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

Archive for the ‘Songs of 1961’ 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 :

4816 Post No. : 16587

“Anarbala”(1961) was directed by Raja Yagnik for Unity Productions, Bombay. This costume drama movie had Daljeet,, Krishna Kumari, Tiwari, Maruti, Neelofar, Pal Sharma, Babu Raje, Pandit Iqbal, Moni Chatterjee, Kesari, Shree Bhagwan, Jeewan Kala etc in it.

The movie had eight songs in it. Two songs from the movie has been covered in the past.

Here is the third song from “Anaarbaala”(1961) to appear in the blog. The song is sung by S Balbir, Sudha Malhotra and female chorus. Ramesh Chandra Pandey is the lyricist. Music is composed by Bulo C Rani.

Only the audio of this song is available. The song appears to be a qawwaali. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Aji maana ke bahut hain aap haseen (Anarbala) (1961) Singers-S Balbir, Sudha Malhotra, Lyrics-Ramesh Chandra Pandey, MD-Bulo C Rani
Female Chorus

Lyrics

aa aa aa
maana
aji mana ke bahut hain aap haseen
dil ko thukraaya karte hain
lekin ham bhi dilwaale,
dil dushman se lagaaya karte hain
hamse hi kadar aapki hai
ho hamse hi aap bigadte hain
kya apne aap ko samjha hai
kyun itana aap akadte hain jee akadte hain
haan aan aan
sun lijiye aeji sarkar, sun lijiye aeji sarkar
agar kuchh aap hain to, agar kuchh aap hain to
kuchh ham bhi hain
sun leeje aeji dildaar
sun leeje aeji dildaar
agar kuchh aap hain to, agar kuchh aap hain to
kuchh ham bhi hain/font>

maana husn pe marne ko, laakhon dildaar machalte hain
lekin kab shama bulaati hai
jalne waale khud jalte hain

ye jalte hain
ye jalte hain

un parwaanon ki hasti kya,
jeene pe jinko naaj nahin
aa aa aaa
ham bhi to mohabbat karte hain
haan
par maut ke hain mohtaaj nahin een een
ho par maut ke hain mohtaaj nahin

sun leeje aeji sarkaar
sun leeje aeji sarkaar
agar kuchh aap hain to
kuchh ham bhi hain

aa aa aa aa
hai shokhi bhi itni ki,
aap khud ko bhagwaan samajh baithe
hai khair hamarre dil ko hi
aap apna makaan samajh baithhe
aabaad ho ya barbaad ho o o
ab ye jaan bhi aapki dualat hai
maashook hai gar bhagwan to
apne aashiq ki badaulat hai
sun leeje aeji dildaar
sun leeje aeji dildaar

agar kuchh aap hain to, agar kuchh aap hain to
kuchh ham bhi hain



This article is written by nahm, 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 :

4740 Post No. : 16467

Dilip Kumar – The Legend (1922-2021)
——————————————————

Since last two days I have been watching the various videos on whatsapp and on the net and also read some articles on the net. I have tried to see and absorb as much of the information I could about the events after, when the thespian is no more. After all is said and done, I have tried various tacks on how to approach this tribute to the method actor, who some call the “Marlon Brando” of India, without the ferociousness. But I find a ferocious, peasant turned dacoit in ‘Ganga Jamuna’ and a fractioned rebel prince Salim who is equally ferocious in protecting his Anarkali. The work on the silver screen was a very important part of the personality, but by no means it was the whole personality.

The best of Dilip Kumar, the actor and star was over, well before I grew up. But the admiration for his qualities as a screen performer and as a person conscious of his social responsibilities, was an inculcation process in my conscious mind. It has not happened overnight. These are small snippets of information, fed to my mind and stored away. Many incidents and events heard and read about long ago are surfacing in the memory. The trigger is the passing away of Dilip Kumar on 07/07/2021.

I was preparing the posts thinking of some old songs which have not been posted in the blog yet, preferably a song sung by Rafi sahab, writing a para here about this, and there about that, in yahoo mail, in gmail, on my office desktop and my laptop. This is not the way I prefer to do a post, but it was happening like this in this instance, as I was not able to assimilate the thoughts and lacked the drive to concentrate on the topic, maybe.

Then, I had divine help in the shape of a TV news show. I am pretty impressed with the contents of the particular show aired on 07/07/2021, with the byline – An era ends with Dilip Kumar’s death. It is very much close to my own feelings on this occasion, so I am reproducing some parts of the text of the show in hindi – trying to do verbatim translation is beyond me at the moment.

“Apni gair haazri mein iss se adhik haazir koyi kya ho sakta hai ke aap unhen alvidaa kehte waqt iss tarah se yaad kiye jaa rahe hain, jaise woh laut kar aaye hon. Yeh desh jo har waqt hindu-musalmaan ke beech nafrat ki deewar par chal raha hotaa hai, uss desh mein aisa ek hi shakhs thha jo Dilip Kumar bhi thha aur Yusuf Khan bhi. 1947 ke vibhajan rekha ko wo jis aasaani se paat diya karte thhe, bahot kam logon mein waisi quwwat hoti hai. Unn ka ek makaan phoolon ke shehar peshawar mein aaj tak hai. Unn ka ek makaan paison ke shehar Mumbai mein bhi hai. Aaj hindustan ne jitna khoya hai, utna pakistan ne bhi khoyaa hai.

Pichhle saal sitamber mein jab pakistan ke patrakaar Shiraz Hasan ne apne twitter handle par Dilip Kumar ke puraane makaan ki tasveer sajhaa ki, tab Dilip Kumar ne apne twitter handle se jawaab diya ke Peshawar mein sabhi se guzaarish hai ke mere pushtaini makaan ki tasveeren den. Phir to tasveeron aur videon ka taantaa hi lag gayaa. Peshawar ke ‘Qissa-Khwaani’ bazaar mein unn ka makaan hai. Dilip Kumar ne apni aatma katha mein likkha hai ki aaj bhi wahan ki khushbu, rang aur mausamon ki yaaden taazi hain. Kanpwa dene wali sardiyaan yaad hain. Unhen yaad hai Wahabbat Khan ki masjid huaa karti thhi. Iss bazaar ka naam qissa khwaani bazaar iss liye bhi padaa ke yehan vyapari apne qisse sunaate thhe aur doosron ka qissa sunte thhe. Kise pataa thha ke unn tamaan anaam qisson ke beech itna bada qissa niklegaa jis ka naam Yusuf Khan se badal kar Dilip Kumar kar diya jaayegaa. Do naamon ko ek saathh jeena aur khabron se bhari iss duniyaa mein tthag ki jagah behadd imaandar aur shaaleen shakhs ke roop mein dekhaa jaanaa, yeh bhi apne aap mein ek qissa hai, jis ka bazaar aaj unn ke jaane ke baad sajaa hai.

