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

Posts Tagged ‘1947


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 : 3710 Post No. : 14637

“Wo Zamaana”(1947) was directed by Manibhai Vyas for Ranjeet Movietone, Bombay. This “historical” movie had Khursheed (Junior), Lalita Pawar, Altaf, Padma Bannerji, Subhadra Devi, Sheikh Hasan, S N Tripathi, Pt Iqbal, Joshi, Ramswaroop, Nafeez Khalili, Kaabuli, Iqbal Hussain, Ibrahim, Bhupatrai Ojha etc in it.

This movie had ten songs in it. Two songs have been covered in the past.

Here is the third song from “Wo Zamaana”(1947) to appear in the blog. This song is sung by Mohantara Talpade and Rati Kumar Vyas. Pt Indra Chandra is the lyricist. Music is composed by Bulo C Rani.

Only the audio of this rare “expression of love” song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of the song.

I have not been able to get a few words right in the lyrics. I request readers with keener ears to help fill in the blanks/ suggest corrections as applicable.

With this song, Rati Kumar Vyas makes his debut in the blog as a singer. I request our knowledgeable readers to throw light on this singer.


Song-Ho saloni naari tere roop ka jagat bhikaari(Wo Zamaana)(1947) Singers-Mohantara Talpade, Rati Kumar Vyas, Lyrics-Pt Indra Chandra, MD-Bulo C Rani

Lyrics

hey ae ae ae ae
ae ae ae ae ae ae
ae ae ae
ae ae ae
hey ae ae ae
saajan to teekha bhala
ae ae
jyon barse talwaar
ae ae ae ae
paani jiska dekh kar
haaye chhup jaaye sansaar
ae ae ae ae
ae ae ae

ae ae ae ae
ae ae ae ae
ae
naari to baanki bhali
jaise dhanush kamaan
ae ae ae ae
tirchhe chitwan
baan pe ae
ae
isi se karat nishaan

o o o
saloni naari
tere roop ka jagat bhikaari
tere roop ka jagat pujaari
o o o
saloni naari
tere roop ka jagat bhikaari
tere roop ka jagat pujaari
jab se geet sunaaya tumne
jab se geet sunaaya tumne
pad gayi koyal kaali
kaali
kook kook kar
kook kook kar
deti tujhko
?? adharon se gaali
gaali
manhaari
matwaari
tere roop ka jagat bhikaari
o o o
saloni naari
tere roop ka jagat bhikaari
tere roop ka jagat pujaari

kaliyon ka ras rang churaaya
kaliyon ka ras rang churaaya
bhav ?? uthhe man mein
man mein
nain raseele
nain raseele
dekh tihaare
hirni bhaagi van mein
van mein
balihaari
balihaari
tere roop ka jagat bhikaari
o o o
saloni naari
tere roop ka jagat bhikaari
tere roop ka jagat pujaari

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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 : 3704 Post No. : 14627

“Wo Zamaana”(1947) was directed by Manibhai Vyas for Ranjeet Movietone, Bombay. This “historical” movie had Khursheed (Junior), Lalita Pawar, Altaf, Padma bannerji, Subhadra Devi, Sheikh Hasan, S N Tripathi, Pt Iqbal, Joshi, Ramswaroop, Nafeez Khalili, Kaabuli, Iqbal Hussain, Ibrahim, Bhupatrai Ojha etc in it.

This movie had ten obscure songs in it. One song has been covered in the past

Here is the second song from “Wo Zamaana”(1947) to appear in the blog. This song is sung by Mohantara Talpade. Pt Indra Chandra is the lyricist. Music is composed by Bulo C Rani.

Only the audio of this “calling the beloved” song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of the song.


Main parwat khadi pukaaroon (Wo Zamaana)(1947) Singer-Mohantara Talpade, Lyrics-Pt Indra, MD-Bulo C Rani

Lyrics

main parwat khadi pukaaroon
balamva aa aa re
sajanva aa aa re
main parwat khadi pukaaroon
balamva aa aa re
sajanva aa aa re
teri palchhin baat nihaaroon
balamva aa aa re
sajanva aa aa re
teri palchhin baat nihaaroon
sajanva aa aa re
balamva aa aa re

wo mast morni ee ee
wo mast morni
mor dekh kar dole ae dole
wo mast morni ee ee
wo mast morni
mor dekh kar dole ae dole
tum aao to mere man ki maina bole ae bole
tum aao to mere man ki maina bole ae bole
main preet ka jaadoo daaroon
balamva aa aa re
sajanva aa aa re
main preet ka jaadoo daaroon
balamva aa aa re
balamva aa aa re

kya karoon kya karoon
kya karoon kya karoon
kya karoon
preet meri laaj ka ghoonghat khole ae khole
kya karoon
preet meri laaj ka ghoonghat khole ae khole
lo suno
jiya mora piya piya piya bole ae bole
lo suno
jiya mora piya piya piya bole ae bole
main kaise tujhe bisaaroon
balamva aa aa re
sajanva aa aa re
main kaise tujhe bisaaroon
balamva aa aa re
balamva aa aa re
main parwat khadi pukaaroon
balamva aa aa re
sajanva aa aa re


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3675 Post No. : 14562

Khaamosh hai zamaana chup chaap hain sitaare

The first line of the song, aayega aane waala aayega from ‘Mahal’ (1949) must have vibrated in the cinema halls many times when the film was released on October 13, 1950 (on Ashok Kumar’s birth day). How true it was! Just two months before the release of the film, the creator of the immortal melodies in the iconic film ‘Mahal’ (1949) breathed his last on August 10, 1950 in Harkishandas Hospital in Bombay (Mumbai) at the young age of 42 years.

Today, August 10th 2018 is the 68th Remembrance Day of Khemchand Prakash (12/12/1907 – 10/08/1950). In 1939, he was like a newly capped cricketer who attained the form in his very first assignment and remained in form most of the time. In a short span of 11 years in the Hindi film industry, he composed a little over 430 songs in around 45 films. His career graph was like ‘I came, I saw, I conquered’ the Hindi film music.

Khemchand Prakash was born in Sujangarh (presently in Churu district of Shekhavati region of Rajasthan) in the family of Dhrupad singers and kathak dancers belonging to Jaipur Gharana. The family had a long lineage of kathak dancers and dhrupad singers. It is said that some of them received the patronage of Mughal kings from the time of Akbar and continued the royal patronage until the death of Mohammed Shah ‘Rangeela’. Thereafter they had to seek royal patronage from other princely states like Jaipur, Jodhpur, Bikaner, Rampur, Lucknow, Gwalior etc. [Reference: Sunil Kothari’s book ‘Kathak – Indian Classical Dance Art’ (1989)].

Pandit Govardhan Prasad, the father of Khemchand Prakash was also dhrupad singer and kathak dancer who was in the royal court of Jaipur. Khemchand Prakash received training in dhrupad singing and kathak dance from his father in Jaipur. When he was still in his teen, he became the court singer and dancer in the royal court of Bikaner. Soon he got an opportunity to join the royal court in Nepal as a singer and dancer where he remained for the next 7-8 years.

Khemchand Prakash got an opportunity to work in New Theatres (NT) as a music assistant to Timir Baran who was the music director for ‘Devdas’ (1935). There has been some speculation for a long time that Khemchand Prakash composed tunes for two songs of ‘Devdas’ (1935). About 3 years back, Pavan Jha, in his Article reaffirmed:

Music director Daan Singh [(‘My Love’ (1970), ‘Bhool Na Jaana’ (1960s, UR)], who was a formal protégé of Khemchand Prakash for a year and half, had told me that two of the classic compositions from Devdas, ‘Dukh ke din ab…’ and ‘Baalam aan baso…’, were composed by Guruji (Khemchand) and yet his contributions as composer went unaccredited.

