facilities at other premises. In 1947, he eventually set up his own studio once again. Basant Studio was functional till 1981. In 1990, the studio was inherited by Riyad Vinci Wadia, the grandson of JBH Wadia. He revived film production once again under this banner. However, he too passed away in 2003. The studio now houses the Wadia Movietone and Basant Pictures archives and memorabilia collection.

The film ‘Shri Krishna Leela’ is directed by Homi Wadia. The star cast includes Master Sachin, Heena Kumari, Jaishri Gadkar, Sapru, Manhar Desai, Kumar Dighe, Deepak, Tabassum, Ratnamala, Padmarani, Uma Dutt, Shekhar, Master Bobby, Master Ratan, Tuntun, Babu Raje, Habeeb, Dalpat, H Prakash, and Prince Arjun. The songs of this film are penned by Bharat Vyas and the music is from the mind of SN Tripathi.

Today’s song is a lullaby, in the voice of Asha Bhosle. On screen, the song is performed by Jaishree Gadkar, in the role of Maa Yashoda, as she is crooning to put the infant Krishna to sleep. Close to the end of this clip, we see a little more grown up child Krishna, role played by Master Sachin.

A wonderfully soothing melody. . . listen, and relax.

Song – Palkon Ka Palna Nainon Ki Dori  (Shri Krishna Leela) (1970) Singer – Asha Bhosle, Lyrics – Bharat Vyas, MD – SN Tripathi

Lyrics

palkon ka palna
nayanon ki dori
palkon ka palna
nayanon ki dori
maiyya jhulaaye gaaye
meethi meethi lori
sapnon mein aaye tere
parion ki chhori
maiyya jhulaaye gaaye
meethi meethi lori
so ja mere laal
mere nnnhe se gopal

dekhun jo mukhda
mit jaaye dukhda
dekhun jo mukhda
mit jaaye dukhda
mere liye tu hai
chanda ka tukda
mere liye tu hai
chanda ka tukda
mamta bhari hai
mere mann ki katori
palkon ka palna
nayanon ki dori
maiyya jhulaaye gaaye
meethi meethi lori
so ja mere laal
mere nnnhe se gopal

soya hai madhuban
jamuna hai soi
saari nagariya hai
nindiya mein khoi
saari nagariya hai
nindiya mein khoi
tujhko chandaniya sulaaye chori chori
palkon ka palna
nayanon ki dori
maiyya jhulaaye gaaye
meethi meethi lori
so ja mere laal
mere nnnhe se gopal

mmmmm hmmmmm
hmmmm hmm hmm hmmm
mmmmm hmmmmm
hmmmm hmm hmm hmmm
mmmmm hmmmmm
hmmmm hmm hmm hmmm
mmmmm hmmmmm
hmmmm hmm hmm hmmm

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

पलकों का पलना
नयनों की डोरी
पलकों का पलना
नयनों की डोरी
मैय्या झुलाए गाये मीठी मीठी लोरी
अपनों में आए तेरे पारियों की छोरी
मैय्या झुलाए गाये मीठी मीठी लोरी
सो जा मेरे लाल
मेरे नन्हें से गोपाल

देखूँ जो मुखड़ा
मिट जाये दुखड़ा
देखूँ जो मुखड़ा
मिट जाये दुखड़ा
मेरे लिए तू है चाँद का टुकड़ा
मेरे लिए तू है चाँद का टुकड़ा
ममता भरी है मेरे मन की कटोरी
पलकों का पलना
नयनों की डोरी
मैय्या झुलाए गाये मीठी मीठी लोरी
सो जा मेरे लाल
मेरे नन्हें से गोपाल

सोया है मधुबन
जमुना है सोई
सारी नगरिया है नींदिया में खोई
सारी नगरिया है नींदिया में खोई
तुझको चंदनीया सुलाये चोरी चोरी
पलकों का पलना
नयनों की डोरी
मैय्या झुलाए गाये मीठी मीठी लोरी
सो जा मेरे लाल
मेरे नन्हें से गोपाल

म्ममममम हम्मममम
हम्ममम ह्म्म ह्म्म ह्म्ममम
म्ममममम हम्मममम
हम्ममम ह्म्म ह्म्म ह्म्ममम
म्ममममम हम्मममम
हम्ममम ह्म्म ह्म्म ह्म्ममम
म्ममममम हम्मममम
हम्ममम ह्म्म ह्म्म ह्म्ममम


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 : 3786 Post No. : 14769

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 30
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

‘ल’ – लीजिये दिल का नज़राना, लीजिये आँख का शुक्राना ॰ ॰ ॰

– – – –

आवाज़ दे कर हमें तुम बुलाओ ॰ ॰ ॰ 

Ah yes, that is what the heart desires, but sadly, that will happen no more. . . you are so far away now, that our supplications so sent, do not reach you any more.

– – – –

OK, wow, another gem from the radio listening days. And what a wonderful reminder this song is. The film is ‘Naya Kanoon’ from 1965, and Rafi Sb is accompanied by Asha Bhosle in this song. Given that Madan Mohan is the music director, I am a little surprised that Lata does not figure in this film at all. Eight songs in all, with four female solos, and one duet (this one) – all carry the voice of Asha Bhosle. Possibly this recording may have been done during the time when there was a stand off between Lata ji and Rafi Sb. Still surprising that Madan Mohan did not get Lata to sing even one of the solo songs. Or possibly, other reasons, circumstances may have intervened.

The film is directed by RC Talwar for the banner of Manchanda Productions, Bombay. The main star cast is listed as Ashok Kumar, Vaijayantimala, Bharat Bhushan, Poornima, Nishi, Leela Mishra, Badri Prasad, Kamal Mehra, and Om Prakash among others. There are eight songs in this film, or may be seven, because one song is a multi version song sung as a solo by both Rafi Sb and Asha Bhosle. All songs are from the pen of Hasrat Jaipuri, except one, which is written by Saraswati Kumar Deepak.