Apni aatma khathha mein unhon ne likkha hai ke bazaar mein aag lagi thhi jis waqt unn ki paidaaish hui thhi.
“Dilip Kumar – The substance and the shadow” aap ko unn tamaam chaukhaton tak le jaati hai, ye dikhaane ke liye ke ek kalaakar apne wajood se alag ho kar ek bada kalaakar nahi bantaa hai.
Waise unn ki aatma katthaa ke shuruaat se le kar akhir ke panno par, ghar ki dadi, ammi, phuphi aur didi ke qisse bhare pade hain. Maaon aur behnon ke beech ek kumar bada ho raha thha, pata chalta hai ke khaandaani aadmi thhe.
Saira Bano se unn ki shadi 1966 mein hui. Woh apne aap mein uss waqt ki mash-hoor aur maqbool kalaakar thhin. Unn ki aakhri saans tak unn ke saath saaye ki tarah khadi rahin. Ham aur aap ek tarah se Dilip Kumar ko celebrate kar rahe hain. Unn ke hone aur na-hone ko unn ke abhinay ki katranon ko nikaal kar tukde tukde mein jiye jaa rahe hain.
Lekin Saira Bano ke liye Dilip Kumar ek video clip bhar nahin thhe. Unn ke dukh ki dahleez tak koyi nahi pahunch saktaa.
Ham ne baat peshawar ke makaan se shuru ki thhi. Bambai ke Anjuman Islam school mein padhne lagte hain Dilip Kumar. Vibhajan se pehle aa gaye thhe. Lekin school ki chhuttiyon mein unn ka Peshawar aana jaana raha, angrezi ki kavitaayen sunaane aur unn ki daad lene ke liye.

1930 ke dashak ke baare mein Dilip Kumar ne likkha hai ke yehaan tab hindu chai, muslim chai, hindu paani, muslim paani milaa karta thha.

Dilip Kumar apne bachpan ko kandhe par rakh kar chalte thhe. Ek qissa hai ke jab akhbaaron mein chhapa ke bombay mein tram band hone waali hai, to unhen dard huaa 31/03/1964 ko hazaaron logon ne dadar aur parel ke beech chali uss aakhri tram ko bidaai di. Dilip Kumar likhte hain ke agar wo Dilip Kumar naam ka star na hote aur Yusuf Khan hi rehte to uss akhri tram mein zarur safar karte. Hazaaron logon ne antim tram ko vidaayi di thhi. Unn ki yaadon mein jitna peshawar thha utnaa hi bombay thaa. Koyi abhinetaa apne shehar ko unn daftaron se yaad karta hai, koyi Dilip kumar hai jo apne uss ki mohallon bason aur pedon se yaad karta hai. Yahin par unn ka makaan hain, yahin unn ko Juhu qabrastaan mein suprud-e-khaak kiya gayaa. Badi sankhya mein aam log iss shaandaar abhineta ko vidaayi dene aaye. Unhen maaloon hai yehan Dilip sahab dafan ho rahe hain. Unn ka ek makaan, jism ka har ek qatra hindustaan mein hai, lekin ek makaan peshawar mein bhi hai jis ke baahar unn ki yaad mein ek poster lagaaya gaya hai.

Ye bheed tab hai jab zamaane se unn ki koyi film nahi aayi hai, dashkon se nahi aayi. 1952 mein unn ki film “Aan’ release huyi, super hit huyi jo uss waqt ki sab se adhik kamaayi karne waali film bani. 1947 mein wo vibhajan rekha kheenchi gayi jis ke baad log udhar se idhar, aur idhar se udhar hogaye. Dilip kumar par pakistan ki oar se jaasoosi karne ke aarop lage, Deepa Mehta ki film ‘Fire’ ka samrthan karne par bhi bahot aalochna hui. In sab ke baad bhi unhen na koyi udhar dhakel paaya na idhar dhakel paaya.

Is interview mein aap inhen bolte suniye. Saamne koyi script nahi hai lekin aap parde ke Dilip Kumar aur asli jeewan ke Dilip Kumar mein farq nahi kar sakte. Patrkar Sunil Sethi ne NDTV ke liye Dilip Kumar ka interview kiya thha. Puraana interview hai. Angrezi mein iss interview ko aap bhasha, aur usse baratne ke lehje ke liye bhi suniye. Unhenn bolte huey sunne se bhi lagta hai ham ne jin i’laaqon ko, rawaayaton aur lafzon ko baant diya hai. Dilip Kumar jab bolte thhe to woh saara kuchh ek aisi zameen se aaya lagtaa thha, jis ka batwaara kabhi huaa hi nahi. Unn ka bolna uss i’laaqe ka ek mukammal chehra thha, jise aap bharatiya up-mahadweep kehte hain.

“nishaan-e-imtiyaaz’ ko le kar huey vivaad ke waqt, unhon ne ye kahaa thha ke 65 saal hindustaan mein rehne ke baad mujhe apni wafadaari saabit karni pad rahi hai.

Unn ka ghar iss waqt ghamon se bhara huaa hai. Unn ki adaakari ham sab ke hisse mein maujood hai. Dilip Kumar ne cinema mein abhinay ko adhyay mein badal diya, iss liye unhen method actor kahan jaata hai. Mughal-e-azam jaisi film mein Salim ke kirdaar ko baadshahat dene waale Dilip Kumar kam samay mein dekhna ya unn ke baare mein samjhana bahot mushkil kaam hai.”

The show goes on to talk about Dilip Kumar’s philanthropic acts. I had meant to write a bit on this facet of his personality, as I found that the Wikipedia page on him is not mentioning this part of his life. The show than goes in detail about how his biography was written and published, and what were his specifications about writing about his personal life and relations with other female stars with whom he was linked romantically.

I would like to read the book and see what he writes about his equation with Madhu Bala and what went wrong with his second marriage to Asma Rehman.

I have read the letter hand written by Dilip Kumar in urdu, to the editor of ‘Shama’ which is part of a book. The beauty of the handwriting and the dignity in the sentences, conveying his outrage, subtle yet firm, that he will not tolerate any such inferences towards his personal matters, is to be read to be believed. I have not read that much of Urdu over the years, as I could have, but the conviction about the ‘shaaistagi’ of the language, written and spoken is never in doubt. The letter vindicates my convictions about urdu, and reassured me that Urdu is a deserving heritage ofvast populations across the world. I am still talking about Dilip Kumar’s cultured, educated, wise and dignified persona.

One dialogue from Mughal-e-azam :

“ye zakhm nahi phool hain Durjan. Aur phoolon ka murjhaana bahaar ki ruswaayi hai.
Suno,
ye qaatil hi nahi dildaar bhi hai,
yeh shaakh-e-gul bhi hai talwaar bhi hai”

Yes. In classic Urdu, sentences do begin with ‘aur’.

Going back to Dilip Kumar’s acts of charity and his commitment to social causes, I know it for a fact that he was a partner in many such deeds and was a patron and supporter of educational institutes, orphanages etc. Dr.Is-haq Jamkhanawala (https://en.wikipedia.org/wiki/Ishaq_Jamkhanawala) from Belgaum was a close friend of Dilip Kumar. These two friends had been involved in many charity projects, which can be verified. In fact Dilip Kumar visited Belgaum in early 80’s accompanied by Saira Bano for inaugration of an educational institute. I have a photographe where Dr. Is-haq Jamkhanawala also can be seen alongwith another illuminous person, a doctor from Belgaum. (Photo attached).

Saahir Ludhianvi says in his inimitable way that:

duniyā ne tajrabāt o havādis kī shakl meñ
jo kuchh mujhe diyā hai vo lauTā rahā huuñ maiñ

His stature and standing in the film industry as well as the country ensured that he is a blessed and deserving of the honour of State funeral given to him. A real ‘badaa aadmi’ in the way he was blessed with the affections and respect in this world. And bigger the stature and the power bestowed in this world, the bigger is the test of the character. The toughness of the test is directly in proportion to the worldly blessings. By all accounts he seems to have fared well in this test, as far as we can see, rest all is with Allah(swt), who is the best of judges.