Another important event in the life of Khemchand Prakash during his New Theatres day was his comic role as an actor-singer in ‘Street Singer’ (1938) in which he performed and sang lo khaa lo madam khaana. It seems, he also had a small role in ‘Kapal Kundla’ (1939).

Sometime in 1939, Khemchand Prakash joined Prithviraj Kapoor, K N Singh and others in quiting NT and came to Bombay (Mumbai). Probably, he must have thought that with stalwarts like R C Boral and Pankaj Mullick, he had no scope for becoming a music director in NT. With Prithviraj’s connections, Khemchand Prakash got his first assignment as an independent music director for Supreme Pictures’ ‘Ghazi Salauddin’ (1939) and ‘Meri Aankhen’ (1939).

For ‘Ghazi Salauddin’ (1939), Naushad assisted Khemchand Prakash as the story of the film had a historical Muslim background. Two songs sung by Kalyanibai became popular from this film. With ‘Meri Aankhen’ (1939) which was released first, Khemchand Prakash’s association with Khursheed Bano – Ranjit Movietone’s actor-singer- began which churned out many popular songs.

Although these two films did not have a good run at the box office, the songs of the films were appreciated. Khemchand Prakash joined Ranjit Movietone as music director with ‘Paagal’ (1940), ‘Holi’ (1940) and ‘Diwaali’ (1940) in his bag. In all, he composed music for 26 films during his 5 years of association with Ranjit Moveitone.

Some of the films made under the banner of Ranjit Movietone in which songs composed by Khemchand Prakash became popular were ‘Holi’ (1940), ‘Pardesi’ (1941), ‘Chaandni’ (1942), ‘Tansen’ (1943), ‘Bharthari’ (1944), ‘Bhanwra’ (1944), ‘Mumtaz Mahal’ (1944) etc.

A special mention needs to be made about the song compositions of ‘Tansen’ (1943). In this film, two top actor-singers – K L Saigal and Khursheed Bano were teamed together for the first time. It was the first occasion for Khemchand Prakash as a music director to record the song rendered by K L Saigal. It was the first occasion to compose a song in dhrupad for K L Saigal. While the songs of Khursheed Bano were a blend of folk and raag based, that of K L Saigal were based mainly on classical raags.

After ‘Prabhu Ka Ghar’ (1945), Khemchand Prakash left Ranjit Movietone ostensibly for the differences with Sardar Chandulal Shah on engaging a new playback singer. After remaining inactive for about a year, he became a free-lancer during which he scored music for successful films like ‘Sindoor’ (1947), ‘Ziddi’ (1948), ‘Saawan Aaya Re’ (1949), ‘Rimjhim’ (1949), ‘Mahal’ (1949) etc.

Some of the lesser known songs composed by Khemchand Prakash which I like are as under:

Songs Singer(s) Movie
Main albeli titli Sitaara Devi Meri Aankhen (1939)
Mori atariya hai sooni mohan nahi aaye Khursheed Bano Pardesi (1941)
Meri atariya pe aa jaa Sitara Devi/Mukesh Dukh Sukh (1942)
wo chaand ban muskuraa rahe hain Ameerbai Karnataki Vishkanya (1943)
Mere dheere se ghoonghat hataaye piya Ameerbai Karnataki Bharthari (1944)
teri pi pi ke pukaaron ne dil loot liya Ameerbai Karnataki Bhanwra (1944)
Mohabbat mein saara jahaan jal raha hai Khursheed Bano Shahanshah Babar (1944)
ye dil na mujhe yaad dila baaten puraani Rafi/Shamshad Saawan Aaya Re (1949)
Jagmag jagmag karta nikla chaand poonam ka pyaara Kishore Kumar Rimjhim (1949)
dekh gagan mein kaali ghata kya kehti hai Nalini Jaywant Muqaddar (1950)

No discussion on Khemchand Prakash would be complete without the mention of his melodious song compositions for “Mahal’ (1949) in general and aayega aane waala aayega in particular. Probably, this was the first song in the genre of ‘haunting song’. The top popularity this song achieved after the release of the film relegated into background the other melodious songs of this film such as mushqil hai bahut mushqil and ghabra ke jo ham sar ko .

I had heard this song on the radio quite often during my childhood and teenage years. It was one of my favourite songs. During my gramophone record collection days in early 1970s, the 78 RPM gramophone record of this song (in two parts) was one of my early collections. It was then I came to know that the song was composed by Khemchand Prakash, a name unknown to me at that time. Due to the slow tempo in Part-1 of the song, I would play only Part-2 of the song on my record player on most of the time. After watching the song picturisation, now I am in a better position to appreciate Part-1 of the song as well.

It is said that after the marathon rehearsal of the song of about 6 minutes of duration, Ashok Kumar, Savak Vacha and lyricist Nakshab Jarchvi felt that the slow tempo in the song would not appeal to the audience. But Khemchand Prakash was very confident about the song becoming popular. He was supported by the director, Kamal Amrohi.

Khemchand Prakash’s prophecy came true. The song became a rage all over India. Radio listeners were asking as to who was the real singer since the name of ‘Kamini’ – the character Madhubala played in the film – was printed on the label of the 78 RPM gramophone record. Thereafter the radio anouncers started announcing the name of Lata Mangeshkar whenever the song was being played on the radio.

The musical hit of ‘Mahal’ (1949) made Madhubala a star to reckon with. Lata Mangeshkar’s playback singing career graph gained a quantum jump which helped her to become numero uno among the female playback singers and retain that status for about the next 5 decades. After being in the film industry for over a decade as a story/screen-play/dialogue writer and lyricist, Kamal Amrohi’s success in his first directorial assignment got him the recognition as a director. The debt-ridden Bombay Talkies under whose banner the film was produced, got a breather.

But Khemchand Prakash, the creator of the immortal melodies in the film was not there to witness the tremendous success of his songs. Just 2 months before the release of the film, he breathed his last on August 10, 1950. Although Khemchand Prakash had earlier composed many hit songs especially with Khursheed Bano and Ameerbai Karnataki, this one song , aayega aane waala’ has immortalised him forever in the history of Hindi film music.

As a tribute to Khemchand Prakash on his 68th Remembrance Day, I am presenting one of the rare songs from an obscure film ‘Chalte Chalte’ (1947) in which Khemchand Prakash composed 11 songs (including one multiple version song). All the songs were written by Lalchand Bismil Peshawari. The song is ‘aate hain wo aahista aahista haule haule’ sung by Patanjal and Meena Kapoor. The film was produced and directed by S K Malik under the banner of Malik Productions. The main cast included Patanjal, Latika, Sudha, Kanta Kumari, Anwari, Gope, K N Singh, Shekhar, Anjlina etc.

‘Chalte Chalte’(1947) was one of the films he was associated with after leaving Ranjit Movietone in 1946. After struggling for a year or so, I guess, he may have done some retrospection and decided to adapt to the changing scenarios in Hindi film music. Probably, this song may be the first song in which Khemchand Prakash was influenced by western music. Meena Kapoor’s singing of multiples ‘aa aa aa…’ before the start of new antaras add a feeling of joie de vivre. The symphony style orchestration mainly of violins at the beginning as well as in the interludes seems to be the contribution of Antony Gonsalves, the Goan musician, who had worked with Khemchand Prakash, Anil Biswas and Naushad when he joined them in the second half of the 1940s.