On screen, this song is filmed a recording studio song. The two singers – Bharat Bhushan and Vijayantimala, are recording this song in a studio. Or maybe the song is being broadcast live.  As we see the three stanzas, there are short visual interludes, and the dresses of the two artistes are different in each stanza. The intervening scenes convey a message as if displaying the rising popularity, as well as prosperity of the singer.

Bharat Bhushan in this 1965 film is a distant call from his heydays of ‘Baiju Baawra’ in 1952. Decidedly not looking any younger, but he is also looking much more morose. As the visual clip starts and the music comes on, the mind gets into position for a fast paced light hearted duet. But the expression on the face of the hero conveys as if he is going to break into “Maayoos To Hoon Waade Se Tere. . .” 🙂 🙂 .

Regardless, a very breezy composition which will tickle a few memories in the minds of radio listeners.  Listen and relive those memories.

 

Song – Lijiye Dil Ka Nazraana, Lijiye Aankh Ka Shukraana  (Naya Kanoon) (1965) Singer – Mohammed Rafi, Asha Bhosle, Lyrics – Hasrat Jaipuri, MD – Madan Mohan

Lyrics 

lijiye dil ka nazraana
lijiye aankh ka shukraana
ye preet banegi afsaana
bolo to sahi hai kya marzi
bolo to sahi hai kya marzi
lijiye dil ka nazraana
lijiye aankh ka shukraana
ye preet banegi afsaana
bolo to sahi hai kya marzi
bolo to sahi hai kya marzi

aankh ne dekha to dil ne paa liya
meethi baaton ne hamne behka liya
pyaar mein hum bhi tumhaare ho gaye
tum miley to hum khushi se kho gaye
kadmon mein khada hai deewaana
bolo to sahi hai kya marzi
bolo to sahi hai kya marzi
lijiye dil ka nazraana
lijiye aankh ka shukraana

dil bade armaan se laaya hoon main
ye kali toofaan se laaya hoon main
meri palken jhuk rahi hain laaj se
tum hamaare ho chuke ho aaj se
aaya hai shama ka parwaana
bolo to sahi hai kya marzi
bolo to sahi hai kya marzi
lijiye dil ka nazraana
lijiye aankh ka shukraana

aur bhi duniya mein laakhon chaand hain
aapke aage magar wo maand hain
aur bhi duniya mein laakhon phool hain
aapke aage magar wo dhool hain
haazir hai tumhaara mastaana
bolo to sahi hai kya marzi
bolo to sahi hai kya marzi
lijiye dil ka nazraana
lijiye aankh ka shukraana
ye preet banegi afsaana
bolo to sahi hai kya marzi
bolo to sahi hai kya marzi
lijiye dil ka nazraana
lijiye aankh ka shukraana

———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————

लीजिये दिल का नज़राना
लीजिये आँख का शुक्राना
ये प्रीत बनेगी अफसाना
बोलो तो सही है क्या मर्ज़ी
बोलो तो सही है क्या मर्ज़ी
लीजिये दिल का नज़राना
लीजिये आँख का शुक्राना
ये प्रीत बनेगी अफसाना
बोलो तो सही है क्या मर्ज़ी
बोलो तो सही है क्या मर्ज़ी

आंख ने देखा तो दिल ने पा लिया
मीठी बातों ने हमने बहका लिया
प्यार में हम भी तुम्हारे हो गए
तुम मिले तो हम खुशी से खो गए
कदमों में खड़ा है दीवाना
बोलो तो सही है क्या मर्ज़ी
बोलो तो सही है क्या मर्ज़ी
लीजिये दिल का नज़राना
लीजिये आँख का शुक्राना

दिल बड़े अरमान से लाया हूँ मैं
ये काली तूफान से लाया हूँ मैं
मेरी पलकें झुक रही हैं लाज से
तुम हमारे हो चुके हो आज से
आया है शमा का परवाना
बोलो तो सही है क्या मर्ज़ी
बोलो तो सही है क्या मर्ज़ी
लीजिये दिल का नज़राना
लीजिये आँख का शुक्राना

और भी दुनिया में लाखों चाँद हैं
आपके आगे मगर वो माँद हैं
और भी दुनिया में लाखों फूल हैं
आपके आगे मगर वो धूल हैं
हाजिर है तुम्हारा मस्ताना
बोलो तो सही है क्या मर्ज़ी
बोलो तो सही है क्या मर्ज़ी
लीजिये दिल का नज़राना
लीजिये आँख का शुक्राना
ये प्रीत बनेगी अफसाना
बोलो तो सही है क्या मर्ज़ी
बोलो तो सही है क्या मर्ज़ी
लीजिये दिल का नज़राना
लीजिये आँख का शुक्राना


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 : 3779 Post No. : 14759

For me, this is a crush that still endures – a crush that I have never gotten over. Since the days when I first saw her in ‘Talash’ (1969) – and the song – “Kar Le Pyaar Karne Ke Din Hain Yahi” – a part of me has always remained smitten with her image and her thoughts. Helen, aah Helen – the ultimate danseuse of the silver screen. Helen – whose art has established the gold benchmark as a dancer, for all measures – from the past, and maybe, forever in the future. For sincerely, till this time, no other dancer has come close to this ultimate – in grace, in innovation, in energy, in movement – in every aspect of this art form.

It is said that the classical dance forms of India, are probably the most expressive traditional dances. The dancers are coached to develop the enhanced expressions for all the human emotions. The artist is taught not just to exhibit a series of well coordinated movements, which of course is very pleasing to the senses, but it is imperative for them to also communicate the emotions through the facial expressions, body language and the finer movements like twitching and trembling of specific muscles and body parts. The art of the Kathak, Bharat Natyam, Khatakali, etc. is so very refined in this aspect, and the aspiring artists are trained from a very young age.