Lata Mangeshkar says this in her tribute:

“Yusuf bhai has gone leaving his younger sister behind. His death seems like the end of an era. I am unable to comprehend anything, I’m extremely sad, speechless, he gave me many memories and left. Yusuf bhai has been unwell for the last many years. He couldn’t recognise anyone, at such time, Saira bhabhi left everything and took care of him day and night. She had no other life. I bow down to such a woman and I pray for Yusuf bhai’s soul to rest in peace,”

What is a better celebration of this legendary actor, multi-lingual and multi-dimensional personality, than a song from the magnum opus “Ganga Jamna’ which he produced, wrote and said to have ghost directed? I am presenting two song snippets from this film.

Shakeel Badayuni-Rafi-Naushad is the team, whose association with Dilip Kumar is again a stuff of legends. Some enthusiasts can write a thesis on this topic. There is a female voice in the longer snippet, which sounds like Rajkumari Dubey, but I cant be sure. I am positive that it is not Lata Mangeshkar and sound different from Shamshad Begum.

My own favourite song from “Ganga Jamuna” is:

Nain lad jayi hain
to manwaa maa kasak hoibe kari
prem ka chhutiye patakha to dhamak
hoibe kari

The film and songs are definitely worth revisiting and so is the thespian, Gulfaam, the originial angry young man, and so much more.

Snippet I


Snippet II

Song-Bailan ki jodiyaa/ aaj bhaya re gori (Ganga Jamuna)(1961) Singer-Rafi, Lyrics-Shakeel Badayuni, MD-Naushad

Lyrics

snippet I
—————

Bailan ki jodiyaan
Jaane man ki sab batiyaan re ae
Oh ho ho ooo
Ooo oooo ooooo
Hrrr rrrrrr haa
Bailan ki jodiyaan
Jaane man ki sab batiyaan re ae
Dara ri da da daa ra raa
Lahaa lo laa Laha la lo laao

Snippet II

Di ra dee re ea ea
gori ee
Aaj bhaya re gori
Hamra gawanwaa
Ganga se jamna ka
hoyibe milanwaa
aa aa
neele gaganwaa ki chhaaon
oo ooo
chal chal ri goriyaa
pi ki nagariyaa aa
o chal chal ri goriyaa
pi ki nagariyaa aa
o nadiyaa kinaare moraa gaaon
ho oo nadiyaa kinaare moraa gaaon
o chal chal ri goriyaa
pi ki nagariyaa aa


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 Nahm, 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 :

4626 Post No. : 16276

Geeta Dutt – Solos and Duets (04)
———————————–————–

Here is a duet again by Geeta Dutt and Rafi Sahab as song no. 04 of the series. I shall try not to make this series of Raft-Geeta duets songs with every other song by them. No worries there I have a few interesting combination duets and truets lined up for this series and I can be forgiven if it is interspersed with a few of those gems by this jodi.  The more popular ones by the likes of OPN and SDB are already in the blog, among the remaining are by music directors who are lesser known.

The songs in the genre ‘chhed chhaad’ theme and light romanticism by Rafi-Geeta Dutt are well known.  The present song is on the same theme, but a not heard before song.  Vividh Bharati Mumbai was never playing it in the 80’s that much I can say for sure.  The days of listening to songs on Vividh Bharati are a memory, which I was reminded of today.  I visited a deserted a fruit/vegetable market in our area in the middle of the afternoon, when returning from an errand.  A few sleepy vendors were there with their wares open for sale.  A few of them were huddled around on one of the carts, having lunch or just doing gup-shup.  Interesting thing with the scene was the radio playing and an old song well remembered from the radio days was playing.  It was a duet of Mukesh and the words were philosophical and romantic, I recognized the song with the stanza and lyrics were coming to mind as sure as the clockwork.  I came home and meant to look up the song, as it was not heard for a long time.  It was somewhat like “Bol Meri Taqdeer Mein Kya Hai” from ‘Hariyali Aur Raasta’ (1962), but some other song.  Now it has slipped from the mind and I am hoping to hear it again somewhere and revisiting the melody.

This line in the first stanza “le le tu sitaaron se gawaahi” is as if it is somewhere else or in some other song I have heard, especially the word ‘gawaahi’ and the way Rafi Sahab is intoning it sounds as if I have heard it somewhere before also.  ‘gawaahi’ is not a very common word in film songs.  There is a song in ‘Daamini’ which goes “Gawaah Hain Chaand Taare Gawaah Hain”.    Also, the composition and music sound very much like OPN style.  And hearing some sounds in the background music, I think it can even be a ‘tonga song’.

Only one song from the film ‘Khiladi’ (1961) is posted in the blog – “Ho Gori Kaabur Aur Bukhaara“. Music composer is Sardul Kwatra and lyricist is Prem Dhawan as per the info in the excel sheet of Rafi songs.  The excel sheet shows only the present song from this film and the song already posted in the blog, a Rafi-Shamshad duet is missing in the list.  Myswar.com is not showing the film at all.  So, I had to refer to the excel sheet for lyricist’s name.  Listening to both the songs now, it is clear that both songs are filmed on different characters in the film.  Not just by the change of female singer, but also by the sound of Rafi Sahab’s voice.  Excel sheet made up with the help of geetkosh is listing only one Rafi song in this film, and now the blog has two such duets.  So, it is possible that there are more songs in the film, which were not recorded in the geetkosh even.  Only someone with the 60’s decade HFGK can ascertain this.  If this goes on like this, given a few more accidental discoveries, final list of Rafi songs is going to be around 5000, kheench khaanch kar :).  There is a very good chance that this blog will be the place where the record is most accurate in terms of number of songs sung by Rafi Sahab, and others artists also.

Rafi sahab is a little subdued here, in the sense, that he is not making many ‘harkaten’ or ‘murkiyaan’ etc like Geeta Dutt is doing.   Or rather trying his best to sound restrained, to suit the character in the film, maybe.  But it is a very melodious and hummable song and sounds too good.

I can’t get the sound of ‘gawaahi’ out of my head since I heard this song again and again while writing the post just now.  This is how much the obscure films and their songs are made memorable by the commitment of singers like Geeta Dutt and Rafi Sahab, who always gave 110 % to each and every song.

Song – Hato Hato Jaao Ji Jaao, Jhoothi Baaten e Na Banaao (Khiladi) (1961) Singer – Geeta Dutt, Mohammed Rafi, Lyrics – Prem Dhawan, MD – Sardool Kwatra

Lyrics 

hato hato
jaao ji jaao
o jhooti baatien en
e na banaao
o hato hato
jaao ji jaao
jhooti baatien
e na banaao

hua hai qusoor
kaisa hum se huzoor
hua hai qusoor
kaisa hum se huzoor
itna to zara batlaao

haay haay
hato hato
kyun ji
jaao ji jaao
aisa
o jhooti baatien en
e na banaao

tthandi tthandi aahen
saari raat bhari hain
le le tu sitaaron se gawaahi
hum bhi to tere liye
rahe hain tadapte
hum ko bhi neend na aayi
arey karo na guroor
yoon na raho door door
karo na guroor
yoon na raho door door
aur na dil ko jalaao
haay haay
hato hato
jaao ji jaao
ho jhooti baatien en
e na banaao

khil khil jaati hain
nazar mein bahaaren
milte hi tujh se nigaahen
jab jab bhi
mera dil hai dhadaktaa
sunti hoon teri hi sadaayen
aankhon ka ho noor
mere dil ka suroor
aankhon ka ho noor
mere dil ka suroor
ab to na aankh churaao
aay haay
hato hato
jaao ji jaao
o jhooti baatien en
e na banaao