This is one of those humming melodies created by Khemchand Prakash which remained unknown to many admirers of vintage Hindi film songs.

With this rare song, ‘Chalte Chalte’ (1947) makes its debut in the Blog.


Song-Aate hain wo aate hain wo (Chalte Chalte)(1947) Singers-Patanjal, Meena Kapoor, Lyrics-Lal Chand Bismil Peshawri, MD-Khemchand Prakash

Lyrics

aate hain wo
aate hain wo
aahista aahista
haule haule
aate hain wo
aate hain wo
aahista aahista
haule haule
aaa
aa aa aaa aa
aa aa
aa aa
aa aa
aa aaa
aaaa

aate hain wo naazon ke paale
baanki tirchhi maang nikaale
aate hain wo naazon ke paale
baanki tirchhi maang nikaale
aahista aahista
haule haule
aaa aa aa
aa aa aa aaa
aa aa
aa aa
aa aaa
aa aaa

gulshan ki duniya ne chun chun ke pahne
gulshan ki duniya ne chun chun ke pahne
baanke sajeele phoolon ke gahne
baanke sajeele phoolon ke gahne
shabnam ne chaandni ke moti roley(?)
shabnam ne chaandni ke moti roley(?)
aahista aahista
haule haule

aate hain wo
aate hain wo
aahista aahista
haule haule

raat ki raani gesu sanwaare
ha ha ha ha ha
raat ki raani gesu sanwaare
ha ha ha ha ha
neele dupatte pe chamke sitaare
neele dupatte pe chamke sitaare
jhumke suraiyya ke kaanon mein dole
jhumke suraiyya ke kaanon mein dole
aahista aahista
haule haule


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3670 Post No. : 14547

Is Raj Kapoor singing a song for himself?

That was my reaction (to myself) when I heard for the first time, the song ae duniya ke rahne waalon bolo kahaan gaya chitchor from ‘Dil Ki Raani’ (1947) on the Blog. I could not believe that it was Raj Kapoor’s voice. This happened just a few days after I joined the Blog in July 2011. At that time, I felt that this could be a case of giving credit to the actor on the gramophone record label on whom the song was picturised instead of accrediting the real playback singer who could be someone else. At that time, I was not even aware of Har Mandir Singh ‘Hamraaz’ saab’s publications, Hindi Films Geet Kosh (HFGK).

During early 1970s, I used to spend almost every week-end with my friends who were the admirers of the old Hindi film songs. I do not recall any conversation about Raj Kapoor (or for that matter, Dilip Kumar, Nalini Jaywant and Meena Kumari) singing the songs in the films for themselves. Of course, Ashok Kumar’s singing was well known because of the popularity of his songs from films like ‘Achhut Kanya’ (1936), ‘Jhoola’ (1941) etc.

Since then, a lot of water has flowed under the bridge. The publication of HFGK in the 80s and the advent of Internet have disseminated a lot more information relating to Hindi films and songs which were hitherto not known to most of us. Also, there are now film information sharing platforms like Recorded Music Indian Music (RMIM), Society of Indian Record Collectors (SIRC) and many other informal Groups. Also, we have our own Blog to revalidate the information on the Hindi film songs.

Coming back to Raj Kapoor as a singer, I have heard his voice in two other songs also – one each from ‘Jail Yatra’ (1947) and ‘Gopinath’ (1948). In my view, Raj Kapoor had a good singing voice worthy of becoming an actor-singer. His renditions were very close to that of the professional playback singers. As a testimony of Raj Kapoor as a good singer, watch this video as to how he has rendered the song ‘ae bhai jara dekh ke chalo’ from ‘Mera Naam Joker’ (1970) in a stage show presented by Raj Kapoor for the Indian Navy a few days before the release of his film in December 1970. In this show, while a few other songs from the films were rendered by Mohammed Rafi and Mukesh, Raj Kapoor had to sing this song as Manna Dey could not attend the stage show.

It is a well-known fact that Raj Kapoor was a musically inclined producer-director. He personally supervised all aspects of song compositions especially in the films which he produced and directed under R K Banner. Lata Mangeshkar in her chat with Indian Express has recently said:

Raj saab was a complete musician. He played the tabla, the harmonium and the piano. He composed songs and sang them in his own voice before handing them over to professional playback singers. He could have easily scored the music in his films. But he chose not to take credit for the music in his films.(Indian Express, March 20, 2018).

An old article written by Journalist Lata Khubchandani, which was reproduced in ‘Cineplot’, also confirm the musical inclination of Raj Kapoor. Later, she also wrote and published a book – ‘Raj Kapoor – The Great Showman (2005). In the words of Raj Kapoor, quoted by Lata Khubchandani:

From the earliest days, I have been interested in music. In fact, my first ambition was to be a music director. I even sang in my earlier films like Chitchor (probably, meant ‘Dil Ki Rani’), Chitor Vijay, Jail Yatra and Gopinath. When words fail, it is music that conveys much more than all words put together.

I wonder as to why Raj Kapoor did not become an actor-singer and left his ambition of becoming the music director in the back burner which he could have done easily for the films he was the producer-director-actor. I have also no idea as to when Raj Kapoor got interested in music. Probably his biographies should throw some lights in these matters. Since I do not have his biographies in my collections and they are not available online, I have relied on ‘circumstantial evidences’ to draw some conclusions.

When Prithviraj Kapoor was associated with the New Theatres, Calcutta (Kolkata) during 1933-39, the young Raj Kapoor was with him. He may have been influenced by the singing of K L Saigal. The autobiography of Kidar Sharma mentions that K L Saigal was a regular visitor to Prithviraj Kapoor’s house for musical soirees. Probably, the young Raj Kapoor may have also exposed to R C Boral who was composing songs for the films of New Theatres in which Prithviraj Kapoor acted. These environments may have attracted him towards the music.

Sometime in 1946, Raj Kapoor was put under the tutelage of Pandit Jagannath Prasad (a cousin of music director Khemchand Prakash). Mukesh was also learning the classical music from him. One day, when Mukesh was practising a particular raag , Raj Kapoor loved his voice and felt that his own voice paled in comparison with Mukesh’s voice. At that time, Mukesh had said to Raj Kapoor that he can take his voice. (Ref: The Hindu, June 16, 2003). How true it was to become in the later days. Although Mukesh sang 4 songs in Raj Kapoor’s first film in a lead role, ‘Neel Kamal’ (1947), none of these songs were picturised on Raj Kapoor. It was in ‘Aag’ (1948) that Mukesh became the voice of Raj Kapoor for the first time.

Just before his marriage in May 1946, Raj Kapoor was appointed as an Assistant in Prithvi Theatres and was associated with the production of one of its popular plays ‘Deewar’ (1946). In the review of the play, which appeared in May 1946 issue of ‘Filmindia’, the reviewer praised Raj Kapoor’s acting as a family servant in the drama and devoted one full paragraph on it. In addition to acting, he was the Art Director and assisted in light and sound arrangements and also to Ram Ganguli, the music director. Perhaps, all round experience gained from the play, ‘Deewar’ seemed to have encouraged him to produce, direct and act in the first film ‘Aag’ (1948) under his own banner. With this, Raj Kapoor appears to have decided to concentrate as director-actor and fulfil his ambition of becoming music director with a ‘back seat driving’.