As far as I am aware, Helen simply started dancing in films (in her teens, as early as when she was 13). She probably has no formal training in any dance form. And yet, seeing Helen on screen, in all the dancing forms, is an experience that flows across and covers the entire spectrum of human emotions and human exchange. In a career that spans almost seven decades, from the end of 1940s to the present day, she has likely appeared in 600+ films, and has regaled the audiences with that many colors and flavors of practically any dance form that may exist on this planet – rhumba, prancing, conga, frolic, folk, swing, rock n’ roll, spin, skip, step, samba, kabuki, disco, cabaret, jive, jump, cha cha cha, foxtrot, cavort, flamenco, waltz, boogie, santoso, flit, jig, jitterbug, hustle, gambol, polka, hop, sway, bunny hop, tap, shimmy, careen, salsa, mambo etc. – and of course, lavani and bhangra too. 🙂

Seeing her in so many different avatars of dancing, one is convinced that rhythm is naturally ingrained into her, and that there is almost a divine intervention here that allows her to pick up any choreography and perform exceedingly pleasing movements to it. The expression of emotions come to her so naturally – and the graceful flow of movements that is so excellently effortless – when she is in front of the camera, she actually knows what she is into. Such realization in the mind brings about a natural performance that simply cannot be executed in any better way. Unlike many of her ilk that have also performed on the Indian screen – yes, she knows, she is fully aware of what she is into.

There are a handful of rare performances by her that are not accompanied by any song. One of the finest, and in my humble opinion, her best such performance is a songless dance from the film ‘Hulchul’ (1971). Folks may remember this stage dance – for the variety of dance forms that are packed into this maybe 9 or 10 minutes performance, the multiple emotions that flow through it, and the significant message this dance experience is attempting to convey. (I tried to bring on this dance clip to our blog, but Atul ji is uncertain whether it qualifies. 😉 Maybe, I will try again.)

For me and my puppy-love heart, Helen is an ageless wonder that I adore. Sweet sixteen – that is what she is in my books, and that is how she is going to be, always.

And that also brings up today the most appropriate song of hers – to wish her a very happy birthday. The film is ‘Toofaan’ from 1969. The words are from the pen of Akhtar Romani. Music for this peppy and well paced dance number is created by Daan Singh. The singing voice – Asha Bhosle, probably the longest lasting partnership of singing voice and dancing steps on the Hindi screen.

Sharing the screen with Helen in this song is Dara Singh, whose birth anniversary just came two days ago (19th Nov). With this song we also remember him – he would have been 90 this year.

The dance is a typical folk dance from north India, performed in a very rural setting. Just see how wonderfully, this ordained Queen of the Cabaret – how wonderfully she is executing this oh so typically a rural folk dance.

And the words of the mukhda,

laaga mohe ab ki baar
o baanke piya pandrah pe ek nayo saal

Dear Helen, always young, always fresh, always sixteen – always sweet sixteen – forever.

Song – Laaga Mohe Ab Ki Baar (Toofaan) (1969) Singer – Asha Bhosle, Lyrics – Akhtar Romani, MD – Daan Singh

Lyrics

laaga mohe ab ki baar
o baanke piya pandrah pe ek nayo saal
laaga mohe ab ki baar
o baanke piya pandrah pe ek nayo saal
duniya pukaare solah baras ki
dekho chali re kataar
o baanke piya sun sun ke rang bhayo laal
laaga mohe ab ki baar
o baanke piya pandrah pe ek nayo saal

nainon mein kajra
zulfon mein gajra
haathon mein mehndi racha ke
gaalon pe laali
pairon mein paayal
maathe pe bindiya sajaa ke
dekhoon jo darpan awaaz aaye..e..e..e
dekhoon jo darpan awaaz aaye
khil ye gayo re singaar
o baanke piya sun sun ke rang bhayo laal
laaga mohe ab ki baar
o baanke piya pandrah pe ek nayo saal

logon ke darr se
mein apne ghar se
panghat mein ja na sakoon
panghat to kya
main apne hi angnaa
ghoonghat hataa na sakoon
ghoonghat jo sarke awaaz aaye..e..e..e
ghoonghat jo sarke awaaz aaye
hamri bhi kismat sanwaar
o baanke piya sun sun ke rang bhayo laal
laaga mohe ab ki baar
o baanke piya pandrah pe ek nayo saal
duniya pukaare solah baras ki
dekho chali re kataar
o baanke piya sun sun ke rang bhayo laal
laaga mohe ab ki baar
o baanke piya pandrah pe ek nayo saal

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

लागा मोहे अब की बार
ओ बाँके पिया पन्द्रह पे एक नयो साल
लागा मोहे अब की बार
ओ बाँके पिया पन्द्रह पे एक नयो साल
दुनिया पुकारे सोलह बरस की
देखो चली रे कटार
ओ बाँके पिया सुन सुन के रंग भयो लाल
लागा मोहे अब की बार
ओ बाँके पिया पन्द्रह पे एक नयो साल

नैनों में कजरा
ज़ुल्फों में गजरा
हाथों में मेहंदी रचा के
गालों पे लाली
पैरों में पायल
माथे पे बिंदिया सजा के
देखूँ जो दर्पण तो आवाज़ आए॰॰ए॰॰ए॰॰ए
देखूँ जो दर्पण तो आवाज़ आए
खिल ये गयो रे सिंगार
ओ बाँके पिया सुन सुन के रंग भयो लाल
लागा मोहे अब की बार
ओ बाँके पिया पन्द्रह पे एक नयो साल

लोगों के डर से
मैं अपने घर से
पनघट पे जा ना सकूँ
पनघट तो क्या
मैं अपने ही अंगना
घूँघट हटा ना सकूँ
घूँघट जो सरके आवाज़ आए॰॰ए॰॰ए॰॰ए
घूँघट जो सरके आवाज़ आए
हमरी भी किस्मत संवार
ओ बाँके पिया सुन सुन के रंग भयो लाल
लागा मोहे अब की बार
ओ बाँके पिया पन्द्रह पे एक नयो साल
दुनिया पुकारे सोलह बरस की
देखो चली रे कटार
ओ बाँके पिया सुन सुन के रंग भयो लाल
लागा मोहे अब की बार
ओ बाँके पिया पन्द्रह पे एक नयो साल


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 :

3772 Post No. : 14748 Movie Count :

4032

Missing Films of 1960s – 84
– – – – – – – – – – – – – – –

Another very obscure and unfamiliar film; and another wonderful set of songs that probably have not seen the light of the day. The experience keeps reiterating itself.