————————————————————
Hindi Script Lyrics
(Provided by Nahm ji)
————————————————————

हटो हटो
जाओ जी जाओ
ओ झूठी बातें॰ ॰ ॰
ए ना बनाओ
ओ हटो हटो
जाओ जी जाओ
ओ झूठी बातें॰ ॰ ॰
ए ना बनाओ

हुआ है क़ुसूर
कैसा हम से हुज़ूर
हुआ है क़ुसूर
कैसा हम से हुज़ूर
इतना तो ज़रा बतलाओ

हाए हाए
हटो हटो
क्यूँ जी
जाओ जी जाओ
ऐसा
ओ झूठी बातें॰ ॰ ॰
ए ना बनाओ

ठंडी ठंडी आहें
सार रात भरी हैं
ले ले तू सितारों से गवाही
हम भी तो तेरे लिए
रहे हैं तड़पते
हमको भी नींद ना आई
अरे करो ना गुरूर
यूं ना रहो दूर दूर
करो ना गुरूर
यूं ना रहो दूर दूर

और ना दिल को जलाओ
हाए हाए
हटो हटो
जाओ जी जाओ
ओ झूठी बातें॰ ॰ ॰
ए ना बनाओ

खिल खिल जाती हैं
नज़र में बहारें
मिलते ही तुझसे निगाहें
जब जब भी
मेरा दिल है धड़कता
सुनती हूँ तेरी ही सदाएं
आँखों का हो नूर
मेरे दिल का सुरूर
आँखों का हो नूर
मेरे दिल का सुरूर
अब तो ना आँख चुराओ
आए हाए
हटो हटो
जाओ जी जाओ
ओ झूठी बातें॰ ॰ ॰
ए ना बनाओ


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 :

4614 Post No. : 16247

—————————————————————————
Blog 10-Year Challenge (2011-2021) – Song No. 14
—————————————————————————

The blog was chugging along nicely these days ten years ago. This day ten years ago, that is 6 march 2011, sa as many as seven songs from seven different movies getting covered in the blog. Here are the details:-

Blog post number Song Movie (year) Remarks
3607 O roothhe huye Bhagwaan tumko kaise manaaun Sindoor(1947) Seven songs covered by now(out of 8)
3608 Mera dil tadpaa kar kahaan chalaa Shabnam (1949) Movie YIPPEED by now
3609 Badli teri nazar to nazaare badal gaye Badi Bahu(1951) Movie YIPPEED by now
3610 Mere pyaar mein tujhe kyaa milaa Maan(1954) Movie YIPPEED by now
3611 Tera muskuraanaa banaa ik bahaanaa Pyaar Ki Daastaan(1961) 2 songs covered by now (out of 8)
3612 Tunak tun tun bole jiyaa Kahin Pyaar Na Ho Jaaye(1963) Movie YIPPEED by now

One can see that “Pyaar Ki Daastaan”(1961) is one of the two movies which is eligible for blog Ten Year Challenge today on 6 March 2021.”Pyaar Ki Daastaan”(1961) as produced by Ghulam Hussain and directed by P L Santoshi for Pushpa Pictures, Bombay. The movie had Ameeta, Sudesh aka Soodesh Kumar, Shubha Khote, Mohan Choti, Niranjan Sharma, Mirza Musharraf,Rafiq Ansari,Siddique,Jawahar Kaul, Padam, Abid,Jeewan Kala, Bela Bose, Mumtaz Begum, Helen etc in it.

Two songs have been covered in the blog so far.

Here is the third song from “Pyaar Ki Daastaan”(1961) to appear in the blog. The song is sung by Rafi. Sarwar is the lyricist. Music is composed by Naashaad.

The song is picturised on Sudesh Kumar.

Lyrics of this song were sent to me by Prakashchandra.

Video

Audio

Song-Lut gayaa mere sapnon ka deraa (Pyaar Ki Daastaan)(1961) Singer-Rafi, Lyrics-Sarwar, MD-Naashaad

Lyrics(Provided by Prakashchandra)

lut gayaa mere sapnon ka deraa
ho o lut gayaa mere sapnon ka deraa
kaisaa insaaf maalik ye teraa aa
lut gayaa mere sapnon ka deraa

phool khilne na paaye thhe dil ke
ho gaye hum judaa tumse mil ke
phool khilne na paaye thhe dil ke
ho gaye hum judaa tumse mil ke
kar liyaa gham ne dil mein baseraa aa
lut gayaa mere sapnon ka deraa
ho o lut gayaa mere sapnon ka deraa

khel duniyaa ne kaisaa ye khelaa aa
ho gayaa aaj saathi akelaa
khel duniyaa ne kaisaa ye khelaa aa
ho gayaa aaj saathi akelaa
aur tadapaa rahaa pyaar meraa aa
lut gayaa mere sapnon ka deraa

jhuk gaya pyaar qismat ke aagey
pad gaye kachche ulfat ke dhaagey
jhuk gaya pyaar qismat ke aagey
pad gaye kachche ulfat ke dhaagey
dosh teraa nahin aur na meraa aa
lut gayaa mere sapnon ka deraa
kaisaa insaaf maalik ye teraa aa
lut gayaa mere sapnon ka deraa
haayye lut gayaa mere sapnon ka deraa


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 :

4605 Post No. : 16236

“Pyaase Panchhi”(1961) as produced by Shankar Bhai Bhatta and Vijay Bhatt and directed by Harsukh Bhatt for Shree Prakash Pictures, Bombay. The movie had Mehmood, Ameeta,Jeevan, Leela Misra,Agha, Malika, David, Niranjan Sharma, Uma Khosla, Athavle, Loban, Omprakash Sharma, C.L.Shah, Narbada Shanker, Baby Shobha etc in it.

Ten songs ae listed in HFGK for this movie. But song number 3 and 10 are one and the same. So in effect “Pyaase Panchhi”(1961) has nine songs in it.

Seven songs from the movie have been covered in the past.

Here is the eighth song from “Pyaase Panchhi”(1961) to appear in the blog. This song is sung by Rafi and Suman Kalyanpur. Qamar Jalalabadi is the lyricist. Music is composed by Kalyanji Anandji.

The song is picturised on Agha and Malika, playing Romeo and Juliet respectively as a stage performance song, being watched by a housefull audience.

Lyrics of this song were sent to me by Prakashchandra.