As far as I know, Raj Kapoor sang 4 songs as an actor-singer out of which only one song as mentioned above has been covered in the Blog. The remaining 3 songs are as under :

SN Song Co Singer Movie
1. Piya milne naveli nadi jaaye re Solo Jail Yatra (1947).
2. Lehraaye mori laal chunariya with Nalini Mulgaonkar Jail Yatra (1947)
3. Jab se Dekha hai tumhen Solo Gopinath (1948)

In Lata Khubchandani’s article referred to above, the name of ‘Chittor Vijay’ (1947) has propped up in which Raj Kapoor has reportedly sung a song. However, none of the songs of the film is available on line as far as I know.

I am presenting today, one of the rarest songs ‘piya milne naveli nadi jaaye re’ from ‘Jail Yatra’ (1947) sung by Raj Kapoor. The song was not available on YT until about 4 months back. The video was uploaded from the mp3 clip provided by Saregama. Since it was wrongly captioned, I have uploaded a new video of the song made by me by downloading mp3 clip from the Saregama website (with a small price). The song was written by Rammurty Chaturvedi and wa sset to music by Ninu Mazumdar.

Enjoy the song in the voice of Raj Kapoor which is probably based on one of the folk songs from Gujarat.


Song-Piya milne naveli nadi jaaye re(Jail Yatra)(1947) Singer-Raj Kapoor, Lyrics-Rammurty Chaturvedi, MD-Ninu Majumdar

Lyrics

piya milne naveli nadi jaaye re…ae
piya milne naveli nadi jaaye re
main akela chala dard dabaaye re
jiya mein liye haay re
jiya mein liye haay re
piya milne naveli nadi jaaye re
main akela chala dard dabaaye re
jiya mein liye haay re
jiya mein liye haay re

kaale baadal ghumad ghir aaye re..e
kale baadal
kaale baadal ghumad ghir aaye re
naache mor man mor ghabraaye re..ae
naache mor man mor ghabraaye re..ae
choom kaliyon ko
choom kaliyon ko bhanwra geet gaaye re
na aaj saha jaaye re
choom kaliyon ko
choom kaliyon ko bhanwra geet gaaye re
na aaj saha jaaye re
main akela chala dard dabaaye re
jiya mein liye haay re
jiya mein liye haay re

lata pedon se lipat laharaaye re
lata pedon se lipat laharaaye re
dekh-dekh ke umang lalchaaye re..e
dekh-dekh ke umang lalchaaye re..e
lata pedon se
lata pedon se lipat lahraaye re
mujhe chaaron oar soona dikhlaaye re
mujhe chaaron oar soona dikhlaaye re
kisi ki yaad aaye re
mujhe chaaron oar soona dikhlaaye re
kisi ki yaad aaye re
main akela chala dard dabaaye re
jiya mein liye haay re
jiya mein liye haay re


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3628 Post No. : 14452

Today’s song is from a film ‘Paaro’ (1947), made during the turmoil of Independence of India. By early 1947, it was clear that India would be divided and a new nation, based on religion, would be carved out by bifurcating United India. The name Pakistan was also known to everyone.

Like in every other field of activity, Hindi film industry  was also abuzz with rumours of who is migrating and who is not. Close to the month of June, July 1947, many ‘would be’ migrators were seen selling their properties. There was total chaos in film world. People were seen with suspicion and caution. All this culminated in a frenzy of activity in the industry. Everyone was in a hurry to complete his assignments. Financiers were hastening the producers and directors to complete their films somehow.

This finally ended in a record number of films made in the year 1947. The number of total films made was 280, and only Hindi films were 181. This record number was surpassed only after 41 years ! In the year 1985, the number of Hindi films made was 185. These figures are taken from Film Index by Harmandir ji. It automatically transpired that the quantity was achieved at the cost of quality. Almost 75 to 80 % films of 1947 were obscure and forgotten within a short time.

Films like ‘Aisa Kyun’, ‘Atom Bomb’, ‘Barrister’, ‘Beete Din’, ‘Chalte Chalte’, ‘Chandrahaas’, ‘Dehati’, ‘Daulat Ke Liye’, ‘Extra Girl’, ‘Farz’, ‘Gaurav’, ‘Gudiya’, ‘Heera’, ‘Janata’, ‘Jhalak’, ‘Khandaani’, ‘Lalat’, ‘Manmaani’, ‘Mere Bhagwan’, ‘Mohan’, ‘Nai Baat’, ‘Pehla Pyaar’, ‘Riwaaz’, ‘Shabari’, ‘Shahkaar’, ‘Tohfa’, ‘Toote Dil’, ‘Veerangana’ are some of the films made in 1947. How many of us even know about them ? Actually, some of these were films in which well known and major stars of the times had acted. For example, Mohan had Dev Anand as hero, Lalat was the debut film of Usha Kiran (as Usha Marathe), Prem Adib and Vanmala had acted in Chandrahaas etc.

‘Paaro’ was also one such film which was probably the outcome of the frenzy of 1947. The music director, the heroine, the director, both the lyricists and one singer of this film migrated to Pakistan at their earliest. I have not seen this film. perhaps it never came to Hyderabad. After Independence, Sardar Patel had launched ‘Operation Polo’, to annexe Hyderabad state  to India in 1948. The state was in turmoil, so new releases of 1947 came only after October 1948, that too only the most popular ones like ‘Shehnai’, ‘Saajan’, ‘Naatak’, ‘Neelkamal’, ‘Jugnu’, ‘Elaan’, ‘Dard’ and the likes of them.

The cast of film ‘Paaro’ was Geeta Nizami, Randhir, Jeevan, Ranjeet Kumari (who married actor Ram Singh and settled in UP) , Saroj Borkar, Kusum Bhate (sister of Rohini Bhate, the internationally famous dancer, on whom Lata’s first playback song was filmed in film ‘Aap Ki Sewa Mein’) etc. Geeta Nizami’s real name was Rashida Begum. She was born in 1926, in a middle class family of Lahore. At the age of 14, she was married to Barkat Nizami, uncle of actress Mumtaz Shanti. This was his second marriage.

It was through the efforts of Barkat Nizami that she was introduced to the screen. This person had a knack for recruiting girls to cinema. First he brought in Mumtaz Shanti and then his own wife. According to him this was a business, more than a marriage. He used to take 50% of earnings from Mumtaz Shanti, but after she married Wali Saheb, this stopped. To compensate, he brought Geeta. He had made a written agreement with her that she will give 50% of her income to Barkat and 25 % to his son from first wife. She earned only 25 %. This type of arrangements used to be there in those days. This was nothing but exploitation of helpless poor girls.

Geeta Nizami made her debut as a Heroine.  Initially, she took on the name of Mohini, but after realizing that there was another actress Mohna, already in films, she became Geeta and added Nizami to it. Another actress having such a Hybrid name was Mumtaz Shanti, in the same period.

In her first film ‘Mann Ki Jeet’ (1944), she acted and had a song and dance. The song was “More Jubna Ka Dekho Ubhaar” sung by Zohrabai, written by Josh Malihabadi and composed by SK Pal. The dance Geeta did on this song was very sensuous. She was shown emerging from a blooming lotus and at that time she did such provocative actions that soon the song became talk of the town. The then Bombay Government, led by Morarji Desai, promptly banned the song, but in the rest of India the song became very popular.  Her second film was Navyug’s propaganda film ‘Panna’ (1944). Her acting in this film was so good that the Govt. of India gave her a gift of Rs. 9000 as a reward.

Famous author Manto says in his book, ‘Dastavej ‘ Vol 5, that after this film, Geeta Nizami left Barkat Nizami, refusing to give him any share of her earnings. He went to the court and his case lingered, meanwhile he migrated to Pakistan also. Geeta Nizami then married several times and was known for that.