The film is ‘Takht Aur Talwar’ from 1970. And the song – an exuberant challenge, rendered by Suman Kalyanpur.  The production company is titled as Kanchanganga Films, Bombay. And practically no other information available, as far as the producer, director and the star cast is concerned.

Five songs are listed for this film, with indication that there may be more. The music director is Avinash Vyas. Of the five songs listed, three are solo songs sung by Suman Kalyanpur and one is a solo by Asha Bhosle. The fifth song is a qawwaali in the voice of Krishna Kalle and Mahendra Kapoor. The qawwaali does not have a gramophone record no. listed, and so possibly it is still in the untraceable domain. The rest of the four songs are very much available. I present today, one of the solos by Suman Kalyanpur.

There are two songwriters listed for this film – Madan Bharti and Shamim Jaipuri, both having penned two songs each. This song is from the pen of Madan Bharti.

The four solo songs are very much available on the YT, however sometimes difficult to search and locate. I think there is an engineered deficiency in the search routines on YouTube. It has been my experience on multiple occasions, that even when you put in the exact matching words in the search box, the correct song is not returned. I have a feeling that YT’s search routines are designed to bring more of your patterns of earlier searches, and possibly paid upload items that crowd the top of the list. The song is very much existing in the system, but still that name simply does not come up in search results. Recently, another friend on the YT showed me a better way to reach such obscure songs. She suggested going to the hindigeetmala.net web site, and to call for the list of songs for the film. All songs of the film get listed. And if the song’s audio or video clip is available on the YT, then a special icon appears next to the song. We can then reach the YT address of that song, by clicking on this special icon. In recent past, I have resorted to this method. If the song is posted on YT, then going via the hindigeetmala.net is a much better method to locate the song.

And so, ‘Takht Aur Talwar’ from 1970, makes its debut on our blog today. Notching up the 84th episode, seems like we are well settled to score a century on this series. Coming up shortly – 🙂 . Meanwhile enjoy this solo by Suman Kalyanpur.

 

Song – Mere Saamne Na Aana  (Takht Aur Talwar) (1970) Singer – Suman Kalyanpur, Lyrics – Madan Bharti, MD – Avinash Vyas

Lyrics

mere saamne na aana
mere saamne na aana
rehna door door
varna takra ke ho jaaoge choor choor

hastiyaan laakhon ki mitti me mila di hum ne
hastiyaan laakhon ki mitti me mila di hum ne
hosh me aaya nahin jis ko pila di hum ne
hosh me aaya nahin jis ko pila di hum ne
aaaaaa aaaaaaaa aaaaaa
aaaaaa aaaa aaaa aaa
main to qayaamat jaisi hoor hoor hoor
mere saamne na aana
mere saamne na aana
rehna door door
varna takra ke ho jaaoge choor choor
mere saamne na aana

waar nazron ka agar dil ke paar ho jaaye
waar nazron ka agar dil ke paar ho jaaye
shikaar karne waala khud shikaar ho jaaye
shikaar karne waala khud shikaar ho jaaye
aaaaaa aaaaaaaa aaaaaa
aaaaaa aaaa aaaa aaa
kehti hai duniya mujhe noor noor noor
mere saamne na aana
mere saamne na aana
rehna door door
varna takra ke ho jaaoge choor choor
mere saamne na aana

meri mehfil mein jo aaye na sambhalne paaye
meri mehfil mein jo aaye na sambhalne paaye
meri zulfon me ulajh ke na nikalne paaye
meri zulfon me ulajh ke na nikalne paaye
aaaaaa aaaaaaaa aaaaaa
aaaaaa aaaa aaaa aaa
kis ki majaal dekhe ghoor ghoor ghoor
mere saamne na aana
mere saamne na aana
rehna door door
varna takra ke ho jaaoge choor choor
mere saamne na aana

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

मेरे सामने ना आना
मेरे सामने ना आना
रहना दूर दूर
वरना टकरा के हो जाओगे चूर चूर चूर

हस्तियाँ लाखों की मिट्टी में मिला दीं हमने
हस्तियाँ लाखों की मिट्टी में मिला दीं हमने
होश में आया नहीं जिसको पीला दी हमने
होश में आया नहीं जिसको पीला दी हमने
आsssss आssssss आsssss
आsssss आsss आsss आss
मैं तो क़यामत जैसी हूर हूर हूर
मेरे सामने ना आना
मेरे सामने ना आना
रहना दूर दूर
वरना टकरा के हो जाओगे चूर चूर चूर
मेरे सामने ना आना

वार नज़रों का अगर दिल के पार हो जाए
वार नज़रों का अगर दिल के पार हो जाए
शिकार करने वाला खुद शिकार हो जाये
शिकार करने वाला खुद शिकार हो जाये
आsssss आssssss आsssss
आsssss आsss आsss आss
कहती है दुनिया मुझे नूर नूर नूर
मेरे सामने ना आना
मेरे सामने ना आना
रहना दूर दूर
वरना टकरा के हो जाओगे चूर चूर चूर
मेरे सामने ना आना

मेरी महफिल में जो आए ना संभलने पाये
मेरी महफिल में जो आए ना संभलने पाये
मेरी ज़ुल्फों में उलझ के ना निकलने पाये
मेरी ज़ुल्फों में उलझ के ना निकलने पाये
आsssss आssssss आsssss
आsssss आsss आsss आss
किसी की मजाल देखे घूर घूर घूर
मेरे सामने ना आना
मेरे सामने ना आना
रहना दूर दूर
वरना टकरा के हो जाओगे चूर चूर चूर
मेरे सामने ना आना


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 : 3771 Post No. : 14747

Aah haa haa, what fun – “हम भी अगर बच्चे होते॰ ॰ ॰” and all the rest of the exuberant pandemonium that is involved in being a child – does it not give you a high of the mischievous anarchy that we have always enjoyed; sometimes secretly and most of the time overtly – “ना नौकरी की चिंता, ना रोटी की फिकर”.