Video(full song)

Audio (Partial song)

Song-Kab tak kheloon pyaar ka khel (Pyaase Panchhi)(1961) Singers-Rafi, Suman Kalyanpur, Lyrics-Qamar Jalalabadi, MD-Kalyanji Anandji

Lyrics(Based on Video link) (Provided by Prakashchandra)

Aaa…aaa…aaaa…aaaahhaa
majnoo bhi bann chukaa hoon
majnu bhi bann chukaa hoon
Farhaad bann chukaa hoon
arrey Farhaad bhi bann chukaa main
ab bann ke Romeo..o o main…ae
tere dar pe aa gayaaa..aaa..aa hoon..oon

kab tak kheloon pyaar ka khel
pass karo ya fail gori
paas karo ya fail
kab tak kheloon pyaar ka khel
pass karo ya fail gori
paas karo ya fail

pyaar ko toone samjhaa khel
kaisey hogaa mel
bolo kaisey hogaa mel
pyaar ko toone samjhaa khel
kaisey hogaa mel
bolo kaisey hogaa mel

kab tak tere naaz uthhaaoon
kab tak dar par thhokar khhaaoon oon
kab tak tere naaz uthhaaoon
kab tak dar par thhokar khaaoon
dil ye kehta hai mar jaaoon
tum par main ilzaam lagaaoon
zaalim tujhko bhejoon jail
paas karo ya fail gori
paas karo yaa fail
pyaar ko toone samjhaa khel
kaisey hogaa mel
bolo kaisey hogaa mel

arrey kab tak kheloon pyaar ka khel
pass karo ya fail gori
paas karo ya fail

hum to nahin hain aisey waisey
pyaar karein hum tum se kaisey
hum to nahin hain aisey waisey
pyaar karein hum tum se kaisey

only in audio link:
(mast haseenon ke saanche mein
laakhon phirte hain tum jaisey)

jaao tum ho bilkul fail
kaisse hogaa mel
bolo kaissey hogaa mel

kab tak kheloon pyaar ka khel
paas karo ya fail gori
paas karo ya fail

ho gayaa gul mera pyaar ka dabba
mar gaya main to haayye rabbaa..aaa
ho gayaa gul mera pyaar ka dabba
mar gaya main to haayye rabbaa
tu hai agar Lailaa ki Ammaa
main bhi hoon Majnu ka Abba
hoke rahega apnaa mel
paas karo ya fail gori
paas karo ya fail
pyaar ko toone samjhaa khel
kaissey hogaa mel
bolo kaisey hogaa mel

arrey kab tak kheloon pyaar ka khel
pass karo ya fail
gori paas karo ya fail


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 :

4584 Post No. : 16203

———————————————–——————————-
Blog 10-Year Challenge (2011-2021) – Song No. 10
——————————————————————————

This day ten years ago (viz 4 February 2011) saw six songs getting covered from six different movies. The sixth song of the day was the 3500th post in the blog. Seeing that the 16200th post of the blog was published yesterday (3 February 2021), we can say that the blog has added 127 centuries (or 12700 posts) in exactly one decade.

Here are the details of the six songs that appeared in the blog on 4 February 2011:-

Blog post number Song Movie Year Remarks
3495 Jhim jhim jhim jhim badarwa barse Taangaawaali 1955 7 songs covered out of 9. Renmaining songs unavailable
3496 Baawli banaa ke chhodaa Parivaar 1956 All songs covered. Movie YIPPEED
3497 Hu tu tu tu tu tu Memdidi 1961 5 songs covered out of 6
3498 Ankhiyon ka noor hai tu Johar Mehmood in Goa 1965 All songs covered. Movie YIPPEED
3499 Aankh jhuki si chaal ruki si Burma Road 1962 All songs covered. Movie YIPPEED
3500 Main hoon jhum jhum jhum jhum jhumroo Jhumroo 1961 All songs covered. Movie YIPPEED

One can see that “Memdidi”(1961) is one movie that is eligible for Blog Ten Year Challenge.

“Mem Didi”(1961) was produced by L B Lachhman and directed by Hrishikesh Mukherjee for L B Films, Bombay. The movie had Lalita Pawar, Jayant, David, Tanuja, Kaysi Mehra, Dhumal,Rashid Khan etc in it.

“Mem Didi”(1961) had six songs in it. Five songs have been covered so far. Here are the details of the songs covered so far :-

Blog post number Song Date of post Remarks
3497 Hu tu tu tu tu 4 February 2011
6279 Beta waah waah waao mere kaan mat khaao 21 July 2012
9651 Main jaanti hoon tum jhoothhe ho 2 April 2014
11775 Raaton ko jab neend udd jaaye 16 January 2016
16198 Bachpan o bachpan pyaare pyaare bachpan 3 February 2021

Here is the sixth and final song from “Mem Didi”(1961) to appear in the blog. This song is sung by Lata Mangeshkar and chorus. Shailendra is the lyricist. Music is composed by Salil Chaudhary.

The song is movie opening song and it plays in the background as credits appear on the screen.

Lyrics of the audio version and the movie version differ in the last stanza.

Lyrics of the song were sent to me by Prakashchandra.

With this song, all the songs of “Memdidi”(1961) are covered and the movie joins the list of movies that have been YIPPEED in the blog. The movie made its debut on 4 February 2011. The movie gets YIPPEED exactly ten years later on 4 February 2021.

Audio link:

Video link:

Song-Bhula do zindagi ke gham (Memdidi)(1961) Singer-Lata, Lyrics-Shailendra, MD-Salil Chaudhary
Unknon male voice
Female chorus

Lyrics(Provided by Prakashchnadra)

————————————
Lyrics(audio Link)
————————————

aaahhaa hhaahha haa haa hhaa
aaahhaa hhaahha haaaaaa haa hhaa
aaahhaa hhaahha haa haa hhaa
aaahhaa hhaahha haaaaaa haa hhaa

bhulaa do zindagi ke gham
taraanaa chhedo pyaar ka
ke aa rahaa hai
aa rahaa hai kaarwaan bahaar ka
bhulaa do zindagi ke gham (aaahhaa hhaahha haa haa hhaa)
taraanaa chhedo pyaar ka (aaahhaa hhaahha haaaaaa haa hhaa)
ke aa rahaa hai
aa rahaa hai kaarwaan bahaar kaa
(aaahhaa hhaahha haaaaaa haa hhaa)
bhulaa do zindagi ke gham
taraanaa chhedo pyaar ka
ke aa rahaa hai
aa rahaa hai kaarwaan bahaar ka

kali kali se keh do
hamse muskuranaa seekh ley
kahaan hai bhanwraa
aake hamse gungunanaa seekh ley
kali kali se keh do
hamse muskuranaa seekh ley
kahaan hai bhanwraa
aake hamse gungunanaa seekh ley

ye din hai saari zindagi mein sirf ek baar ka
ke aa rahaa hai
aa rahaa hai kaarwaan bahaar ka
bhulaa do zindagi ke gham
(haaahhaa hhaahha haa haa hhaa)
taraanaa chhedo pyaar ka (aaahhaa hhaahha haaaaaa haa hhaa)
ke aa rahaa hai
aa rahaa hai kaarwaan bahaar kaa
(aaahhaa hhaahha haaaaaa haa hhaa)

na poochho har kadam pe kyun dhadak dhadak rahaa hai dil
aaa…aaa..aaa…aaa..aaa
aaa…aaa..aaa…aaa..aaa

ke laakh rokte hain par behak behak rahaa hai dil
haa…aaa…aaa…aaa…aa
haaa…aaa..aaa…haaa..aaa

na poochho har qadam pe kyun dhadak dhadak rahaa hai dil (aaa…aaa..aaa…aaa..aaa)
ke laakh rokte hain par behak behak rahaa hai dil (haa…aaa…aaa…aaa…aaa)
sitam hai aaj ek ek pal ye intezaar kaa
ke aa rahaa hai
aa rahaa hai karwaan bahaar ka
bhulaa do zindagi ke gham
(aaahhaa hhaahha haa haa hhaa)
taraanaa chhedo pyaar ka (aaahhaa hhaahha haaaaaa haa hhaa)
ke aa rahaa hai aa rahaa hai karwaan bahaar kaa (aaahhaa hhaahha haaaaaa haa hhaa)

o ho ho ho ooo ooo (hmmm..hmmmm.hmmmm.hmmmm)
o ho ho ho ooo ooo (hmmm..hmmmm.hmmmm.hmmmm)
aaaa…aaa….aaaa.a..aaaaaa…aaaa
aaaa…aaa….aaaa.a..aaaaaa…aaaa