Geeta Nizami could not continue long as a heroine in films. She was lead actress in only seven films, out of total 13 that she did in India. The reason why she did not get more roles as a heroine was found in a book by a well known author. According to this author, Geeta took a bath only once a week, smelt horrible and her head was full of lice. No actor was ready to do a close up scene with her. (I remember another actress of the early 1960s – Kalpana, with same reputation. Shammi Kapoor was on record saying that Kalpana smelt very foul as she probably took bath only once a month. He had refused to work again with her in any film, after ‘Professor’ (1962).)

Geeta Nizami did just 13 films. Her last film was ‘Ek Tha Ladka’ (1951). After this she migrated to Pakistan. In Pakistan she formed a dance troupe and did shows in various cities of Pakistan. She died on 28-4-2008.

The film had only 7 songs, written by Nakshab Jarchavi and S. Nadeem, composed by Music Director Rashid Atre.

Composer RASHEED ABDUL ATRE was born in Amritsar on 15-2-1919. His father Khushi Mohammed was a well known musician and singer. Rasheed learnt music from Ustad Khan Saheb Ashfaq Hussain. Then he went to Calcutta and worked under RC Boral. During his stay in Calcutta he is presumed to have composed songs for films ‘Pardanasheen’ (1942) and ‘Mamta’ (1942), under the name RA Atra. After coming back to Bombay he joined Jhande Khan and Gobindram in composing songs for Pagli’ (1943). He was assistant to composer Amir Ali in ‘Panna’ (1944). With Pt Amarnath, he composed songs for ‘Shirin Farhad’ (1945). Then came ‘Room No. 9’ (1946), ‘Nateeja’ (1947), ‘Paaro’ (1947) and ‘Shikaayat’ (1948). From 43 to 48 he gave music to 6 (confirmed) films. Not much, but then he did not get much time too.

‘Nateeja’ was a Muslim social made by Bombay Talkies and he was specially called for it. ‘Nateeja’ music was his best in India and all its songs became very popular. For ‘Room No 9’, he worked in Navyug Chitrapat Co. where one of the owners was PK Atre, a noted Marathi writer and dramatist. PK Atre was, of course a Hindu, but it was a coincidence.

After Partition Atre went to Pakistan. He first served Radio Pakistan, Rawalpindi and then at Lahore. He prospered in Pakistan and gave music in 54 Urdu and Punjabi films. He was awarded the coveted Nigar Award 3 times in a row.  The famous marching song of Pakistan ”Allah o Akba ” was composed by him. The first Pakistani film for which Rasheed Atre gave his music was director Masood Pervez’s ‘Beli’ (1950).

Three years after ‘Beli’, Rasheed was in-charge of music for director Nazir Ahmed Khan’s Punjabi film, ‘Shehri Babu’ (1953), whose evergreen songs still are popular in Pakistan . Atre’s music for director WZ Ahmed’s 1954 family-friendly film ‘Roohi’ (1954) was also a huge success.

Rasheed Atre’s music is all very praise-worthy in director Nazir Ahmed Khan’s film ‘Khatoon’, which was popular for its thumri. Atre’s composition exhibits an astonishing range and power in director Anwar Kamal Pasha’s superhit film ‘Sarfarosh’ (1956). In 1956, Rasheed was also given the responsibility of composing songs for director Anwar Kamal Pasha’s golden jubilee punjabi film ‘Chann Mahi’ (1956) (lyrics: Tufail Hoshiarpuri, starring: Bahar, Aslam Pervaiz). Atre was, indeed, a powerhouse of a musician and a case in point is director WZ Ahmed’s all-time favorite film, ‘Waada’ (1957), which happened to be a movie from a more idealistic time. At the height of his fame, Atre came up with his magical composition for film director Anwar Kamal Pasha’s semi-historical movie, ‘Anarkali’ (1958). To be precise, it was a joint venture of 2 film music composers Rasheed Attre and Master Inayat Hussain.

Rasheed Attre passed away on December 18, 1967, at the age of 48.

Today’s song is sung by Rashid Atre himself with co singers, whose names are not mentioned in HFGK, so no guessing. Both, singer Rashid Atre and the film Paro-47 make a debut on the blog today.

[Author’s Note: Credits- Film directory, mpop.org, pakfilms.net, Encylopedia of Indian Cinema, Harish Raghuwanshi ji, Muvyz, HFGK, my notes.]
[Ed note-With this song, “Paaro” (1947) becomes the 100th movie of 1947 to get represented in the blog]

 


Song – Jeevan Panchhi Boli Boley (Paaro) (1947) Singer – Rashid Atre, Unidentified Female Singer, Lyrics – [Unattributed], Music – Rashid Atre

Lyrics (Provided by Sudhir)

jeevan panchhi boli boley
jeevan aana jaana re pagle
jeevan aana jaana

jeevan panchhi boli boley
jeevan aana jaana re pagle
jeevan aana jaana

kaun chhoot aur kaun achhoot
sab hindustani hain
kaun chhoot aur kaun achhoot
sab hindustani hain
alag alag paudhe bagiya ke
par hai paani ek
alag alag paudhe bagiya ke
par hai paani ek
?? kahaana re
?? kahaana re
jeevan panchhi boli boley
jeevan aana jaana re pagle
jeevan aana jaana

ek baap ke laakhon bete
ek bhoomi par rehte
ek baap ke laakhon bete
ek bhoomi par rehte
aandhi paani aag hawaa sab
ek saath hi sehte
aandhi paani aag hawaa sab
ek saath hi sehte
kyun bairi ban jaana re
kyun bairi ban jaana re
jeevan panchhi boli boley
jeevan aana jaana re pagle
jeevan aana jaana

do din ka hai sab ka jeevan
kaun oonch aur neech
do din ka hai sab ka jeevan
kaun oonch aur neech
palak jhapakte udd jaayen sab
?? ho ya ??
?? ho ya ??
maati mein mil jaana re
maati mein mil jaana re
jeevan panchhi boli boley
jeevan aana jaana re pagle
jeevan aana jaana

desh jal raha
desh jal raha
desh jal raha bhed bhav ki
ab ye aag mita do
ho jaao sab ek
prem ki ganga nadi bahaa do
ho jaao sab ek
ho jaao sab ek
ho jaao sab ek

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

जीवन पंछी बोली बोले
जीवन आना जाना रे पगले
जीवन आना जाना

जीवन पंछी बोली बोले
जीवन आना जाना रे पगले
जीवन आना जाना

कौन छूत और कौन अछूत
सब हिंदुस्तानी हैं
कौन छूत और कौन अछूत
सब हिंदुस्तानी हैं
अलग अलग पौधे बगिया के
पर है पानी एक
अलग अलग पौधे बगिया के
पर है पानी एक
?? कहाना रे
?? कहाना रे
जीवन पंछी बोली बोले
जीवन आना जाना रे पगले
जीवन आना जाना

एक बाप के लाखों बेटे
एक भूमि पर रहते
एक बाप के लाखों बेटे
एक भूमि पर रहते
आँधी पानी आग हवा सब
एक साथ ही सहते
आँधी पानी आग हवा सब
एक साथ ही सहते
क्यों बैरी बन जाना रे
क्यों बैरी बन जाना रे
जीवन पंछी बोली बोले
जीवन आना जाना रे पगले
जीवन आना जाना

दो दिन का है सब का जीवन
कौन ऊंच और नीच
दो दिन का है सब का जीवन
कौन ऊंच और नीच
पालक झपकते उड़ जाएँ सब
?? हो या ??
?? हो या ??
माटी में मिल जाना रे
माटी में मिल जाना रे
जीवन पंछी बोली बोले
जीवन आना जाना रे पगले
जीवन आना जाना

देश जल रहा
देश जल रहा
देश जल रहा बेहद भाव की
अब ये आग मिटा दो
हो जाओ सब एक
प्रेम की गंगा नदी बहा दो
हो जाओ सब एक
हो जाओ सब एक
हो जाओ सब एक


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 : 3603 Post No. : 14378

“Mahasati Tulsi Vrinda” (1947), a mythological movie, was directed by Ishwarlal for Jayant Desai Productions, Bombay. The movie had Ishwarlal, Ranjana, Umakant, Reva Shankar, Bhagwandas, Sayyad Ahmad, Kantilal, Sukumar, Vidya Devi, Chandabai, Shabnam, Shanta Bai, Shalini, Lalita etc in it.