To the child in all of us, who never grows up. I am sure you all know such ’children’. And I am also sure we all are very well acquainted with the person we see every day in the mirror, no matter whether there is hair on the pate to comb or no. 🙂  I dearly remember one of the managers I have worked with in the US, completely bald but very energetic – he always introduced himself as – “. . . a five year old imprisoned in a sixty five year old body”. And then, of course, we have our dear Bakshish Singh ji, who proudly claims his age to be 22-and-a-half years, three months and a few days, whenever you may ask him. And he has a stay order from the Supreme Court to back his claim. Too sad that I met him ten years after he got his orders; my stay order (from the same Supreme Court) stands at 32. 😀 😀

Music, especially the evergreen HFM, surely does wonders – does is not?

Celebrating the Children’s Day today, 14th November, and greetings to all the ‘child’ readers and friends on this blog 🙂

Thinking about it puts a little dismay in my mind, that we have special days set aside to remind ourselves about things and facts and experiences, which actually are a matter of, rather a part and parcel of our everyday life. We have Mother’s Day, and Father’s Day, and then we have Children’s Day. For the matter of celebration and to highlight this connection, it is okay that we have one day earmarked. But then we should also be aware of, and be celebrating these concepts everyday in our lives.

It is also the birth anniversary of the first Prime Minister of our country, after India became a free nation. Jawaharlal Nehru’s name got associated with this day, or rather the other way round – that his birthday was declared as the Children’s Day – for the recognition of his endearment to children, and his own professed acknowledgement that we need to celebrate the future leaders of this nation. Not to put any other twist on this thread, 🙂 I move on to the song being introduced with this post.

When you hear it, I am very sure the avid listeners of the radio will immediately recall this song. It used to be played often, especially on today’s day, and was a favorite. For a few months now, some of the regular visitor’s to my YT channel have been requesting for this song to be uploaded. This started after I uploaded another song from this film – ‘Hamaara Ghar’ from 1964 – “Chale Hawa Purvaai”. When I uploaded this song on 18th Jun last year, I got many requests to upload the song we are discussing today. Somehow, I just held on to those requests, wanting to bring this song online on this day. I missed the event of last year, and so the regular procrastination 😦  made me put it off for one full year.

The jingle that this song is, brings to mind many such jingles from the earlier days, when we had many group games which had songs attached to them. Here in north India, there are many such jingles part of the common folklore, such as “Kokila Chhupake Jumme Raat Aayi Hai. . .” (“कोकिला छुपाके जुम्मे रात आई है॰ ॰ ॰”), and “Aat Qila Bhai Baat Qila. . .” (“आटकिला भई बाटकिला, भई आमों वाली कोठरी॰ ॰ ॰”), and “Poshampa Bhai Poshampa, Daakuon Ne Kya Kiya. . .” (“पोशम्पा भई पोशम्पा, डाकुओं ने क्या किया॰ ॰ ॰”) etc. And ah yes, a very familiar one which we borrowed from the Britishers – “Ring a Ring o’ Roses, Pocket Full of Posies. . .”. Maybe some readers (five year olds struggling inside much older bodies) will recall these songs. And I am sure there are similar such game jingles popular in all regions in our vast sub continent. We used to sing these songs as we played the corresponding games – a group of 10 to 20 kids, all intent on having just fun. Sadly, the newer generation of youngsters hardly gets together to play such games, or make up such newer jingles. It surely is a lot of fun. 🙂

This particular jingle, apparently played as a child game, tells about one huffy-puffy arrogant royalty, who probably is not friendly with the people, and the people then teach him a lesson by putting a restriction on his food supply. And so the singers of this song tease this royalty and show him their thumbs (“ठेंगा॰ ॰ ॰”) while singing that now you go and eat your gold and diamonds, and that you are going to regret this arrogance; you will not be served bread (“रोटी”). In the second stanza, now the people are teasing that the royalty does not want to do any work, and so they will have to survive on dust and stones; they shall still not be served any bread. Then, in the third stanza, the people are singing that at last the royalty has come out of their palace, and are being remorseful and apologetic; so they are made to dance while holding their ears, and sing while holding their nose. And only then, having danced and sung as such, will they be given “रोटी” to eat.

Although presented as this delightful children’s song, this jingle surely is a stark comment on the social divide that exists in the society, telling about the arrogance of the so called ‘haves’, who in reality are not in a position to even feed themselves without the effort and assistance of the ‘have nots’, and the actual strength of the so called ‘have nots’ in being able to produce and provide that which is the most crucial thing required for survival – “रोटी”.

And to be so expected, given that this jingle is written by Ali Sardar Jafri. From his earliest days of creativity even as a student at Aligarh Muslim University, where he came under the influence of such progressive poets as Josh Malihabadi, Jigar Moradabadi and Firaaq Gorakhouri. He was also seriously influenced by the Communist ideology, and was expelled on account of being arrested by the British Govt., for writing anti-war poetry and being the secretary of the students wing of the Congress party. He later completed his studies from Zakir Hussain College, Delhi, and Lucknow University. He was a very active member of the Progressive Writers Movement and the IPTA (Indian People’s Theatre Association).