————————————
Lyrics(Video Link)
————————————

aaahhaa hhaahha haa haa hhaa
aaahhaa hhaahha haaaaaa haa hhaa
aaahhaa hhaahha haa haa hhaa
aaahhaa hhaahha haaaaaa haa hhaa

bhulaa do zindagi ke gham
taraanaa chhedo pyaar ka
ke aa rahaa hai
aa rahaa hai karwaan bahaar ka
bhulaa do zindagi ke gham (aaahhaa hhaahha haa haa hhaa)
taraanaa chhedo pyaar ka (aaahhaa hhaahha haaaaaa haa hhaa)
ke aa rahaa hai
aa rahaa hai karwaan bahaar kaa
(aaahhaa hhaahha haaaaaa haa hhaa)
bhulaa do zindagi ke gham
taraanaa chhedo pyaar ka
ke aa rahaa hai
aa rahaa hai kaarwaan bahaar ka

kali kali se keh do
hamse muskuranaa seekh ley
kahaan hai bhanwraa
aake hamse gungunanaa seekh ley
kali kali se keh do
hamse muskuranaa seekh ley
kahaan hai bhanwraa
aake hamse ungunanaa seekh ley

ye din hai saari zindagi mein sirf ek baar kaa
ke aa rahaa hai
aa rahaa hai karwaan bahaar ka
bhulaa do zindagi ke gham
(haaahhaa hhaahha haa haa hhaa)
taraanaa chhedo pyaar ka (aaahhaa hhaahha haaaaaa haa hhaa)
ke aa rahaa hai
aa rahaa hai karwaan bahaar kaa
(aaahhaa hhaahha haaaaaa haa hhaa)

khula gagan ye keh raha hai
aao udd chaley kahin
jahaan se chaand si dikhhey
hamein ye jhoomti zameen
khula gagan ye keh raha hai
aao udd chaley kahin
jahaan se chaand si dikkhey
hamein ye jhoomti zameen

jahaan yehi jawaab aaye
apni har pukaar ka
ke aa rahaa hai
aa rahaa hai karwaan bahaar ka
bhulaa do zindagi ke gham
(haaahhaa hhaahha haa haa hhaa)
taraanaa chhedo pyaar ka (aaahhaa hhaahha haaaaaa haa hhaa)
ke aa rahaa hai
aa rahaa hai karwaan bahaar kaa
(aaahhaa hhaahha haaaaaa haa hhaa)
bhulaa do zindagi ke gham (aaahhaa hhaahha haa haa hhaa)
taraanaa chhedo pyaar ka (aaahhaa hhaahha haaaaaa haa hhaa)
ke aa rahaa hai
aa rahaa hai kaarwaan bahaar kaa (aaahhaa hhaahha haaaaaa haa hhaa)
aaahhaa hhaahha haa haa hhaa
aaahhaa hhaahha haaaaaa haa hhaa
aaahhaa hhaahha haa haa hhaa
aaahhaa hhaahha haaaaaa haa hhaa


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 :

4583 Post No. : 16198

“Mem Didi”(1961) was produced by L B Lachhman and directed by Hrishikesh Mukherjee for L B Films, Bombay. The movie had Lalita Pawar, Jayant, David, Tanuja, Kaysi Mehra, Dhumal,Rashid Khan etc in it.

Mr Arunkumar Deshmukh, our inhouse encyclopaedia has done great research on this movie. He informs us that this movie was a blantant copy of Frank Capra’s “A pocketful of Miracles” (1961). To decades later, Hrishikesh Mukherjee came up with another remake of the movie called “Achcha Bura”(1983). He also informs us that the hero of “Mem Didi”(1961), Kaycee Mehra was actually K C Mehra. He played Hero in “Chhabili”(1960) as ell as “Mem Didi”(1961) and then left films. He joined Tata Steel and served there for 41 years retiring as a Deputy Managing Director. Subsequently he became Resident Director of M/s Shapoor ji Pallon ji.

“Mem Didi”(1961) had six songs in it. Four songs have been covered so far.

Here is the fifth song from “Mem Didi”(1961) to appear in the blog. This somng is sung by Lata Mangeshkar and chorus. Shailendra is the lyricist. Music is composed by Salil Chaudhary.

The song is picturised as a picnic song cum growing up song on a very young Tanuja and others.

Lyrics of this song were sent to me by Prakashchandra.


Song-Bachpan o bachpan pyaare pyaare bachpan (Mem Didi)(1961) Singer-Lata, Lyrics-Shailendra, MD-Salil Chaudhary
Chorus

Lyrics(Provided by Prakashchandra)

aa haa
aa ha ha ha
ha haa ha
aaa
aa ha aa haa haa
aa ha ha

bachpan o bachpan
pyaare pyaare bachpan
o lalla sach batla
kahaan gaya tu chhod ke
bachpan o bachpan
pyaare pyare bachpan
o lalla sach batla
kahaan gaya tu chhod ke
(aa ha ha
aa haa haa)
bachpan o bachpan
pyaare pyaare bachpan
o lalla sach batla
kahaan gaya tu chhod ke

aa ha ha
aa ha ha
aa aa aa
aa aa ha
aa aa aa
aa aa aa
aa ha ha
aa ha ha
aa aa aa
aa ha ha
aa aa aa aa
a ha a ha a haa

ghar mein shahar mein dhoondha
jungle mein ban mein dhoondha
ghar mein shahar mein dhoondha
jungle mein ban mein dhoondha

kaliyon se jaake poochha
saare chaman mein dhoondha
kaliyon se jaake poochha
saare chaman mein dhoondha

rishte wo saare tod ke
bachpan o bachpan
pyaare pyaare bachpan
o lalla sach batla
kahaan gaya tu chhod ke
(aa ha aa ha aa haa)
bachpan o bachpan
pyaare pyare bachpan
o lalla sach batla
kahaan gaya tu chhod ke

jis din se tu gaya hai
ye dil machal raha hai
jis din se tu gaya hai
ye dil machal raha hai

duniya hai kuchh azab si
sab kuchh badal raha hai
duniya hai kuchh azab si
sab kuchh badal raha hai

naata kisi se jod ke
bachpan o bachpan
pyaare pyaare bachpan
o lalla sach batla
kahaan gaya tu chhod ke
(aa haa haa aa haa aa)
bachpan o bachpan pyare pyare bachpan
o lalla sach batla
kahaan gaya tu chhod ke

aa ha ha
aa aa aa
aa ha ha
aa aa aa
ha aa aa
aa aa aa aa
aa ha ha
aa aa aa
aa ha ha
aa aa aa
aa haa
ha aa aa
aa aa aa aa

kis raah ja rahi hoon
kya geet ga rahi hoon
kis rah ja rahi hoon
kya geet ga rahi hoon

aankhen jaata rahi hain
jo main chhupa rahi hoon
aankhen jaata rahi hain
jo main chhupa rahi hoon

duniya se munh ko mod ke
bachpan o bachpan
pyaare pyaare bachpan
o lalla sach batla kaha gaya tu chhod ke
(aa haa haa aa haa haa)
bachpan o bachpan pyare pyare bachpan
o lalla sach batla kahaan gaya tu chhod ke
bachpan o bachpan
pyaare pyaare bachpan
o lalla sach batla
kahaan gaya tu chhod ke


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 :

4560 Post No. : 16156

———————————————–————————————
Blog 10-Year Challenge (2011-2021) – Song No. 1
———————————————————————————–
Blog Ten year Challenge, which was started in 2019 and which continued in 2020 as well, now enters 2021. This post is the first post for blog ten year challenge (2011-2021).