The movie had ten songs in it. Here is the first song from the movie to appear in the blog.

The details provided in HFGK suggest that this song is sung by Putul Chatterji which appears incorrect. It is clearly a duet song.

Shalin Bhatt, the uploader of this song and a regular visitor of this blog, quotes Mr Girdharilal Vishwakarma for providing the correct information about the artists of the song. According to him, Saraswati Rane and G M Durrani are the singers. Ishwar Chand Kapoor is the lyricist (HFGK mentions Qamar Jalalabadi as the lyricist).

Music is composed by Ram Ganguly.

With this rare song, ‘Mahasati Tulsi Vrinda’ (1947) makes its debut in the blog.


Song-Aao aao aao shyaam aao shyaam murali ki taan (Mahasati Tulsi Vrinda (1947) Singer-Saraswati Rane, GM Durrani, Lyrics-Ishwar Chand Kapoor, MD-Ram Ganguly

Lyrics

aao aao aao shyaam
aao shyaam
sao aao aao shyaam
aao shyaam
murali ki taan sunaao shyaam
aao shyaam
murali ki taan sunaao shyaam
aao shyaam

main deewaani deewaane panchhi
main deewaani deewaane panchhi
deewaani mathura deewaani bansi
murli ki ter sunaao shyaam
aao shyaam
murli ki ter sunaao shyaam
aao shyaam
sao aao aao shyaam
aao shyaam

naacho deewaani
naacho o panchhi
naacho deewaani
naacho o panchhi
naache mathura naache ye bansi
naache mathura naache ye bansi
aaj naache tere sang tere shyaam

krishna shyaam
aaj naahe tere sang tere shyaam
krishna shyaam

charnon mein tere hai vishw saara
charnon mein tere hai vishw saara
poora hai brahmaand trilok saara
poora hai brahmaand trilok saara
diyo moksh mere hridaya raam
krishna shyaam
diyo moksh mere hridaya raam
krishna shyaam

aasha mein naacho
niraasha mein naacho
aasha mein naacho
niraasha mein naacho
bhaav sang naacho sakhi
bhakti sang naacho
bhaav sang naacho sakhi
bhakti sang naacho
main naachoonga janm janm tere dhaam

raadhe rhyaam
main naachoonga janm janm tere dhaam
raadhe shyaam
raadhe shyaam
raadhe shyaam
raadhe shyaam


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 : 3597 Post No. : 14357

Today (24 may 2018) is the 18th remembrance day of Majrooh Sultanpuri (1 October 1919 – 24 May 2000).

Majrooh Sultanpuri was active in Hindi movies from 1946 till he passed away in 2000. He had the longest knock of them all as far as lyricists were concerned. He was not slow and steady as one would expect, rather he was quite fast and steady. That way he was like a hare that never relaxed and maintained a furious pace throughout. While doing that, he maintained a very high quality throughout.

One great quality of people with long innings is that they are great man managers. Majrooh sultanpuri was no exception. He got along well with most colleagues, including even temperamental colleagues.

According to my calculations, Majrooh Sultanpuri penned 2168 lyrics in 328 movies right from “Shahjahaan”(1946) till “One Two Ka Four”(2001). This blog has 1040 of these songs. Majrooh Sultanpuri is the number one lyricist in the blog and he is followed by Rajinder Krishan, another “lambi race ka ghoda”.

The first two movies of Majrooh Sultanpuri were “Shahjahaan”(1946) and “Qeemat”(1946). Majrooh Sultanpuri penned 7 (out of 10) songs in “Shahjahaan”(1946) and penned all the nine songs of “Qeemat”(1946). Both these songs had music by Naushad. These two movies are already YIPPEED. so one can say that all the songs penned by Majrooh sultanpuri in his debut year are already covered in the blog.

The next Majrooh Sultanpuri movie was “Doli”(1947). “Doli” (1947) was directed by S K Ojha. The movie had Amar, Jayant, Madhuri, Pratima Devi, Shashikala, Sulochana Chatterji, Wasti, Sushil Kumar, Putli Bai, Nand Kishore, Chopra, Amir Ali etc in it.

There were nine songs in the movie that were penned by three lyricists,

Four songs from the movie have been discussed in the past.

Majrooh Sultanpuri had written the lyrics for four of these songs. Two songs penned by Majrooh Sultanpuri are among the songs covered in the blog.

As a tribute to Majrooh Sultanpuri, here is another song from the movie which is penned by him.

This is the fifth song from “Doli”(1947) to appear in the blog. This rare song is sung by Shamshad Begam. Majrooh Sultanpuri is the lyricist. Music is composed by Ghulam Mohammad.

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

PS-It appears that the song has another stanza that is missing from the song. Till a longer version of this rare song becomes available, we have to make do with the version which is available as of now.

I have not been able to get a few words right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.


Song-Kis deepak ki dhun mein bechaara jalta hai patanga pyaara (Doli)(1947) Singer-Shamshad Begam, Lyrics-Majrooh Sultanpuri, MD-Ghulam Mohammad

Lyrics

Kis deepak ki dhun mein bechaara
jalta hai patanga pyaara
Kis deepak ki dhun mein bechaara
jalta hai patanga pyaara
aa tujh ko behna
rasta dikhaaa den
ho o
raste mein laakhon
deepak jala den
aa tujh ko behna
rasta dikhaaa den
ho o
raste mein laakhon
deepak jala den
ye chaand taare
la kar bichha den
ye chaand taare
la kar bichha den
jaan gayi
jaan gayi
bhed saara aa aa
jalta hai patanga pyaara
jaan gayi
jaan gayi
bhed saara aa aa
jalta hai patanga pyaara
Kis deepak ki dhun mein bechaara
jalta hai patanga pyaara

iske siwa kuchh nahin mere bas mein
ho o
do chaar mein kya
keh doon main das mein
iske siwa kuchh nahin mere bas mein
ho o
do chaar mein kya
keh doon main das mein
behna waari
?? mein
behna waari
?? mein
dikhlaa doon main deepak tihaara
haay raam
dikhlaa doon main deepak tihaara aa aa
jalta hai patanga pyaara


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 : 3565 Post No. : 14291

kuchh yaad rahe to sun kar jaa. . .

The nectar tinged fragrance of this voice suffuses through the strings of the heart through so many wonderful renderings. The mind is left amazed by the effortless expressions of the emotions covering the full spectrum of human experience. “Loot Liyo Mann Dheer. . .” is probably the only exclamation that the mind responds with, as it passed through the shower of her musical portrayals.

Kanan Devi – the doyen, the first lady of cinema in Bengal. We remember and honour her today (22nd April), on the anniversary of her birth. During her heydays in the 1930s and 40s, her popularity was so celebrated, that in those years, security had to be arranged when she moved about in public.