His works as a lyricist in Hindi films include ‘Naya Tarana’ (1943), ‘Dharti Ke Lal’ (1946), ‘Zalzala’ (1952), ‘Pardesi’ (1957), ‘Shehar Aur Sapna’ (1963), ‘Aasmaan Mahal’ (1965), and ‘Naxalite’ (1980). Between 1948 and 1978 he published eight poetry collections, which include, ‘Nai Duniya Ko Salaam’ (‘Salute to the New World’) (1948), ‘Khoon Ki Lakeer’ (‘A Line Of Blood’), ‘Amn Ka Sitara’ (‘Star Of Peace’), ‘Asia Jaag Utha’ (‘Asia Awakes’) (1951), ‘Patthar Ki Deewar’ (‘Wall Of Stone’) (1953), ‘Ek Khwab Aur’ (‘One More Dream’), ‘Pairahan e Sharar’ (‘The Robe of Sparks’) (1965) and ‘Lahu Pukarta Hai’ (‘The Blood Calls’) (1965). These were followed by ‘Awadh Ki Khae e Haseen’ (‘Beautiful Land of Awadh’), ‘Subhe Farda’ (‘Tomorrow Morning’), ‘Mera Safar’ (‘My Journey’) and his last anthology entitled ‘Sarhad’.

This last collection of poetry was carried by the then Prime Minister of India, Shri Atal Bihari Vajpayee, on his bus journey to Lahore in 1999. Atal ji had invited Jafri to accompany him on this trip but ill health prevented him from doing so. Shri Atal Bihari Vajpayee made history when he presented ‘Sarhad’, as a national gift, to the then prime minister of Pakistan, Janaab Nawaz Sharif, during the historic Lahore Summit, in February 1999. It was a milestone in Jafri’s life.
[Note: ‘Sarhad’ has also been produced as an audio album dedicated to Indo-Pakistan amity. It is produced by Squadron Leader Anil Sehgal and is composed and sung by ‘Bulbul e Kashmir’ Seema Anil Sehgal.]

In the course of his literary career spanning five decades, Jafri has also edited poetry anthologies of Sant Kabir, Mir Taqi Mir, Mirza Ghalib and Meera Bai with his own introductions. He also produced a documentary film ‘Kabir, Iqbal and Freedom’. In the 1990s, he produced two television serials, both of which were runaway successes – the 18-part ‘Kahkashaan’, based on the lives and works of seven Urdu poets of the 20th century he had known personally viz. Faiz Ahmead Faiz, Firaaq Gorakhpuri, Josh Malihabadi, Majaaz, Hasrat Mohani, Makhdoom Mohiuddin and Jigar Moradabadi; and ‘Mehfil e Yaaraan’ in which he interviewed people from different walks of life. Both serials had tremendous mass appeal. He was also the editor and publisher of ‘Guftagu’, one of the leading Urdu literary magazines of the Indian sub-continent. His works have been translated into many Indian and foreign languages.

In 1998, Jafri became the third Urdu poet to receive the Jnanpith Award (for 1997), after Firaq Gorakhpuri (in 1969) and Qurratulain Hyder (in 1989). He was also the recipient of several other significant awards and honours, including Padma Shri (1967), Jawaharlal Nehru Fellowship (1971), the Gold Medal for Iqbal Studies (in 1978, from the Pakistan Government), the Uttar Pradesh Urdu Academy Award for poetry, the Makhdoom Award, the Faiz Ahmad Faiz Award, the Iqbal Samman Award from the Madhya Pradesh government and the Sant Dyaneshwar Award from the Maharashtra government. Aligarh Muslim University (AMU) conferred a doctorate (D.Litt.) on him in 1986, fifty years after he was expelled from the university.

He passed away on Aug 1, 2000, in Mumbai.

As I was listening to this song in preparation for this article, the wording and the theme contained within took my mind back to a short story written by Leo Tolstoy. This story was part of our prose text book in probably the seventh or eighth grade. The story, titled ‘Ivan, the Fool’, tells the tale of an uneducated, unlettered farmer named Ivan, whom the local populace always referred to as ‘the Fool’. But in his ignorance of formal education and lack of erudition, lies the rustic wisdom of the land, and the nature. He has a sister named Martha, who is a mute. And there is a rule in their house. Only those who have done hard labor are allowed to sit at the table at mealtimes. Martha actually physically examines the hands of new visitors and guests, and if she finds no calluses on the hands of any person, that person will not be allowed to sit at the table and will not be given food. The story gets interesting when the Devil himself comes to the village, and tries to test Ivan and to sway him with promises of riches etc. The ignoramus that Ivan is, plays by the simple rules of his life, and the Devil has to depart, because he gets no food to eat while in the village, as per the rule of Martha.

This story, dated 1886, is a very interesting read. It highlights the concept of dignity of labor, and work is worship – a very striking reflection of the principles of communism which are enunciated in the ‘The Communist Manifesto’, authored by Karl Marx and Friedrich Engels in 1848. ‘The Manifesto’ has been acclaimed as the most influential political document in the 19th and 20th century time period, and it presents an analytical approach to the class struggle (historical and then-present) and the conflicts of capitalism and the capitalist mode of production. The industrial revolution was underway in Europe, and the exploitation of the masses as poor laborers by the rich industrialists, once again sparked into very sharp focus, the eternal divide between the ‘haves’ and the ‘have nots’.

Reading between the lines, this children’s song is quietly characterizing that very thought. Starting from ‘The Manifesto’, into the tale of ‘Ivan the Fool’, and then reaching into this jingle – the verses tell us of the ‘royalty’ that shirks any hard labor – “राजा जी पछताएंगे, काम से जान चुराएँगे” as a result of which, they will not get anything to eat – “सूखी मिट्टी फांकेंगे, कंकर पत्थर खाएँगे”. Then, when the royalty descends from their palaces, as expresses their apologies to the people, then they will get food – “नाक पकड़ कर गाएँगे, तब वो रोटी पाएंगे”. A utopia painted that actually carries a very important lesson for children, at least – to understand the value of hard work and to respect the hard work of others. Many, many hats off to Ali Sardar Jafri, to bring this message down to such simplicity, that it leaves you wonder struck and speechless.