January 2011 was quite like January 2021, with only one or two songs being posted everyday. Unlike 2021, we already had DOT days in the year 2011 by 11 january 2011. Thankfully, these days I am very particular about avaoiding DOT days at any cost. As a result, the just concluded year 2020 sa NIL DOT days. The only other year in the bloh]g that had NIL DOT days as the year 2017.

This day on 2011 saw only one song being discussed and that song was a song from “Shola Aur Shabnam”(1961) namely Jeet hi lenge baazi ham tum…pyaar ka bandhan toote naa .

“Shola Aur Shabnam”(1961) was directed by Ramesh Sahgal for Parijat Films, Bombay. This “social” movie had Tarla, Dharmendra, Abhi Bhattacharya, M Rajan, Mubarak, Vijaylaxmi, Jeeankala, Sulochana, Leela Mishra, Dhumal, Johny hisky, B N Shukla, B Perera, Baby Chandrkala, Master Akashdeep etc in it.

The movie had ten songs in it. Five songs have been covered in the blog. Here are the details of the songs that have been discussed so far:-

Blog post number Song Date of posting
1257 Jaane kyaa dhoondhti rahti hain 10 May 2009
1803 Jeet hi lenge baazi ham tum…pyaar ka bandhan toote naa 25 August 2009
3430 Ladi re ladi tujhse aankh jo ladi 11 January 2011
5983 Phir wohi saawan aayaa 21 May 2012
10393 Mathura Shyaam chale 22 October 201

The song under discussion today is sung by Rafi and Jagjeet Kaur. Khayyam is the lyricist. Music is composed by Khayyam.

Only the audio of the song is available. I request our knowledgeable readers to thro light on the picturisation of the song. My guess is that the song was picturised on the lead pair of Tarla and Dharmendra.

Lyrics of this song were sent to me by Prakashchandra.


Song-Pehle to aankh milaana (Shola Aur Shabnam)(1961) Singers-Rafi, Jagjeet Kaur, Lyrics-Kaifi Azmi, MD-Khayyaam

Lyrics(Provided by Prakashchandra)

pehle to aankh milaana
phir thhoda sa sharmaana
sharma ke chale jaana
are waah waah waah wah
haan
pahle to paas bulaana
thhoda sa pyaar jataana
ghabra ke chale jaana
arre waah waah waah waah

kaise gori apne dil ki baat labon par laaun
arre kaise gori apne dil ki baat labon par laaun
husn tumhaara bijli jaisa
dekh ke main darr jaaun
main ik hindustani chhori
main kyun pyaar jataaun
main ik hindustani chhori
main kyun pyaar jataaun
itna kar sakti hoon
tujhko dekhoon aur muskaaun

ghoonghat pat ko sarkaana
phir thhoda sa muskaana
muskaa ke chale jana
arre waah waah waah waah
pahle to paas bulaana
thhoda sa pyaar jataana
ghabra ke chale jaana
arre waah waah waah waah

in aankhon ko o gori
tu kitni achchi laage
in aankhon ko o gori
tu kitni achchi laage
hum jaison se aakhir kyun tu haath chhudaakar bhaage
jab tu hans kar aankh milaaye
dil ye dhadkan laage
jab tu hans kar aankh milaaye
dil ye dhadkan laage
jee chaahe main sharmaaker dil rakh doon tere aage

pehle ban thhan ke aana
hamen thoda sa tarsaana
tarsaa ke chale jaana
are waah waah waah waah
kamaal hai
pehle to paas bulaana
thhoda sa pyaar jataana
ghabra ke chale jaana
arre waah waah waah waah

pehle to aankh milaana
phir thhoda sa sharmaana
sharma ke chale jaana
arre waah waah waah waah


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 :

4553 Post No. : 16140

Yearwise discussion of Lata Mangeshkar songs in HFM: Part XV: Year 1961
———————————————————————————————————

In this episode, we discuss Lata Mangeshkar songs that she sang in Hindi movies released in 1961.

In 1961, 104 Hindi movies contaning 757 songs were released. Lata Mangeshkar got to sing in 44 of these movies and she sang 152 songs in these movies. So Lata Mangeshkar’s voice was heard in 42 % of the movies released in 1961. Her voice was heard in 20 % of the songs appearing in the movies of 1961.

Here are the details of songs sung by Lata Mangeshkar in Hindi movies released in 1961 :-

S N Movie Music director Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Lyricists
1 Aas Ka Panchhi Shankar Jaikishan 3 3 1 2 0 0 Shailendra (2) Hasrat Jaipuri (1)
2 Amrit Manthan S N Tripathi 0 1 1 0 0 0 B D Mishra
3 Aplam Chaplam Chitragupta 3 4 2 2 0 0 Prem Dhawan
4 Badaa Aadmi Chitragupta 2 2 0 2 0 0 Prem Dhawan
5 Bhaabhi Ki Choodiyaan Sudhir Phadke 4 4 4 0 0 0 Pt Narendra Sharma
6 Bhagwan Balaji P Nageshwar Rao 0 1 1 0 0 0 Saraswati Kumar Deepak
7 Boy Friend Shankar Jaikishan 1 1 1 0 0 0 Shailendra
8 Chaar Deewaari Salil Chaudhary 4 4 4 0 0 0 Shailendra
9 Chhaaya Salil Chaudhary 3 3 1 2 0 0 Rajinder Krishan
10 Chhote Nawaab R D Burman 5 5 2 3 0 0 Shailendra
11 Flat No. 9 Usha Khanna 4 4 4 0 0 0 Majrooh Sultanpuri
12 Ganga Jamuna Naushad 5 5 4 1 0 0 Shakeel Badayuni
13 Hamaari Yaad Aayegi Snehal Bhatkar 2 2 0 2 0 0 Kidar Sharma
14 Ham Dono Jaidev 2 2 2 0 0 0 Sahir Ludhianvi
15 Ham Matwaale Naujawaan Chitragupta 1 2 1 0 1 0 Majrooh Sultanpuri
16 Jaadoo Nagri S N Tripathi 2 4 4 0 0 0 Hasrat Jaipuri
17 Jab Pyaar Kisi Se Hota Hai Shankar Jaikishan 6 6 4 2 0 0 Hasrat Jaipuri (4) Shailendra (1) Unknown (1)
18 Jai Chittor S N Tripathi 1 2 2 0 0 0 Bharat Vyas
19 Junglee Shankar Jaikishan 4 4 3 1 0 0 Hasrat Jaipuri (3) Shailendra (1)
20 Krorepati Shankar Jaikishan 4 4 2 2 0 0 Shailendra (3) Hasrat Jaipuri (1)
21 Maaya Salil Chaudhary 3 3 1 2 0 0 Majrooh Sultanpuri
22 Madan Manjari Sardar Malik 0 1 1 1 0 0 Hasrat Jaipuri
23 Memdidi Salil Chaudhary 4 6 4 2 0 0 Shailendra
24 Nazraana Ravi 4 4 3 1 0 0 Rajinder Krishan
25 Opera House Chitragupta 6 6 3 3 0 0 Majrooh Sultanpuri
26 Passport Kalyanji Anandji 1 1 0 1 0 0 Farooque Kaiser
27 Piya Milan Ki Aas S N Tripathi 5 5 3 2 0 0 Bharat Vyas
28 Pyaar Ki Pyaas Vasant Desai 4 7 1 2 2 2 Bharat Vyas
29 Pyaase Panchhi Kalyanji Anandji 3 3 2 1 0 0 Qamar Jalalabadi
30 Raamu Daada Chitragupta 1 3 2 1 0 0 Majrooh Sultanpuri
31 Roop Ki Raani Choron Ka Raaja Shankar Jaikishan 4 4 2 2 0 0 Shailendra (3) Hasrat Jaipuri (1)
32 Sampoorna Ramayan Vasant Desai 2 7 4 2 1 0 Bharat Vyas
33 Sanjog Madan Mohan 4 4 3 1 0 0 Rajinder Krishan
34 Sapan Suhaane Salil Chaudhary 3 3 1 1 0 1 Shailendra
35 Sasuraal Shankar Jaikishan 4 4 1 3 0 0 Shailendra (3) Hasrat Jaipuri (1)
36 Saugandh Dilip Dholakiya 1 5 2 2 0 1 Prem Dhawan
37 Senapati Madan Mohan 1 3 2 0 1 0 Rajinder Krishan
38 Shola Aur Shabnam Khayyam 1 1 0 1 0 0 Kaifi Azmi
39 Stree C Ramchandra 5 5 4 1 0 0 Bharat Vyas
40 Suhaag Sindoor Chitragupta 4 4 3 1 0 0 Rajinder Krishan
41 Teen Ustaad Dilip Dholakiya 0 1 1 0 0 0 Prem Dhawan
42 Tel Maalish Boot Polish Chitragupta 3 3 0 3 0 0 Prem Dhawan
43 Warrant Roshan 1 1 0 1 0 0 Prem Dhawan
44 Zabak Chitragupta 5 5 2 3 0 0 Prem Dhawan
Total 44 movies 20 MDs 125 152 88 55 5 4 15 lyricists