She was born this day in 1916, at Howrah. As per her own account, it was a very un-remarkable beginning to a tiny life, in the hands of a couple whom she knew only as her adoptive parents. Her foster father passed away quite early. She and her mother went through some difficult years, and the young Kanan Bala was not able to complete any form of formal school education.

In 1926, a family well wisher, introduced her to the management at Madon Theatres, Calcutta. Kanan was a child of 10 years. She worked in silent films and even did the male lead roles in ‘Vishnu Maya’ and ‘Prahlad’ (both in 1932). Transition from silent films to talkie films was very smooth for her. She had a good command over the spoken word and a remarkable singing talent – it only needed guidance and direction from teachers like Allah Rakha, Anaadi Dastidar, Bhishmdev Chatterjee, and yes, RC Boral.

From Madon, she moved to Radha Films in 1933. She was growing up into a beautiful and sophisticated young woman. In 1937 she transitioned to New Theatres. A regret she carried always – in 1934-35 she was offered a role in New Theatre’s ‘Devdas’ (1935), but could not accept as she was bound by her contract with Radha Films. She worked with New Theatres till 1941, and then moved to MP Productions in 1942.

After her formative years at Madon and Radha Films, her years at New Theatres and MP Productions are the most dazzling years of her career. In both organizations, her films became hugely popular hits, film after film, year after year. The music and the songs of these films made her the first lady singing superstar of Indian cinema. Her last Hindi film was ‘Chandrashekhar’ in 1948, opposite to Ashok Kumar. After this, she turned a producer in 1949, and set up her own company – Shrimati Pictures.

The song being presented today is a such lovely gem from the 1947 film ‘Faisla’. It is a duet sung in accompaniment with Aparesh Lahiri. Music is by Anupam Ghatak; the lyricist’s name is not available. Listening to this wonderful melody, brings to mind another similar song from a decade and a half later. I refer to the Talat-Lata duet from ‘Chhaaya’ (1961) – “Itna Na Mujh Se Tu Pyaar Badha, Ke Main Ik Baadal Awaara”. Although quite different songs, the mind is taken by the similarity in the theme of the song, as the gentleman professes a spirit of freedom, unencumbered by the matters of the heart, and whereas the lady expresses her desire to be together.

As the song begins, the voice of Kanan Devi flows in, giving an expression to the free spirit of the heart – a spirit like a bird that is unaware of the amorous emotions of love. Such a pleasure to listen to this voice.

Song – Khuli Hawa Mein Udne Waala Panchhi Preet Na Jaane  (Faisla) (1947) Singer – Kanan Devi, Aparesh Lahiri, Lyrics – Pran, MD – Anupam Ghatak
Both

Lyrics

khuli hawa mein udne waala
panchhi preet na jaane
haan haan
panchhi preet na jaane
khuli hawa mein udne waala
panchhi preet na jaane
haan haan
panchhi preet na jaane

kyun
wo bhanwara..aa..aa
wo bhanwara..aa ye bhi na jaane
kaliyan
kaliyan kyun muskaati
dard bhare
harne ko ye jhoom
daalon par hai gaati
koyal
daalon par hai gaati

aaa aaa aaa aaa aaa
duniya
is duniya se nyaari
khud hi chala basaane
duniya
is duniya se nyaari
khud hi chala basaane
apni dhun ka raahi kaise ho
prem dagar pehchaane
ho oo oo oo
prem dagar pehchaane
khuli hawa mein udne waala
panchhi preet na jaane
haan haan
panchhi preet na jaane

kyun udne ki aadat koi
panchhi se chhudwaaye
kyun udne ki aadat koi
panchhi se chhudwaaye
baithi hai duniya
unke raste mein jaal bichhaaye
bhola panchhi
ye na jaane
bhola panchhi
ye na jaane
aaj mujhe bandhan mein apne
kyun deti ghutaane
aaj mujhe bandhan mein apne
kyun deti ghutaane
bhola panchhi
ye na jaane
bhola panchhi
ye na jaane

khuli hawa mein udne waala
panchhi preet na jaane
haan haan
panchhi preet na jaane

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

खुली हवा में उड़ने वाला
पंछी प्रीत ना जाने
हाँ हाँ
पंछी प्रीत ना जाने
खुली हवा में उड़ने वाला
पंछी प्रीत ना जाने
हाँ हाँ
पंछी प्रीत ना जाने

क्यों
वो भँवरा॰॰आ॰॰आ
वो भँवरा॰॰आ ये भी ना जाने
कलियाँ
कलियाँ क्यों मुसकाती
दर्द भरे
हरने को ये झूम
डालों पर है गाती
कोयल
डालों पर है गाती

आ आ आ आ आ
दुनिया
इस दुनिया से न्यारी
खुद ही चला बसाने
दुनिया
इस दुनिया से न्यारी
खुद ही चला बसाने
अपनी धुन का राही कैसे हो
प्रेम डगर पहचाने
हो ओ ओ ओ
प्रेम डगर पहचाने
खुली हवा में उड़ने वाला
पंछी प्रीत ना जाने
हाँ हाँ
पंछी प्रीत ना जाने

क्यों उड़ने की आदत कोई
पंछी से छुड़वाये
क्यों उड़ने की आदत कोई
पंछी से छुड़वाये
बैठी है दुनिया
उनके रस्ते में जाल बिछाए
भोला पंछी
ये ना जाने
भोला पंछी
ये ना जाने
आज मुझे बंधन में अपने
क्यों देती घुटाने
आज मुझे बंधन में अपने
क्यों देती घुटाने
भोला पंछी
ये ना जाने
भोला पंछी
ये ना जाने

खुली हवा में उड़ने वाला
पंछी प्रीत ना जाने
हाँ हाँ
पंछी प्रीत ना जाने


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3548 Post No. : 14236

Today’s song is from a film called Ahinsa-1947. The film makes its Debut on the Blog. The song is sung by Chitalkar, an unknown female voice and Chorus. Written by G S Nepali, it is composed by C Ramchandra.

1947 was a very momentous and memorable year in the annals of Hindi film Industry.Many talented actors, directors,singers, composers, lyricists, writers and technicians left India, opting to migrate to Pakistan. The year 1947 actually started with a bad Omen. K L Saigal died on 18th January 1947. The country was on the threshold of Partition and Independence for two countries. The film industry, which was a true Secular industry, started harbouring doubts about each other.

Muslim artists who decided to migrate, started completing their assignments hurriedly. Suddenly, the film industry became extremely busy, resulting in churning out 181 Hindi films in just one year.This was a record in itself. It took another 40 odd years to break this record.187 films were made in 1985.

A void was created suddenly, when scores of film artistes from various disciplines migrated en masse to Pakistan.Most left in 1947,few more left within next 5 to 10 years and still some more,like actor Kumar left in the early 60s. By 1965, the entire process was almost complete, with few exceptions. Though the list is very long, some names who left India are, M.Ismail, Rafiq Gaznavi, Ghulam Mohd. actor, Zahur Shah, Zahur raja, Mukhtar Begum, Charlie, Nazir Ahmed, Ghulam haider, Najmul Hasan, Noorjehan, S M Yousuf, G A Chisti, Firoz Nizami, Ajmal, Khurshid Anwar, Saadat manto, Najam Naqvi, Ragini, W Z Ahmed, Swarnalata, Nashaad, Premlata,Shaukat Rizvi, Himalaywala, Rasheed Atre, meena Shorey, Asha Posley, Renuka devi, Nissar Bazmi, Sudhir, Santosh etc etc……..