I bring in some excerpts of the details about this film and its songs, from the article that I had written in Jun 2017, for the debut song of this film – “Chale Hawa Purvaai”.

“Shehar Aur Sapna”, the 1963 production by Abbas Sb, which focused on migrant population and housing problem in the city of Bombay, had won the National Award for the Best Film of the year. Apparently, at the function where the award was given, the then prime minister, Jawaharlal Nehru, requested Abbas Sb for a film for children. It seems that Abbas Sb took on that request almost immediately, because the film ‘Hamaara Ghar’ was released in the very next year i.e. 1964. This year was also when Nehru ji passed away (on 27th May). I have not been able to locate the information about the release date of this film, and whether Nehru ji was able to see this film, that was produced by Abbas Sb at his request.

The star cast of this film includes Sonal Mehta, Yasmeen, Rekha Rao, Tanya Siraaj, Pasha Azeem, Deepak Prasad, Sunil Kaushik, Noel Moses, Jai Prakash Narula, Maruti, Narayan Devanpalli, Levi Aaron, Ghanshyam Rohera, Nana Palsikar, Surekha, Dilip Raj, Anwar Abbas, Meena Abbas, and Yunus Parvez. As one reads this list, one can make out that the first many names are likely child artists, who are the lead performers in this film. Incidentally, the name Sunil Kaushik is of the second son of JP Kaushik, the music director for this film. Also, if I am not mistaken, the name Pasha Azeem is of Abbas Sb’s son.

This social drama is a film on national integration, at the level of children. I am able to locate a poster of this film online. The poster, all in tones of light blue, depicts a row of thirteen children, boys and girls, standing in ankle deep waves on a beach, and the name of the film is written in the sky background, in all languages of India. The caption at the bottom says – “A Film For Children Of All Ages”. Abbas Sb in his element of social responsibility, as always.

The film has six songs, five of them are penned by Ali Sardar Jafri. The sixth is the song “Saare Jahaan Se Achha. . .” written by the legendary Iqbal. Music is by Jag Phool Kaushik, the music director who started his film career with Abbas Sb for his 1963 film ‘Shehar Aur Sapna’. On the blog “Beete Huye Din” by Shishir Krishna Sharma, I am able to locate a detailed write up on this music director. An interesting trivia to note is that Anil Biswas was the resident music director for all films of Abbas Sb, before 1963. In fact, at the first instance, when JP Kaushik went to meet Abbas Sb with a reference, seeking work as a music director, he was told that Anil Biswas had already started to work on this particular film. Later, I assume that as Anil Da moved to New Delhi, likely during the production time of this film, the work for music direction was given to JP Kaushik. As I read in this blog, two songs for this film were already recorded by Anil Da, but later both of them were not used in the film. It would be interesting to track down the whereabouts of these songs, which I would like to designate as rarities, on account of circumstances.

The Geet Kosh lists only the name Vijaya Majumdar as the singer in this song accompanied by chorus. However, as we listen to this song, we are able to make out at least two more unidentified child voices – and another unidentified male voice. The music is so minimal. The only instruments one can make out are a dholak, a flute, and clapping of hands. With just using these devices, and a very interesting use of singing voices and chorus, a really delightful song has come into being.

A dedication to the forever child – onwards and upwards. And greetings to all the children on this musical bandwagon. 😉

[Author’s Note: Parts of this article, relating to Ali Sardar Jafri, are adapted from the material available in Wikipedia.]

 


Song – Raja ji Pachhtaayenge, Royenge Aur Gaayenge (Hamaara Ghar) (1964) Singer – Vijaya Majumdar, Unidentified Child Voice 1, Unidentified Child Voice 2, Unidentified Male Voice, Lyrics – Ali Sardar Jafri, MD – JP Kaushik
Chorus

Lyrics

raja ji pachhtaayenge
royenge aur gaayenge
sona chaandi niglenge
heere moti khaayenge
ho ooo ooooo
oooo ooooo
oooo ooooo
roti kabhi na paayenge
ae ji roti kabhi na paayenge
ae ji roti kabhi na paayenge
ae ji roti kabhi na paayenge
thengaa. . .
thengaa. . .

raja ji pachhtaayenge
kaam se jaan churaaenge
sookhi mitti phaankenge
kankar pathar khaayenge
ho ooo ooooo
oooo ooooo
oooo ooooo
roti kabhi na paayenge
ae ji roti kabhi na paayenge
ae ji roti kabhi na paayenge
ae ji roti kabhi na paayenge
thengaa. . .
thengaa. . .

raja ji pachhtaayenge
mahal se baahar aayenge
kaan pakal kal naachenge
naak pakad kar gaayenge
ho ooo ooooo
oooo ooooo
oooo ooooo
naak pakad kar gaayenge
tab wo roti paayenge
aji tab wo roti paayenge
aji tab wo roti paayenge
aji tab wo roti paayenge
balle balle balle balle balle
chhoo-na-eena
o ho
chhoo-na-eena
o ho
chhoo-na-eena
o ho
chhoo-na-eena
o ho
hoooommoooomm
hoooommoooomm
[more playful noises]

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

राजा जी पछताएंगे
रोएँगे और गाएँगे
सोना चाँदी निगलेंगे
हीरे मोती खाएँगे
हो ओss ओssss
ओsss ओssss
ओsss ओssss
रोटी कभी ना पाएंगे
एजी रोटी कभी ना पाएंगे
एजी रोटी कभी ना पाएंगे
एजी रोटी कभी ना पाएंगे
ठेंगा॰ ॰ ॰
ठेंगा॰ ॰ ॰

राजा जी पछताएंगे
काम से जान चुराएँगे
सूखी मिट्टी फांकेंगे
कंकर पत्थर खाएँगे
हो ओss ओssss
ओsss ओssss
ओsss ओssss
रोटी कभी ना पाएंगे
एजी रोटी कभी ना पाएंगे
एजी रोटी कभी ना पाएंगे
एजी रोटी कभी ना पाएंगे
ठेंगा॰ ॰ ॰
ठेंगा॰ ॰ ॰