Lata Mangeshkar worked with C Ramchandra after a gap of two years. The movie “Stree”(1961) turned out to be their last movie together. Shankar Jaikishan became the top music directors who worked with Lata (with 278 songs) overtaking C Ramchandra (268). Other top music directors were Chitragupta (136), Anil Biswas (116), Husnlal Bhagatram (108), Roshan (104), Madan Mohan (103, Naushad (96), Vasant Desai (89) composed 1298 songs out of 2369 songs that Lata Mangeshkar had sung in Hindi movies till end of 1961. The top six lyricists till end of 1961 for Lata Mangeshkar ere Rajinder Krishan (392), Shailendra (277), Hasrat Jaipuri (182), Bharat Vyas (150) Prem Dhawan (146) Shakeel Badayuni (136). These six lyricists had penned 1268 songs sung by Lata Mangeshkar till that time.

Lata Mangeshkar tied up with music directors Dilip Dholakiya , P Nageshar Rao and R D Burman for the first time in movies released during 1961. No new lyricist worked for the first time ith her in movies released in 1961.

Here is the summary of Lata Mangeshkar’s playback career in Hindi movies till end of 1961 :

Year Movie count Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Remarks
1946 3 movies 4 4 4 0 0 0
1947 3 movies 5 5 3 1 0 1
1948 16 movies 50 50 37 6 4 3
1949 38 movies 134 157 103 35 12 7
1950 36 movies 114 143 93 32 14 4
1951 49 movies 189 223 158 52 10 3
1952 43 movies 149 177 138 31 4 4
1953 45 movies 170 195 149 35 5 6
1954 43 movies 140 172 144 23 4 1
1955 50 movies 165 218 177 30 10 1
1956 49 movies 168 204 153 35 13 3
1957 47 movies 129 160 110 38 7 5
1958 35 movies 102 132 95 25 10 1
1959 58 movies 188 211 130 68 12 1
1960 48 movies 139 166 102 50 12 1
1961 44 movies 125 152 88 55 5 4
Total upto 1960 607 movies 1988 2369 1684 516 122 45

As can be seen from the table of 1961, Lata Mangeshkar sang 152 songs in movies released in 1961. As many as 125 of these songs have been covered in the blog. Out of 44 movies of 1960 where Lata Mangeshkar sang, all Lata Mangeshkar songs of 30 movies are alreday covered. So we have to look at the remaining 14 movies to find Lata Mangesahkar songs of 1961 to discuss in the blog.

Alphabetically the first such movie that offers us such Lata Mangeshkar songs to discuss is “Amrit Manthan”(1961). This mythological movie was and directed by S N Tripathi for Agraal Productions, Bombay. The movie had Usha Kiran, Manhar Desai, Ulhas, Sundar, Sulochana Chatterjee, Dalpat Kaka, Ratnmala, Premlata, Amirbai Karnataki, Radheshyam, Babu Raje, H N Kalla, Dev Chand, Moti Vijay, Moolchand, Baijnath, Habeeb, Yashodhara Katju, Uma Dutt, Jeeankala, Roopmal etc in it.

The movie had ten songs in it. It appears that records were made only for four songs. Names of singers are known only for these four songs of the movie. In absence of records of the other movie, we have no idea about the singers of those ten songs. Based on the details of four songs, we know that one of these songs is a Lata solo.

Here is the song from “Amrit Manthan”(1961). The song is sung by Lata Mangeshkar. B D Mishra is the lyricist. Music is composed by S N Tripathi. The mukhda of the song “raat dhalne lagi” is similar to the well known song, Aa aa bhi jaa raat dhhalne lagi from “Teesri Kasam”(1966), also sung by Lata Mangeshkar. But this “Amrit Manthan “(1961) song came five years before the “Teesri Kasam”(1966) song. These to songs are different.

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


Song-Chaand dhhalne lagaa dil machalne lagaa (Amrit Manthan)(1961) Singer-Lata, Lyrics-B D Mishra, MD- S N Tripathi

Lyrics

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

chaand dhalne laga aa
chaand dhalne laga
dil machalne laga
aa bhi jaa
aa bhi jaa
aa bhi jaao piya
chaand dhalne laga
raat jaane ko hai
bhor aane ko hai
sang tu hai nahin
mera dhadke jiya
chaand dhalne laga

kitni bholi si naadaan thhi main
pyaar se haay anjaan thhi main
ras bhari adhkhili si kali thhi
ek chhoti si muskaan thhi main
ek chhoti si muskaan thhi main
toone ye kya kiya
o salone piya
baat hi baat mein
mera dil le liya
chaand dhalne laga

dhoondhta hai tumhen pyaar mera
is nasheeli suhaani ghadi mein
raah mein nain kab se bichhaaye
baawri si akeli khadi main
baawri si akeli khadi main
neend aati nahin
jaag paaati nahin
kaun sa tumne mujh pe ye jaadu kiya
chaand dhalne laga
dil machalne laga
aa bhi ja
aa bhi ja
aa bhi jaao piya
chaand dhalne laga
hmm
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm hmm


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 THIRTEEN years. This blog has over 16600 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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Total number of songs posts discussed

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Movies with all their songs covered =1280
Total Number of movies covered=4520

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