In 1947, so many films were made, but since many were completed in a hurry, a large chunk of films failed miserably. Only a handful films were good and successful. In fact these films were so good that their music and songs actually heralded the beginning of “The Golden Period”. Films like Jugnu, Do Bhai, Dard, Mirza Sahiban, Shehnai, Elaan, Sindoor, Meera, Parwana, Saajan, Aapki sewa mein, Bela, Do dil and many more gave excellent and long lasting songs.

Some landmarks too took place. Lata’s first playback song, Usha Kiran’s debut in film Lalat, in her real name-Usha Marathe, Extra ordinary film Elaan, which was much ahead of its time and a very bold film on Muslim society weaknesses, Madhubala’s debut, debut of Uma Devi, Debut of Manhar Desai(Malcom D’souza), Last film of Saigal-Parwana, Last film of Noorjehan-Mirza Sahiban, First Simhali film ‘Broken promises’ made in Bombay, First studio-Uday in Kerala and the rise of C Ramchandra as a strong competitor to Naushad, were some important events of 1947.

C Ramchandra left Jayant Desai’s job in 1945. Then he was working on a film called ” Ahinsa”, which was delayed, censored in 1947 and released only in 1948.

The story was based on 1942 Quit India movement, but since it was delayed, lot of changes in story and songs took place. That was a period when Gandhi ji was on Top. He was the epitome of Ahinsa (Non violence), though the Partition took place with his consent only. So, to cash on the Gandhi wave, the film title must have been kept Ahinsa. I have not seen the film, but Baburao Patel’s Film India does not speak good about the film. Actually, this film was a resounding flop.

The gist of the film story is, Santosh- an upholder of Ahinsa, saves a British soldies from getting killed with an axe, by some terrorists. In the melee that ensues, the culprits run away and Santosh is caught with axe in his hands. Luckily, the soldier testifies in his favour and he is saved. This was a Debut film for the actor Santosh Kumar, the production house, Kashmir films and its Director Rajaram.

The real name of Santosh Kumar was Syed Moosa Abbas Raza. He was born on 25-12-1925 at Lahore. He hailed from a noble family of U.P. he graduated from Osmania University of Hyderabad Deccan, he also passed the ICS exam with flying colours. He was a tall and very handsome young man with command over English and Urdu.

His first film was ‘Ahinsa’-47 and second film was ‘ Meri kahani-48’. Then he migrated to Pakistan. He was one of the most successful actors of Pakistani films.He was the Hero of film ‘ Do Aansoo’-50, the first film in Pakistan to celebrate Silver Jubilee. He won the first Nigar Award too.

After working in more than 100 films, he diversified and became a Director in an American food company. He had also led many film industry delegations abroad. he was truly a Superstar. His second wife was actress Sabiha Khanum. His all family was in films. he died on 11-6-1982, just a few days before his son’s marriage. It was often said in Pakistan that if he had opted to remain in India, he would have overtaken Dilip kumar !

Navin Yagnik ( from U.P.), who also wrote the film story, did the role of the terrorist, Ramayan Tiwari was the Boss of the gang. The film was directed by Rajaram-his first film as a director. later he directed 3 more films,namely, Madadgaar-47, Dhoom dham-49 and Dilbar-51.

Film Ahinsa was released at Novelty Theatre Bombay on 20-2-1948, just about 3 weeks after Gandhi’s death. may be the timing was wrong, as there were many riots all over India during this period. Today’s song seems to be a marching song. the music and tune of the song is very good. I liked it. The songs of film Ahinsa were not available so far. They have been uploaded on You Tube only on 16th March 2018, about 20 days ago.h


Song-Azaad hain hum aaj se (Ahinsa)(1947) Singers- Unknown female voice, Chitalkar, Lyricist- Gopal Singh Nepali, MD- C Ramchandra
Male chorus
Female chorus
Both
Both +chorus

Lyrics

Azaad hain hum aaj se
jailon ke taale tod do
ab jaao apne desh ko
angrezon bharat chhod do
bharat chhod do
bharat chhod do

?? phusla ke chhen li
tumne ?? shamsheer
kaanoon padhkar pyaar se
phir pahna di zanjeer
do sau baras se bhar gaya thha
paapon ka ghada phod do
ab jaao apne desh ko
angrezon bharat chhod do
bharat chhod do
bharat chhod do
Azaad hain hum aaj se
jailon ke taale tod do
ab jaao apne desh ko
angrezon bharat chhod do
bharat chhod do
bharat chhod do

maara hai deshbhakton ko tumne
goli se bhoon ke
jaallianwaala bagh mein
hain daagh ab bhi khoon ke
jaallianwaala bagh mein
hain daagh ab bhi khoon ke
saari duniya dhikkaar ki
ab to apna munh mod lo
ab jaao apne desh ko
angrezon bharat chhod do
bharat chhod do
bharat chhod do

Azaad hain hum aaj se
jailon ke taale tod do
ab jaao apne desh ko
angrezon bharat chhod do
bharat chhod do
bharat chhod do

le kar mazhab ka maamla
tumne jhagda badha diya
le kar mazhab ka maamla
tumne jhagda badha diya

Hindu aur musalmaanon ko
aapas mein lada diya
Hindu aur musalmaanon ko
aapas mein lada diya
ham lad maren ya kuchh karen
tum ghar hamaara chhod do
ham lad maren ya kuchh karen
tum ghar hamaara chhod do
ab jaao apne desh ko
angrezon bharat chhod do

bharat chhod do
bharat chhod do
Azaad hain hum aaj se
jailon ke taale tod do
ab jaao apne desh ko
angrezon bharat chhod do
bharat chhod do
bharat chhod do


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 : 3515 Post No. : 14117

“Daulat Ke Liye”(1947) was directed by A Rashid for Aalam Art Productions, Bombay. This stunt movie had Dilaawar, Mumtaz, Sayani, Feroza, Sheikh, Aalam, Maqbool, Premnath etc in it.

According to HFGK, the movie had at least seven songs, may be more. HFGK provides details (singers name) of seven songs.

Here is the first song from “Daulat Ke Liye”(1947) to appear in the blog. The song is sung by Leela Warsi. A K Prem is the music director. Lyricist is not known.

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

With this song, “Daulat Ke Liye”(1947) makes its debut in the blog.


Song-Tod liya ek phool chameli (Daulat Ke Liye)(1947) Singer-Leela Warsi, MD-A K Prem

Lyrics

Tod liya
Tod liya ek phool chameli
kaali koyal bolat hai ae
kaali koyal bolat hai ae
Tod liya
Tod liya ek phool chameli
kaali koyal bolat hai ae
kaali koyal bolat hai ae

hans rahi hai aashaaon ki kaliyaan
hans rahi hai aashaaon ki kaliyaan
rut suhaani aayi hai ae
rut suhaani aayi hai ae
hil mil sakhiyaan jhoola jhoolen
hil mil sakhiyaan jhoola jhoolen
man mein masti chhaayi hai ae
man mein masti chhaayi hai ae
Tod liya
Tod liya ek phool chameli
kaali koyal bolat hai ae
kaali koyal bolat hai ae

man ki umangon mein aag lagaane
man ki umangon mein aag lagaane
kaari badariya aayi hai
kaari badariya aayi hai
bulbul chahke daali daali
bulbul chahke daali daali
har su jawaani chhaayi hai ae
har su jawaani chhaayi hai ae
Tod liya
Tod liya ek phool chameli
kaali koyal bolat hai ae
kaali koyal bolat hai ae
tod liya


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 14600 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

14648

Number of movies covered in the blog

Movies with all their songs covered =1147
Total Number of movies covered =4002

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