राजा जी पछताएंगे
महल से बाहर आएंगे
कान पकल कल नाचेंगे
नाक पकड़ कर गाएँगे
हो ओss ओssss
ओsss ओssss
ओsss ओssss
नाक पकड़ कर गाएँगे
तब वो रोटी पाएंगे
अजी तब वो रोटी पाएंगे
अजी तब वो रोटी पाएंगे
अजी तब वो रोटी पाएंगे
बल्ले बल्ले बल्ले बल्ले बल्ले
छूनईना
ओ हो
छूनईना
ओ हो
छूनईना
ओ हो
छूनईना
ओ हो
हूम्मूम्म
हूम्मूम्म
[खिलवाड़ का शोर]


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 : 3767 Post No. : 14741

“Qawwaali Ki Raat”(1964) was Directed by Durgesh Kumar and Santoshi for Durgesh Productions, Bombay. This “social” movie had Kumkum, Kamaljeet, Mumtaz, Deven Verma, Jagdeep, Mohan Choti, Murad, aruna Irani, Johny Whisky, Kamal Mehra, Parshuram, Mirza Musharraf, Tuntun, Balam, Kathana, Jerry, Jankidas, Baroon Van Hizi, Kingkong etc in it.

The movie had eleven songs in it and most were qawwaalis as can be guessed from the title. Ten songs from the movie have been covered in the blog.

The eleventh and final song from the movie was apparently not included in the movie. Only its audio was released and this song is available.

Despite the song being available, I was not taking it up because this song was a duet with Rafi’s voice in it. Seeing that Sudhir jee was covering Rafi duets in his marathon series “Rafi duets अ से ह तक “, I was not taking chances because in the past I have posted songs that Sudhir Jee had reserved for some special occasions and with my memory being what it is, I had forgotten about that.

So, I double checked. Sudhir Jee is now onto the letter य while this duet from “Qawwaali Ki Raat”(1964) begins with an earlier letter viz प which was already covered in the previous post. So this song was “safe” to be covered. 🙂

So, here is the eleventh and final song from “Qawwaali Ki Raat”(1964) to appear in the blog. The song is sung by Rafi and Asha Bhonsle. Shewan Rizvi is the lyricist. Music is composed by Iqbal Qureshi.

Here are the details of the earlier ten songs from the movie:-

Song Title

Post No.

Post Date

Husn waale husn ka anjaam dekh 1830 29-Aug-09
Jaate jaate ik nazar bhar dekh lo dekh lo 3336 13-Dec-10
Aa main bataaun tu hai kyaa 3770 11-Apr-11
Dil gaya dil ka aitbaar gaya 5214 29-Dec-11
Ae jaane jigar chilman se agar 5376 1-Feb-12
Kehne waale tu bhi keh le 5700 26-Mar-12
Wo chaand sa chehra liye chhat par tera aana 13126 7-Apr-17
Dekh kar meri taraf khaamosh ho jaana zara 14487 15-Jul-18
Meri bhi laaj rakh le sarkaar e Madina 14524 24-Jul-18
Mujhe tumse muhabbat hai 14558 8-Aug-18

This song, the eleventh and final song was excluded from the movie as far as I can tell. In case it was picturised, it would have been on the lead pair of Kamaljeet and Kumkum.

With this song,all the songs of “Qawwaali Ki Raat”(1964) are covered in the blog and the movie joins the list of movies that have all their songs covered in the blog.
PS-It has pointed out by Mr Sadanand Kamath that the video of this song is available. And the song is indeed picturised on the lead pair.
Audio

Video

Song-Pyaar ki hasraten khaaq mein mil gayin (Qawwaali Ki Raat)(1964) Singer-Rafi, Asha Bhonsle, Lyrics-Shewan Rizvi, MD-Iqbal Qureshi

Lyrics

pyaar ki hasraten khaaq mein mil gayin
pyar ki hasraten khaaq mein mil gayin
do kadam chalke do humsafar jal gaye
do kadam chalke do humsafar jal gaye
zindagi aag banti hai jis mod par
zindagi aag banti hai jis mod par
donon raahi usi mod par jal gaye

do kadam chalke do humsafar jal gaye

aisi bijli giri shaakh gulzaar par
aashiyaana bachaaya to par jal gaye
aashiyaana bachaaya to par jal gaye

kuchh na baaqi raha zindagi mein meri
kuchh na baaqi raha zindagi mein meri
ek dhuaan reh gaya dil jigar jal gaye
do kadam chal ke do humsafar jal gaye

aah roki to seene se shole uthhe
ban gaye ashq aankhon mein chingaariyaan
ban gaye ashq aankhon mein chingariyaan
do mohabbat bhare dil sulagne lage
yaani do aarzuon ke ghar jal gaye

do kadam chal ke do humsafar jal gaye

ashqe gham chashme nam se ye keh kar dhale
ashqe gham chashme nam se ye keh kar dhale
pyaar ki aag mein yoon na koi jale
pyaar ki aag mein yoon na koi jale
aatishe ishq mein koi shola nahin
aatishe ishq mein koi shola nahin
phir bhi is aag mein ghar ke ghar jal gaye

do kadam chal ke do humsafar jal gaye
donon raahi usi mod par jal gaye


Advertisements

Important Announcement

(© 2008 - 2018) 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.

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 TEN years. This blog has over 14700 song posts by now.

This blog is active and online for over 3700 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14789

Number of movies covered in the blog

Movies with all their songs covered =1153
Total Number of movies covered =4044

Total visits so far

  • 11,080,373 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,650 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Archives

Stumble

visitors whereabouts

blogcatalog

Music Blogs - BlogCatalog Blog Directory

blogadda

Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

Advertisements
%d bloggers like this: